BWV 51 "Jauchzet Gott" II. Recitativo [Bach Cantata]

Recitative (2nd movement) from the J. S. Bach Cantata BWV 51 “Jauchzet Gott in allen Landen” performed live in concert by students and alumni of the ZHdK music academy (Zürcher Hochschule der Künste)

The recitativo BWV51 by Johann Sebastian Bach (1685-1750) consists of two parts and prepares the stage for the upcoming aria "Höchster", which is the centerpiece of the cantata. The first part gets its holy aura through the accompagnato setting with the string quartet, and depicts praise in the temple/church. The second part is a much more soft, insecure and imperfect kind of praise, reflecting upon the weakness of the self as a human being and still providing sense and meaning in prayer and praise, even if it comes from such a "lowly creature" that is a human.

BWV 51.2 Recitative lyrics and translation:

Wir beten zu dem Tempel an,
-We pray at the temple
Da Gottes Ehre wohnet,
-where God's honour dwells,
Da dessen Treu,
-where his faithfulness
So täglich neu,
-that is renewed every day
Mit lauter Segen lohnet.
-Rewards us with unmixed blessing.
Wir preisen, was er an uns hat getan.
-We praise what he has done for us.
Muss gleich der schwache Mund von seinen Wundern lallen,
-Even if our weak mouths have to babble about his wonders,
So kann ein schlechtes Lob ihm dennoch wohlgefallen.
-yet imperfect praise can still please him.

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Video and audio recording were realised 2021 by Leonart Music Video. The recording took place on 26 November 2021 in Toni Areal, Zürcher Hochschule der Künste, Switzerland.

Watch more Bach Cantata recordings here: https://leonart.com/bach-cantatas​

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Aria: Höchster mache deine Güte BWV 51.3

Johann Sebastian Bach composed the church cantata Jauchzet Gott in allen Landen BWV 51 in Leipzig, where the first known performance took place on 17 September 1730.
The text was written by an unknown poet who took inspiration from various biblical books. Bach structured the work in five movements, with the solo voice accompanied by a Baroque instrumental ensemble 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.

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Bio:

The soprano Keiko Enomoto comes from Wakayama, Japan. After a bachelor's degree in cultural studies at Waseda University in Tokyo, she developed her talent for singing at the Freiburg University of Music with Prof Dorothea Wirtz and at the Zurich University of the Arts with Prof. Werner Güra.
She is particularly interested in lieder singing, already having given several recitals in Germany, Japan and Switzerland and being a prizewinner at the Carl-Seemann Competition in Freiburg and a finalist at the 59th university competition in the subject Lied duo in Lübeck, the Paula-Salomon Lindberg competition "Das Lied" in Berlin and at the 9th international competition “Schubert and Modernism” in Graz.
https://keikoenomoto.de

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