Jauchzet dem Herrn alle Welt is a three-movement pasticcio motet for double SATB choir. It includes music by Georg Philipp Telemann and Johann Sebastian Bach. The text of the motet is a German paraphrase of Psalm 100. [1]
There is some doubt as to who compiled the work: it may have been Bach or Johann Gottlob Harrer, who after Bach's death in 1750 succeeded him as Thomaskantor. [2] Jauchzet dem Herrn alle Welt appears as BWV Anh. 160, that is in Anhang III, the annex of spurious works, of the 1998 edition of the Bach-Werke-Verzeichnis (BWV). Later it was renumbered to BWV App. A 4. [3]: 119 In the catalogue of works by Telemann ( TWV) the motet has the number 8:10. [2]
History
The scribe of one of the extant manuscripts of the work, a manuscript that attributes the work to Bach, was formerly believed to be Johann Christoph Altnickol, [1] Bach's son-in-law, but appears actually to be Johann Christoph Farlau. [4] Thanks to the researches of Peter Wollny, Farlau has been identified as copyist of a number of works by Bach, notably an early version of the St Matthew Passion. [5] Farlau is believed to have studied with Altnickol in the 1750s. [6] His interest in Bach's music continued after Altnickol's death. His copy of Jauchzet dem Herrn alle Welt is dated to the second half of the 18th century ( c.1760–1789). [4] Another manuscript of around the same time attributes the work to "Bach and Telemann". [7]
Movements
The first movement of Jauchzet dem Herrn alle Welt is likely an adaptation by Bach of a composition by Telemann. [2] [8]
The second movement of the motet is derived from a composition by Bach: it is based on the second movement of his cantata BWV 28, which also appears as a separate motet for SATB choir BWV 28/2a (Sei Lob und Preis mit Ehren, formerly BWV 231). [2] [9] The church cantata Gottlob! Nun geht das Jahr zu Ende, BWV 28 was premiered by Bach at the end of 1725. [1] The second cantata movement differs from the rest of the cantata in being in motet style. It is based on Johann Gramann's hymn " Nun lob, mein Seel, den Herren" (1530), the melody of which provides a cantus firmus. The cantata movement BWV 28/2 and the motets (BWV 28/2a and TWV 8:10) use different stanzas of the text of the hymn.
The third movement of Jauchzet dem Herrn alle Welt is an adaptation of the "Amen" TWV 1:1066 by Telemann, and was probably added to the composition by Harrer. [2]
Recordings
- Thomanerchor Leipzig, Baroque Brass of London and Capella Thomana conducted by Georg Christoph Biller (recorded February 1997). [3]: 119–121
References
- ^ a b c Melamed, Daniel R. (1995). J. S. Bach and the German Motet. Cambridge University Press. pp. 89–97. ISBN 0-52-141864-X.
- ^ a b c d e "Work 1471". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
- ^ a b Instrumental and Supplement bach333.com
- ^ a b "D-B Mus. ms. Bach P 37, Fascicle 1". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
- ^ Peter Wollny, Tennstedt, Leipzig, Naumburg, Halle – Neuerkenntnisse zur Bach-Überlieferung in Mitteldeutschland, Bach-Jahrbuch 2002, pp. 36–47.
- ^ David Schulenberg (2010).The Music of Wilhelm Friedemann Bach. University of Rochester Press.[ page needed]
- ^ "D-DS Mus. ms. 1325". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-19.
- ^ Philipp Spitta. Johann Sebastian Bach. Leipzig: Breitkopf & Härtel, third print (1921). Vol. I, endnote 24 pp. 800–801 and Vol. II, pp. 428–429
- ^ "Work 36". Bach Digital. Leipzig: Bach Archive; et al. 2020-02-07.
Further reading
- Wyant Morton. Questions of authenticity in three motets attributed to Johann Sebastian Bach The University of Arizona, 1992.