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| movements = 5 | bible = | text_poet = anonymous | chorale = ドイツ語:Nun lob, mein Seel, den Herren | vocal = soprano solo | instrumental = }} ''ドイツ語:Jauchzet Gott in allen Landen'' ("Exult in God in every land"〔 or "Shout for joy to God in all lands"〔) , is a church cantata by Johann Sebastian Bach. The work is Bach's only church cantata scored for a solo soprano and trumpet. He composed it for general use (''ogni tempo)'', in other words not for a particular date in the church calendar, although he used it for the 15th Sunday after Trinity: the first known performance was on 17 September 1730 in Leipzig. The work may have been composed earlier, possibly for an occasion at the court of Christian, Duke of Saxe-Weissenfels, for whom Bach had composed the ''Hunting Cantata'' and the ''Shepherd Cantata''. The text was written by an unknown poet who took inspiration from various biblical books, especially from psalms, and included as a closing chorale a stanza from the hymn "Nun lob, mein Seel, den Herren". Bach structured the work in five movements, with the solo voice accompanied by a Baroque orchestra of a virtuoso trumpet, strings and continuo. While the outer movements with the trumpet express extrovert jubilation of God's goodness and his wonders, the central introspective aria, accompanied only by the continuo, conveys a "profound expression of commitment to God".〔 He set the closing chorale as a chorale fantasia, the soprano sings the unadorned melody to a trio of two violins and continuo, leading to an unusual festive fugal Alleluja, in which the trumpet joins. The Bach scholar Klaus Hofmann notes that the work, unusually popular among Bach's church cantatas, is unique in the demanded virtuosity of the soprano and trumpet soloist, and evidences "overflowing jubilation and radiant beauty".〔 == History and words == Bach used the cantata in Leipzig for the 15th Sunday after Trinity on 17 September 1730. The prescribed readings for the Sunday came from the Epistle to the Galatians, Paul's admonition to "walk in the Spirit" (), 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 (). The author is unknown. Without any reference to the prescribed readings,〔 he incorporates in the first movement ideas from , and , and in the central aria thoughts from and .〔 The closing chorale is the fifth stanza of "ドイツ語:Nun lob, mein Seel, den Herren", added to Johann Gramann's hymn in Königsberg in 1549.〔 Bach used the same stanza in a different setting to close his cantata ドイツ語:''Wir danken dir, Gott, wir danken dir'', BWV 29.〔 Bach led the performance on 17 September 1730.〔 Bach's manuscript indicates the 15th Sunday after Trinity "et in ogni tempo" ("and at any time"). The latter phrase indicates the possible general use of the work, with a cantata text that has no direct relevance to the scriptural readings. The dedication for the 15th Sunday was added later, indicating that the cantata was not intended for the specific occasion.〔 Bach composed BWV 51 during a period when he composed church cantatas only irregularly, some of them to complete his earlier cycles. According to the Bach scholar Christoph Wolff, Bach may have written the cantata shortly before 1730 for an unknown occasion. The performance material survived but does not reveal further detail, other than indicating one later performance.〔 Hofmann sees a connection to the court of Weißenfels where a scoring of solo soprano and trumpet was popular, and assumes that the work may have been originally intended for a performance at court by a professional female singer.〔 Bach had written two birthday cantatas for Christian, Duke of Saxe-Weissenfels. He was invited to the birthday celebration of 1729 and returned with the title of ''ドイツ語:Hofkapellmeister of Sachsen-WeiBenfels'' ("court director of music of Saxe-Weissenfels"), and Hofmann thinks a connection between the title and cantata "highly probable".〔 Both the soprano part, which covers two octaves and requires a high C, and the solo trumpet part, which at times trades melodic lines with the soprano on an equal basis, are extremely virtuosic. The Bach scholar Alfred Dürr assumes that Bach had an unusually gifted singer, adding that a female voice was unlikely in conservative Leipzig.〔 According to Joshua Rifkin Christoph Nichelmann is a possible candidate because Bach being aware of his capabilities accepted him willingly to the Thomasschule and Nichelmann matriculated into the school three weeks before the first performance. The trumpet part was probably written for Gottfried Reiche, Bach's principal trumpeter at the time. The scoring is unique in Bach's cantatas, but was frequently used by Italian composers such as Alessandro Scarlatti. Bach's son Friedemann Bach arranged the work by adding a second trumpet and timpani.〔 The cantata is one of only four sacred cantatas that Bach wrote for a solo soprano (if one excludes his arrangement of the cantata for solo bass and oboe ドイツ語:''Ich habe genug'', BWV 82, for flute and soprano BWV 82a) and no other vocal soloists (the others being ドイツ語:''Falsche Welt, dir trau ich nicht'', BWV 52, ドイツ語:''Ich bin vergnügt mit meinem Glücke'', BWV 84, and ドイツ語:''Mein Herze schwimmt im Blut'', BWV 199), while he wrote several secular cantatas for solo soprano: ドイツ語:''Weichet nur, betrübte Schatten'', BWV 202, ドイツ語:''Ich bin in mir vergnügt'', BWV 204, , and ドイツ語:''O holder Tag, erwünschte Zeit'', BWV 210.〔Liebergen, Patrick. New York: Alfred Publishing, 2008. pp 63-69. ISBN 978-0-7390-5139-9〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jauchzet Gott in allen Landen, BWV 51」の詳細全文を読む スポンサード リンク
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