Gott Fähret Auf Mit Jauchzen — Wikipedia

God ferries with Jauchzen ( God goes up to heaven in the cries of joy ) (BWV 43) is a religious cantata by Johann Sebastian Bach composed in Leipzig in 1726.

Bach composes cantata during his third year in Leipzig on the occasion of the Ascension Festival ^{[ first ]} . For this liturgical destination, three other cantatas have crossed the threshold of posterity: the BWV 11, 37 and 128. The readings prescribed for this feast day are drawn from the acts of the apostles, the prologue and the ascent of Jesus (1: 1-11) and the Gospel according to Marc (16: 14-20), Jesus said to his disciples to preach and baptize.

The text of the cantata is unusual because it consists essentially of a poem in six stanzas which constitute the movements five to ten of a work in eleven movements. The structure is similar to that of Jean-Sébastien cousin cantatas, Johann Ludwig Bach, head of the Meiningen Court Orchestra ^{[ 2 ]} That Bach directed in 1726: Quote from the Old Testament, Recitative, Aria, Quote from the New Testament, Poem, Choral. The first quotation is extracted from Psalm 47 (47, 6–7), traditionally considered as a reference to ascent. The other quote from the fourth movement is verse 19 of the Gospel. An unknown paraphrase poet in a recitative and an aria an idea of ​​Psalm 68 (68, 18) as well as her recovery in the epistle to the Ephesians (4, 8), “he went up and took captives with him”.

Cantata ends with the first and thirteenth stanza of Johann Rist choral You life prince, Lord Jesus’ Christian (1641). Bach later resumed the fourth stanza of the choral for his Oratory by the ascension ^{[ 3 ]} . Cantata consists of two parts, to be played before and after the sermon. Bach directs “Gott Fähret Auf Mit Jauchzen” for the first time the May 30, 1726 ^{[ first ]} .

The rest of the text has several origins ^{[ 4 ] , [ 5 ]} But the other movements are of dark origins (R. Wustmann and Werner Neumann ^{[ 6 ]} suggest that J. S. Bach can be this unknown author while C. S. Terry ^{[ 7 ]} advance the name of Christian Weiss and Walther Blankenburg ^{[ 8 ]} suggests Christoph Helm.).

Cantata is written for two oboe, timpani ( drums on the manuscript ^{[ 9 ]} ), three trumpets, two violins, viola, bass continues, with four vocal soloists (soprano, viola, tenor, bass) and choir in four voices ^{[ first ]} .

There are eleven movements divided into two groups (to play before and after the sermon):

First part

1. Choir: God ferries with Jauchzen
2. Recitative (tenor): The highest wants to prepare a victory
3. Aria (tenor): Yes a thousand times a thousand accompany the car
4. Recitative (soprano): And the gentleman after talking to them
5. Air (soprano): My Jesus now has

Second part

1. Recitative (bass): The hero hero is coming
2. air : He is, the one alone
3. Recitative (viola): The father has him
4. Air (high): I already see in the spirit
5. Recitative (soprano): He wants me next to himself
6. choral : You life prince, Lord Jesus’ Christian

The opening choir with the entire orchestra is the “center of gravity” of the cantata ^{[ 2 ]} which opens with an introduction marked “Adagio”, played by the strings doubled by the oboe. Then begins a fugue, two instrumental entries are followed by choral entries and a culmination is reached with the entrance to the first trumpet. A second fugue has distant and minor tones. The second part of the text, Praise God, praise our kings (“Singing the praises of God, sing the praises of our king”) is first sung in homophony, then presented in a third fugue on the theme of the first followed by a homophone coda ^{[ first ] , [ 2 ]} . A Secco recitative leads to the first ARIA accompanied by violins in unison. The full text is sung three times in different sections. The quotation of the New Testament is sung not by bass as a The voice of Christ But, probably because Jesus does not speak himself, by the soprano who in place reports “After the Lord Jesus spoke to them, he is received in heaven and sits on the right of God” as a secco recitative ^{[ first ]} . The fifth movement, based on the first stanza of the poem, concludes the first part. The soprano accompanied by the strings is doubled by the oboe. In the central section, the words It closes the earth run (“He ends his course on earth”, literally: “he ends the course of the earth”) are rendered by an ascending melism followed by a contrary movement when they are repeated ^{[ first ]} .

The second part includes the other five stanzas of the poem by alternating recitatives and Aria. The first recitative is accompanied by the strings, the others are Secco. The Aria de Basse is highlighted by a part of the obligatory trumpet, but it is so difficult that Bach entrusted it to a violin in a subsequent representation. The words full of pain, agony and pain (“Full of sorrow, torment and pain”) are illustrated by a slower tempo and harmonic tension. The recitative that follows in fine Reference to suction in heaven, expressed by an ascending movement. The last Aria, accompanied by the oboe, enjoys victory over enemies, in a vision of peace rather than a battle description ^{[ first ]} But insists on words From Jammer, Need and Smile (of suffering, distress and ignominy) by “harmonic darkening” ^{[ 2 ]} . The closing choral is a four -part provision of the melody of Enjoy yourself, my weak spirit , composed by Johann Schop in 1641 ^{[ ten ] , [ 11 ]} . According to Klaus Hofmann, the arrangement was composed not by Bach himself but by Christoph Peter (1626–89), cantor in Guben, as indicated in the “Neu Leipziger Gesangbuch” (new leipzig hymnaire) of 1682.

• Bach Kantaten, Vol. 4: BWV 127, BWV 159, BWV 43, , Diethard Hellmann  (of) , Bachchor Mainz, Bachorchester Mainz, Nobuko Gamo-Yamoto, Annelies Westen, Horsst Wilhelm, Dieter Slembck, Années 1960?