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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Marimba and strings | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 24 Aug 2014 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 1728. Bach composed the cantata in Leipzig for the third Sunday after Easter, called Jubilate. 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 hymn "Lasset ab von euren Tränen" has been suggested by Alfred Dürr as a possible text for this closing chorale. Klaus Hofmann suggested "Freu dich sehr, o meine Seele" by Christoph Demantius. 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. 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. 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. The third movement is an alto aria with violin obbligato, which transcends "dem Himmel zu" (towards Heaven). 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 Werde munter, mein Gemüte. Although this Cantata was written for Chorus and Orchestra, I created this arrangement for Marimba and Strings (1st Violins, 2nd Violins, Violas, Cellos & Basses). Sheet central : | Wir müssen durch viel Trübsal (8 sheet music) | | |||
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