Ihr werdet weinen und heulen, BWV 103
That ye shall weep and lament ( BWV 103) is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Jubilate Sunday and performed it on April 22, 1725 for the first time.
History and words
Bach wrote the cantata for the Jubilate Sunday, the third Sunday after Easter. The prescribed readings were 1 Peter 2.11-20 LUT, " Submit yourselves to every ordinance of man " and Jn 16.16-23 LUT from the farewell discourses of Jesus. Bach had raised therein contrast of sadness and joy already been set to music for the same reason in Weimar in 1714, he used as a basis for the Crucifixus of his B minor Mass in the cantata Weeping, Lamenting, Fearing, Hesitating, their first choral setting.
The text of the cantata wrote the poet Christiana Mariana von Ziegler as the first of nine texts that she wrote for Bach. It begins with a quote from the Gospel, verse 20, and ends with the ninth verse of the hymn " Barmherzger father, the supreme god " by Paul Gerhardt (1653). Your own poetry illuminated in a sequence of recitatives and arias in two sets sadness at the departure of Jesus, in two other the joy of his promised return. Bach worked the seal, particularly in sentence 4, which he shortened drastically.
Bach led the cantata on 22 April 1725 for the first time. For later performances he changed the instrumentation.
Scoring and structure
The cantata is staffed with three vocal soloists ( alto, tenor and bass), four-part choir, trumpet, piccolo Flauto ( treble recorder), two oboes d' amore, two violins, viola and basso continuo. The cantata contains six sets.
Music
The opening chorus is an unusual sentence in which Bach incorporates an arioso for bass in the choral setting. All instruments except the trumpet playing a refrain, then describes a choral fugue weeping and wailing, spoken of in the text, with new themes full of chromaticism and excessive intervals. In great contrast, the following line, "but the world will rejoice ", expressed by a choral setting, which is embedded in the beginning of the ritornello. The sequence is repeated a second time in more detail, this time the joint treats both lines of text as a double fugue, wherein the material of the second line is taken from the ritornello and finally the entire ritornello is repeated with built-in chorus. The bass as the Vox Christi ( voice of Christ ) sings three times, suddenly adagio, " But ye shall be sorrowful " as accompagnato recitatives. Finally, the extended impact of fugue and ritornello repeatedly transposed with choir, on the text " But your sorrow shall be turned into joy ." The architecture of the sentence combines elements of the motet with those of the Concerto.
Set 2 is a secco recitative for tenor, the " pain " ends in an arioso with an expressive melisma on the word. Theorem 3 is an aria for alto with obbligato Flauto piccolo. The alto recitative takes a turn, it begins in B minor, such as the opening chorus, but modulates to D major and ends with a wide-ranging coloratura on the word " joy ". Theorem 5 assumes the joyous coloratura, supported by the trumpet and fanfare in triad motifs in the orchestra. The cantata concludes with a four -part harmony to the melody of "what my God wants the g'scheh ever ", the creek frequently used, among other things, in his St. Matthew Passion.
Recordings ( selection)
- Bach Made in Germany Vol 1 - Cantatas IV Günther Ramin, St. Thomas Boys Choir, the Gewandhaus Orchestra, Eva Fleischer, Gert Lutze. Eterna, 1951.
- Les Grandes Cantates de JS Bach, Vol 22, Fritz Werner, Heinrich-Schütz -Chor Heilbronn, Pforzheim Chamber Orchestra, Barbara Scherler, Georg Jelden, Jakob Stämpfli. Erato, 1966.
- Bach Cantatas, Vol 8: BWV 103, 85, 86, 144 Diethard Hellmann, Mainz Bach Choir, Bach Orchestra Mainz, Marie -Luise Gilles, Kurt Equiluz. DDM Records Mitterteich, late 1960s?
- JS Bach: The cantatas, Episode 26 - BWV 103-106. Gustav Leonhardt, Hannover Boys Choir, Collegium Vocale Gent, Leonhardt Consort, soloist of the Hannover Boys Choir, Paul Esswood, Kurt Equiluz, Max van Egmond. Telefunken, 1980.
- The Bach Cantata Vol 32 Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Doris Soffel, Peter Schreier, Walter Held wine. Hänssler, 1981.
- Bach Edition Vol 12 - Cantatas Vol 6 Pieter Jan Leusink, Holland Boys Choir, Netherlands Bach Collegium, Sytse Buwalda, Knut Schoch, Bas Ramselaar. Brilliant Classics, 1999.
- Bach Cantatas Vol 24: Altenburg / Warwick / For the 3rd Sunday after Easter ( Jubilate ) / For for the 4th Sunday after Easter ( Cantate ). John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, William Towers, Mark Padmore, Julian Clarkson. Soli Deo Gloria, 2000.
- JS Bach: Complete Cantatas Vol 14 Ton Koopman, Amsterdam Baroque Orchestra & Choir, Bogna Bartosz, Jorg Dürmüller, Klaus Mertens. Antoine Marchand, 2001.
- JS Bach: Cantatas Vol 36 ( Cantatas from Leipzig 1725) - BWV 6, 42, 103, 108 Masaaki Suzuki, Bach Collegium Japan, Robin Blaze, Gerd Türk, Dominik Wörner. BIS, 2006.
- JS Bach: Cantata BWV 103 "You will weep and lament ." Rudolf Lutz, Schola Seconda pratica, Stefanie Irányi, Andreas Weller. Velvet introductory workshop and reflection of Berthold Rothschild. Gallus Media, 2010.