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Jauchzet, frohlocket! Auf, preiset die Tage
Part I of Christmas Oratorio
Christmas cantata by J. S. Bach
First page of the manuscript of Bach's score
First page of the manuscript of the score
CatalogueBWV 248 I
Related
Text
Performed25 December 1734 (1734-12-25): Leipzig
Movements9
VocalSATB choir and soloists
Instrumental
  • 3 trumpets
  • timpani
  • 2 traversos
  • 2 oboes
  • 2 oboes d'amore
  • 2 violins
  • viola
  • cello
  • violone
  • continuo

Jauchzet, frohlocket! Auf, preiset die Tage (Shout for joy, exult, rise up, praise the day),[1] BWV 248I (also written as BWV 248 I),[2] is a 1734 Christmas cantata by Johann Sebastian Bach that serves as the first part of his Christmas Oratorio. Bach was then Thomaskantor, responsible for church music at four churches in Leipzig, a position he had assumed in 1723. For the oratorio, the libretto by an unknown author followed the nativity of Jesus from the Gospel of Luke, interspersed with reflecting texts for recitatives and arias, and stanzas from Lutheran hymns.

The cantata is structured in nine movements. An extended choral introduction is followed by two scenes, each a sequence of four movements. Both scenes are composed of a quotation from the Gospel of Luke, a recitative reflecting the narration, an aria-like prayer or meditation, and a chorale setting a stanza from a Lutheran hymn. Bach scored the cantata for three vocal soloists, a four-part choir and a festive Baroque orchestra with trumpets, timpani, flutes, oboes and strings. A tenor soloist narrates the Biblical story in secco recitative, as the Evangelist. There are two chorales: a four-part setting of Paul Gerhardt's "Wie soll ich dich empfangen" and a closing score with an independent orchestra set to text for a stanza from Martin Luther's "Vom Himmel hoch, da komm ich her".

The opening movement and the two arias rely on secular cantatas composed for members of the Dresden court. The opening and one aria are based on Tönet, ihr Pauken! Erschallet, Trompeten! (Resound, ye drums! Ring out, ye trumpets!), BWV 214, which he had composed for the birthday of Maria Josepha of Saxony on 8 December 1733. The other aria is based on Laßt uns sorgen, laßt uns wachen, BWV 213, written for the 11th birthday of Crown Prince Friedrich Christian the same year.

Bach led the first performances with the Thomanerchor at the two main churches of Leipzig on 25 December 1734 during morning and vespers services.

Background

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See also: Christmas Oratorio § History, and Church cantata (Bach) § Christmas

Since his appointment as director musices in Leipzig in 1723, Bach had been presenting church cantatas for the Christmas season in the Thomaskirche (St. Thomas Church) and Nikolaikirche (St. Nicholas Church), including the following Christmas Day cantatas:[3][4][5]

Church music in Latin was not uncommon for Christmas Day in Leipzig: Bach's compositions of this genre include, for Christmas Day of 1723, the Christmas version of his Magnificat, BWV 243a, and the Sanctus in D major, BWV 238.[10] Another Sanctus, the Sanctus for six vocal parts, BWV 232 III (early version), was composed for Christmas Day of 1724.[11]

Dresden court

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bust painting of a young festively dressed woman, whose body is turned to the right but who is facing the viewer,
Maria Josepha, the dedicatee of BWV 214, in a 1720 painting by Rosalba Carriera
See also: Secular cantata (Bach) § Music celebrating the Saxonian prince-electoral family

In 1733, Augustus III of Poland succeeded his father, Augustus the Strong, as Elector of Saxony and took residence in Dresden. Bach hoped to become court composer, and dedicated Missa of 1733 to Augustus.[12]

One of Bach's secular cantatas, Laßt uns sorgen, laßt uns wachen, BWV 213, also known as Hercules am Scheidewege (Hercules at the Crossroads), on a libretto by Picander, was performed on 5 September 1733, the 11th birthday of the son of the elector.[13] He wrote a further cantata for the elector's wife, Maria Josepha, to honour her 34th birthday on 8 December:[14] Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214 (Resound, ye drums! Ring out, ye trumpets!).[15] It is also known as "Glückwunschkantate zum Geburtstage der Königin" (Congratulation cantata for the Queen's birthday), although Maria Josepha was not crowned Queen of Poland until January 1734.[16]

Three extended movements of BWV 248 I are based on music from these two cantatas: the opening chorus follows the opening of Tönet, ihr Pauken!, and the alto and bass arias are derived from Laßt uns sorgen and Tönet, ihr Pauken!, respectively. [17]

Readings and text

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Bach composed Jauchzet, frohlocket! in 1734. The cantata forms Part I of his Christmas Oratorio, which was performed on six occasions during Christmas time, beginning with Part I on Christmas Day.[2] The prescribed readings for the feast day were one from the Epistle to Titus, "God's mercy appeared" (Titus 2:11–14), or Isaiah, "Unto us a child is born" (Isaiah 9:2–7), and a second from the Gospel of Luke describing the nativity, annunciation to the shepherds and angels' song (Luke 2:1–14).[18] The identity of the librettist is unknown;[2] he may have been Picander, an earlier collaborator.[19] After the opening chorus, the story is told following the Gospel of Luke, interspersed with reflecting recitatives, arias and chorales. Part I describes the nativity of Jesus until the child is born.[19]

The work is structured in nine movements. The text of the opening chorus is a free paraphrase of the beginning of Psalm 100.[20] The chorus is followed by two groups of four movements each, following the pattern: reading / recitative / aria / chorale. Alfred Dürr notes that the theologian August Hermann Francke and others had recommended three steps when reading the Bible: reading / meditation / prayer, and sees a similar approach, with the chorale comparing to the amen confirming the prayer.[19]

The tenor soloist narrates from Martin Luther's translation of the Bible in recitative as the Evangelist (Luke 2:1, 3–7).[2] The choir sings two chorales, a four-part setting of Paul Gerhardt's "Wie soll ich dich empfangen" and a setting for choir and independent orchestra of the 13th stanza from Martin Luther's "Vom Himmel hoch, da komm ich her", to close the cantata.[2][21] In the seventh movement, a recitative is combined with the sixth stanza of Luther's hymn "Gelobet seist du, Jesu Christ".[22]

First performance

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Title page of the 1734 print of the libretto, with letters in different size
Title page of the printed libretto

Bach led the first performance during a morning rendition at the Nikolaikirche in 1734.[23] The libretto was printed and bears the title of the oratorio, Oratorium, welches die Heilige Weyhnacht über in beyden Haupt-Kirchen zu Leipzig musiciret wurde. Anno 1734. (Oratorio, which was played over the Holy Christmas in the two main churches of Leipzig. 1734.) The title for Jauchzet! frohlocket! reads: "Am 1sten Heil. Weynachts-Feyertage. Frühe zu St. Nicolai, und Nachmittage zu St. Thomas" (On the 1st Holy Christmas Day. Morning at St. Nicholas, afternoon at St. Thomas).

Music

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Scoring and structure

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Bach structured the cantata in nine movements, beginning with an extended chorus. The other eight movements contain a Gospel reading in a tenor secco recitative, a meditative, accompanied recitative, a prayer-like aria, and an affirming chorale.[19] It features three vocal soloists (alto, tenor and bass), a four-part choir (SATB) and a Baroque instrumental ensemble of three trumpets (Tr), timpani, two traversos (Tra), two oboes (Ob), two oboes d'amore (Oa), two violins (Vl), viola (Va) and basso continuo.[24] A typical performance lasts 29 minutes.[1]

The following scoring adheres to the Neue Bach-Ausgabe (New Bach Edition). The keys and time signatures are taken from Dürr and use the symbol for common time.[25] The continuo, played throughout, is not shown.

Movements of Jauchzet, frohlocket!
No. Title Text Type Vocal Brass Winds Strings Key Time
1 Jauchzet, frohlocket!
 anon. Chorus SATB 3Tr 2Tra 2Ob 2Vl Va D major 3/8
2 Es begab sich aber zu der Zeit
 Luke 2:1, 3–6 Recitative T common time
3 Nun wird mein liebster Bräutigam
 anon. Recitative A 2Oa common time
4 Bereite dich, Zion
 anon. Aria A Oa Vl A minor 3/8
5 Wie soll ich dich empfangen
 Gerhardt Chorale SATB 2Tra 2Ob 2Vl Va A minor common time
6 Und sie gebar ihren ersten Sohn
 Luke 2:7 Recitative T common time
7 Er ist auf Erden kommen arm
Wer will die Liebe recht erhöhn
 Luther
anon. 		Chorale e recitative S
B 		2Oa G major 3/4
common time
8 Großer Herr und starker König
 anon. Aria B Tr Tra 2Vl Va D major 2/4
9 Ach mein herzliebes Jesulein
 Luther Chorale SATB 3Tr 2Tra 2Ob 2Vl Va D major 4/4

Movements

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1

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Baroque orchestra with prominent timpani (kettledrums) and trumpets surrounded by a choir in a rehearsal
Baroque orchestra with timpani (kettledrums) and trumpets
Detail from the manuscript score of "Tönet, ihr Pauken" with changes for "Jauchzet, frohlocket!"
Detail from the manuscript score of Tönet, ihr Pauken with changes for Jauchzet, frohlocket!

The text of the opening chorus is "Jauchzet, frohlocket! Auf, preiset die Tage", translated by Richard D. P. Jones as "Shout for joy, exult, rise up, praise the day!"[1] and by Pamela Dellal as "Celebrate, rejoice, rise up and praise these days".[22] It is an extended complex ternary form (A–B–A). Unusually for Bach's music, it opens with the timpani (kettledrums) alone.[26] The trumpets then enter, followed by strings and woodwinds.[27] This sequence follows the secular model Tönet, ihr Pauken, where the text asks the instruments to enter in this order: "Tönet, ihr Pauken! Erschallet, Trompeten! Klingende Saiten, erfüllet die Luft! Singet itzt Lieder, ihr muntren Poeten," (Sound, you drums! Ring forth, trumpets! Vibrating strings, fill the air! Now sing songs, you exuberant poets).[28] The extended instrumental ritornello presents the musical material of the whole movement in changing instrumental colours. The first measures explore the D major triad in different colours of instrumental sounds.[29]

The voices enter in unison, imitating at first timpani then trumpets.[27] In the following section, the vocal lines are mostly homophonic and sometimes imitative, while the instrumental forces drive the movement. With the text "Lasset das Zagen, verbannet die Klage" (Abandon despair, banish laments),[22] the voices, now in imitation, dominate while the instruments accompany.[30] The second section is a modified repetition of the first.[31]

The middle section (B) also comprises two passages. "Dienet dem Höchsten mit herrlichen Chören" (Serve the Highest with glorious choruses)[22] is an imitative section in B minor, accompanied only by the strings.[31] "Laßt uns den Namen des Herrschers verehren!" (Let us revere the name of the sovereign)[1] is set mostly in homophony with strings and woodwinds. After the middle section, the beginning A is repeated in full.[31]

The musicologist Markus Rathey notes that in the secular model, Tönet, ihr Pauken, Bach had not initially thought of beginning with the timpani alone, but arrived at the present version in a later revision. Rathey suggests that Bach sought a more dramatic way to begin with reduced force and let the music increase, in keeping with his endeavor to transfer operatic features from Dresden to Leipzig.[32] Rathey observes that listeners at the time may have interpreted the dominant trumpets as royal instruments, here three trumpets and timpani, corresponding to the obbligato trumpet in the aria "Großer Herr und starker König", which addresses the newborn as both king and saviour.[33]

2

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The tenor begins with the secco recitative "Es begab sich aber zu der Zeit" (It came to pass at that time),[22] from Luke 2:1,3–6. It is one of the longest recitatives in the oratorio, beginning with the decree for a census by Caesar Augustus. It follows a pattern influenced both by operatic recitatives and liturgical singing, with phrases often beginning with an upward fourth and ending with a downward fourth, in rhythm as if speaking and in moderate range. Accents are made by high notes, here for the word "Joseph", and changes of harmony, here for "David". The building of harmonic tension ends when Mary's pregnancy is mentioned.[34]

3

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The alto provides the narration, particularly the announcement of a birth, in a recitative, "Nun wird mein liebster Bräutigam, nun wird der Held aus Davids Stamm" (Now my dearest bridegroom, now the hero from David's branch),[22] expressing eagerness to meet her bridegroom, a descendant of David, in the imagery of the Song of Songs. In an accompanied recitative, two oboes d'amore support the voice.[17]

4

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comparison of corresponding measures in the secular model and an aria
Juxtaposition of corresponding measures in the secular model and the aria

In the alto da capo aria "Bereite dich, Zion, mit zärtlichen Trieben" (Prepare yourself, Zion, with tender efforts),[22] the singer prepares herself to meeting her beloved. The oboe d'amore supports the tender expressiveness. The movement is based on the aria "Ich will dich nicht hören" (No. 9) from the secular cantata Laßt uns sorgen, laßt uns wachen, BWV 213, with a different affect. While the secular model demands destruction ("zermalmet"), the aria in the oratorio speaks of the most beautiful beloved ("den Liebsten, den Schönsten").[35]

5

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A chorale concludes the first scene, "Wie soll ich dich empfangen" (How shall I embrace You),[22][36] deepening the right preparation for the reception of the beloved. It is the first stanza of Paul Gerhardt's Advent song, with the melody which was associated with it in Leipzig, the same melody also used for Gerhardt's Passion hymn "O Haupt voll Blut und Wunden". The same melody of this first chorale in the oratorio reappears in the final movement of the final Part VI, "Nun seid ihr wohl gerochen".[35]

Paul Gerhardt:

Wie soll ich dich empfangen
und wie begegn ich dir,
o aller Welt Verlangen,
o meiner Seelen Zier?
O Jesu, Jesu, setze
mir selbst die Fackel bei,
damit, was dich ergötze,
mir kund und wissend sei.

Catherine Winkworth:[37]

O Lord, how shall I meet You,
how welcome You aright?
Your people long to greet You,
my Hope, my heart's Delight!
O, kindle, Lord most holy,
Your lamp within my breast
to do in spirit lowly
all that may please You best.

6

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The tenor continues the narration with another secco recitative, "Und sie gebar ihren ersten Sohn" (And she bore her first son),[22] after Luke 2:7, reporting the birth of the baby which is laid in a manger.[22]

7

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16th-century print of a chorale melody
The chorale melody of "Gelobet seist du, Jesu Christ" in Johann Walter's Wittenberg Hymnal

In a combination of chorale and recitative, the soprano sings the sixth stanza, "Er ist auf Erden kommen arm" (He came to earth poor),[22] from Luther's hymn "Gelobet seist du, Jesu Christ"[22] in a triple metre and embellished. Line by line, it is interspersed with comments by the bass, who begins "Wer will die Liebe recht erhöhn" (Who can rightly exalt this love),[22] in contrasting common time.[35] The voices are supported by two oboes d'amore.[38]

8

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The bass da capo aria, "Großer Herr und starker König, liebster Heiland, o wie wenig" (Great Lord, o powerful King, dearest Savior, o how little),[22] contrasts the birth of Our Lord with poverty. The movement is taken from the bass aria in Tönet, ihr Pauken, in which the Queen is addressed, accompanied by an obbligato trumpet to refer to her royalty.[17]

9

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The cantata is closed with the chorale "Ach mein herzliebes Jesulein" (Ah, my heart's beloved little Jesus),[22][39] the 13th stanza of Luther's hymn "Vom Himmel hoch, da komm ich her".[22] While the compassionate text addresses the baby, interjections by trumpets and timpani recall the opening movement and refer to his godly nature.[35]

Martin Luther:

Ach, mein herzliebes Jesulein,
Mach dir ein rein, sanft Bettelein,
Zu ruhen in meins Herzens Schrein,
Das ich nimmer vergesse dein.

Translation by Catherine Winkworth:

Ah! dearest Jesus, Holy Child,
Make Thee a bed, soft, undefiled,
Within my heart, that it may be
A quiet chamber kept for Thee.

Literal translation:

Ah! my dearest little Jesus
Make you a clean soft little bed,
To rest in my heart's shrine
That I never forget you.

Performances and legacy

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Bach may have performed Jauchzet, frohlocket! again, but there is no record of it.[40] Although performances of Jauchzet, frohlocket! in Christmas Day services have become rare,[41] they are regularly held in Leipzig where the work was first performed.[42] The cantata is often presented in concerts that usually combine several of the parts of the Christmas Oratorio, most frequently parts I to III. It is a Christmas tradition for German-speaking people to attend such a concert.[41]

Dürr and Jones described the cantata as "one of the pinnacles of world music literature".[19] Rathey observes that although the Christmas Oratorio is one of Bach's most frequently performed works, it has not attracted much scholarship in English.[43]

References

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  1. ^ a b c d Dürr & Jones 2006, p. 102.
  2. ^ a b c d e Bach Digital 2018.
  3. ^ Wolff 2002, pp. 237–257.
  4. ^ Dürr & Jones 2006, pp. 22–35.
  5. ^ Buelow 2016, p. 272.
  6. ^ Bach Digital 63 2019.
  7. ^ Bach Digital 91 2019.
  8. ^ Bach Digital 110 2019.
  9. ^ Bach Digital 197a 2019.
  10. ^ Bach Digital Works 00303 and 00297
  11. ^ Bach Digital Work 11391
  12. ^ Rathey 2003.
  13. ^ Bach Digital 213 2019.
  14. ^ Dürr & Jones 2006, pp. 102, 820, 827–830.
  15. ^ Bach Digital 214 2018.
  16. ^ Wessel 2015, pp. 25–44, 47, 99–100.
  17. ^ a b c Wessel 2015, p. 47.
  18. ^ Dürr & Jones 2006, p. 91.
  19. ^ a b c d e Dürr & Jones 2006, p. 104.
  20. ^ Rathey 2016, p. 174.
  21. ^ Rathey 2016, p. 152.
  22. ^ a b c d e f g h i j k l m n o p Dellal 2021.
  23. ^ Wolff 2002, pp. 254.
  24. ^ Bischof 2018.
  25. ^ Dürr & Jones 2006, pp. 102–103.
  26. ^ Rathey 2016, pp. 148–149.
  27. ^ a b Rathey 2016, p. 148.
  28. ^ Dellal 214 2021.
  29. ^ Rathey 2016, p. 151.
  30. ^ Rathey 2016, p. 152.
  31. ^ a b c Rathey 2016, p. 153.
  32. ^ Rathey 2016, p. 149.
  33. ^ Rathey 2016, p. 160.
  34. ^ Rathey 2016, p. 161.
  35. ^ a b c d Dürr & Jones 2006, p. 105.
  36. ^ Dahn 5 2018.
  37. ^ Hymnary 2019.
  38. ^ Dürr & Jones 2006, p. 103.
  39. ^ Dahn 9 2018.
  40. ^ Hofmann 2005.
  41. ^ a b Schönewolf 2019.
  42. ^ Konzerthaus Dortmund 2008.
  43. ^ Rathey 2016, p. 5.

Cited sources

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Bach Digital

Books

Online sources

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