CCXIII. BACH, J.S.: Cantata #103: Ihr werdet weinen und heulen, BWV 103

CCXIII. BACH, J.S. (1685-1750)

Cantata #103: Ihr werdet weinen und heulen, BWV 103 (1725)
1. [Coro -- Arioso] (Basso)
2. Recitativo (Tenore)
3. Aria (Alto)
4. Recitativo (Alto)
5. Aria (Tenore)
6. Choral (Coro)
J.S. Bach Foundation
Rudolf Lutz, cond.
(19:08)

For whatever reason, Bach was searching for a new librettist, and found the rare female poet/writer Christiana Mariana von Ziegler.

1. [Coro-Arioso] (Basso)

Freed from the stricture of using an established chorale tune, Bach goes a little wild in this imaginative opening chorus. Let's look at the text:

**

Ihr werdet weinen und heulen, aber die Welt wird sich freuen. Ihr aber werdet traurig sein. Doch eure Traurigkeit soll in Freude verkehret werden.

Ye shall be weeping and wailing, yet shall the world be rejoicing; and tho' ye shall be sorrowful, Yet shall your sorrow turn into gladness, to joy and gladness.

**

The first thing one notices is the top line -- a piccolo, or in the case of this particular recording, a sopranino recorder.

Secondly, most of the cantata is the minor key of B Minor. Weeping and wailing.

Third, is the three-note motif first heard in the oboes:

and fourth, a fugal episode beginning with three repeated 1/4-notes, introduced by the tenors followed by the altos, soprani and basses:

After much rich contrapuntal working out, Bach takes those three 1/4-notes and marches down the harmonic ladder:

pauses everything for the bass arioso:

and then returns to the previous tempo with the fugue:

2. Recitativo (Tenore)

The usual boring recitative is enlivened by the always important melisma -- on the word Schmerzen (sorrow).

3. Aria (Alto)

Physician none I find to cure me / Thou' search I thru all Gilead / No remedy to sooth my fever / No balm for sin is to be had / With Thee away, I surely perish / Ah, pity me, Thine anger spare! / Thou seekest not for my destruction / So help Thou me, and hear my pray'r.

The aria -- in F-Sharp Minor -- never moves to major; but the piccolo/recorder continues to inject a high-pitched feeling of hope.

4. Recitativo (Alto)

And again, we have an important melisma -- on the word Freude (happiness/delight):

5. Aria (Tenore)

Finally, Bach gives us D Major! And a trumpet!

But note the "blues" note -- an F-Natural -- first in the trumpet and then in the tenor on the word betrübe (troubled/sorrowful):

6. Choral (Coro)

Tho' I be gone a little time / My children, you may treasure / The hope of happiness sublime / And bliss beyond all measure / I send relief from troubles brief / By which you are surrounded / And on your head will rest instead / The Crown of joy unbounded

The cantata ends on a note of joy and hope. Bach used this melody often, including in the St. Matthew Passion (see Post I):