ARCHIVE 7 PRODUCTION

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HISTORY OF MUSIC DIVISION OF THE DEUTSCHE GRAMMOPHON GESELLSCHAFT.

IXRESEARCH PERIOD |

- The Works of Johann Sebastian Bach SERIES A: CANTATAS ;

Ul ‘Ich abt viel Bekiimmer nis”

Cantata for the 3rd Sunday, after ah BWV 21

Ginihild Weber, Soprano - Helmut Krebs, Tenor - Herman schey, Bass - Karl Steins, Oboe

Berliner Motettenchor - Berliner Philharmoniker

- Conductor: Fritz Lehmann

"IX, RESEARCH PERIOD, SERIES A - J.S.BACH: CANTATA “ICH HATTE VIEL BEKUMMERNIS” ~ LONG PLAY RECORD 3 3

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PRODUCTION

EX: RESEARCH PERIOD

THE WORKS. OF JOHANN SEBASTIAN BACH |

SERIES A: CANTATAS

nes

“Ich hatte viel Bekiimmernis”

(Cantata for the 3rd Sunday after “Trinity, BWV 2

This most extensive of Bach‘s church cantatas still poses many problems for the musicologist. The

“manuscript bears the note, in Bach’s own hand,

that the work was performed at Weimar on the 3rd Sunday after Trinity, the 17th June, 1714, This was © a few months after Bach, newly appointed as leader of the Weimar court musical establishment, had

_ been instructed to perform every month a cantata _ of his own composition, and therefore had for the ©

_ first time an opportunity to being to reality his idea of “regularized church music“.

: What, however, caused Bach to write so extensive

a work, and why did he make use in the opening chorus of a theme from Vivaldi’s Concerto in D> minor which he had arranged for organ a short while before? Was this perhaps a farewell to his young pupil Prince Johann Ernst von Sachsen- Weimar, who, gravely ill, soon afterwards went to a medicinal spa, and was to die a year later far

from Weimar? We do not know.

This work was not composed in one piece, but was _put together from earlier fragments (possibly from cantatas) with the addition of some new material written in 1714. The oldest parts are probably the massive choral sections on the psalmist’s words “Ich hatte viel Bekiimmernis*” (I was in tribulation, Ps, 94, 19), and “Was betriibst du dich” (Why art thou cast down?, Ps. 42, 6), together with “Das

Lamm, das erwiirget ist” (The Lamb that was slain,

Revelations of St John 5, 12—13), taken from an- other work, All these movements have in common

_ the affectionate emphasis on certain words of the text which leads, in the manner of the early baroque motet, to a succession of short sections, the whole

concluded by a large-scale fugue rather than each piece being followed by a ritornello. The frequent — alternation of solo-chorus and tutti-chorus is also a survival of early baroque practice. The chorus “Sei nun wieder zufrieden” also has about it a ring ~

of earlier styles, but it may have been freshly composed in 1714. (The trombones in the second verse were added later for a performance in Leip- zig.) The duet “Komm, mein Jesu, und erquicke” also seems to have been taken from another,

possibly secular work, while the sinfonia, recita- _ tives and arias date throughout from 1714, having

been composed for the performance already men- tioned. The words were by Salomon Franck, an

_administrative official and favourite librettist of

cantatas for the Weimar court. The solo parts appear to have been conceived originally for soprano and bass (the traditional setting for dia- logues between the soul and Jesus), later the soprano was replaced by the tenor; the now custom- ary division of the solo music between soprano, tenor and bass follows the scheme adopted at a = formance in Leipzig.

The work's unusual history may have been respon- sible for the fact that Bach termed it. “per ogni Tempo“ — for any period of the church year. In its final form, however, it is clearly intended for use

on the 3rd Sunday after Trinity, reflecting as it does on the Epistle for that day: “Casting all your care upon Him, for He hath care of you“ (1. Peter 5, 7). The care-laden soul believes itself deserted by God, but is comforted by Jesus. The musical description ~ of this episode is truly baroque with its outbursts of despair, which sometimes do not even allow the music to run its normal course. Thus, for example,

Aria No, 3 ends unexpectedly with the words “Seufzer, Tranen, Kummer, Not” (Sighs, tears, grief, distress), and the middle section of Aria No. 5 ends | in a similar manner: “Bache von gesalznen Zah- ren...'. No less typically baroque are the dialogues between Jesus and the soul, which are, textually as well as musically, hardly to be distinguished from operatic love duets. Following the example of the Song of Songs, pietists of the time expressed

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HISTORY OF MUSIC DIVIS TON OF THE DEUTSCHE. GRAMMOPHON GESELLSCHAFT

the idea of Jesus as the ‘Brideeroan of the soul: in lyricism of this kind. It should not, however, be...

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cantata were themselves pietists. |

The fact that this cantata, despite its varied origins, : ~ nevertheless gives an effect of unity, is due above

all to the strength of Bach's creative imagination, which never ceases to astonish us throughout the : work. The introductory Sinfonia, with its dialogue | | between oboe and first violin, sounds like the slow —

movement of a. concerto gTOsso; the first chorus which follows is based on the contrast between

tribulation and comfort, while the aria “Seufzer,

Tranen, Kummer, Not”, with its impressive har-

monic colouration, is one of Bach's most deeply

another aria, with a powerfully descriptive middle section: “Bache von gesalznen Zahren", “Sturm

und Wellen” (Floods and Tempest). The chorus “Was betriibst du dich”, with its splendid closing _ -

ae

moving creations. After a recitative there follows —

fugue, owes its form to that of an instrumental

_ toccata and fugue, transferred to the vocal medium. After the sermon the second part of the cantata opens with a dialogue between the soul and Jesus, . first given in recitative then as a heartening duet. | There follows a chorus “Sei nun wieder zufrieden“

on words from the psalms, with the addition of two verses of the choral “Wer nur den lieben Gott lasst a walten", With this darkly solemn chorus the cantata may originally have ended. Its length is relieved by the use of solo-chorus and tutti-chorus, and by the appearance of the melody in the tenor (ist =

verse) and in the soprano (2nd verse). The work is, > however, concluded in its final form by a hymn OF:

praise consisting of a short aria and a jubilant — chorus, whose chordal splendour and the shape of whose fugal subject are somewhat reminiscent _

of Handel. It forms a glittering finale to this highly = si seabae early work of Bach. “Alfred Diitr

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BACH, Johann Sebastian

Type of Composition: Cantata for the 3rd ponday after Trinit

InstrumesHPdie! Tenor, Basso, Choir, Oboe, Tromba I/II/III, Trombone I/II/III/IV, Timpani, Strings and Continuo

Text: Salomon Franck (see reverse side)

Origin / Source:

Version:

Original Version

Publishers : Breitkopf & Hartel

Soloists: Gunthild Weber, Soprano Helmut Krebs, Tenor Herman Schey, Bass Karl Steins, Oboe

Place:

Berlin-Dahlem

Hall or studio:

Jesus-Christus-Kirche

Date:

6/11/1952

I. Research Period: GREGORIAN CHANT

Series A: The Office Series B: The Mass Series C: The Office for the Dead Series D: Varia

II. Research Period: THE CENTRAL MIDDLE AGES (1100—1350)

Series A: Troubadours, Trouvéres and Minne- singers f Music of the Minstrels Early Polyphony before 1300 The Ars Nova in France

Series B: Series C: Series D:

III. Research Period: THE EARLY RENAISSANCE (1350—1500)

Series A: The Florentine Group Series B: From Oswald von Wolkenstein up to

the Locheimer Liederbuch John Dunstable and his time The Netherlanders up to Okeghem The Mastersingers

Series C: Series D: Series E:

IV. Research Period: THE HIGH RENAISSANCE (16th Century)

Series A: The Netherlanders around and after Josquin des Prés At the Imperial Court of Maximilian I Evangelical Church Music Social Music in Italy Music for Organ and Lute Palestrina and his School

: Dance Music The German Lied The French Chanson Orlandus Lassus The Spanish Masters

: The Elizabethan Age : The Venetian Style

Series B:

Series C: Series D: Series E: Series F: Series Series Series Series Series Series Series ZN Ee ONS S

“Ich hatte viel Bektimmernis*“ (Lord my God, my heart and soul were sore distrest)

Complete work:

Place of first publication:

Critically revised material:

Edition No:

Conductor:

Instruments:

Producer:

Technical supervisor:

Place of composition:

Place of first performance:

es © §

Weimar 6/f

Wilhelm Rust

Bach-Gesamtausgabe

Fritz Lehmann

Dr. Fred Hamel

Karl-Heinz Westphal

2 12" Sides

V. Research Period:

THE ITALIAN SEICENTO (17th Century)

Series A: Series B: Series C; Series D: Series E:

Monody and the Vocal Concerto Claudio Monteverdi The Toccata The Cantata The Sonata

VI. Research Period:

GERMAN BAROQUE MUSIC (17th Century)

Series A: Heinrich Schiitz Series B: Clavier, Organ and Lute Series C: The Ensemble Suite Series D: The Lied Series E: The Sonata Series F: Spiritual Concerto and Church

Cantata

VII. Research Period: WESTERN EUROPE FROM 1650 TO 1800

Series A: Henry Purcell Series B: At the Court of Louis XIV Series C: Carillon Music of the Low Countries Series D: Chamber and Keyboard Music from

Couperin to Rameau Series E: Instrumental Works from the End

of the 18th Century Series F: Ballet and Opera

VIII. Research Period:

THE ITALIAN SETTECENTO (18th Century)

Series A: Series B: Series C: Series D:

The Concerto The Neapolitan Group The Harpsichord The Solo and Trio Sonata

Opus:

C minor vin

Mo cenet . Sinfonia 3°05 . Coro: Ich hatte viel Bekiimmeérnis 3'47 . Aria (Soprano): Seufzer, Tramen 4'24 . Recitativo: Wie hast du di 1'39 . Aria (Tenor): Bache von gesalznen Zahren 6'21

. Coro: Was betriibst du dich 4'02

Part II: Recitativo: Ach Jesu, meine Duetto (Soprano, Bass): Komm, mein Jesu

9.

10. 11.

Place of publication:

Leipzig _,

Orchestra:

Berliner Philharmoniker

Choir:

Berliner Motettenchor

Research period No: [X

The Works of Johann Sebastian Ba

Series No:

Archive No:

LONG PLAYUN G RECORD. 33/3

FOR YOUR CONVENIENCE IT IS RECOMMENDED TO CUT OUT THE ABOVE INDEX CARD

FROM THE HISTORY OF EUROPEAN MUSIC

as 8.

Aria (Tenor): Coro: Das Dean

born: died: D> x

3/21/1685 on: 7/28/1750 sa

Eisenach Leipzig 5=

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Duration

Erfreue dich, Spele

Cantatas

LIVHDS113S39 NOHAOWWVYS JHISLNIG FHL JO NOISIAIG DISNW 40 AYOISIH - GYV) XIQNI

IX. Research Period: THE WORKS OF JOHANN SEBASTIAN BACH

Series A: Cantatas Series B: Motets Series C: Masses and Magnificat Series D: Passions and Oratorios Series E: Songs and Arias Series F: Organ Works Series G: Keyboard Works Series H: Works for Lute Series I: Chamber Music Series K: Instrumental Concertos Series L: Overtures and Sinfonias Series M: Musical Offering and Art of Fugue

X. Research Period: GEORGE FREDERICK HANDEL

Series A: Orchestral Concertos Series B: Organ Concertos Series C: German Arias Series D: Italian Cantatas and Duets Series E: Chamber Music Series F: Harpsichord Music Series G: Church Music

XI. Research Period: THE GERMAN PRE-CLASSICS (1700—1760)

Series A: Georg Philipp Telemann Series B: At the Court of Frederick the Great Series C: Vocal and Instrumental "Hausmusik" Series D: Orchestral and Chamber Music

in Transition

XII. Research Period:

MANNHEIM AND VIENNA (1760—1800)

Series A: The Mannheim School Series B: Divertimento and Serenade Series C: From the “Galant” to the

“Biedermeier” Series D: Christoph Willibald Gluck Series E: Wolfgang Amadeus Mozart

ARCHIVE PRODUCTION

Hitherto, the inexhaustible musical treasures of the past have only been made available on records to a limited extent. There are various reasons for this, but the two main reasons are that, firstly, early music still appears in concerts much less frequently than classical and modern music, and secondly, the older the music, the more difficult become the problems of its interpretation, For this reason, the Deutsche Grammophon Gesellschaft esta- blished, a few years ago, a History of Music Division, with the aim of making available, both to the specialist and the ordinary music lover, the wide range of “early music" from the beginnings of the Western tradition, circa 700 A. D., to the “pre-classical" period a thou- sand years later.

In contrast to previous undertakings of similar character, it was not the intention of the Deutsche Grammophon Gesellschaft to produce a limited series of examples illustrating the history of music. Without confining the ARCHIVE PRODUCTION to an educational system or a restricted programme, the purpose is to preserve on records complete works from this infinite field, works whose beauty and vitality can still exert an immediate appeal on the music-lover of the present day. In order that these recordings ‘may be carried out at the highest possible levels of musicological | research, artistic and technical achievement, the History of Music Division offers all the works

in their complete authentic form based on the original versions

performed faithfully to the original style using historical instruments

in “living” interpretations by highly qualified specialist performers

in recordings of the highest standard using the latest technical developments.

In order to provide a clear survey of the repertoire, the ARCHIVE PRODUCTION has been divided into twelve “research periods," which correspond to the successive phases of musical history. These periods have again been divided into sections comprising groups of works, types, individual composers, etc.

-IXth Research Period

‘The Works of Johann Sebastian Bach

In the first half of the Eighteenth Century two

great masters (Bach and Handel), sum up the

whole development of European music. Bach,

building on the German organ tradition, repre-

sents the summit of Evangelical church music

with his organ works, Cantatas and Passions. In his chamber music and concertos he developed

the style of the Italians with great skill, and

reanimated the German orchestral suite, in a

few splendid examples. In his music for key-

board instruments Bach absorbed strong French

influence and ranged over a wide field, from

pedagogic works and intimate domestic pieces,

to the supreme wisdom of the Musical Offering _

and the Art of Fugue. Ny

‘Johann Sebastian Bach:

“Ich hatte viel Bekiimmernis”

Cantata for the 3rd Sunday after Trinity,

BWV 21

This most extensive of Bach's church cantatas still poses many problems for the musicologist. The manuscript bears the note, in Bach's own

hand, that the work was performed at Weimar

on the 3rd Sunday after Trinity, the 17th June, 1714. This was a few months after Bach, newly

appointed as leader of the Weimar court musical establishment, had been instructed to perform

every month a cantata of his own composition, and therefore had for the first time an oppor-

tunity to bring to reality his idea of “regularized church music”.

What, however, caused Bach to write so exten-

sive a work, and why did he make use in the

opening chorus of a.theme from Vivaldi’s Con- certo in D minor which he had arranged for

organ a short while before? Was this perhaps a farewell to his young pupil Prince Johann Ernst von Sachsen-Weimar, who, gravely ill, soon

afterwards went to a medicinal spa, and was to die a year later far from Weimar? We do not

know. :

This work was not composed in one piece, but

was put together from earlier fragments (possib-

ly from cantatas) with the addition of some new material written in 1714. The oldest parts are

probably the massive choral sections on the psalmist's words “Ich hatte viel Bekiimmernis”

(Ps. 94, 19), and “Was betriibst du dich” (Ps. 42, 6), together with “Das Lamm, das erwiirget ist” (5, 12—13), taken from another work. All these

movements have in common the affectionate

emphasis on certain words of the text which leads, in the manner of the early baroque motet, to-.a succession of short sections, the whole con-

cluded by a large-scale fugue rather than each piece being followed by a ritornello. The fre-

quent alternation of solo-chorus and tutti-chorus

is also a survival of early baroque practice. The chorus “Sei nun wieder zufrieden” also has about

it a ring of earlier styles, but it may have been

freshly composed in 1714. (The trombones in the second verse were added later for a performance in Leipzig.) The duet “Komm, mein Jesu, und erquicke" also seems to have been taken from another, possibly secular work, while the sin-

fonia, recitatives and ariasdate throughout from 1714, having been composed for the performance already mentioned. The words were by Salomon Franck, an administrative official and favourite

librettist of cantatas for the Weimar court. The

solo parts appear to have been conceived origin-

ally for soprano and bass (the traditional setting for dialogues between the soul and Jesus), later

the soprano was replaced by the tenor; the now customary division of the solo music between soprano, tenor and bass follows the scheme

adopted at a performance in Leipzig.

The work's unusual history may have been re- sponsible for the fact that Bach termed it “per ogni Tempo“ — for any period of the church year. In its final form, however, it is clearly

intended for use on the 3rd Sunday after Trinity, reflecting as it does on the Epistle for that day: “Casting all your care upon Him, for He hath care of you” (1. Peter 5, 7).

Alfred Diirr

Erster Teil

Coro: “Ich hatte viel Bekiimmernis in meinem Herzen; aber deine Tréstungen erquicken meine Seele.”

Aria:

Seufzer, Tranen, Kummer, Not, Angstliches Sehnen, Furcht und Tod Nagen mein beklemmtes Herz, Ich empfinde Jammer, Schmerz.

Recitativo: Wie hast du dich, mein Gott, in meiner Not, in meiner Furcht und Zagen denn ganz von mir gewandt? Ach! kennst du nicht dein Kind? Ach! hérst du nicht das Klagen von denen, die dir sind mit Bund und Treu verwandt? Du warest meine Lust und bist mir grausam worden; ich suche dich an allen Orten, ich ruf, ich schrei dir nach, — allein mein Weh und Ach! scheint jetzt, als sei es dir ganz unbewuBt.

Aria: Bache von gesalznen Zahren, Fluten rauschen stets einher. Sturm und Wellen mich versehren, Und dies triibsalvolle Meer Will mir Geist und Leben schwachen, Mast und Anker wollen brechen, Hier versink ich in den Grund, Dort seh in der Hélle Schlund.

Cox} "Was betriibst du dich, meine Seele, und bist so unruhig in mir? Harre auf Gott; denn ich werde ihm noch danken, da er meines Angesichts Hilfe und mein Gott ist.”

Zweiter Teil

Recitativo: (Die Seele): ‘ Ach Jesu, meine Ruh, mein Licht, wo bleibest du? (Jesus): O Seele sieh! Ich bin bei dir. (Die Seele): Bei mir? hier ist ja lauter Nacht. (Jesus): ; Ich bin dein treuer Freund, der auch im Dunkeln wacht, wo lauter Schalken seind. (Die Seele): : Brich doch mit deinem Glanz und Licht des Trostes ein. (Jesus): F : ; < Die Stunde kommet schon, da deines Kampfes Kron dir wird ein stifes Labsal sein.

Duetto: (Die Seele): Komm, mein Jesu, und erquicke Und erfreu mit deinem Blicke Diese Seele. Die soll sterben Und nicht leben | Und in ihrer Ungliickshéhle - Ganz verderben. A Ich muB stets in Kummer schweben, Ja, ach ja, ich bin verloren! Nein, ach nein, du hassest mich! Ach Jesu, durchsiiBe mir Seele und Herze! Komm, mein Jesu, und erquicke Mich mit deinem Gnadenblickel (Jesus): Ja, ich komme und erquicke Dich mit meinem Gnadenblicke Deine Seele, Die soll leben Und nicht sterben, Hier aus dieser Wundenhoéhle Sollst du erben Heil durch diesen Saft der Reben, Nein, ach nein, du bist erkoren! Ja, ach ja, ich liebe dich! Entweichet, ihr Sorgen, verschwinde, du Schmerze! Ja, ich komme und erquicke Dich mit meinem Gnadenblicke.

Cone: “Sei nun wieder zufrieden, meine Seele, denn der Herr tut dir Guts."

Was helfen uns die schweren Sorgen, Was hilft uns unser Weh und Ach? Was hilft es, daB wir alle Morgen beseufzen unser Ungemach? Wir machen unser Kreuz und Leid Nur gr6Ber durch die Traurigkeit.

Denk nicht in deiner Drangsalshitze, DaB du von Gott verlassen seist, Und daB Gott der im SchoBe sitze, Der sich mit stetem Gliicke speist. Die folgend Zeit verandert viel Und setzet jeglichem sein Ziel.

Aria:

Erfreue dich, Seele, erfreue dich, Herze Entweiche nun, Kummer, verschwinde, du Schmerze. Verwandle dich, Weinen, in lauteren Wein, Es wird nun mein Achzen ein Jauchzen mir sein! Es brennet und flammet die reineste Kerze Der Liebe, des Trostes in Seele und Brust, Weil Jesus mich tréstet mit himmlischer Lust.

Coro:

“Das Lamm, das erwiirget ist, ist wiirdig zu nehmen Kraft und Reichtum und Weisheit und Starke und Ehre und Preis und Lob. Lob und Ehre und Preis und Gewalt sei unserem Gott von Ewigkeit zu Ewigkeit. Amen, Alleluja!”

Part I

Coro: “Lord my God, my heart and soul were sore distrest, my spirit troubled; but Lord, by Thy comforting my spirit is delighted.”

Aria: Sighing, weeping, sorrow, care, anxious yearning, fear of death, nag and gnaw my aching heart, tear my troubled soul part.

Recitativo:

Why hast Thou then, my God, in this my need, my fear and trepidation thus quite forsaken me? Ah, knowest not Thy child? Ah, hearest not the voices of those who fast:are bound in Faith and Truth to Thee! For Thou wast all my joy, but now hast turned against me! In ev'ry place I vainly seek Thee. I call, I cry to Thee — alone, my grief and woe are sore, if I am loved by Thee no more.

Aria: From my eyes salt tears are flowing, streaming ceaseless ever forth. Angry billows overwhelm me, and this troubleladened sea will engulf my feeble spirit, cast adrift without a rudder, sail or anchor. Weighed with more than I can bear, down I sink in stark despair.

Como “What doth trouble thee, o my spirit? Why art thou so restive in me? Hope thou in God, I will praise His Name evermore, He it is that doth uphold me, He my God, my Lord God.”

Part II

Recitativo: (Soul): Ah, Jesus, my repose, my Light, where art Thou now? (Jesus): But look, O soul: for I am here. (Soul): Thou here? here all is utter dark. (Jesus): I am thy faithful friend, thruout the night I watch, to keep thee safe from harm. (Soul): Shine forth, with brightest ray, to light me on my way. (Jesus): The hour is at hand, when all thy struggle done, thy crown of peace and rest is won.

Duetto: (Soul): Come, my Jesus and restore me, shed Thy grace and gladness o'er me. This my spirit soon will perish, soon will perish, In the vale of sorrow would the Fiend enslave me. I must drink the Cup of Sadness. Yea, ah yea, Thou wilt reject me, Nay, ah nay, Thou hatest me. - Lord Jesus, Thou bringest me joy and salvation, Come, my Jesus and restore me shed Thy grace and gladness o’er me. (Jesus): Yea, I come and will restore thee, shed My grace and gladness o’er thee. Nay, thy spirit I will cherish, I will cherish, from the Vale of Sorrow I thy Saviour save thee. Nay, I bring the wine of gladness . Nay, ah nay, I will protect thee, Yea, ah yea, I care for thee. Soon thou for thy sorrow wilt find consolation. Yea, I come and will restore thee, shed My grace and gladness o’er thee.

Caro}: »Come again and be rested, O my spirit, for the Lord doth thee bless.‘

How profitless our bitter sorrow, How useless all our woe and pain, what do we gain each dreary morrow when we bewail our lot again? We make our care and our distress the greater by our bitterness

Think not, when hot affliction presses, that God has then forgotten thee, that he whom hunger ne’er distresses, may live from troubles wholly free In God's good time will be disclosed how each one’s lot will be disposed.

Aria:

Rejoice O my spirit, rejoice in thy gladness, begone all ye sorrows, away with all sadness. Thy waters of weeping are turned into wine, give thanks unto God for the joy that is thine! For love in my heart like a candle is burning, it glows with a flame that is steady and clear, in joy or in sadness my comfort and cheer. ©

Coro: “The Lamb that was sacrificed is worthy to have all might and riches, and wisdom, and power, and honor, and glory, and praise. Praise and glory and might unto God for ever and for ever to Eternity. Amen, Allelujal*

Translation by Henry S. Drinker. By kind permission of H. S. Drinker Library, Westminster Choir School of Princeton, N. J.