Lord my God, my heart and soul were sore distressed
Cantata for the 3rd Sunday after Trinity and for all occasions BWV 21 (BWV3 21.1-3), 1713
The edition allows for the performance of this cantate in the various forms which Bach himself used. The solo parts for high voice are always allotted primarily to the voice specified by Bach in Leipzig, with the alternative authorized by the Weimar and Cöthen parts placed afterwards in brackets.
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)1 Sinfonia 2 ChorusLord my God: my heart and soul were sore distressed,
3 Aria (Soprano o Tenore)
my spirit troubled;
but Lord, by thy comforting my spirit is delighted.Sighing, weeping, sorrow, grief,
4 Recitativo (Tenore o Soprano)
sighing, weeping, anxious yearning,
fear and death, nag and gnaw my aching heart,
tear my troubled soul apart.Why hast thou, Lord my God, in this my need,
my fear and trepidation, thus so forsaken me?
Ah! Know’st thou not thy child?
Ah! Hear’st thou not the wailing
of those whose hearts ar 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;...
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)1 Sinfonia 2 Chorus
Ich hatte viel Bekümmernis in meinem Herzen;
3 Aria (Soprano o Tenore)
aber deine Tröstungen erquicken meine Seele.Seufzer, Tränen, Kummer, Not,
4 Recitativo (Tenore o Soprano)
Seufzer Tränen, ängstlichs Sehnen,
Furcht und Tod
nagen mein beklemmtes Herz,
ich empfinde Jammer, Schmerz.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! hörst du nicht das Klagen
von denen, die dir sind
mit Bund und Treu verwandt?
Du warest meine Lust...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Foreword of the Edition Carus 31.021/03
Klaus Hofmann
Translation: John Coombs / David KosvinerThe cantata Ich hatte viel Bekümmernis, BWV 21, has won the l asting appreciation of music lovers during nearly a century and a half since its publication, edited by Wilhelm Rust, in Volume 5/1 of the Complete Edition of the Bach-Gesellschaft (1855). At the same time it has posed various problems for musicologists. The work survived in the form of a set of 28 original vocal and instrumental parts kept at the Staatsbibliothek in Berlin; there is no score. That set of parts, not quite complete, had been used for at least three performances, one each during the periods which Bach spent at Weimar, Cöthen and Leipzig, and each performance was marked by particular circumstances: at Weimar there was no solo soprano, the solos for a high voice (movements Nos. 3–5, 7–8, 10) all being allotted to the tenor. The key was C minor chamber pitch. At the performance given during Bach’s years at Cöthen, too, there were only two solo singers, but on that occasion a soprano replaced the tenor. In this instance the tonality was D minor chamber pitch. For the Leipzig performance Bach divided the high solo parts between soprano (movements Nos. 3,
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Vorwort der Ausgabe Carus 31.021/03
Klaus Hofmann
Die Kantate Ich hatte viel Bekümmernis BWV 21 hat in den bald anderthalb Jahrhunderten seit ihrer Veröffentlichung durch Wilhelm Rust in Band 5/1 der Gesamtausgabe der Bach-Gesellschaft (1855) die anhaltende Wertschätzung von Kennern und Liebhabern auf sich gezogen, zugleich aber auch der Forschung manches Rätsel aufgegeben. Das Werk ist in einem Konvolut von 28 Originalstimmen unter den Beständen der Staatsbibliothek zu Berlin überliefert; eine Partitur ist nicht erhalten. Das nicht ganz vollständige Stimmenmaterial stammt von mindestens drei Aufführungen, nämlich je einer in Bachs Weimarer, Köthner und Leipziger Zeit, und spiegelt je spezielle Umstände: Die Weimarer Aufführung erfolgte ohne Beteiligung eines Solosoprans; die Solopartien für hohe Stimme (Satz 3–5, 7–8, 10) waren sämtlich dem Tenor zugeteilt. Die Tonart war Kammerton c-Moll. Bei der Aufführung der Köthner Zeit waren ebenfalls nur zwei Vokalsolisten beschäftigt, allerdings trat nun ein Sopran an die Stelle des Tenors. Die Tonart war diesmal Kammerton d-Moll. Für die Leipziger Aufführung verteilte Bach die hohen Solopartien auf Sopran (Satz 3, 7, 8) und Tenor (Satz 4, 5, 10), richtete die
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Composer
Johann Sebastian Bach
| 1685-1750Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.
Bach vocal
Ever since Carus-Verlag was founded in 1972, publishing the music of Johann Sebastian Bach has been a special focus for us. In the 2017 Reformation anniversary year we completed the Bach vocal project. Bach's complete sacred vocal works are now available in modern Urtext editions, together with performance material. A complete edition of all the full scores is also available in a high quality box set. Personal details
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Translator
Henry Drinker
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