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Wir müssen durch viel Trübsal, BWV 146

January 01, 1970

Wir müssen durch viel Trübsal (We must [pass] through great sadness), BWV 146, is a cantata by Johann Sebastian Bach, a church cantata for the third Sunday after Easter. Bach composed it in Leipzig in 1726 or 1727.

Wir müssen durch viel Trübsal
BWV 146
Church cantata by J. S. Bach
Thomaskirche, Leipzig
OccasionJubilate
Bible textActs 14:22
Composed1726 or 1727
Movements8
VocalSATB choir and solo
Instrumental
  • flauto traverso
  • 2 oboes d'amore
  • taille
  • organ
  • 2 violins
  • viola
  • continuo

History and words edit

Bach composed the cantata in Leipzig for the Third Sunday after Easter, called Jubilate.[1] The prescribed readings for the Sunday were from the First Epistle of Peter, "Submit yourselves to every ordinance of man" (1 Peter 2:11–20), and from the Gospel of John, Jesus announcing his second coming in a Farewell discourse (John 16:16–23). Bach contrasted sorrow and joy in earlier cantatas for the same occasion, first in Weimar in 1714, Weinen, Klagen, Sorgen, Zagen, BWV 12, then in Leipzig in 1725, Ihr werdet weinen und heulen, BWV 103. The unknown poet chose a quote from Acts 14:22 to begin the cantata, "We must through much tribulation enter into the kingdom of God", which Salomon Franck had already used for the first recitative of Weinen, Klagen, Sorgen, Zagen. The three following movements deplore the sufferings in the world, whereas three more movements depict the joyful hope for a better life in the Kingdom of God. The theme throughout his texts is a longing for death. Movement 5 is a paraphrase of Psalms 126:5–20, which Brahms also chose for his Requiem, "They that sow in tears shall reap in joy". Movement 6 refers to Romans 8:18, "For I reckon that the sufferings of this present time are not worthy to be compared with the glory which shall be revealed in us". Only the music but not the words of the closing chorale is extant. The ninth stanza of Gregorius Richter's [Wikidata] hymn "Lasset ab von euren Tränen" has been suggested by Alfred Dürr as a possible text for this closing chorale.[1] Klaus Hofmann suggested "Freu dich sehr, o meine Seele" by Christoph Demantius.[2]

The earliest possible date for the first performance is 12 May 1726.[2] 4 May 1727 is another possibility.[3]

Scoring and structure edit

The cantata in eight movements is scored for soprano, alto, tenor and bass soloists, a four-part choir, flauto traverso, two oboes d'amore, taille (tenor oboe), organ, two violins, viola and basso continuo.[1]

  1. Sinfonia
  2. Chorus: Wir müssen durch viel Trübsal in das Reich Gottes eingehen
  3. Aria (alto): Ich will nach dem Himmel zu
  4. Recitative (soprano): Ach! wer doch schon im Himmel wär!
  5. Aria (soprano): Ich säe meine Zähren
  6. Recitative (tenor): Ich bin bereit, mein Kreuz geduldig zu ertragen
  7. Aria (tenor, bass): Wie will ich mich freuen, wie will ich mich laben
  8. Chorale: Denn wer selig dahin fähret or Freu dich sehr, o meine Seele

Music edit

Two movements of the cantata, the Sinfonia and the first movement, are related to Bach's Harpsichord Concerto in D minor, BWV 1052, which was possibly derived from a lost violin concerto. The original music for the cantata is also lost, but scholars are convinced that it is a work of Bach. He used an instrumental concerto in a similar way for movements of his cantatas Gott soll allein mein Herze haben, BWV 169, and Ich geh und suche mit Verlangen, BWV 49, where his authorship is beyond doubt.[1]

Bach reworked the first movement of the harpsichord concerto to an organ concerto, expanding the strings by woodwind instruments. He changed the second movement to a choral movement by embedding vocal parts in the music, but this time without additional woodwinds.[1] Brian Robins commented:

The opening chorus is superimposed onto the deeply moving slow movement of the concerto, the anguish of the repeated (ostinato) bass line ideally underlining a text concerned with the tribulation that must be endured before the kingdom of heaven is attained.[4]

Musicologist Julian Mincham describes the process of changing a harpsichord concerto movement to a chorus with obbligato organ in detail:

The original thirteen-bar throbbing ritornello theme is retained but its function has changed. The voices soar above it from the very first bar and continue to enhance it throughout its six appearances in different tonal environments. The ritornello theme has virtually become a free "ground bass" throughout. The tortuous melodic line, the main focus of attention in the concerto setting, has now become an obbligato melody of secondary significance. It is played by the organ, the first time Bach has used the instrument in this way in a chorus. The choir rises magnificently above everything else establishing itself as the dominant musical force, even appearing to disregard the phrasing of the original composition. All that was of primary importance in the concerto is now secondary to the chorus and its message. This momentous adagio, seemingly complete in its version for strings and harpsichord, has taken on a whole new dimension of musical meaning.[5]

Hofmann summarizes: "Filled with lamenting in the spirit of the Passion, the movement gains its intensity from the dense and dissonant harmonic expressiveness, and incorporates ostinato phrases whose regular appearances seem to illustrate inevitability."[2]

The third movement is an alto aria with violin obbligato, which transcends "dem Himmel zu" (towards Heaven).[6] The following recitative, a lament on the persecution in the world, is accompanied by long chords of the strings. Movement 5 illustrates in two sections the opposition of sowing with tears and reaping with joy, accompanied by a flute and two oboes d'amore. Movement 7 is probably derived from a secular dance-like movement in da capo form. A ritornello frames the first section, continuo only accompanies the middle section. The final chorale is set for four parts on the melody of "Werde munter, mein Gemüte".[1][7]

Recordings edit

References edit

  1. ^ a b c d e f Dürr, Alfred (2006). "Wir müssen durch viel Trübsal, BWV 146". The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text. Translated by Richard D. P. Jones. Oxford University Press. pp. 311–315. ISBN 978-0-19-929776-4.
  2. ^ a b c Hofmann, Klaus (2008). "Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146 / We must through much tribulation enter into the kingdom of God" (PDF). Bach Cantatas website. p. 5. Retrieved 21 November 2013.
  3. ^ "Bach digital – Wir müssen durch viel Trübsal BWV 146". www.bach-digital.de. Retrieved 2023-06-08.
  4. ^ Robins, Brian. Cantata No. 146, Wir müssen durch viel Trübsal, BWV 146 at AllMusic. Retrieved 10 May 2011.
  5. ^ Mincham, Julian (2010). "Chapter 14 BWV 146 Wir müssen durch viel Trübsal". jsbachcantatas.com. Retrieved 3 September 2022.
  6. ^ Dellal, Pamela. "Wir müssen durch viel Trübsal". Emmanuel Music. Retrieved 3 September 2022.
  7. ^ "Chorale Melodies used in Bach's Vocal Works / Werde munter, mein Gemüte". Bach Cantatas website. Retrieved 17 April 2013.

Sources edit

External links edit

  • "Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146", performance by the Netherlands Bach Society (video and background information)

January 01, 1970
müssen, durch, viel, trübsal, müssen, durch, viel, trübsal, must, pass, through, great, sadness, cantata, johann, sebastian, bach, church, cantata, third, sunday, after, easter, bach, composed, leipzig, 1726, 1727, müssen, durch, viel, trübsalbwv, 146church, c. Wir mussen durch viel Trubsal We must pass through great sadness BWV 146 is a cantata by Johann Sebastian Bach a church cantata for the third Sunday after Easter Bach composed it in Leipzig in 1726 or 1727 Wir mussen durch viel TrubsalBWV 146Church cantata by J S BachThomaskirche LeipzigOccasionJubilateBible textActs 14 22Composed1726 or 1727Movements8VocalSATB choir and soloInstrumentalflauto traverso2 oboes d amoretailleorgan2 violinsviolacontinuo Contents 1 History and words 2 Scoring and structure 3 Music 4 Recordings 5 References 6 Sources 7 External linksHistory and words editBach composed the cantata in Leipzig for the Third Sunday after Easter called Jubilate 1 The prescribed readings for the Sunday were from the First Epistle of Peter Submit yourselves to every ordinance of man 1 Peter 2 11 20 and from the Gospel of John Jesus announcing his second coming in a Farewell discourse John 16 16 23 Bach contrasted sorrow and joy in earlier cantatas for the same occasion first in Weimar in 1714 Weinen Klagen Sorgen Zagen BWV 12 then in Leipzig in 1725 Ihr werdet weinen und heulen BWV 103 The unknown poet chose a quote from Acts 14 22 to begin the cantata We must through much tribulation enter into the kingdom of God which Salomon Franck had already used for the first recitative of Weinen Klagen Sorgen Zagen The three following movements deplore the sufferings in the world whereas three more movements depict the joyful hope for a better life in the Kingdom of God The theme throughout his texts is a longing for death Movement 5 is a paraphrase of Psalms 126 5 20 which Brahms also chose for his Requiem They that sow in tears shall reap in joy Movement 6 refers to Romans 8 18 For I reckon that the sufferings of this present time are not worthy to be compared with the glory which shall be revealed in us Only the music but not the words of the closing chorale is extant The ninth stanza of Gregorius Richter s Wikidata hymn Lasset ab von euren Tranen has been suggested by Alfred Durr as a possible text for this closing chorale 1 Klaus Hofmann suggested Freu dich sehr o meine Seele by Christoph Demantius 2 The earliest possible date for the first performance is 12 May 1726 2 4 May 1727 is another possibility 3 Scoring and structure editThe cantata in eight movements is scored for soprano alto tenor and bass soloists a four part choir flauto traverso two oboes d amore taille tenor oboe organ two violins viola and basso continuo 1 Sinfonia Chorus Wir mussen durch viel Trubsal in das Reich Gottes eingehen Aria alto Ich will nach dem Himmel zu Recitative soprano Ach wer doch schon im Himmel war Aria soprano Ich sae meine Zahren Recitative tenor Ich bin bereit mein Kreuz geduldig zu ertragen Aria tenor bass Wie will ich mich freuen wie will ich mich laben Chorale Denn wer selig dahin fahret or Freu dich sehr o meine SeeleMusic editTwo movements of the cantata the Sinfonia and the first movement are related to Bach s Harpsichord Concerto in D minor BWV 1052 which was possibly derived from a lost violin concerto The original music for the cantata is also lost but scholars are convinced that it is a work of Bach He used an instrumental concerto in a similar way for movements of his cantatas Gott soll allein mein Herze haben BWV 169 and Ich geh und suche mit Verlangen BWV 49 where his authorship is beyond doubt 1 Bach reworked the first movement of the harpsichord concerto to an organ concerto expanding the strings by woodwind instruments He changed the second movement to a choral movement by embedding vocal parts in the music but this time without additional woodwinds 1 Brian Robins commented The opening chorus is superimposed onto the deeply moving slow movement of the concerto the anguish of the repeated ostinato bass line ideally underlining a text concerned with the tribulation that must be endured before the kingdom of heaven is attained 4 Musicologist Julian Mincham describes the process of changing a harpsichord concerto movement to a chorus with obbligato organ in detail The original thirteen bar throbbing ritornello theme is retained but its function has changed The voices soar above it from the very first bar and continue to enhance it throughout its six appearances in different tonal environments The ritornello theme has virtually become a free ground bass throughout The tortuous melodic line the main focus of attention in the concerto setting has now become an obbligato melody of secondary significance It is played by the organ the first time Bach has used the instrument in this way in a chorus The choir rises magnificently above everything else establishing itself as the dominant musical force even appearing to disregard the phrasing of the original composition All that was of primary importance in the concerto is now secondary to the chorus and its message This momentous adagio seemingly complete in its version for strings and harpsichord has taken on a whole new dimension of musical meaning 5 Hofmann summarizes Filled with lamenting in the spirit of the Passion the movement gains its intensity from the dense and dissonant harmonic expressiveness and incorporates ostinato phrases whose regular appearances seem to illustrate inevitability 2 The third movement is an alto aria with violin obbligato which transcends dem Himmel zu towards Heaven 6 The following recitative a lament on the persecution in the world is accompanied by long chords of the strings Movement 5 illustrates in two sections the opposition of sowing with tears and reaping with joy accompanied by a flute and two oboes d amore Movement 7 is probably derived from a secular dance like movement in da capo form A ritornello frames the first section continuo only accompanies the middle section The final chorale is set for four parts on the melody of Werde munter mein Gemute 1 7 Recordings editDie Bach Kantate Vol 33 Helmuth Rilling Gachinger Kantorei Bach Collegium Stuttgart Helen Donath Marga Hoffgen Kurt Equiluz Hanns Friedrich Kunz Hanssler 1973 J S Bach Das Kantatenwerk Sacred Cantatas Vol 6 Nikolaus Harnoncourt Tolzer Knabenchor Concentus Musicus Wien soloist of the Tolzer Knabenchor Paul Esswood Kurt Equiluz Thomas Hampson Teldec 1980 Bach Cantatas Vol 24 Altenburg Warwick John Eliot Gardiner Monteverdi Choir English Baroque Soloists Brigitte Geller de William Towers Mark Padmore Julian Clarkson Soli Deo Gloria 2000 Bach Edition Vol IV 16 Pieter Jan Leusink Holland Boys Choir Nethertlands Bach Collegium Marjon Strijk Sytse Buwalda Marcel Beekman Bas Ramselaar Brilliant Records 2000 J S Bach Complete Cantatas Vol 15 Sibylla Rubens Bogna Bartosz James Gilchrist Klaus Mertens Amsterdam Baroque Orchestra amp Choir Ton Koopman Antoine Marchand 2001 J S Bach Cantatas Vol 19 Cantatas from Leipzig 1724 Masaaki Suzuki Bach Collegium Japan Rachel Nicholls Robin Blaze Gerd Turk Peter Kooy BIS 2008References edit a b c d e f Durr Alfred 2006 Wir mussen durch viel Trubsal BWV 146 The Cantatas of J S Bach With Their Librettos in German English Parallel Text Translated by Richard D P Jones Oxford University Press pp 311 315 ISBN 978 0 19 929776 4 a b c Hofmann Klaus 2008 Wir mussen durch viel Trubsal in das Reich Gottes eingehen BWV 146 We must through much tribulation enter into the kingdom of God PDF Bach Cantatas website p 5 Retrieved 21 November 2013 Bach digital Wir mussen durch viel Trubsal BWV 146 www bach digital de Retrieved 2023 06 08 Robins Brian Cantata No 146 Wir mussen durch viel Trubsal BWV 146 at AllMusic Retrieved 10 May 2011 Mincham Julian 2010 Chapter 14 BWV 146 Wir mussen durch viel Trubsal jsbachcantatas com Retrieved 3 September 2022 Dellal Pamela Wir mussen durch viel Trubsal Emmanuel Music Retrieved 3 September 2022 Chorale Melodies used in Bach s Vocal Works Werde munter mein Gemute Bach Cantatas website Retrieved 17 April 2013 Sources editWir mussen durch viel Trubsal BWV 146 Scores at the International Music Score Library Project Wir mussen durch viel Trubsal BWV 146 BC A 70 Sacred cantata 4th Sunday of Easter Bach Digital Cantata BWV 146 Wir mussen durch viel Trubsal in das Reich Gottes eingehen history scoring sources for text and music translations to various languages discography discussion Bach Cantatas website BWV 146 Wir mussen durch viel Trubsal English translation University of Vermont BWV 146 Wir mussen durch viel Trubsal text scoring University of Alberta Gardiner John Eliot 2005 Johann Sebastian Bach 1685 1750 Cantatas Nos 12 103 108 117 146 amp 166 Media notes Soli Deo Gloria at Hyperion Records website Retrieved 11 May 2019 External links edit Wir mussen durch viel Trubsal in das Reich Gottes eingehen BWV 146 performance by the Netherlands Bach Society video and background information Portal nbsp Classical music Retrieved from https en wikipedia org w index php title Wir mussen durch viel Trubsal BWV 146 amp oldid 1195798790, wikipedia, wiki, book, books, library,

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