{{Short description|Church cantata by Johann Sebastian Bach}} {{good article}} {{DISPLAYTITLE:''Gott fähret auf mit Jauchzen'', BWV 43}} {{use shortened footnotes|date=March 2026}} {{use dmy dates|date=March 2026}} {{Use British English|date=March 2026}} {{Infobox Bach composition | name = {{lang|de|Gott fähret auf mit Jauchzen}} | bwv = 43 | type = Church cantata | composer = Johann Sebastian Bach | image = Gott fähret auf mit Jauchzen, BWV 43 by J.S. Bach (1).png | alt = Autograph manuscript sheet music page by J. S. Bach | caption = First page of Bach's autograph score | occasion = Feast of the Ascension | performed = {{Timeline-event|date={{Start date|1726|05|30|df=y}}|location=Leipzig}} | movements = 11 in two parts (5 + 6) | bible = {{ubl| {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=47|verse=5|range=–7}} | {{Sourcetext|source=Bible|version=King James|book=Mark|chapter=16|verse=14|range=–20}} }} | chorale = by Johann Rist | vocal = {{abbr|SATB|soprano, alto, tenor and bass}} soloists and choir | instrumental = {{hlist | 3 trumpets | timpani | 2 oboes | 2 violins | viola | continuo }} }} '''{{lang|de|Gott fähret auf mit Jauchzen}}''' ("God goes up with jubilation"{{sfn|Dellal|2026}} or "God has gone up with a shout"), '''{{nowrap|BWV 43}}''',{{efn|"BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.}} 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. The work is part of Bach's third cantata cycle.
Bach wrote the music during his third year as {{langr|de|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 {{lang|de|Gott fähret auf mit Jauchzen}}, Bach used his cousin's cantata format, which featured a poem as text, in addition to quotations from the Old and New Testaments and closing chorale music. The Biblical quotations were taken from Psalm 47, traditionally understood as a reference to the Ascension, and from the prescribed Gospel for the occasion, Mark 16. The closing chorale consists of two stanzas from "{{langr|de|Du Lebensfürst, Herr Jesu Christ}}" with text by Johann Rist.
Bach structured the cantata in eleven movements, split into two parts: one to be performed before the sermon, and one to be performed after. 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. Due to the long text, the work features short arias and five recitatives, most of them secco. The opening chorus has a complex structure with a slow introduction and several fugal developments.
== History == === Background === Bach was appointed {{langr|de|Thomaskantor}} (director of church music) in Leipzig in 1723, making him responsible for the music at four Lutheran churches and for the training and education of the boys singing in the {{langr|de|Thomanerchor}} boys' choir. He took office on 30 May 1723, performing his church cantata {{lang|de|''Die Elenden sollen essen'', BWV 75|italic=unset}}, for the first Sunday after Trinity.{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA253 253]}} 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 of 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.{{sfn|Wolff|2002|pp=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA253 253–254]}} The following year, Bach went on to write a second cantata cycle, now basing each cantata on a Lutheran hymn.{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA275 275]}} 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".{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA275 275]}}
[[File:ErnstludwigIsamei.JPG|thumb|upright|alt=Bust painting of a Baroque duke in military outfit, with an opulent curly wig, facing the viewer, but arm in profile|Duke Ernst Ludwig]] In 1725, his third year in the post,{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA281 281]}} Bach slowed down his composing and began to perform cantatas by others,{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA336 336]}} especially by his cousin Johann Ludwig Bach, who was court musician in Saxe-Meiningen.{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA281 281]}} The texts for these cantatas were published during the 1704/05 church year in Rudolstadt in 1725, without naming an author; they could have been written by Ernst Ludwig, Duke of Saxe-Meiningen.{{sfn|Märker|1999}}{{sfn|Schulze|2024}} The texts followed a specific format: Old Testament quotation, recitative, aria, New Testament quotation, poem, concluded by a chorale, differing from Bach's earlier cantata texts by the inclusion of a poem.
Bach composed few cantatas during his third year in Leipzig. For the Christmas season, he wrote several cantatas to older librettos, especially by Georg Christian Lehms.{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA283 283]}} Bach composed the Ascension cantata after three months of performing his cousin's works.{{sfn|Schulze|2024}} He used his cousin's text format for this cantata and six others to follow.{{sfn|Märker|1999}}{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA283 283]}}{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA334 334]}} It is unclear if he possessed his cousin's cycle only partly and had to supply substitutes for missing works, or if he regarded some as unfit for the Leipzig audience.{{sfn|Märker|1999}}
=== Readings and text === The prescribed readings for the Ascension feast day were from the Acts of the Apostles, the prologue and Ascension narrative ({{Sourcetext|source=Bible|version=King James|book=Acts|chapter=1|verse=1|range=–11}}), and from the Gospel of Mark, Jesus telling his disciples to preach and baptise, and his Ascension ({{Sourcetext|source=Bible|version=King James|book=Mark|chapter=16|verse=14|range=–20}}).{{sfn|''Bach Digital''|2026}}
The text of the cantata is unusual as it consists mostly of a poem in six stanzas, which is used for six consecutive movements (5 to 10). The first quotation is taken from Psalm 47 ({{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=47|verse=5|range=–7}}), a text traditionally understood as a reference to the Ascension. The other quotation is verse 19 from the Gospel of Mark. For the following pair of recitative and aria between the quotations, an unknown librettist paraphrased both an idea from Psalm 68 ({{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=68|verse=18}}) and its quotation in the Epistle to the Ephesians ({{Sourcetext|source=Bible|version=King James|book=Ephesians|chapter=4|verse=8}}), "when he ascended up on high, he led captivity captive".{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA334 334]}}
The poem may have existed separately, quoted by the librettist.{{sfn|Schulze|2024}} It praises salvation through Jesus, the defeat of Satan, and the hope for an eternal dwelling with Jesus. It is full of Biblical references,{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA334 334]}} including the theme of Christ in the winepress,{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA334 334]}}{{sfn|Braatz|2005}} following Isaiah 63:3, and alludes to the vision of Saint Stephen of an open heaven, according to Acts 7:56.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA334 334]}}{{sfn|Schulze|2024}}
The cantata is closed by the first and thirteenth stanza of Johann Rist's hymn "{{langr|de|Du Lebensfürst, Herr Jesu Christ}}", published in 1641.{{sfn|''Bach Digital''|2026}}{{sfn|Schulze|2024}} Bach would later use the fourth stanza of the chorale for his ''Ascension Oratorio''.{{sfn|Chorale text|2008}} The cantata consists of two parts, performed before and after the sermon respectively.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}} This division was not indicated in the Rudolstadt print.{{sfn|Märker|1999}}
=== Performance === thumb|upright|alt=Bust of an 18th-century Lutheran pastor with an oval frame and an inscription in Latin below|Urban Gottfried Sieber, a pastor in Leipzig Bach led the Thomanerchor in the first performance on 30 May 1726,{{sfn|Wolff|Koopman|2006|p=254}} in a morning service at the Nikolaikirche, with a sermon delivered by Salomon Deyling; it was performed again the same day in a vespers service at the Thomaskirche, probably with a sermon by {{ill|Urban Gottfried Sieber|de}}. The cantata belongs to Bach's third cantata cycle.{{sfn|''Bach Digital''|2026}}{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}} Another performance by Bach is documented by a violin part, but it cannot be dated.{{sfn|''Bach Digital''|2026}} Bach's son Wilhelm Friedemann Bach, who inherited a set of parts,{{sfn|Märker|1999}} performed the cantata's first part{{sfn|''Bach Digital''|2026}} at least twice{{sfn|Märker|1999}} in Halle.{{sfn|Märker|1999}}{{sfn|''Bach Digital''|2026}}
== 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), timpani (Ti), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo.{{sfn|''Bach Digital''|2026}}{{sfn|Dürr|Jones|2006|pp=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA331 331–334]}} Alfred Dürr noted in his book {{lang|de|Die Kantaten von Johann Sebastian Bach}} that this scoring is almost as opulent as that of the later ''Ascension Oratorio''.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA334 334]}} 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".{{sfn|Marshall|1972}} Dürr gave the duration as 25 minutes.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA331 331]}}
In the following table, the scoring follows the {{lang|de|Neue Bach-Ausgabe}}. The keys and time signatures are taken from Dürr, using the symbols for common time (4/4) and {{lang|it|alla breve}} (2/2).{{sfn|Dürr|Jones|2006|pp=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA97 97–98]}} The continuo, playing throughout, is not shown.
{{Classical movement header | show_text_source = no | work = ''Gott fähret auf mit Jauchzen'', Part I |instruments1 = Brass | instruments2 = Winds | instruments3 = Strings}} |- | | '''Part I''' |- {{Classical movement row | number = 1 | title = {{lang|de|Gott fähret auf mit Jauchzen|}} | type = Chorus | vocal = SATB | instruments1 = 3Tr Ti | instruments2 = 2Ob | instruments3 = 2Vl, Va | key = C major | time = {{music|common-time}} }} {{Classical movement row | number = 2 | title = {{lang|de|Es will der Höchste sich ein Siegsgepräng bereiten}} | type = Recitative | vocal = T | instruments1 = | instruments2 = | instruments3 = | key= | time = {{music|common-time}} }} {{Classical movement row | number = 3 | title = {{lang|de|Ja tausendmal tausend begleiten den Wagen}} | type = Aria | vocal = T | instruments1 = | instruments2 = | instruments3 = 2Vl | key = G major | time = 6/8 }} {{Classical movement row | number = 4 | title = {{lang|de|Und der Herr, nachdem er mit ihnen geredet hatte}} | type = Recitative | vocal = S | instruments1 = | instruments2 = | instruments3 = | key = | time = {{music|common-time}} }} {{Classical movement row | number = 5 | title = {{lang|de|Mein Jesus hat nunmehr}} | type = Aria | vocal = S | instruments1 = | instruments2 = 2Ob | instruments3 = 2Vl, Va | key = E minor | time = {{music|common-time}} }} |- | | '''Part II''' |- {{Classical movement row | number = 6 | title = {{lang|de|Es kommt der Helden Held}} | type = Recitative | vocal = B | instruments1 = | instruments2 = | instruments3 = 2Vl, Va | key = C major | time = {{music|common-time}} }} {{Classical movement row | number = 7 | title = {{lang|de|Er ists, der ganz allein}} | type = Aria | vocal = B | instruments1 = Tr | instruments2 = | instruments3 = | key = C major | time = {{music|common-time}} }} {{Classical movement row | number = 8 | title = {{lang|de|Der Vater hat ihm ja}} | type = Recitative | vocal = A | instruments1 = | instruments2 = | instruments3 = | time = {{music|common-time}} }} {{Classical movement row | number = 9 | title = {{lang|de|Ich sehe schon im Geist}} | type = Aria | vocal = A | instruments1 = | instruments2 = 2Ob | instruments3 = | key = A minor | time = 3/4 }} {{Classical movement row | number = 10 | title = {{lang|de|Er will mir neben sich}} | type = Recitative | vocal = S | instruments1 = | instruments2 = | instruments3 = | time = {{music|common-time}} }} {{Classical movement row | number = 11 | title = {{lang|de|Du Lebensfürst, Herr Jesu Christ}} | type = Chorale | vocal = SATB | instruments1 = 3Tr Ti | instruments2 = 2Ob | instruments3 = 2Vl, Va | key = G major | time = {{music|common-time}} }} {{End}}
=== Movements === thumb|upright=1.2|alt=Page from a 1726 print of a libretto booklet|First page from a 1726 (second edition) print of the libretto from Rudolstadt Michael Märker, the editor of a critical edition for Carus, notes that the cantata begins with an imposing opening chorus, which, as in Bach's Orchestral suites, nothing that follows can balance.{{sfn|Märker|1999}} The Bach scholar Klaus Hofmann calls the first movement the "centre of gravity",{{sfn|Hofmann|2008}} and Dürr the "dominant movement".{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA334 334]}} Due to the long text, the work features unusually 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.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA336 336]}}
==== 1 ==== The opening chorus with the full orchestra, "{{langr|de|Gott fähret auf mit Jauchzen und der Herr mit heller Posaunen}}" (God goes up with jubilation and the Lord with bright trumpets){{sfn|Dellal|2026}}, opens with an introduction marked adagio, played by the strings, which are doubled by the oboes. Then a fugue begins: two instrumental entries are followed by the choir which presents first entrance of the theme with a setting in homophony; a climax is reached in an entry of the first trumpet, signalling the end of the first fugal exposition. A second fugal exposition, repeating the text, includes remote and minor keys.{{sfn|Dürr|Jones|2006|pp=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA334 334–335]}} The second part of the text, "{{langr|de|lobsinget Gott, lobsinget unserm Könige}}" (sing praises to God, sing praises unto our King){{sfn|Dellal|2026}} is first again sung in homophony using the same theme as the first entrance; after an instrumental passage, it is set again in a third fugal exposition, followed by a homophonic coda.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}}{{sfn|Hofmann|2008}}
==== 2 ==== A secco recitative for the tenor, "{{langr|de|Es will der Höchste sich ein Siegsgepräng bereiten}}" (The Highest prepares for himself a triumphal procession),{{sfn|Dellal|2026}} expresses that God makes the prisons captives,{{sfn|Dellal|2026}} in syllabic declamation.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}}
==== 3 ==== In the first aria, "{{langr|de|Ja tausend mal tausend begleiten den Wagen}}" (Indeed thousand upon thousands accompany the chariots),{{sfn|Dellal|2026}} the tenor is accompanied by the violins in unison. The complete text is sung three times in different sections.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}} Hans-Joachim Schulze notes that the "energetic repeated pitches, spacious broken chords, and sweeping passages" give the aria a heroic character, although the triple meter might indicate a type of dance.{{sfn|Schulze|2024}}
==== 4 ==== The New Testament quotation about the Ascension, "{{langr|de|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.),{{sfn|Dellal|2026}} is sung not by the tenor as Bach's usual voice of the Evangelist, but instead by the soprano who delivers it in a secco recitative.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}}
==== 5 ==== The fifth movement concludes Part I and is based on the first stanza of the poem, "{{langr|de|Mein Jesus hat nunmehr das Heilandwerk vollendet}}" (My Jesus has now completed the work of salvation).{{sfn|Dellal|2026}} The soprano is accompanied by the strings, which are doubled by the oboes. In the middle section, the words "{{langr|de|Er schließt der Erde Lauf}}" (He finishes His course on earth,{{sfn|Dellal|2026}} literally: "He finishes the course of the earth") are expressed by an upward melisma and one downward on the repeat of the words.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}} Schulze characterises the aria as introverted and sympathetic.{{sfn|Schulze|2024}}
==== 6 ==== The recitative, "{{langr|de|Es kommt der Helden Held, des Satans Fürst und Schrecken}}" (The hero of heroes comes, the terror and bane of Satan,),{{sfn|Dellal|2026}} is sung by the bass. In the strings, triadic fanfares alternate with soft tremolo, illustrating the drama of the text{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}} with contrasting aspects of power and anxiousness.{{sfn|Schulze|2024}}
==== 7 ==== The bass continues in an aria, "{{langr|de|Er ists, der ganz allein die Kelter hat getreten}}" (It is he, who completely alone has trod upon the winepress).{{sfn|Dellal|2026}} It is highlighted by an obbligato trumpet part, which Schulze saw as a symbol of the "solitariness of the victor".{{sfn|Schulze|2024}} The trumpet part proved so difficult that Bach gave it to a violin in a later performance. Repeated figures in the continuo may illustrate the treading in the winepress. The words "{{langr|de|voll Schmerzen, Qual und Pein}}" (full of sorrow, torment and pain){{sfn|Dellal|2026}} are illustrated by a slower tempo and harmonic tension.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}}
==== 8 ==== In this recitative for the alto, "{{langr|de|Der Vater hat ihm ja ein ewig Reich bestimmet}}" (The Father has indeed ordained for him an eternal Kingdom),{{sfn|Dellal|2026}} the vocal line concludes with a reference to the view towards heaven, expressed by an upward coloratura motion.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335]}}
==== 9 ==== The alto aria, "{{langr|de|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).{{sfn|Dellal|2026}} 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,{{sfn|Dürr|Jones|2006|pp=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA335 335–336]}} but stresses the words "{{langr|de|aus Jammer, Not und Schmach}}" (out of suffering, distress and ignominy){{sfn|Dellal|2026}} by "harmonic darkening".{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA336 336]}}{{sfn|Hofmann|2008}} Schulze notes that in the second part, like in the first, a tranquil aria follows one full of tension, here ignoring aspects of the text.{{sfn|Schulze|2024}}
==== 10 ==== A soprano recitative, "{{langr|de|Er will mir neben sich die Wohnung zubereiten}}" (He will prepare next to him a dwelling-place for me),{{sfn|Dellal|2026}} expresses a vision of a heavenly dwelling.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA336 336]}}
==== 11 ==== The closing chorale in two stanzas, "{{langr|de|Du Lebensfürst, Herr Jesu Christ}}" (O Prince of Life, Lord Jesus Christ),{{sfn|Dellal|2026}} is a four-part chorale setting of the melody of "{{langr|de|Ermuntre dich, mein schwacher Geist}}", composed by Johann Schop in 1641.{{sfn|Dürr|Jones|2006|p=[https://books.google.de/books?id=m9JuwslMcq4C&pg=PA336 336]}}{{sfn|Chorale melody|2008}}{{sfn|Dahn|2026}} In a rarity for Bach, the setting was not composed by him; he took it from the 1682 ''{{lang|de|Neu Leipziger Gesangbuch}}'' hymnal by Gottfried Vopelius,{{sfn|Vopelius|1682|pp=[https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA70 70–73]}} with only slight alterations.{{sfn|Hofmann|2008|p=7}} The oldest source for the hymn, the 1655 collection {{lang|de|Andachts Zymbeln}} (Devotional cymbals) by {{ill|Christoph Peter|de|Christoph Peter (Lehrer)}}, cantor in Guben, was not at Bach's disposal.{{sfn|Schulze|2024}}
According to the parts, the instruments play {{lang|it|colla parte}} with the voices: two trumpets, the oboes and two violins with the soprano, and one trumpet and viola with the alto.{{sfn|Märker|1999}}{{sfn|Dahn|2026}}{{sfn|Bischof|2026}} Märker notes that the soprano and alto lines were too low for trumpets to play along, and that Dürr suggested that trumpeters played violins for that movement.{{sfn|Märker|1999}} <score sound raw> \header { tagline = ##f } %\paper { #(set-paper-size "a4") } \layout { indent = 0 \set Score.tempoHideNote = ##t \context { \Score \remove "Bar_number_engraver" } }
global = { \key g \major \time 3/4 }
tn = \tempo 4 = 105 % normal tf = \tempo 4 = 66 % fermata tr = \tempo 4 = 96 % ritardando soprano = \relative c'' { \global \set midiInstrument = "violin" \repeat volta 2 { \tn g4 g a | b4. (c8 d4) | d d cis | d2\fermata b4 | c!2 b4 | a2. | g4 fis2 | g2. } a4 a a | c2 c4 | b4. (a8) b4 | a2.\fermata | b4 b b | c4. (d8 e4) | e dis dis | e2\fermata fis4 | g2 b,4 | c2 b4 | a4 \tf a\fermata \tr d! | e4. d8 c4 | b a2 | \tf g2. \bar "|." }
alto = \relative c' { \global \set midiInstrument = "viola" \repeat volta 2 { d4 e fis | g2. | g4 e e fis2 g4 | e2 d4 | d2. | b4 d2 | d2. } d4 d d | c2 e4 | e2 e4 | e2. | e4 gis gis | a2. | a4 fis fis | g!2 a4 | b2 g4 | g2 g4 | fis fis g | g4. fis8 e4 | d d2 | d2. \bar "|." }
tenor = \relative c' { \global \set midiInstrument = "cello" \repeat volta 2 { b4 b d | d4. (c8 b4) | b a a a2 g4 g2 g4 | fis2. | e4 a2 | b2. } fis4 fis gis | a2 a4 | gis4. (a8) gis4 | a2. | gis4 b e | e4. (d8 c4) | c b b | b2 d4 | d2 d4 | e2 d4 | d d d | c4. a8 g4 | g g (fis) | g2. \bar "|." }
bass = \relative c' { \global \set midiInstrument = "contrabass" \repeat volta 2 { g4 e d | g4. (a8 b4) | g a a, | d2 g4 | c,2 g4 | d'2. e4 fis2 | g,2. } d'4 d b | a2 c4 | e2 e4 | a,2. e'4 e e | a4. (b8 c4) | a b b | e,2 d4 | g2 g4 | c,2 g4 | d' d b | c4. d8 e4 | g d2 | g,2. \bar "|." }
verseOne = \lyricmode { << { \set stanza = "1." Du Le -- bens -- fürst, Herr Je -- su Christ, der du bist auf -- ge -- nom -- men } \new Lyrics \lyricmode { gen Him -- mel, da dein Va -- ter ist, und die Ge -- mein’ der From -- men, } >> wie soll ich dei -- nen gro -- ßen Sieg, den du uns durch den schwe -- ren Krieg er -- wor -- ben hast recht prei -- sen, und dir g’nug Ehr er -- wei -- sen? }
verseThirteen = \lyricmode { << { \set stanza = "13." Zieh uns nach dir, so lau -- fen wir, gieb uns des Glau -- bens Flü -- gel; } \new Lyrics \lyricmode { hilf, daß wir flie -- hen weit von hier, auf Is -- ra -- e -- lis Hü -- gel. } >> Mein Gott, wann fahr ich doch da -- hin, wo ich ohn En -- de fröh -- lich bin? Wann werd ich vor dir ste -- hen, dein An -- ge -- sicht zu se -- hen? }
\score { \new ChoirStaff << \new Staff << \new Voice = "soprano" { \voiceOne \soprano } \new Voice = "alto" { \voiceTwo \alto } >> \new Lyrics \lyricsto "soprano" \verseOne \new Lyrics \lyricsto "soprano" \verseThirteen \new Staff << \clef bass \new Voice = "tenor" { \voiceOne \tenor } \new Voice = "bass" { \voiceTwo \bass } >> >> \layout { } } \score { { \unfoldRepeats << \soprano \\ \alto \\ \tenor \\ \bass >> } \midi { \context { \Score midiChannelMapping = #'instrument } \context { \Staff \remove "Staff_performer" } \context { \Voice \consists "Staff_performer" } } } </score>
== Manuscripts and publication == The manuscripts of both the score and parts have survived and are held by the Berlin State Library.{{sfn|Märker|1999}}
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. The cantata was published in the {{lang|de|Neue Bach-Ausgabe}}, the second edition of Bach's works, in 1960, edited by Dürr.{{sfn|''Bach Digital''|2026}}{{sfn|Märker|1999}} Carus published a critical edition in German and English in 1999 as part of its {{lang|de|Stuttgarter Bach-Ausgaben}}, edited by Michael Märker.{{sfn|Märker|1999}} In the 21st century, ''Bach Digital'' published high-resolution facsimile images of the manuscript parts from the first quarter of the 18th century.{{sfn|''Bach Digital''|2026}}
== Recordings == The following table is a selection from Bach Cantatas website, where 22 recordings are listed as of 2026.{{sfn|Oron|2026}} Instrumental groups playing period instruments in historically informed performances are marked by the word "Period" and the colour green in the {{abbr|Instr.|Type of instruments}} column.
{{Cantata discography header | work=''Gott fähret auf mit Jauchzen, BWV 43''{{sfn|Oron|2026}} | instruments={{abbr|Instr.|Type of instruments}} }}
{{Cantata discography row | id = Ramin | title = {{lang|de|J. S. Bach: Kantaten BWV 21, 110 (Ramin Edition Vol. 9)}} | conductor = {{sortname|Günther|Ramin}} | choir = Thomanerchor | orchestra = Gewandhausorchester | soloists = {{plainlist| * Gertrud Birmele * Eva Fleischer * Gert Lutze * Johannes Oettel }} | label = Archiv Produktion | year = {{Start date|1951}} | orchestra_type = }} {{Cantata discography row | id = Werner | title = {{lang|fr|Les Grandes Cantates de J. S. Bach Vol. 9}} | conductor = {{sortname|Fritz|Werner}} | choir = Heinrich-Schütz-Chor Heilbronn | orchestra = Pforzheim Chamber Orchestra | soloists = {{plainlist| * Friederike Sailer * Claudia Hellmann * Helmut Krebs * Jakob Stämpfli }} | label = Erato | year = {{Start date|1961}} | orchestra_type = }} {{Cantata discography row | id = Hellmann | title = ''Bach Kantaten, Vol. 4: BWV 127, BWV 159, BWV 43'' | conductor = {{sortname|Diethard|Hellmann}} | choir = Bachchor Mainz | orchestra = Bachorchester Mainz | soloists = {{plainlist| * {{nowrap|Nobuko Gamo-Yamamoto}} * Annelies Westen * Horst Wilhelm * Dieter Slembeck }} | label = SWF | year = late 1960s? | orchestra_type = }} {{Cantata discography row | id = Grischkat | title = ''J. S. Bach: Das Kantatenwerk (1)'' | conductor = {{sortname|Hans|Grischkat}} | choir = {{ill|Schwäbischer Singkreis|de}} | orchestra = Bach-Orchester Stuttgart | soloists = {{plainlist| * Csilla Zentai * Erika Schmidt * Kurt Huber * Michael Schopper }} | label = Corona | year = {{Start date|1971}} | orchestra_type = }} {{Cantata discography row | id = Harnoncourt | title = ''J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 3'' | conductor = {{sortname|Nikolaus|Harnoncourt}} | choir = Wiener Sängerknaben | orchestra = Concentus Musicus Wien | soloists = {{plainlist| * boy soprano of the Wiener Sängerknaben * Paul Esswood * Kurt Equiluz * Ruud van der Meer }} | label = Teldec | year = {{Start date|1975}} | orchestra_type = Period }} {{Cantata discography row | id = Rilling | title = {{lang|de|Die Bach Kantate Vol. 34}} | conductor = {{sortname|Helmuth|Rilling}} | choir = Gächinger Kantorei | orchestra = Bach-Collegium Stuttgart | soloists = {{plainlist| * Arleen Auger * Julia Hamari * Lutz-Michael Harder * Philippe Huttenlocher }} | label = Hänssler | year = {{Start date|1982}} | orchestra_type = }} {{Cantata discography row | id = Herreweghe | title = {{lang|de|J. S. Bach: Himmelfahrts-Oratorium}}{{sfn|Vernier|2026}} | conductor = {{sortname|Philippe|Herreweghe}} | choir = Collegium Vocale Gent | orchestra = | soloists = {{plainlist| * Barbara Schlick * Catherine Patriasz * Christoph Prégardien * Peter Kooy }} | label = Harmonia Mundi France | year = {{Start date|1993}} | orchestra_type = Period }} {{Cantata discography row | id = Gardiner | title = ''J. S. Bach: Ascension Cantatas'' | conductor = {{sortname|John Eliot|Gardiner}} | choir = Monteverdi Choir | orchestra = English Baroque Soloists | soloists = {{plainlist| * Nancy Argenta * Michael Chance * Anthony Rolfe Johnson * Stephen Varcoe }} | label = Archiv Produktion | year = {{Start date|1993}} | orchestra_type = Period }} {{Cantata discography row | id = Leusink | title = ''Bach Edition Vol. 19 – Cantatas Vol. 10'' | conductor = {{sortname|Pieter Jan|Leusink}} | choir = Holland Boys Choir | orchestra = Netherlands Bach Collegium | soloists = {{plainlist| * Ruth Holton * Sytse Buwalda * Nico van der Meel * Bas Ramselaar }} | label = Brilliant Classics | year = {{Start date|2000}} | orchestra_type = Period }} {{Cantata discography row | id = Koopman | title = ''J. S. Bach: Complete Cantatas Vol. 16'' | conductor = {{sortname|Ton|Koopman}} | orchestra = Amsterdam Baroque Orchestra & Choir | soloists = {{plainlist| * Johannette Zomer * Bogna Bartosz * Christoph Prégardien * Klaus Mertens }} | label = Antoine Marchand | year = {{Start date|2002}} | orchestra_type = Period }} {{Cantata discography row | id = Suzuki | title = ''J. S. Bach: Cantatas Vol. 44'' | conductor = {{sortname|Masaaki|Suzuki}} | orchestra = Bach Collegium Japan | soloists = {{plainlist| * Rachel Nicholls * Robin Blaze * Gerd Türk * Peter Kooy }} | label = BIS | year = {{Start date|2008}} | orchestra_type = Period }} {{Cantata discography row | id = Gardiner 2012 | title = ''Johann Sebastian Bach (1685-1750) The Bach Cantata Pilgrimage Volume 28: Cantatas for Ascension Day''{{sfn|Quinn|2013}} | conductor = {{sortname|John Eliot|Gardiner}} | choir = Monteverdi Choir | orchestra = English Baroque Soloists | soloists = {{plainlist| * Leneke Ruiten * Meg Bragle * Andrew Tortise * Dietrich Henschel }} | label = Soli Deo Gloria | year = {{Start date|2012}} | orchestra_type = Period }} {{Cantata discography row | id = Lutz | title = ''J. S. Bach: Kantate 43 "Gott fähret auf mit Jauchzen""'' | conductor = {{sortname|Rudolf|Lutz}} | choir = Vocal ensemble of Schola Seconda Pratica | orchestra = {{nowrap|Schola Seconda Pratica}} | soloists = {{plainlist| * Miriam Feuersinger * Annekathrin Laabs * Charles Daniels * Wolf-Matthias Friedrich }} | label = Gallus Media | year = {{Start date|2019}} | orchestra_type = Period }} {{End}}
== Notes == {{notelist}}
== References == {{reflist | 20em }}
=== Cited sources === ==== ''Bach Digital'' ==== * {{cite web | url = http://www.bach-digital.de/receive/BachDigitalWork_work_00000058?lang=en | title = Gott fähret auf mit Jauchzen BWV 43; BC A 77 | work = Bach Digital | date = 2026 | access-date = 22 January 2026 | ref = {{sfnref|''Bach Digital''|2026}} }}
==== Sources by author ==== * {{cite web | last = Bischof | first = Walter F. | url = http://webdocs.cs.ualberta.ca/~wfb/cantatas/43.html | title = BWV 43 Gott fähret auf mit Jauchzen | work = University of Alberta | date = 2026 | access-date = 25 February 2026 }} * {{cite web | last = Braatz | first = Thomas | url = http://www.bach-cantatas.com/Articles/Grape-Stamper.htm | title = Bach, the Grape-Stamper (BWV 43/7) | website = Bach Cantatas Website | date = 2005 | access-date = 16 December 2013 }} * {{cite web | last = Dahn | first = Luke | url = http://www.bach-chorales.com/BWV0043_11.htm | title = BWV 43.11 | date = 2026 | website = bach-chorales.com | access-date = 22 January 2026 }} * {{cite web | last = Dellal | first = Pamela | author-link = Pamela Dellal | url = https://www.emmanuelmusic.org/bach-translations/bwv-43 | title = BWV 43 – Gott fähret auf mit Jauchzen | publisher = Emmanuel Music | date = 2026 | access-date = 22 January 2026 }} * {{cite book | last1 = Dürr | first1 = Alfred | author-link1 = Alfred Dürr | last2 = Jones | first2 = Richard D. P. | author2-link = Richard D. P. Jones | chapter-url = https://books.google.com/books?id=m9JuwslMcq4C&pg=PA331 | chapter = Gott fähret auf mit Jauchzen, BWV 43 | title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text | publisher = Oxford University Press | date = 2006 | isbn = 978-0-19-929776-4 | pages = 331–336 }} * {{cite web | last = Hofmann | first = Klaus | author-link = Klaus Hofmann | url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C44c%5BBIS-SACD1791%5D.pdf | title = Gott fähret auf mit Jauchzen, BWV 43 / God is gone up with a shout | work = Bach Cantatas | date = 2008 | page = 6 | access-date = 12 May 2012 }} * {{cite book | last = Märker | first = Michael | url = https://www.carusmedia.com/images-intern/medien//30/3104300/3104300x.pdf | title = Gott fähret auf mit Jauchzen / God goeth up with shouting / BWV 43 | date = 1999 | pages = 3–5 | language = de,en,fr | publisher = Carus-Verlag | id = 31.043 | access-date = 29 May 2026 | chapter = Foreword | type = Partitur / Full score }} * {{cite book | last = Marshall | first = R. L. | title = The Compositional Process of J. S. Bach: A Study of the Autograph Scores of the Vocal Works | date = 1972 | volume = 1 | page = 134 | publisher = Princeton University Press | isbn = 978-0-8357-4038-8 }} * {{cite web | last = Oron | first = Aryeh | url = http://www.bach-cantatas.com/BWV43.htm | title = Cantata BWV 43 Gott fähret auf mit Jauchzen | work = Bach Cantatas | date = 2026 | access-date = 24 February 2026 }} * {{cite web | last = Quinn | first = John | url = https://www.musicweb-international.com/classrev/2013/May13/Bach_Pilgrimage_28_SDG1850001.htm | title = Cantata BWV 43 Gott fähret auf mit Jauchzen | work = musicweb-international.com | date = May 2013 | access-date = 30 March 2026 }} * {{cite book | last = Schulze | first = Hans-Joachim | author-link = Hans-Joachim Schulze | chapter-url = https://iopn.library.illinois.edu/scalar/bachcantatas/bwv43bca77 | chapter = Gott fähret auf mit Jauchzen BWV 43 / BC A 77 | title = Commentaries on the Cantatas by Johann Sebastian Bach | trans-title = | translator-last = Brokaw II | translator-first = James A. | publisher = Windsor & Downs Press | isbn = 978-02-5-205670-3 | date = 4 April 2024 | orig-year = 2006 | access-date = 30 March 2026 }} * {{cite web | last = Vernier | first = David | url = https://www.classicstoday.com/review/review-4184/ | title = J. S. Bach/Ascension oratorio/Harmonia Mundi | work = Classics Today | date = 2026 | access-date = 30 March 2026 }} * {{cite book|last=Vopelius|first=Gottfried|author-link=Gottfried Vopelius|title=Neu Leipziger Gesangbuch|publisher=Christoph Klinger|location=Leipzig|year=1682|language=de|url=https://books.google.com/books?id=UmVkAAAAcAAJ|via=Google Books}} * {{cite book | last = Wolff | first = Christoph | author-link = Christoph Wolff | chapter-url = https://books.google.com/books?id=NHpL3cQg0_UC&pg=PA253 | chapter = Mostly Cantatas | title = Johann Sebastian Bach: The Learned Musician | publisher = Oxford University Press | date = 2002 | isbn = 978-0-39-332256-9 | pages = 253–295 }} * {{cite book | last1 = Wolff | first1 = Christoph | author-link1 = Christoph Wolff | last2 = Koopman | first2 = Ton | title = Die Welt Bach Kantaten | trans-title = The World of Bach Cantatas | publisher = J. B. Metzler | language = German | date = 2006 | isbn = 978-3-476-01410-8 }}
==== Other sources ==== * {{cite web | url = http://www.bach-cantatas.com/Texts/Chorale135-Eng3.htm | title = Du Lebensfürst, Herr Jesu Christ / Text and Translation of Chorale | work = Bach Cantatas | date = 2008 | access-date = 12 May 2012 | ref = {{sfnref|Chorale text|2008}} }} * {{cite web | url = https://www.bach-cantatas.com/CM/BWV454.htm | title = Chorale Melodies used in Bach's Vocal Works / Ermuntre dich, mein schwacher Geist / Du Lebensfürst, Herr Jesu Christ | work = Bach Cantatas | date = 2008 | access-date = 12 May 2012 | ref = {{sfnref|Chorale melody|2008}} }}
== External links == * {{IMSLP|work=Gott fähret auf mit Jauchzen, BWV 43 (Bach, Johann Sebastian)|cname=''Gott fähret auf mit Jauchzen'', BWV 43 (J. S. Bach)}} * [https://www.uvm.edu/~classics/faculty/bach/BWV43.html "BWV 43 ''Gott fähret auf mit Jauchzen''"], English translation, University of Vermont * {{cite web |url=http://www.jsbachcantatas.com/documents/chapter-15-bwv-43 |title=Chapter 15 BWV 43: ''Gott fähret auf mit Jauchzen''|author=Julian Mincham |year=2010 |access-date=20 August 2022 |website=The Cantatas of Johann Sebastian Bach|ref=none}} * Traupman-Carr, Carol: [https://bach.org/education/cantata-bwv-43/ "Cantata BWV 43 (analysis)"] Bach Choir of Bethlehem * {{YouTube|PnWyQUR7d3o|Church concert}}, Choir and Orchestra of the J. S. Bach-Stiftung, Miriam Feuersinger (soprano), Annekathrin Laabs (alto), Charles Daniels (tenor), Wolf Matthias Friedrich (bass), 24 May 2019
{{Bach's third cantata cycle and later}} {{Bach cantatas}} {{Authority control}}
{{DEFAULTSORT:Gott Fahret Auf Mit Jauchzen BWV 43}} Category:Church cantatas by Johann Sebastian Bach Category:1726 compositions Category:Psalm-related compositions by Johann Sebastian Bach Category:Ascension of Jesus