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Cantata BWV 51 "Jauchzet Gott" A solo cantata written for the 15th Sunday after Trinity, and presumably used for other joyful occasions, as Bach writes "et In ogni Tempo" (for any occasion) as the subheading. This was likely written in 1730 and first performed on September 17 of that year. This is one of only 12 cantatas which require only solo voice, and one of only nine which do not have at least an SATB ensemble, let alone a full choir. The work is scored for solo soprano and solo trumpet accompanied by strings, a common Italian scoring, used by composers such as Alessandro Scarlatti and Alessandro Stradella, among others. It is set in five movements:
This is quite a showcase and a workout for the soprano, who
Because of this, this cantata is well-suited for concert, rather than church, performance. In fact, one wonders how Bach was able to pull this work off in his day; a boy soprano would have had to work awfully hard to compete with the trumpet part -- even thinking of the softer trumpets of Bach’s day (women didn't sing in church in Bach's day) -- and the high C would have been out of reach of many. Simon Heighes thinks that Christoph Nichelmann (1717-1762), a particularly gifted singer who came to the Thomasschule the same year this cantata was written, may have been the singer, though clearly a professional-quality performer is needed. Another possibility was the castrato Giovanni Bindi, who Bach may have heard in nearby Dresden. The difficult trumpet writing was probably intended for Bach’s friend Gottfried Reiche, as were many of Bach’s trumpet parts. The text of the second movement is based on Psalms 138 and 26. This is not the kind of recitative we’re used to hearing, as it is a fully accompanied recitative with a very melodic vocal part, what we would characterize really as an arioso. Look at some of the complicated melismatic writing here:
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Notice the melisma on the word "schwacher" (faltering) and "lallen" (stammer). Also see the chromatic, twisted passage to conclude the movement. Is this indicative of the final sentence of the text?
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Muß gleich der schwache Mund Von seinen Wundern lallen, So kann ein schlechtes Lob Ihm dennoch wohlgefallen. |
Although the mouths are feeble Which stammer about His wonders, Even such poor praise Can be pleasing to Him. |
Is this our continuing babbling? Wandering, attempting to articulate what we cannot? Yet, by reaching a traditional cadence, we realize that this effort alone is still pleasing to God? Hear this.
The third movement is a dal segno aria, similar to the da capo aria in that it is an ABA form, but instead of returning to the very opening, the singer returns to the sign, which looks in the score like an S with a slash through it, plus two dots. This movement provides stark contrast to the opening aria, which was joyful, boisterous, jubilant, and strongly in C major. This movement is more gentle, contemplative, and almost prayful, and set in a minor.
The cantata closes with a chorale, which was common of course among Bach’s works, but unusually this concludes with a chorale fantasy, rather than with a traditional 4-part arrangement. The orchestra weaves a complicated texture while the singer presents the chorale tune in long notes, with occasional ornaments as the cadence nears. Listen...
© 2003 Carol Traupman-Carr