Ich hatte viel Bekümmernis, BWV 21 (Bach, Johann Sebastian)
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For Oboe and Harpsichord or Organ (Kahlert)
These file(s) are part of the Werner Icking Music Collection.
Bernhard Todt (1822–1907), piano reduction
German / English
Leipzig: Breitkopf & Härtel, n.d.(1891). Plate J.S.B. I.21
New York: Edwin F. Kalmus, n.d.(after 1933).
English text added, score re-formatted to 71 pages from 54.
Based on the Bach-Gesellschaft Ausgabe
Arrangements and Transcriptions
For Flute, Oboe, Clarinet, Bassoon and Horn (Schneider)
Thomas A. Schneider, 2011.
For Oboe and Harpsichord or Organ (Kahlert)
Aria: Seufzer, Thränen, Kummer, Noth (No.3)
For Organ solo (Bækgaard)
For Piano solo (Manzotti)
Giacomo Batista Manzotti (fl.1883–fl.1885)
New York: J.O. von Prochaźka, Elite Edition 160, 1885.
Dedicated to Rafael Joseffy. Called just "Seufzer und Kommer". (The arranger in turn is given as "Mangotti" on the first page of score, but there are enough other examples of his work scanned and mentioned on the front and back page to make "Manzotti" clearer.)
Antonio Armendáriz (2nd edition)
German / Spanish / French / English
Textos biográficos en cuatro idiomas (alemán, español, francés e inglés). Partituras en alta calidad
|Work Title||Ich hatte viel Bekümmernis|
|Alternative Title||I had much affliction|
|Composer||Bach, Johann Sebastian|
|Opus/Catalogue Number||BWV 21|
|Movements/Sections||2 Parts, 11 movements
|Year/Date of Composition||1713-14|
|First Performance||1714-06-17 in Weimar|
|First Publication||1855 (BGA)|
|Librettist||Psalms 94, 42, 116. Revelations 5:12-3. Salomo Franck; Georg Neumark (9th movement only)|
|Dedication||3rd Sunday after Trinity|
|Average Duration||44 minutes|
|Instrumentation||Vocal — Soloists (STB), Chorus (SATB + Ripieno)|
Orchestra — Oboe, Bassoon, 3 Trumpets, 4 Trombones (doubling), Timpani, Strings, BC
|External Links||Wikipedia article|
Commentary on the movements
- Sinfonia. This perhaps may have been written for the Weimar performance. A slow piece with Oboe and first violin in prominent solos.
- Chorus: Ich Hatte viel Bekümmernis in meinem Herzen. Mattheson criticized this movement for its use of repetition ("Ich, ich, ich"). In two parts: a choral fugue; then, after a transition, a vivace polyphonic section.
- Aria (Soprano): Seufzer, Tränen, Kummer, Not. Includes an obbligato oboe part with a notably 7-measure opening solo. An extremely expressive movement: "It might be considered one of the most moving arias that Bach ever wrote"1.
- Recitativo (Tenor): Wie hast du dich, mein Gott. A recitative stromentato with strings providing the harmony for the tenor.
- Aria (Tenor): Bäche von gesalznen Zähren. The rivers of tears are the fount of the motives of this movement, which changes to a more excitable temperament at "Sturm und Wellen mich versehren"
- Chorus: Was betrübst du dich, meine Seele. Dürr calls this a "fantasia and fugue." The fugue is a textbook (literally) permutation fugue; the fantasia is a free, expressive movement.
- (7) Recitativo (Soprano, Bass): Ach Jesu, meine Ruh. A dialogue between Seele and Jesu. The form is not consistently applied (obviously) through the cantata, which makes this a rather strange appearance. Again, the strings provide a foundation.
- (8) Aria (Duet, Soprano, Bass): Komm, mein Jesu, und erquicke / Ja, ich komme und erquicke. This is exactly like a neapolitan love duet in an opera, with the imitation, thirds, and rhyming ends of phrases.
- (9) Chorus [+Chorale1]: Sei nun wieder zufrieden, meine Seele. A chorale motet. Imitative structure, which gradually builds up to a (originally) final climax.
- (10) Aria (Tenor): Erfreue dich, Seele, erfreue dich, Herze. A tenor aria with only continuo; also the only aria not preceded by a recitative in this cantata. A very spirited movement, it is full of exuberance in the tenor line and leaping continuo line.
- (11) Chorus: Das Lamm, das erwürget ist. This starts with a chorale, but ends with a very large fugue, which also builds up to a large climax to conclude the piece.
- 9 Movements (I-IX), 1713? — "possibly a dialogue cantata for Soprano and Bass" 1. Very few traces left.
- Chrysander mentions a C Minor version supposedly performed for his audition at Halle later in 1713. This might include the last two movements and accompanying enlargements
- Weimar, 1714 — a D Minor version, of which no traces survive except Bach's note of its occurence.
- Revivals occured numerous times, an unusual occurence. One was even during Bach's tenure in Cöthen.
- June 13, 1723 in Leipzig is another, which was Bach's 3rd Leipzig cantata presentation. C minor again, with the extra four trombones (!). This is the version used. Probably there were several performances of this version.
Print Sources Consulted
- Dürr, Alfred. . 2 ed. Richard D.P. Jones (Trans).
- Oxford: Oxford University Press, 2005.