Readings:
1 Peter 2:11–20
John 16:16–23, Farewell discourse, announcement of the Second Coming
Cantata Studies:
Bach Cantatas Website | Simon Crouch | Emmanuel Music | Julian Mincham | Wikipedia | Eduard van Hengel (in Dutch) | Bach Companion (Oxford U.P.) | Bach: The Learned Musician (Wolff) | Music in the Castle of Heaven (Gardiner)
[The incipit of the Gregorian chant introit Jubilate Deo]
Cantates:
- Weinen, Klagen, Sorgen, Zagen, BWV 12, 22 April 1714
Sinfonia
Chorus "Weinen, Klagen, Sorgen, Zagen"
Recitative "Wir müssen durch viel Trübsal"
Aria "Kreuz und Kronen sind verbunden"
Aria "Ich folge Christo nach"
Aria "Sei getreu, alle Pein"
Chorale "Was Gott tut, das ist wohlgetan"
"Weeping, wailing, lamenting, fearing"
Text and translation
Scored for three vocal soloists (alto, tenor and bass), a four-part choir SATB, trumpet, oboe, bassoon, two violins, two violas and basso continuo.
With his appointment as concertmaster at the Weimar court, Bach also took on the obligation to compose and perform a monthly church cantata. BWV12 was the second of these compositions to be written after Bach's appointment. The text is probably by Salomon Franck, the author of most of Bach's Weimar cantatas.
This early cantata, written in a somewhat archaic style, describes the grief of the disciples as they bid farewell to Jesus and the hardship that awaits them in his absence. The cantata is intended for the third Sunday after Easter (Jubilate), which is based on the Gospel text of John 16:16-23 ("Let your sorrow be turned into joy"). The text of the cantata alludes to this idea, contrasting the suffering of the believer with the suffering of Christ, in order to announce to the faithful Christian the end of all suffering. Bach has set this formally not unproblematic text - a freely rhymed da capo opening chorus is followed by a passage from the Bible and another three arias without contrasting recitatives - to music in a varied and subtle way.
Like many cantatas from Bach's Weimar period, the work begins with an introductory sinfonia for plaintive oboe and strings, which sets the mood for the elegiac opening chorus. The first section of this chorus is a passacaglia, a traditional lament. It is based on a continuo ostinato that descends in second steps. Bach used this chorus as the basis for his Crucifixus in the Mass in B Minor.
The only recitative in this cantata, "We must enter the kingdom of God through much sorrow," is set for alto - with a rising scale used for the "entering. Unusual is the sequence of three arias without connecting recitatives after the biblical recitative. This makes it clear that Bach's transition from the older cantata type to the standardized modern form influenced by Erdmann Neumeister was not abrupt, and that both forms coexist in Bach's work of this period.
The three arias are: alto solo with oboe, in which the tortuous element of the music reflects the "cross" in the text; bass with two solo violins - here the whole structure is based on the word "following" as expressed by the violins following the bass and each other; the sad tenor aria is accompanied by the chorale melody "Jesu meine Freude" on tromba (often replaced by oboe). The final chorale of this moving cantata is the last verse of the hymn "Was Gott tut, das ist wohlgetan" (1674) by Samuel Rodigast.
Video: J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) - Ihr werdet weinen und heulen, BWV 103, 22 April 1725
Chor und Arioso B: Ihr werdet weinen und heulen
Rezitativ T: Wer sollte nicht in Klagen untergehn
Arie A: Kein Arzt ist außer dir zu finden
Rezitativ A: Du wirst mich nach der Angst auch wiederum erquicken
Arie T: Erholet euch, betrübte Sinnen
Choral: Ich hab dich einen Augenblick
"Ye shall weep and lament"
Text and translation
Scored for three vocal soloists (alto, tenor and bass), a four-part choir, trumpet, flauto piccolo (descant recorder in D), two oboes d'amore, two violins, viola and continuo.
Based on the Gospel text for this day, "Weeping shall be turned into joy." The text was written by the poet Christiana Mariana von Ziegler as the first of nine texts she wrote for Bach. It begins with a quotation from the Gospel, verse 20, and ends with the ninth stanza of Paul Gerhardt's hymn "Barmherzger Vater, höchster Gott". In a series of recitatives and arias, her own poetry illuminates the sadness of Jesus' farewell in two movements and the joy of his promised return in two others.
The cantata's theme is beautifully expressed in the intricate opening chorus: falling chromatic lines for "weeping and wailing," staccato phrasing for "the world shall rejoice," and above it all, the shrieks of the piccolo recorder, either of pain or of joy. It is an unusual movement in which Bach incorporates an arioso for bass as the Vox Christi (voice of Christ) into the choral movement. The architecture of the movement combines elements of the motet with those of the concerto.
The following recitative-aria pairs continue the antithesis of sorrow and joy. The tenor recitative ends on "sorrow," which is taken up by the alto aria, accompanied by a wonderfully florid recorder; the next alto recitative ends on "joy," leading to an exuberant tenor aria with an interesting obbligato trumpet part. The mood has evidently changed to one of joy at the future return of Jesus.
The cantata ends with a four-part movement to the melody "Was mein Gott will, das g'scheh alzeit," which Bach used frequently, including in his St. Matthew Passion.
Video: J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German) / Netherlands Bach Society - Wir müssen durch viel Trübsal, BWV 146, 12 May 1726 or 18 April 1728
Sinfonia
Coro: Wir müssen durch viel Trübsal in das Reich Gottes eingehen
Aria (alto): Ich will nach dem Himmel zu
Recitativo (soprano): Ach! wer doch schon im Himmel wär!
Aria (soprano): Ich säe meine Zähren
Recitativo (tenor): Ich bin bereit, mein Kreuz geduldig zu ertragen
Aria (tenor, bass): Wie will ich mich freuen, wie will ich mich laben
Chorale: Denn wer selig dahin fähret or Ach, ich habe schon erblicket
"We must through much tribulation enter into the Kingdom of God"
Text and translation
Scored for soprano, alto, tenor and bass soloists, a four-part choir, flauto traverso, two oboes d'amore, taille (tenor oboe), organ, two violins, viola and basso continuo.
In keeping with the liturgical character of the day, the text traces a spiritual path from sorrow to joy. The first three movements lament the suffering of the world, and the next three express hope for a better life in the Kingdom of God. This is interwoven with a longing for death.
The cantata begins with a long sinfonia and chorus, both based on the lost violin concerto that was also transformed into the harpsichord concerto BWV 1052. Here, the first movement takes the form of an organ concerto. The second movement - also with an obbligato organ part - is used for the elegiac chorus. The chorus focuses single-mindedly on "troubles" through sustained dissonances on that word.
This is followed by an expressive alto aria with violin accompaniment. Rising scales represent the passage to heaven, and the aria is full of death longing. The following recitative is a lament for persecution in the world, accompanied by long chords on the strings.
The soprano aria ("They who sow in tears") is accompanied by flute and two oboes d'amore and illustrates in two sections the contrast between "sowing with tears" and "reaping with joy". Despite the mournful text, it has a galant and even sensual quality. Finally, there is a joyful duet for tenor and bass. It may have been derived from a secular dance movement.
There is no text for the final chorale. The melody is based on "Werde munter, meine Gemüte," and this is paired with different texts in different performances.
Video: Netherlands Bach Society - Interview conductor Jos van Veldhoven /
J.S. Bach Foundation - Workshop (in German) - Contemplation (in German)