On the 2nd March 1714 Bach, who until then had been employed as a chamber musician and organist at he Court of Duke Wilhelm Ernst in Weimar, was promoted to the position of concert master, and was instructed to relieve the ailing Kapellmeister Johann Samuel Drese by composing and performing “new pieces monthly” for the church. Following the cantata Himmelskönig, sei willkommen (King of Heaven, ever welcome) BWV 182, the present cantate was the second work which Bach composed under the terms of his new contract. The extraordinary musical ambition evident in the first Weimar cantatas may have had its roots in the fact htat Bach aspired to become Drese's successor as Court Kapellmeister.
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- Weeping, crying, sorrow, sighing
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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 Coro Weeping, crying,
sorrow, sighing,
pain and woe
vex the Christian here below,
and the sign of Christ they carry. 3 Recitativo (Solo A) Through paths of tribulation we mortals enter God's kingdom. 4 Aria (Solo A) Cross and crown are faith's foundation;
peace and battle are as one,
Christians must endure privation,
and their pain is never done;
Christ's wounds are their consolation. 5 Aria (Solo B) With Jesus I will go,
and let Him never leave me,
through life, in joy and woe,
until the grave receive me.
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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 Coro Weinen, Klagen,
Sorgen, Zagen,
Angst und Not
sind der Christen Tränenbrot,
die das Zeichen Jesu tragen. 3 Recitativo (Solo A) Wir müssen durch viel Trübsal in das Reich Gottes eingehen. 4 Aria (Solo A) Kreuz und Krone sind verbunden,
Kampf und Kleinod sind vereint.
Christen haben alle Stunden
ihre Qual und ihren Feind,
doch ihr Trost sind Christi Wunden. 5 Aria (Solo B) Ich folge Christo nach,
von ihm will ich nicht lassen
im Wohl und Ungemach,
im Leben und Erblassen.
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Abridged foreword of the Edition Carus 31.012
Ulrich Leisinger
Translation: John CoombsOn the 2nd March 1714 Johann Sebastian Bach, who until then had been employed as a chamber musician and organist at the Court of Duke Wilhelm Ernst in Weimar, was promoted to the position of concert master, and was instructed to relieve the ailing Kapellmeister Johann Samuel Drese by composing and performing “new pieces monthly” for the church. Following the cantata Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, the present cantata Weinen, Klagen, Sorgen Zagen, BWV 12, for use on the 3rd Sunday after Easter, was the second work which Bach composed under the terms of his new contract. The extraordinary musical ambition evident in the first Weimar cantatas may have had its roots in the fact that Bach aspired to become Drese’s successor as Court Kapellmeister.
The text of this cantata develops the basic ideas of the Gospel for the Sunday in question, St. John 16, 16–23 (“Ye shall weep and lament, but the world shall rejoice: and ye shall be sorrowful, but your sorrow shall be turned into joy”). The text is believed to
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Gekürztes Vorwort der Ausgabe Carus 31.012
Ulrich Leisinger
Am 2. März 1714 wurde Johann Sebastian Bach, der bis dahin als Kammermusikus und Organist am Hofe des Herzogs Wilhelm Ernst in Weimar gewirkt hatte, zum Konzertmeister befördert und erhielt den Auftrag, zur Entlastung des kränkelnden Kapellmeisters Johann Samuel Drese „monatlich neüe Stücke“ für die Kirche zu komponieren und aufzuführen. Nach der Kantate Himmelskönig, sei willkommen BWV 182 zum Sonntag Palmarum ist die hier vorliegende Kantate Weinen, Klagen, Sorgen, Zagen BWV 12 zum Sonntag Jubilate das zweite Werk, das Johann Sebastian Bach in seinem neuen Amt schuf. Die außerordentlichen musikalischen Ambitionen der ersten Weimarer Kantaten mögen nicht zuletzt darin begründet sein, dass sich Bach Hoffnungen auf die Nachfolge Dreses als Hofkapellmeister machte.
Als Dichter des Textes, der den Kerngedanken des Sonntagsevangelium aus Joh. 16,16–23 („Ihr werdet weinen und heulen, aber die Welt wird sich freuen. Ihr werdet traurig sein, doch eure Traurigkeit soll in Freude verwandelt werden“) entwickelt, gilt der Weimarer Hofprediger Salomo Franck. Der Eingangschor paraphrasiert das Bibelwort, das durch den Vers „Wir müssen durch viel
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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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Editor
Ulrich Leisinger
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Songwriter / Librettist
Salomon Franck
| 1659-1725
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Translator
Henry Drinker
Reviews
Bach, Johann Sebastian: „Weinen, Klagen, Sorgen, Zagen”, BWV 12
Bach, Johann Sebastian: „Weinen, Klagen, Sorgen, Zagen”
Hier liegt die Partitur der neuen Carus-Ausgabe der Kantate vor, die schon ehedem Franz Liszt zu einem seiner bedeutendsten Orgelwerke anregte. Im interessanten Vorwort erfährt man einiges über Historie, Text, Musik und frühere Ausgaben. Dass Carus in jeder Beziehung vorbildlich gearbeitet hat, bedarf ja fast keiner Erwähnung mehr. Musik und Ausgabe: Sehr empfehlenswert !!!
Stefan Burs
Quelle: Musik im Bistum Essen 1/1998, S. 37
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