Weinen, Klagen, Sorgen, Zagen, BWV 12

Weeping, Lamenting, Fearing, Hesitating ( BWV 12) is a church cantata by Johann Sebastian Bach. Bach later worked the early part of the eponymous chorus set to the Crucifixus of his B minor Mass.

Formation

In this cantata is one of the early works of the Weimar period. It was composed for worship in the chapel on April 22, 1714. Bach had also taken over the obligation to composition and performance of a monthly church cantata for concert master with his appointment. Weeping, Lamenting, Fearing, Hesitating was the second of the resulting composition after Bach took office. The mostly free sealed text probably comes from Salomon Franck, the author of most of the Weimar cantata texts of Bach. The final chorale is the last verse of the hymn What God does is well done by Samuel Rodigast. Another performance with only minor changes from the original version has been demonstrated for 30 April 1724 in Leipzig.

Text

The cantata is intended for the third Sunday after Easter ( Jubilate ), the text of the Gospels Jn 16.16-23 LUT ( Your sorrow shall be turned into joy ) is based. The text of the cantata alludes to these thoughts and the pain of the suffering Christ to believers to proclaim an end to all sorts of trouble at the end of a faithful Christian.

Occupation

  • Vocal soloists: alto, tenor, bass
  • Choir: soprano, alto, tenor, bass
  • Orchestra: violin I / II, Viola I / II, Oboe, Bassoon, Trumpet, Basso continuo

Classification

Music

How many cantatas from Bach's time in Weimar in the factory with an introductory sinfonia. In this first part, a solo oboe paints the " complaints " sound -image from.

The first part of the following choral movement in da capo form is an ancient Passacaglia in 3/2-Takt. It is based in the continuo a ostinato based on the decreases in Sekundschritten, a parody of a painful love song by Antonio Vivaldi. In extreme economy of means, the voices sing each first word only, like a stretched sigh. In gradual compaction they remain in these four words to the seventh repetition of the bass line to which they continue homophonic the text. The middle part, the text of which consists only of the subordinate clause ( about Christians ) " the character of Jesus bear ", is in contrast liquid designed to Un poco allegro, andante and ends with rising stakes of the vote.

Unusual is the subsequent after Bibelrezitativ succession of three arias without linking recitatives. This makes it clear that the transition from the older type cantata to the standardized characterized by Erdmann Neumeister modern form in Bach did not place abruptly and both forms are next to each other in Bach's work of this period. The tenor aria accompanied by a solo trumpet, which quotes the chorale melody "Jesu, meine Freude".

The four-part final chorale, in which otherwise the instruments amplify only the voices, the composer adds a fifth vote for violin obbligato, the particularly splendid concludes the work.

Bach-Werke-Verzeichnis Concertmaster Gospel (liturgy) Bass (voice type) Baroque trumpet Homophony Werner Neumann Ton Koopman Integrated Authority File Ach Gott, wie manches Herzeleid, BWV 3 Allein zu dir, Herr Jesu Christ, BWV 33 Brich dem Hungrigen dein Brot, BWV 39 Am Abend aber desselbigen Sabbats, BWV 42 Also hat Gott die Welt geliebt, BWV 68 Alles nur nach Gottes Willen, BWV 72 Alles, was von Gott geboren, BWV 80a Bisher habt ihr nichts gebeten in meinem Namen, BWV 87 Ach, lieben Christen, seid getrost, BWV 114 Christum wir sollen loben schon, BWV 121 Auf Christi Himmelfahrt allein, BWV 128 Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 Bereitet die Wege, bereitet die Bahn! BWV 132 Erforsche mich, Gott, und erfahre mein Herz, BWV 136 Bringet dem Herrn Ehre seines Namens, BWV 148 Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 Barmherziges Herze der ewigen Liebe, BWV 185 Mein Herze schwimmt im Blut, BWV 199 Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a St Mark Passion (Bach)
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