작곡가

:   Johann Sebastian Bach (요한 제바스티안 바흐)

장르

:  

Choral

스타일

:  

Cantata

작곡년도

:   Jun 17, 1714

출판년도

:   1855

초연

:   Jun 17, 1714

평균연주

:   39:36

악장

1

Sinfonia in C minor

3:02

2

Ich hatte viel Bekümmerniss

3:37

3

Seufzer, Tränen, Kummer, Not

4:21

4

Wie, hast du dich, mein Gott, in meiner Not

1:35

5

Bäche von Gesalz'nen Zähren

5:39

6

Was betrübst du dich, meine Seele

3:42

7

Ach Jesu, meine Ruh', mein Licht

1:28

8

Komm, mein Jesu, und eurquicke

4:31

9

Sei nun wieder zufrieden, meine Seele

5:21

10

Erfreue dich, Seele, erfreue dich, Herze

3:09

11

Das Lamm, das erwürget ist

3:27

Ich hatte viel Bekümmernis (I had much grief), BWV 21, is a church cantata by Johann Sebastian Bach. He composed it in Weimar, possibly in 1713, partly even earlier, and used it in 1714 and later for the third Sunday after Trinity. The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. He catalogued the work as e per ogni tempo (and for all times), indicating that due to its general theme the cantata is suited for any occasion. The text is probably written by the court poet Salomon Franck, including four biblical quotations from three psalms and the Book of Revelation, juxtaposed in one movement with two stanzas from Georg Neumark's hymn "Wer nur den lieben Gott lässt walten". The cantata possibly began as a work of dialog and four motets on biblical verses. In its 1723 version, it is structured in eleven movements, including an opening sinfonia and additional recitatives and arias. It is divided in two parts to be performed before and after the sermon, and scored for three vocal soloists (soprano, tenor, and bass), a four-part choir, three trumpets, timpani, oboe, strings and basso continuo. Bach led a performance in the court chapel of Schloss Weimar on 17 June 1714, known as the Weimar version. He revised the work for performances, possibly in Hamburg and several revivals in Leipzig, adding for the first Leipzig version four trombones doubling the voices.
Bach composed the cantata in Weimar, but the composition history is complicated and not at all stages certain. Findings by Martin Petzoldt suggest that the cantata began with the later movements 2–6 and 9, most of them on biblical text, performed at a memorial service of Aemilia Maria Haress, the wife of a former prime-minister of Schwarzburg-Rudolstadt at the St. Peter und Paul in Weimar on 8 October 1713. Bach may then have expanded it and presented it for his application in December 1713 at the Liebfrauenkirche in Halle. The performance material of this event, the only surviving source, shows on the title page the designation e per ogni tempo, indicating that the cantata with its general readings and texts is suitable for any occasion.

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