PHILIPPINE BAPTIST THEOLOGICAL SEMINARY

Name: Jamie Kim

Date: 02.03.21

Subject: MV2

Instructor: Sir. Jeannard Jay Ticong

Topic: Research/Presentation of J.S.Bach (Solo Cantata)

# Johann Sebastian Bach (1685-1750)

-Life

He was born into a prestigious music family in Germany. He composed many

religious songs, of which the church Cantata was his representative music. He was very
religious in composing more than 200 cantata in his life, and he always worked with prayer
when he made songs. The peak of his life was when he was appointed as a court conductor,
and he composed a lot of religious music. Bach embraces all genres of music and techniques,
exploring all the possibilities that can unfold musically in them, and growing up in traditional
German counter-method music. However, he accepts new music styles from Italy and France
through musicians from many different countries. This open-minded attitude led Bach to
develop into a Baroque musician who had a great influence on writing outstanding works in
almost all genres.

-Music (Cantata)

Bach's cantata was composed throughout his entire life. In particular, the church
cantata was composed mainly of Chorale with lyrics and melody as an element of Lutheran
church worship. He also used several techniques derived from Baroque instrumental and
vocal styles in the 17th and 18th centuries. You can see a mixture of Italian da capo aria,
opera arioso and Recitativo, or instrumental obbligato parts, accompanied by a continuo
alone or accompanied by several instruments.

-Jauchzet Gott in allen Landen, BWV51 (Performed by Sem.17.1730-Most probably)

English meaning “Rejoice unto God in all lands!” (by Richard Stokes), The
prescribed readings for the Sunday came from the Epistle to the Galatians, Paul's admonition
to "walk in the Spirit" (Galatians 5:25–6:10), and from the Sermon on the Mount in the
Gospel of Matthew, which exhorts the faithful not to worry about material needs, but to seek
God's kingdom first (Matthew 6:23–34). For the text, Johann Gramann (Mvt. 4) substitute
verse to “Nun lob, mein' Seel', den Herren”; Anonymous (Mvts. 1-3). According to W.
Murray Young, J. S. Bach himself was probable librettist. The text for Mvt. 2 comes from
Psalm 138: 2 and Psalm 26: 8
Bach structured the cantata in five movements and scored it for a soprano soloist and a
Baroque instrumental ensemble of trumpets (Tr), two violins (Vl), viola (Va), and basso
continuo (Bc). This cantata consists of 1. Aria, 2. Recitative, 3. Aria, 4. Chorale, 5. Finale
Aria. It is the only church cantata by Bach scored for solo soprano and trumpet. The duration
is given as 20 minutes.

Although it is a work for church, the mood is bright and the soprano's colorful technique is
outstanding to the extent that it resembles Mozart's opera Aria. This cantata is obviously for
virtuoso soloist who really can sing skillfully.

-Songs

1. Jauchzet Gott in allen Landen (Aria)

The first aria is in da capo form with extended coloratura. Use Tromba (Trumpet),
Violino I/II, Viola, Continuo as accompaniment. The style of Italian concerto. Sometimes
Bach use the Sinfonia concerto as overture of cantata. However, Bach did not think that
concertos should be instrumental music. So we can see the differences in this soprano solo
cantata. The first movement is defined as a triple concerto consisting of soprano trumpet
violins and orchestral music. Aria began with a masculine movement with instruments,
soprano received the excitement of the song. As we see in the score, the scale movement
(melisma) express and joint functions between vocal and instruments. It conveys the joy of
shouting God’s praises and demands of the musicians a virtuosity with which they may revel.

-lyrics

Jauchzet Gott in allen Landen! / Shout for joy to God in every land!

Was der Himmel und die Welt, An Geschöpfen in sich hält,

All the creatures contained in heaven and earth

Müssen dessen Ruhm erhöhen, / Must exalt his glory,

Und wir wollen unserm Gott / And to our God we would

Gleichfalls itzt ein Opfer bringen, / Now likewise bring an offering

Dass er uns in Kreuz und Not / Since in affliction and distress

Allezeit hat beigestanden. / At all times he has stood by us.

2. Wir beten zu dem Tempel an (Recitative)

The English translation is “We pray at the temple”, the recitative also has its
surprisingly changed the mood. Like the meaning, we pray at the temple. It talks about the
expression of worshiping God’s house. Calm and peaceful movement, very legato, and the
accompany turns to Basso e continuo. The sound of harpsichord gave us different feeling and
continuation of cello sound made more dramatic.
3. Höchster, mache deine Güte

The meaning is “Most High God, make your goodness”. The third movement is the
least of the three arias, still minor with only the continuo supporting the voice. The 12/8 time
signature, and only one accompaniment made us more focus one vocal line. Also in this aria
formed A-B-A section. The vocal line begins with an octave drop articulation the word
Höchster (highest) heard only twice in the whole area. Compare to previous aria, there’s a
quiet certainty of faith underpinning this movement. No rejoicing trumpets or horn are
required for the expression of commitment to God.

4. Sei Lob und Preis mit Ehren

This song is a chorale fantasia. The meaning of the song is “May there be praise and
glory and honour” the text continues the theme of praising and honouring the Trinity, God,
Son and Holy Spirit. Maybe Bach wants to represent the Trinity in accompaniment so there’s
3 group. So now division of violins into two groups returns for the fourth movement. Also
time signature, change 12/8 to 3/4. Especially I was so impressed by violin line. The violin 1
and 2 played like Fuga variation. The interval of the sound express the joyful, delightful
feeling.

5. Alleluja!

Alleluja (Praise God). In finale the trumpet reappearing. Actually the 4rd movement
and finale is connected. Soprano sing with excited melisma and the joyful part in this song
from measure 174 to180 there’s different shape of Alleluja. The one word set is Alleluja, not
a part of the chorale text, and obviously grafted on so as to provide the singer with his/her
stunning virtuosic conclusion. Bach delivers his message with total conviction.