Gott fähret auf mit Jauchzen, BWV 43
Church cantata by Johann Sebastian Bach
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Gott fähret auf mit Jauchzen ("God goes up with jubilation"[1] or "God has gone up with a shout"), BWV 43,[a] is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the Feast of the Ascension, and led the first performance on 30 May 1726.
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| Gott fähret auf mit Jauchzen | |
|---|---|
BWV 43 | |
| Church cantata by Johann Sebastian Bach | |
First page of Bach's autograph score | |
| Occasion | Feast of the Ascension |
| Bible text | |
| Chorale | by Johann Rist |
| Performed | 30 May 1726: Leipzig |
| Movements | 11 in two parts (5 + 6) |
| Vocal | SATB soloists and choir |
| Instrumental |
|
When Bach wrote the music, he was in his third year as Thomaskantor, the church music director of Leipzig. After two years of composing new cantatas for the occasions of the liturgical year, he began his third year by performing music by others, especially his cousin Johann Ludwig Bach. In Gott fähret auf mit Jauchzen, Bach used his cousin's cantata format, which featured a poem as text, besides quotations from the Old Testament and New Testament and closing chorale music. The quotation from the Old Testament was taken from Psalm 47 and the quotation from the New Testament from the Gospel, Mark 16. The closing chorale is formed by two stanzas from "Du Lebensfürst, Herr Jesu Christ" with text by Johann Rist.
Bach structured the cantata in eleven movements, in two parts to be performed before and after the sermon. The opening chorus and the closing chorale are sung by the choir, framing a sequence of alternating recitatives and arias. Bach scored the cantata festively for four vocal soloists, a four-part choir, three trumpets, timpani, two oboes, strings and basso continuo.
History
Background
Bach was appointed Thomaskantor (director of church music) in 1723 in Leipzig. There he was responsible for the music at four Lutheran churches, and the training and education of the boys singing in the Thomanerchor boys' choir. He took office on 30 May 1723, performing his church cantata Die Elenden sollen essen, BWV 75, for the first Sunday after Trinity[2]. Leipzig had a liturgy of the same prescribed readings from the Bible every year for Sundays and feast days of the liturgical year, including feasts of saints, of Mary, and three days of celebrating the high holidays Christmas, Easter and Pentecost; cantata music was expected to match the readings for all occasions except during the "silent times" of Advent (before Christmas) and Lent (before Easter). In the new position, Bach decided, instead of using existing music, to compose new church cantatas for almost all liturgical events for the first twelve months; they became his first cantata cycle.[3] The following year, Bach went on to write a second cantata cycle, now basing each on a Lutheran hymn.[4] In his book Johann Sebastian Bach: The Learned Musician, Christoph Wolff described the endeavour as "a most promising project of great homogeneity, whose scope he was able to define himself".[4]
In 1725, his third year in the post,[5] Bach slowed down his composing and began to perform cantatas by others,[6] especially by his cousin Johann Ludwig Bach, who was court musician in Saxe-Meiningen.[5] These cantatas were composed during the 1704/05 church year. Their texts were published in Rudolstadt in 1725, without naming an author. They could have been written by Ernst Ludwig, Duke of Saxe-Meiningen.[7] They followed a specific format: Old Testament quotation, recitative, aria, New Testament quotation, poem, chorale, differing from Bach's earlier cantata texts by the inclusion of a poem. Bach composed rather few cantatas during his third year. For the Christmas season, he wrote several cantatas to older librettos, especially by Georg Christian Lehms.[8] For the Ascension cantata and six others to follow, he used the format of his cousin.[8][9][7] It is unclear, if he possessed his cousin's cycle only partly and had to fill in for missing ones, or if he regarded some as unfit for the Leipzig audience.[7]
Readings and text
The prescribed readings for the Ascension feast day were from the Acts of the Apostles, the prologue and Ascension narrative (Acts 1:1–11), and from the Gospel of Mark, Jesus telling his disciples to preach and baptise, and his Ascension (Mark 16:14–20).[10]
The text of the cantata is unusual as it consists mostly of a poem in six stanzas, which is used for six consecutive movementss (5 to 10) of the work in 11 movements. The first quotation is taken from Psalm 47 (Psalms 47:5–7), a text traditionally understood as a reference to the Ascension. The other quotation is verse 19 from the gospel. For recitative and aria between the quotation, an unknown librettist paraphrased both an idea from Psalm 68 (Psalms 68:18) and its quotation in the Epistle to the Ephesians (Ephesians 4:8), "when he ascended up on high, he led captivity captive".[9] The poem praises the salvation through Jesus, defeating Satan, and the hope for an eternal dwelling with Jesus. It is full of Biblical references,[9] including the theme of Christ in the winepress,[9][11] following Isaiah 63:3, and alludes to the vision of Saint Stephen of an open heaven, according to Acts 7:56.[9]
The cantata is closed by the first and 13th stanza of Johann Rist's hymn "Du Lebensfürst, Herr Jesu Christ", published in 1641.[10] Bach would later use the fourth stanza of the chorale for his Ascension Oratorio.[12] The cantata consists of two parts, to be performed before and after the sermon.[13] This division was not indicated in the Rudolstadt print.[7]
Performance
Bach led the Thomanerchor in the first performances on 30 May 1726.[10][13] Bach's son Wilhelm Friedemann Bach, who inherited a set of parts, performed the cantata in Halle at least twice.[7]
Music
Structure and scoring
Bach structured the cantata in eleven movements, in two parts. The outer movements—the opening chorus and the closing chorale—are sung by the choir, and frame a sequence of alternating recitatives and arias. The work is scored for four vocal soloists (soprano (S), alto (A), tenor (T), bass (B)), a four-part choir and a festive Baroque instrumental ensemble of three trumpets (Tr) and timpani (Ti), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo.[10][14] This scoring is almost as opulent as for the later Ascension Oratorio.[9] The title page of the original parts reads: "Festo Ascens. Xsti. / Gott fähret auf mit Jauchzen / a / 4 Voci / & Trombe / Tamburi / & Hautb. / & Viol. / Viola / e / Cont. / di / J. S. Bach", which means "Feast of the Ascension of Christ / Gott fähret auf mit Jauchzen / for 4 voices, & trumpets, timpani, & oboes, violins, viola, & continuo, by J. S. Bach".[15] Alfred Dürr gave the duration as 25 minutes in his book Die Kantaten von Johann Sebastian Bach .[16]
In the following table, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Dürr, using the symbols for common time (4/4) and alla breve (2/2).[17] The continuo, playing throughout, is not shown.
| No. | Title | Type | Vocal | Brass | Winds | Strings | Key | Time |
|---|---|---|---|---|---|---|---|---|
| Part I | ||||||||
| 1 | Gott fähret auf mit Jauchzen | Chorus | SATB | 3Trp Tmp | 2Ob | 2Vl, Va | C major |  |
| 2 | Es will der Höchste sich ein Siegsgepräng bereiten | Recitative | T | | ||||
| 3 | Ja tausendmal tausend begleiten den Wagen | Aria | T | 2Vl | G major | 6/8 | ||
| 4 | Und der Herr, nachdem er mit ihnen geredet hatte | Recitative | S | | ||||
| 5 | Mein Jesus hat nunmehr | Aria | S | 2Ob | 2Vl, Va | E minor | | |
| Part II | ||||||||
| 6 | Es kommt der Helden Held | Recitative | B | 2Vl, Va | C major | | ||
| 7 | Er ists, der ganz allein | Aria | B | 1Tr | C major | | ||
| 8 | Der Vater hat ihm ja | Recitative | A | | ||||
| 9 | Ich sehe schon im Geist | Aria | A | 2Ob | A minor | 3/4 | ||
| 10 | Er will mir neben sich | Recitative | S | | ||||
| 11 | Du Lebensfürst, Herr Jesu Christ | Chorale | SATB | 3Trp Tmp | 2Ob | 2Vl, Va | G major | |
Movements
The cantata begins with an imposing opening chorus, which, like in Bach's Orchestral suites, nothing that follows can balance.[7] Due to the long text, the work unusually features rather short arias and five recitatives, most of them secco, with the exception of the one beginning Part II. Dürr believes that Bach may have taken not only his cousin's text format but also his music-making as a model.[6]
1
The opening chorus, "Gott fähret auf mit Jauchzen und der Herr mit heller Posaunen" (God goes up with jubilation and the Lord with bright trumpets)[1] with the full orchestra is the "centre of gravity" of the cantata.[18] It opens with an introduction marked "adagio", played by the strings doubled by the oboes. Then a fugue begins, two instrumental entries are followed by choral entries, and a climax is reached in an entry of the first trumpet. A second fugue includes remote and minor keys.[19] The second part of the text, "lobsinget Gott, lobsinget unserm Könige" (sing praises to God, sing praises unto our King)[1] is first sung in homophony, but then presented in a third fugue on the theme of the first, followed by a homophonic coda.[18][13]
2
A secco recitative for the tenor, "Es will der Höchste sich ein Siegsgepräng bereiten" (The Highest prepares for himself a triumphal procession),[1] expresses that God makes the prisons captives,[1] in syllabic declamation.[13]
3
In the first aria, "Ja tausend mal tausend begleiten den Wagen" (Indeed thousand upon thousands accompany the chariots),[1] the tenor is accompanied by the violins in unison. The complete text is sung three times in different sections.[13]
4
The New Testament quotation about the Ascension, "Und der Herr, nachdem er mit ihnen geredet hatte, ward er aufgehoben gen Himmel und sitzet zur rechten Hand Gottes." (And the Lord, after he had spoken with them, was taken up into heaven and sits at the right hand of God.),[1] is sung not by the tenor as the Evangelist but, instead the soprano narrates it in a secco recitative.[13]
5
The fifth movement concludes Part I and is based on the first stanza of the poem, "Mein Jesus hat nunmehr das Heilandwerk vollendet" (My Jesus has now completed the work of salvation).[1] The soprano is accompanied by the strings, doubled by the oboes. In the middle section, the words "Er schließt der Erde Lauf" (He finishes His course on earth,[1] literally: "He finishes the course of the earth") are expressed by an upward melisma and one downward on the repeat of the words.[13]
6
The recitative, "Es kommt der Helden Held, des Satans Fürst und Schrecken" (The hero of heroes comes, the terror and bane of Satan,),[1] is sung by the bass. In the strings, triadic fanfares alternate with soft tremolo, illustrating the drama of the text.[13]
7
The bass continues in an aria, "Er ists, der ganz allein die Kelter hat getreten" (It is he, who completely alone has trod upon the winepress).[1] It is highlighted by an obbligato trumpet part, but it is so difficult that Bach gave it to a violin in a later performance. Repeated figures in the continuo may illustrate the trodding in the win3press. The words "voll Schmerzen, Qual und Pein" (full of sorrow, torment and pain)[1] are illustrated by a slower tempo and harmonic tension.[13]
8
A recitative for the alto, "Der Vater hat ihm ja ein ewig Reich bestimmet" (The Father has indeed ordained for him an eternal Kingdom).[1] refers in the end to the view towards heaven, expressed by an upward coloratura motion.[13]
9
The alto aria, "Ich sehe schon im Geist, wie er zu Gottes Rechten auf seine Feinde schmeißt" (I see already in spirit, how he, at God's right hand, smites his enemies).[1] is accompanied by the oboes. It expresses the joy of victory over the enemies, in a dance-like vision of peace rather than a description of a battle,[20] but stresses the words "aus Jammer, Not und Schmach" (out of suffering, distress and ignominy)[1] by "harmonic darkening".[18][6]
10
A soprano recitative, "Er will mir neben sich die Wohnung zubereiten" (He will prepare next to him a dwelling-place for me),[1] expresses a vision of a heavenly dwelling.[6]
11
The closing chorale in two stanzas, "Du Lebensfürst, Herr Jesu Christ" (O Prince of Life, Lord Jesus Christ),[1] is a four-part setting of the melody of Ermuntre dich, mein schwacher Geist, composed by Johann Schop in 1641.[6][21][22] The instruments play colla parte with the voices, according to the parts two trumpets, the oboes and two violins with the soprano, and one trumpet and viola with the alto.[7][22][23] Michael Märker, the editor of a critical edition for Carus-Verlag, notes that this the soprano and alto lines were too low for trumpets, and that Dürr suggested that trumpeters played violins for that movement.[7] According to Klaus Hofmann, the chorale setting was not composed by Bach himself, but that he used a setting printed in the Neu Leipziger Gesangbuch of 1682 by Christoph Peter, cantor in Guben.[18]
Manuscripts and publication
The manuscripts of both the score and parts have survived and are held by the Berlin State Library.[7]
The first critical edition of the cantata, edited by Wilhelm Rust, was published by the Bach Gesellschaft in 1860 as part of its complete edition of Bach's works. In the Neue Bach-Ausgabe, the second edition of Bach's works, the cantata was published in 1960, edited by Dürr.[10][7]
Carus published a critical edition in German and English as part of its Stuttgarter Bach-Ausgaben in 1999, edited by Michael Märker.[7] In the 21st century, Bach Digital published high-resolution facsimile images of the manuscript parts from the first quarter of the 18th century.[10]
Recordings
The following table is a selection from Bach Cantatas website, where 22 recordings are listed as of 2026.[24] Instrumental groups playing period instruments in historically informed performances are marked by green background under the header "Instr.".
| Title | Conductor / Choir / Orchestra | Soloists | Label | Year | Instr. |
|---|---|---|---|---|---|
| J. S. Bach: Kantaten BWV 21, 110 (Ramin Edition Vol. 9) | Günther RaminThomanerchorGewandhausorchester |
|
Archiv Produktion | 1951 | |
| Les Grandes Cantates de J. S. Bach Vol. 9 | Fritz WernerHeinrich-Schütz-Chor HeilbronnPforzheim Chamber Orchestra | Erato | 1961 | ||
| Bach Kantaten, Vol. 4: BWV 127, BWV 159, BWV 43 | Diethard HellmannBachchor MainzBachorchester Mainz |
|
SWF | late 1960s? | |
| J. S. Bach: Das Kantatenwerk (1) | Hans GrischkatSchwäbischer SingkreisBach-Orchester Stuttgart |
|
Corona | 1971 | |
| J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 3 | Nikolaus HarnoncourtWiener SängerknabenConcentus Musicus Wien |
|
Teldec | 1975 | Period |
| Die Bach Kantate Vol. 34 | Helmuth RillingGächinger KantoreiBach-Collegium Stuttgart | Hänssler | 1982 | ||
| J. S. Bach: Himmelfahrts-Oratorium | Philippe HerrewegheCollegium Vocale Gent |
|
Harmonia Mundi France | 1993 | Period |
| J. S. Bach: Ascension Cantatas | John Eliot GardinerMonteverdi ChoirEnglish Baroque Soloists | Archiv Produktion | 1993 | Period | |
| Bach Edition Vol. 19 – Cantatas Vol. 10 | Pieter Jan LeusinkHolland Boys ChoirNetherlands Bach Collegium | Brilliant Classics | 2000 | Period | |
| J. S. Bach: Complete Cantatas Vol. 16 | Ton KoopmanAmsterdam Baroque Orchestra & Choir | Antoine Marchand | 2002 | Period | |
| J. S. Bach: Cantatas Vol. 44 | Masaaki SuzukiBach Collegium Japan | BIS | 2008 | Period | |
| J. S. Bach: Kantate 43 "Gott fähret auf mit Jauchzen"" | Rudolf LutzVocal ensemble of Schola Seconda PraticaSchola Seconda Pratica |
|
Gallus Media | 2019 | Period |
Notes
- "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.