Bach Choir of Bethlehem

Cantata BWV 21, Ich hatte viel Bekümmerniss Continued

The first chorus has a two-part structure with a brief introduction. The introduction is a mere three chords, on which the choir states three times "Ich." Following this is the first fugue of the cantata, a slowly moving fugue in which the choir states "Ich hatte viel Bekümmernis" numerous times. A single adagio measure ends the suffering with the word "aber" (but), and the second portion of music begins. This is not a fugue, although there is a good deal of imitative writing. This quick-tempo second half focuses not on the people’s suffering, but rather on finding comfort from the Lord. Despite maintaining the minor mode, this portion of the movement definitely sounds more hopeful, thanks in large part to the quicker tempo and some very long melismas (which give it spirit).

The third number, an aria for solo soprano with oboe and continuo, is a trio sonata in texture (two melodic lines with continuo accompaniment). Set in c minor and a lilting 12/8 meter, the opening line speaks volumes in terms of the affect: "Seufzer, Tränen, Kummer, Not" (Sigh, tears, grief, need). The lamenting feeling is further reinforced through the use of numerous non-chord tones, especially falling appoggiaturas, suspensions, Because, as Mattheson points out (Chafe, p. 53), the movement has no contrasting B section (that is, it is not a da capo aria), we never leave the lamenting feeling behind.

Chafe finds the fourth number (a tenor recitative) important because it is, in his opinion, the only moment in which "the believer voices feelings of isolation from and rejection by God" (p. 53). The agony of the believer is portrayed appropriately by Bach in the minor key, chromatic twists, weak cadences, and generally unsettled feeling. The suffering of the soul reaches its low point with the subsequent aria (#5), set in F minor; with four flats in the key, this is the lowest point harmonically. Most notable here is the middle section, where the tenor sings "Sturm und Wellen mich versehren" (storms and waves overwhelm me); here, the music becomes immediately faster, and the tenor turns to singing a repeating undulating passage:

The next chorus presents a series of surprises. Bach begins the movement with a solo quartet (accompanied by continuo); their singing lasts only four measures, at which point the full choir enters. The choir’s music is parallel, though not identical, jumping immediately to A-flat major instead of remaining in f minor as the soloists had done. An additional surprise occurs with a phrase extension of two majors, ruining the parallel structure. The choir then turns away from this homophonic, chorale-type setting, and begins a rapid fugal passage (not a complete fugue) which moving through two full diatonic circles of fifths, one chord at a time, beginning in m. 11 (where the fugue starts). This imitative passage comes to an abrupt end in m. 26 with a rhythmic unison statement "in mir?" (in me). Another fugal passage emerges, this one adagio and relatively short. The solo quartet returns again with another fugue, which, after an instrumental bridge, is repeated by the full choir. This second fugue is linked to the opening movement through the use of repeated notes in the theme. The chordal movement by fifths and changing textures create a sense of unrest, which is a fitting closing to the first half of a cantata which began with the words "Ich hatte viel Bekümmernis."

The second part of the cantata is "the believer’s coming under the influence of Trost, the ‘point at which faith and experience intersect,’ love, which gives confidence to faith, and joy, the ‘feeing quality’ of faith" (Chafer, p. 56). As we have seen in the famous Cantata 140 (Wachet auf), Bach here employs a dialogue between Jesus Christ (bass) and the soul (soprano). It is tempting to point out the move to E-flat major as another Trinity reference; in the very least, the E-flat key for both the recitative and duet stands apart from the other movements of the cantata. It is, therefore, a real turning point in the cantata. It is also both a duet, because two solo voices join for this movement, and a trio sonata in terms of texture, because the two melodic parts (soprano and bass) are accompanied by the continuo alone, without other instrumental support. Finally, the movement is divided into three sections, according to tempo and meter: a moderate 4/4, quick 3/8, and another moderate 4/4. Thus, there is a constant emphasis on threes (three flats in the key, three formal sections, three parts in the score, and a section of triple meter.)

The ninth movement, "Sei nun wieder zufrieden meine Seele," is the only minor-mode piece in the second half, and in that sense the movement looks back to the beginning of the cantata. It is large fugue based on the chorale "Wer nur den lieben Gott lässt walten" (Georg Neumark). The fugue is written in solo soprano, solo alto, and solo bass vocal lines, while the chorale tune remains the sole property of the choral tenors. The choral altos, tenors, and basses (the choral sopranos now have the chorale melody) take over the fugue for the final half of the movement, at which point Bach inverts fugue subject from a descending line to an ascending one. We get the sense at this point that the music is now looking forward more than backward, and in using ascending lines, Bach is reaching towards heaven. (The example below shows the original subject and its inversion together below for convenience’s sake.)

The final movement, begins with a stately, homophonic choral introduction. The return to C major and addition of trumpets and drums make for a majestic start. The three trumpets, along with numerous melodic triadic figures, suggests the Trinity, as is common in Bach’s works. Chafe also speculates that there are other numerological things going on in this cantata, and in this movement in particular, especially in the fugue which follows. In particular, there are numerous groupings in seven (both in ascending/descending triadic figures and in the phrasing), which represents heaven or eternal life (p. 68). The joy of this final movement reinforces the idea of heaven–the ultimate source of joy for all Christians–after the somber opening movement focused on mankind’s suffering.

With the start of the text "Lob und Ehre und Preis und Gewalt," a permutation fugue begins. A permutation fugue occurs when the subject is followed by one or more countersubjects which are treated canonically, with some freedom. This varies from a standard fugue in which the subject is the main recurring material; countersubjects, when present, are not treated so strictly in imitation. The musical example below shows the opening measures of the fugue in the vocal bassline. Initially, the fugue is introduced by SATB soloists, rather than the choral voices. The fugue subject is marked in red, while the countersubject (which begins immediately–and simultaneous with the tenor entrance) is marked by green.

The tenor solo enters as the bass reaches the end of "Ewigkeit." I used to use this second statement of the subject as a good example of a tonal answer in a fugue. A tonal answer sounds similar to the original subject, but individual intervals are changed to allow. I’ve marked these changed intervals with orange, in the example below.

We aren’t really aware that the change has taken place, but if Bach used a real answer, one in which all the intervals were identical to the original statement–even if the starting note is transposed–the result would be dramatically different:

Instead of returning to C major at the end of the second statement, we would continue further away from the original tonic, landing instead in D major.

Beyond the fugal exposition, there are numerous other obvious imitative snippets once the choral parts come in. There is a double exposition of the fugue in this movement, with the subject introduced in each of the four solo voices (BTAS) before entering in each of the choral voices (same order). The solo voices do not continue independently once the full choir has entered.

I’ve told you what to listen for in terms of music theory and form. This final movement has elicited great praise from Bach scholars, who can give you a better sense of the drama of the movement:

"The concluding chorus is a veritable coup de thêatre. In a dazzling declamatory outburst Bach suffuses his canvas in a radiance of colour, unleashing three trumpets and timpani for their first and only appearance in the cantata. This hymn of praise is in the form of a prelude and fugue whose jubilant, even heroic character brings one of Bach’s most powerful cantatas to a resonant concluding ‘Alleluia!’" (Nicholas Anderson, "Ich hatte viel Bekümmernis" in Oxford Composer Companions: Bach [New York: Oxford University Press, 1999], 232.)

Then comes a beautiful oboe-accompanied aria for soprano and then, what is for me the emotional heart of the cantata, the aria Bäche von gesalzen Zähren,. I can only describe the empty, hopeless loneliness conveyed by this aria by comparing its emotional effect to Barber's Agnus Dei. Another big choral interlude introduces hope: Why do you mourn my soul.....Trust in God and a recitative followed by a duet (in which an emotional turning point seems to be signalled by a change to triple time) between the soul and Jesus introduces the ideas of the Gospel reading. The outstanding chorus Sei nun wieder zufrieden that follows is worthy of special mention. Its chorale prelude form with soloists weaving in triple meter around wer nun den lieben Gott lüsst walten, contains writing of astonishing accomplishment.

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