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One of the three cantatas Bach wrote for this 15th Sunday after Trinity is Cantata 51 Jauchzet Gott in allen Landen!, the famous solo-cantata for soprano and trumpet. In a world that values athletes above artists, attending or discussing a performance of this cantata can sometimes feel as if we’re all judging a tennis match instead of a work of art: will the soprano hit that high C? and how virtuoso is that trumpet player? I have always been a bit frustrated by this.

What a breath of fresh air it was then to discover Maria Keohane’s interpretation of this cantata. There are two live registrations of her singing this on YouTube, one with the European Union Baroque Orchestra, under the direction of Lars Ulrik Mortensen, with Sebastian Philpott on trumpet. Then there is a newer one, from 2015, with the Netherlands Bach Society under the direction of Jos van Veldhoven, with Robert Vanryne on trumpet. That one is my favorite, and you can find it here.

Find the German texts with English translations here (click on “Text”), and the score here.

I noticed how Maria Keohane masters every aspect of this composition, not because she’s the most virtuoso soprano on earth, but because she completely understands the music. She radiates joy, but also brings a great Calm over everything and everyone. In this wonderful interview (with English subtitles here, with Dutch subtitles here) she explains how this cantata has been with her all her music-making life, how she sees her interaction with the trumpet as a symbiosis instead of a competition, and how she believes that “in allen Landen” (in all lands) means that we share the same joy of being together on this earth.

I realize she was in Christmas mode when she gave this interview (the cantata was performed in the same concert as Cantata 110 for Christmas Day and Cantata 151 for the Third Christmas Day), but I absolutely feel the “Peace on Earth” she talks about when I listen to her performance.

Some more information about this cantata:

While almost all soprano solos in Bach’s church cantatas were intended for a boy soprano (no female musicians allowed in the churches of Leipzig), it remains a big question whether this one was ever sung by a boy. Under the “Story” tab on this website, the Netherlands Bach Society explains that Bach composed this cantata around 1730 for either the Weissenfels court (where his wife Anna Magdalena, an accomplished singer who had family there, might have performed it) or for one of the Italian opera singers who settled in Dresden that year. Even Gustav Leonhardt chose an adult female soprano (Marianne Kweksilber) for his recording of this cantata.

If you’d like to hear the perfect “boy soprano voice” sing this cantata, I invite you to listen to Emma Kirkby on the Gardiner recording from 2000, here on Spotify, or here on YouTube. While she doesn’t move me the way Maria Keohane does, her voice is an unbelievably amazing instrument.

Other cantatas for this 15th Sunday after Trinity I’ve discussed in past years: Cantata 138 from 1723, and Cantata 99 from 1724.

Wieneke Gorter, September 19, 2020.