Johann Sebastian Bach (1685-1750) Cantata BWV 21: Ich hatte viel Bekümmernis (17 June 1714) Part I. 1. Sinfonia 2. Ich hatte viel Bekümmernis in meinem Herzen (Chorus) 02:54 3. Seufzer, Tränen, Kummer, Not (Aria: S) 06:49 4. Wie hast du dich, mein Gott (Recitative: T) 11:05 5. Bäche von gesalznen Zähren (Aria: T) 12:41 6. Was betrübst du dich (Chorus) 19:07 Part II. 7. Ach Jesu, meine Ruh (Recitative: S, B) 22:34 8. Komm, mein Jesu, und erquicke/Ja, ich komme und erquicke (Aria: S, B) 24:04 9. Sei nun wieder zufrieden, meine Seele (Chorus) 27:58 10. Erfreue dich, Seele, erfreue dich, Herze (Aria: T) 32:20 11. Das Lamm, das erwürget ist (Chorus) 35:17 Soloists: Soprano: Barbara Schlick Tenor: Howard Crook Bass: Peter Harvey Performed by La Chapelle Royale & Collegium Vocale Gent under the direction of Philippe Herreweghe. Recorded by Harmonia Mundi France in 1990. "The text of Cantata BWV 21 is generally attributed to the Weimar cleric and court poet Salomo Franck who based it on verses from the Psalms and from the Epistle for the Third Sunday after Trinity: 'Cast all your cares upon Him, for He careth for you.' This picture of deep suffering, through which the soul finds heavenly joy, is the central and all-pervading theme of the work which, alone among the Weimar cantatas in their original form, is constructed in two parts, allowing for a sermon. Cantata BWV 21 is scored for soprano, tenor and bass soloists, a four-part choir and a colorful instrumental ensemble of trumpets, oboe, bassoon, strings and continuo. The opening movement is an intense and poignant 'Sinfonia' (adagio assai) in the form of a dialogue between oboe and first violin. The following chorus, in bipartite structure, contains a fugal motet-like first section with a subject that bears resemblance to the fugue in Vivaldi's Concerto in D minor (Op. 3, No. 11) -- Bach's organ transcription of this work dates from approximately the same time. The second section of the chorus is a 'Vivace' in a freely constructed polyphonic style concluding with a brief 'Andante'. The two sections are linked by a single bar, marked 'Adagio' on the word 'aber' by which means Bach deliberately emphasizes the contrasting nature of the text in each part. The third movement, a poignant soprano aria with obbligato oboe, completes a triptych of profound anguish. The following accompanied recitative and aria is for tenor. The aria extends the mood of agony with effective vocal and instrumental writing where tears of sorrow are contrasted with images of storms and waves of the sea which threaten to submerge the soul, a popular theme in baroque poetry. Part One of the cantata concludes with a powerful and partly fugal chorus set in motet style with frequently alternating sections of solo-chorus and tutti-chorus. Its form is bipartite, the madrigalian first part leading to a vigorous fugal conclusion. "The Recitative and Aria which begin Part Two of the cantata are in the form of a dialogue between Jesus and the Soul. Bach's sense of theater is vividly present here reflecting, perhaps, a predilection shown in north Germany for spiritual dramatic expression, not least at the Hamburg Opera. The expressive fervor with which Bach imbues the dialogue, however, also betrays Pietist influence. The following contrapuntal choral movement is woven around two verses of the hymn 'Was helfen uns die schweren Sorgen' set to the famous melody of Georg Neumark's 'Wer nur den lieben Gott läßt walten,' which Bach harmonized on several occasions. The first of the verses is sustained in long notes by the tenors, the second, similarly by the sopranos with doubling oboe. In the last solo movement, an animated continuo aria for tenor, the mood changes abruptly. Now the soul, free from care, rejoices in the protection of Jesus. The final chorus is a resounding hymn of praise in the form of a prelude and fugue, whose glittering trumpets lend color and splendor to a forcefully affirmative statement of the Lutheran faith." - Nicholas Anderson Painting: St. Joseph (detail), Guido Reni

• published: 09 Jan 2012
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