View source for Ich hatte viel Bekümmernis, BWV 21

{{Short description|Church cantata by Johann Sebastian Bach}}
{{good article}}
{{Infobox Bach composition
| name                = {{lang|de|Ich hatte viel Bekümmernis}}
| bwv                 = 21
| type                = [[Church cantata (Bach)|Church cantata]]
| image               = Schlosskirche Weimar 1660.jpg
| caption             = The [[Schlosskirche, Weimar|''Schlosskirche'' in Weimar]]
| occasion            = {{plainlist|
* Third Sunday after [[Trinity Sunday|Trinity]]
* any time
}}
| performed           = {{Timeline-event|date={{Start date|1714|06|17|df=y}}|location=[[Weimar]]}}
| movements           = 11 in two parts (6 + 5)
| text_poet           = Likely [[Salomon Franck]]
| bible               = {{plainlist|
* {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=94|verse=19}}
* {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=42|verse=11}}
* {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=116|verse=7}}
* {{Sourcetext|source=Bible|version=King James|book=Revelation|chapter=5|verse=12|range=–13}}
}}
| chorale             = by [[Georg Neumark]]
| vocal               = {{plainlist|
* [[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]] choir
* Solo: soprano, tenor, bass
}}
| instrumental        = {{hlist | 3 trumpets | timpani | 4 trombones | oboe | bassoon | 2 violins | viola | continuo }}
}}
[[Johann Sebastian Bach]] composed the [[church cantata]] '''{{lang|de|Ich hatte viel Bekümmernis}}''' (I had much grief),<ref name="Dürr" /> '''{{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}21''' in [[Weimar]], possibly in 1713, partly even earlier. He used it in 1714 and later for the third Sunday after [[Trinity Sunday|Trinity]] of the [[liturgical year]]. The work marks a transition between [[motet]] style on biblical and hymn text to operatic [[recitative]]s and [[aria]]s on contemporary poetry. Bach catalogued the work as {{lang|it|e per ogni tempo}} (and for all times), indicating that due to its general theme, the cantata is suited for any occasion.
The text is probably written by the court poet [[Salomon Franck]], who includes four biblical quotations from three [[psalms]] and from the [[Book of Revelation]], and juxtaposes in one [[Movement (music)|movement]] biblical text with two [[stanza]]s from [[Georg Neumark]]'s [[hymn]] "[[Wer nur den lieben Gott lässt walten]]". The cantata is structured in eleven movements, including an opening [[sinfonia]]. It is divided in two parts to be performed before and after the sermon, and scored for three vocal soloists (soprano, tenor, and bass), a [[SATB|four-part choir]], and a [[Baroque instruments|Baroque instrumental]] ensemble of three trumpets, timpani, oboe, strings and continuo.
Bach led a performance in the court chapel of [[Schloss Weimar]] on 17 June 1714, known as the Weimar version. He revised the work for performances, possibly in [[Hamburg]] and several revivals in [[Leipzig]], adding for the first Leipzig version four [[trombone]]s playing [[colla parte]].
{{TOC limit|3}}
== History and words ==
{{for|details on Bach's promotion|Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172#Background}}
{{for|the series of monthly cantatas|O heilges Geist- und Wasserbad, BWV 165 #Monthly cantatas from 1714 to 1715}}
Bach composed the cantata in [[Weimar]], but the composition history is complicated and not at all stages certain.<ref name="Dürr" /><ref name="Gardiner" /> Findings by [[Martin Petzoldt]] suggest that the cantata began with the later [[Movement (music)|movement]]s 2–6 and 9–10, most of them on biblical text, performed at a memorial service of Aemilia Maria Haress, the wife of a former prime-minister of [[Schwarzburg-Rudolstadt]], at the church [[St. Peter und Paul, Weimar|St. Peter und Paul]] in Weimar on 8 October 1713.<ref name="Hofmann" /> Bach may then have expanded it and presented it for his application in December 1713 at the [[Marktkirche Unser Lieben Frauen|Liebfrauenkirche in Halle]]. The performance material of this event, the only surviving source, shows on the title page the designation {{lang|it|e per ogni tempo}}, indicating that the cantata with its general readings and texts is suitable for any occasion.<ref name="Dürr" /><ref name="Gardiner" />
Bach designated the cantata to the [[List of church cantatas by liturgical occasion#Third Sunday after Trinity (Trinity III)|Third Sunday after Trinity]] of 1714. The prescribed readings for the Sunday were from the [[First Epistle of Peter]], "Cast thy burden upon the Lord" ({{Sourcetext|source=Bible|version=King James|book=1 Peter|chapter=5|verse=6|range=–11}}), and from the [[Gospel of Luke]], the [[parable of the Lost Sheep]] and the [[parable of the Lost Coin]] ({{Sourcetext|source=Bible|version=King James|book=Luke|chapter=15|verse=1|range=–10}}). The librettist was probably the court poet [[Salomon Franck]], as in most cantatas of the period, such as {{lang|de|[[Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172|''Erschallet, ihr Lieder, erklinget, ihr Saiten!'' BWV 172]] |italic=unset}}. The text shows little connection to the prescribed gospel, but is related to the epistle reading. The poet included biblical texts for four movements: for movement 2 {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=94|verse=19}}, for movement 6 {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=42|verse=11}}, translated in the [[King James Version]] (KJV) to "Why art thou cast down, O my soul? and why art thou disquieted in me? hope thou in God: for I shall yet praise him for the help of his countenance.", for movement 9 {{Sourcetext|source=Bible|version=King James|book=Psalms|chapter=116|verse=7}} (KJV: "Return unto thy rest, O my soul; for the Lord hath dealt bountifully with thee."),<ref name="Dürr" /><ref name="Dürr-de" /> and for movement 11 {{Sourcetext|source=Bible|version=King James|book=Revelation|chapter=5|verse=12|range=–13}}, "Worthy is the Lamb", the text also chosen to conclude Handel's ''[[Messiah Part III#Scene 4|Messiah]]''.<ref name="Gardiner" /> Similar to other cantatas of that time, ideas are expressed in dialogue: in movements 7 and 8 the soprano portrays the {{lang|de|Seele}} (Soul), while the part of Jesus is sung by the bass as the {{lang|la|[[vox Christi]]}} (voice of Christ).<ref name="Dürr" /> Only movement 9 uses text from a [[hymn]], juxtaposing the biblical text with [[stanza]]s 2 and 5 of "{{lang|de|[[Wer nur den lieben Gott lässt walten]]|italic=no}}" by [[Georg Neumark]],<ref name="chorale text" /> who published it with his own melody in [[Jena]] in 1657 in the collection {{lang|de|Fortgepflantzter Musikalisch-Poetischer Lustwald}}.<ref name="chorale melody" />
Bach performed the cantata in the court chapel of [[Schloss Weimar]] on 17 June 1714, as his fourth work in a series of monthly cantatas for the Weimar court which came with his promotion to {{lang|de|Konzertmeister}} (concert master) in 1714.<ref name="Dürr" /> The so-called Weimar version, his first composition for an ordinary Sunday in the second half of the [[Church cantata (Bach)|liturgical year]],<ref name="Dürr" /> marked also a farewell to Duke [[Johann Ernst III, Duke of Saxe-Weimar|Johann Ernst]] who began a journey then.<ref name="Hofmann" /> A performance, documented by original parts, could have been in Hamburg to apply for the position as organist at [[St. James' Church, Hamburg|St. Jacobi]] in November 1720, this time in [[D minor]] instead of [[C minor]].<ref name="Gardiner" /> As {{lang|de|[[Thomaskantor]]}} in [[Leipzig]], Bach performed the cantata again on his third Sunday in office on 13 June 1723, as the title page shows. For this performance, now again in C minor, he also changed the instrumentation, adding four [[trombone]]s to double the tutti voices within movement 9. This version was used in several revivals during Bach's lifetime and is mostly played today.<ref name="Dürr" />
== Music ==
=== Scoring and structure ===
Bach structured the cantata in eleven movements in two parts, Part I (movements 1–6) to be performed before the sermon, Part II (7–11) after the sermon. He scored it for three vocal soloists ([[soprano]] (S), [[tenor]] (T) and [[Bass (voice type)|bass]] (B)), a [[SATB|four-part choir SATB]], three [[trumpet]]s (Tr) and  [[timpani]] only in the final movement, four [[trombone]]s (Tb) (only in Movement 9 and only in the 1723 version to double voices in the fifth stanza of the chorale), [[oboe]] (Ob), two [[violin]]s (Vl), [[viola]] (Va), and [[basso continuo]] (Bc), with [[bassoon]] (Fg) and [[Organ (music)|organ]] (Org) explicitly indicated.<ref name="Bischof" /> The duration is given as 44 minutes.<ref name="Dürr" />
In the following table of the movements, the scoring and [[Key (music)|keys]] are given for the version performed in Leipzig in 1723. The keys and [[time signature]]s are taken from [[Alfred Dürr]], using the symbol for common time (4/4).<ref name="Dürr" /> The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.
{{Classical movement header | show_text_source = yes | work = ''Ich hatte viel Bekümmernis'' – Part 1 | instruments1 = Winds | instruments2 = Strings }}
{{Classical movement row
| number = [[#1|1]]
| type = Sinfonia
| text_source =
| instruments1 = Ob
| instruments2 = 2Vl Va
| key = {{nowrap|[[C minor]]}}
| time = {{music|common-time}}
}}
{{Classical movement row
| number = [[#2|2]]
| title = {{lang|de|Ich hatte viel Bekümmernis in meinem Herzen|italic=no}}
| text_source = {{Sourcetext|source=Bible|version=King James|book=Psalm|chapter=94|verse=19}}
| type = Chorus
| vocal = SATB
| instruments1 = Ob Fg
| instruments2 = 2Vl Va
| key = C minor
| time = {{music|common-time}}
}}
{{Classical movement row
| number = [[#3|3]]
| title = {{lang|de|Seufzer, Tränen, Kummer, Not|italic=no}}
| text_source = Likely [[Salomon Franck|Franck]]
| type = Aria
| vocal = S
| instruments1 = Ob
| instruments2 =
| key = C minor
| time = 12/8
}}
{{Classical movement row
| number = [[#4|4]]
| title = {{lang|de|Wie hast du dich, mein Gott|italic=no}}
| text_source = Likely [[Salomon Franck|Franck]]
| type = Recitative
| vocal = T
| instruments1 =
| instruments2 = 2Vl Va
| key =
| time = {{music|common-time}}
}}
{{Classical movement row
| number = [[#5|5]]
| title = {{lang|de|Bäche von gesalznen Zähren|italic=no}}
| text_source = Likely [[Salomon Franck|Franck]]
| type = Aria
| vocal = T
| instruments1 = Fg
| instruments2 = 2Vl Va
| key = [[F minor]]
| time = {{music|common-time}}
}}
{{Classical movement row
| number = [[#6|6]]
| title = {{lang|de|Was betrübst du dich, meine Seele|italic=no}}
| text_source = {{Sourcetext|source=Bible|version=King James|book=Psalm|chapter=42|verse=11}}
| type = Chorus
| vocal = SATB
| instruments1 = Ob Fg
| instruments2 = 2Vl Va
| key = {{plainlist|
* F minor
* C minor
}}
| time = {{plainlist|
* 3/4
* {{music|common-time}}
}}
}}
{{End}}
{{Classical movement header | show_text_source = yes | work = ''Ich hatte viel Bekümmernis'', BWV 21 – Part II | instruments1 = Winds | instruments2 = Strings}}
{{Classical movement row
| number = [[#7|7]]
| title = {{lang|de|Ach Jesu, meine Ruh|italic=no}}
| text_source = Likely [[Salomon Franck|Franck]]
| type = Recitative {{lang|de|Dialogus}}
| vocal = S B
| instruments1 =
| instruments2 = 2Vl Va
| key = {{nowrap|[[E-flat major]]}}
| time = {{music|common-time}}
}}
{{Classical movement row
| number = [[#8|8]]
| title = {{lang|de|Komm, mein Jesu, und erquicke / Ja, ich komme und erquicke|italic=no}}
| type = Aria
| text_source = Likely [[Salomon Franck|Franck]]
| vocal = S B
| instruments1 =
| instruments2 =
| key = E-flat major
| time = {{plainlist|
* {{music|common-time}}
* 3/8
* {{music|common-time}}
}}
}}
{{Classical movement row
| number = [[#9|9]]
| title = {{lang|de|Sei nun wieder zufrieden, meine Seele|italic=no}}
| text_source = {{plainlist|
* {{Sourcetext|source=Bible|version=King James|book=Psalm|chapter=116|verse=7}}
* [[Georg Neumark|Neumark]]
}}
| type = Chorus and Chorale
| vocal = SATB
| instruments1 = Ob 4Tbne Fg
| instruments2 = 2Vl Va
| key = [[G minor]]
| time = {{plainlist|
* 3/4
* {{music|common-time}}
}}
}}
{{Classical movement row
| number = [[#10|10]]
| title = {{lang|de|Erfreue dich, Seele, erfreue dich, Herze|italic=no}}
| text_source = Likely [[Salomon Franck|Franck]]
| type = Aria
| vocal = T
| instruments1 =
| instruments2 =
| key = [[F major]]
| time = 3/8
}}
{{Classical movement row
| number = [[#11|11]]
| title = {{lang|de|Das Lamm, das erwürget ist|italic=no}}
| text_source = {{Sourcetext|source=Bible|version=King James|book=Revelation|chapter=5|verse=12|range=–13}}
| type = Chorus
| vocal = SATB
| instruments1 = 3Tr Timpani Ob Fg
| instruments2 = 2Vl Va
| key = [[C major]]
| time = {{music|common-time}}
}}
{{End}}
=== Movements ===
[[File:John Eliot Gardiner at rehearsal in Wroclaw cropped portrait.jpeg|thumb|upright|alt=conductor John Eliot Gardiner at work in rehearsal, looking to the left|[[John Eliot Gardiner]], who conducted the [[Bach Cantata Pilgrimage]], in 2007]]
The music for this early cantata uses [[motet]] style in the choral movements. [[Bible|Biblical]] words are used in a prominent way. They are treated in choral movements, different from other cantatas of the Weimar period where they were typically composed as recitatives. [[John Eliot Gardiner]], who conducted all of Bach's church cantatas in 2000 as the [[Bach Cantata Pilgrimage]], termed the cantata "one of the most extraordinary and inspired of Bach's vocal works". He notes aspects of the music which are similar to movements in Bach's early cantatas, suggesting that they may have been composed already when Bach moved to Weimar in 1708: the psalm verses resemble movements of cantatas such as {{lang|de|[[Nach dir, Herr, verlanget mich, BWV 150|''Nach dir, Herr, verlanget mich'', BWV 150]] |italic=unset}}, and {{lang|de|[[Aus der Tiefen rufe ich, Herr, zu dir, BWV 131|''Aus der Tiefen rufe ich, Herr, zu dir'', BWV 131]] |italic=unset}}, the dialogue of the Soul and Jesus (movement 8) is reminiscent of the {{lang|de|[[Gottes Zeit ist die allerbeste Zeit, BWV 106|Actus tragicus]]}}, and the hymn in motet style (movement 9) recalls movements 2 and 5 of the [[Chorale cantata (Bach)|chorale cantata]] {{lang|de|[[Christ lag in Todes Banden, BWV 4|''Christ lag in Todes Banden'', BWV 4]] |italic=unset}}.<ref name="Gardiner" />
==== Part I ====
Themes of deep suffering, pain and mourning  dominate the music in the first part of the cantata. Gardiner notes that five of the six movements are "set almost obsessively in C minor".<ref name="Gardiner" />
===== 1 =====
The work is opened by a [[Sinfonia]] similar to the one of the cantata {{lang|de|[[Weinen, Klagen, Sorgen, Zagen, BWV 12|''Weinen, Klagen, Sorgen, Zagen'', BWV 12]] |italic=unset}}, possibly the slow movement of a concerto for oboe and violin. A sighing [[Motif (music)|motif]], the picture of a storm of tears, and the flood image conjured by the upwelling music characterizes the dark and oppressive feeling.<ref name="Mincham" />
===== 2 =====
The first vocal movement is a choral motet on the psalm verse "{{lang|de|Ich hatte viel Bekümmernis in meinem Herzen|italic=no}}" (I had much trouble in my heart).<ref name="Dürr" /><ref name="Dellal" /> The music has two contrasting sections, following the contrast of the psalm verse which continues "{{lang|de|aber deine Tröstungen erquicken meine Seele|italic=no}}" (but your consolations revive my soul).<ref name="Dürr" /> The word "{{lang|de|Ich}}" (I) is repeated several times, followed by a [[Fugue (music)|fugal]] section. A [[Homophony|homophonic]] setting of {{lang|de|aber}} (but) leads to the second section, in free [[polyphony]], marked {{lang|it|Vivace}}. It broadens to {{lang|it|Andante}} for a solemn conclusion.<ref name="Dürr" />
===== 3 =====
The soprano aria "{{lang|de|Seufzer, Tränen, Kummer, Not|italic=no}}" (Sighs, tears, anguish, trouble)<ref name="Dellal" /> is one of the first arias in Italian style in a Bach cantata, accompanied by an [[obbligato]] oboe.<ref name="Wolff" />
==== 4 ====
The tenor sings in accompanied recitative with the strings "{{lang|de|Wie hast du dich, mein Gott|italic=no}}" (What? have You therefore, my God,).<ref name="Dürr" /><ref name="Dellal" />
===== 5 =====
The tenor, accompanied by the strings, intensifies the mood: "{{lang|de|Bäche von gesalznen Zähren|italic=no}}" (Streams of salty tears).<ref name="Dürr" /><ref name="Dellal" />
===== 6 =====
A consoling verse from a psalm is treated as a closing motet of Part I: "{{lang|de|Was betrübst du dich, meine Seele|italic=no}}" (Why do you trouble yourself, my soul).<ref name="Dürr" /><ref name="Dellal" /> Alfred Dürr analyzes in detail how different means of expression follow the text closely, with shifts in tempo and texture, culminating in a "permutation fugue of remarkably logical structure"<ref name="Dürr" />  on the final "{{lang|de|daß er meines Angesichtes Hilfe und mein Gott ist|italic=no}}" (for being the help of my countenance and my God).<ref name="Dürr" />
==== Part II ====
The second part begins in a different mood, through the trust of sinners in the grace of God. In a recitative and an aria, the Soul (soprano) and Jesus (bass as the voice of Christ) enter a dialogue, leading to a final choral movement as a strong hymn of praise.
===== 7 =====
Soprano and bass enter a dialogue in accompanied recitative with the strings. The Soul asks: "{{lang|de|Ach Jesu, meine Ruh, mein Licht, wo bleibest du?|italic=no}}" (Ah, Jesus, my peace, my light, where are You?).<ref name="Dürr" /><ref name="Dellal" /> Dialogue was common in Protestant church music from the 17th century but is especially dramatic here.<ref name="Dürr" />
===== 8 =====
Soprano and bass unite in an ''aria'': "{{lang|de|Komm, mein Jesu, und erquicke / Ja, ich komme und erquicke|italic=no}}" (Come, my Jesus, and revive / Yes, I come and revive),<ref name="Dellal" /> accompanied only by the continuo. It resembles passionate love duets from [[Baroque opera|contemporary opera]].<ref name="Dürr" />
{{Image frame
|content = <score sound="1">
{ \new ChoirStaff <<
\new Staff \with {
instrumentName = "Sop."
}
\relative c''
{ \set Score.tempoHideNote = ##t \tempo 8 = 120 \stemUp \clef treble \key bes \major \time 4/4
r bes8 c16(d32 ees) d8. c16 bes8 aes32(g aes16) |
g8 f16(ees ) r4 r2 |
r4 ees'8 f16(g) c,8. d16 ees8 d16 (ees32 f) |
d8 c16(bes) r4 r2|
r4 ees8 r16 ees ees(d) d8 r4|
r4 des8 r16 des des(c) ees(d) ees8. f16|
d8 c16(bes) s4
}
\addlyrics { Komm, mein Je- su, und er- quic- ke, und er- freu mit dei- nem Blic- ke, komm, mein Je- su, komm, mein Je- su, und er- quic- ke}
\new Staff \with {
instrumentName = "Bass"
}
\relative c {
\clef bass \key bes \major \time 4/4 r1 |
r4 f8 g16(a32 bes32) a8. g16 f8 ees32(d32 ees16) |
d8 c16(bes) r4 r2 |
r4 bes'8 c16(d) g,8. a16 bes8 a16(bes32 c) |
a8 g16(f) r4 r4 aes8 r16 aes |
aes(g) g8 r4 ees8 r16 f g f g aes |
f8 bes, s4
}
\addlyrics {Ja, ich kom- me und er- quic- ke, dich mit mei- nem Gna- den- blic- ke, ja, ich kom- me, ja, ich kom- me und er- quic- ke}
>> }
</score>
|caption = First few bars of the duet, continuo omitted}}
{{-}}
===== 9 =====
[[File:Georg Neumark.jpg|thumb|upright|[[Georg Neumark]], the author of the hymn "{{lang|de|[[Wer nur den lieben Gott lässt walten]]|italic=no}}"]]
In a movement unusual in Bach works, biblical text from a psalm, "{{lang|de|Sei nun wieder zufrieden, meine Seele|italic=no}}" (Be at peace again, my soul),<ref name="Dellal" /> is juxtaposed with two stanzas from [[Georg Neumark]]'s hymn,<ref name="Dürr" /> stanza 2, "{{lang|de|Was helfen uns die schweren Sorgen|italic=no}}" (What good are heavy worries?), and stanza 5, "{{lang|de|Denk nicht in deiner Drangsalshitze|italic=no}}" (Think not, in your heat of despair,) <ref name="Dellal" /> The first hymn stanza is sung by tenors while solo voices render the biblical text. In the second stanza the soprano has the melody and the voices are doubled by a choir of trombones introduced in the Leipzig version of 1723.<ref name="Dürr" />
===== 10 =====
The tenor aria "{{lang|de|Erfreue dich, Seele, erfreue dich, Herze|italic=no}}" (Rejoice, soul, rejoice, heart)<ref name="Dellal" /> is accompanied only by the continuo. Dürr describes the mood as "spirited, excited abandon".<ref name="Dürr" />
===== 11 =====
The concluding movement is a motet on a quotation from Revelation, "{{lang|de|Das Lamm, das erwürget ist|italic=no}}" (The Lamb, that was slain).<ref name="Dellal" /> Three trumpets and timpani appear only in this triumphant movements of praise. It begins in homophony and expresses the text "{{lang|de|Lob und Ehre und Preis und Gewalt|italic=no}}" (Glory and honour and praise and power) in another permutation fugue with a climax in the subject played by the first trumpet.<ref name="Dürr" />
{{clear}}
== Recordings ==
A list of recordings is provided on the Bach Cantatas Website.<ref name="Oron" /> Ensembles playing period instruments in [[historically informed performance]] are marked by a green background.
{{Cantata discography header|work=''Ich hatte viel Bekümmernis'' |show_orchestra_type=yes }}
{{Cantata discography row
| title = {{lang|de|J. S. Bach: Kantaten BWV 21, 110 (Ramin Edition Vol. 1)}}
| conductor = {{sortname|Günther|Ramin}}
| choir = [[Thomanerchor]]
| orchestra = [[Gewandhausorchester]]
| soloists = {{plainlist|
* boy soloist of the [[Thomanerchor]]
* [[Gert Lutze]]
* [[Friedrich Härtel]]
* [[Diethard Hellmann]] (organ)
}}
| label = Fidelio
| year = {{Start date|1947}}
| orchestra_type =
}}
{{Cantata discography row
| title = ''J. S. Bach: Cantata BWV 21''
| conductor = {{sortname|Fritz|Lehmann}}
| choir = [[Berliner Motettenchor]]
| orchestra = [[Berliner Philharmoniker]]
| soloists = {{plainlist|
* [[Gunthild Weber]]
* [[Helmut Krebs]]
* [[Hermann Schey]]
}}
| label = [[Deutsche Grammophon]]
| year = {{Start date|1952}}
| orchestra_type =
}}
{{Cantata discography row
| title = {{lang|de|J. S. Bach: Cantata BWV 21}}
| conductor = {{sortname|Marcel|Couraud}}
| choir = Stuttgarter Chor
| orchestra = Stuttgarter Orchester
| soloists = {{plainlist|
* [[Friederike Sailer]]
* [[Fritz Wunderlich]]
* [[Robert Titze]]
}}
| label = Les Discophiles
| year = {{Start date|1955}}
| orchestra_type =
}}
{{Cantata discography row
| title = {{lang|fr|Les Grandes Cantates de J. S. Bach Vol. 11}}
| conductor = {{sortname|Fritz|Werner}}
| choir = [[Heinrich-Schütz-Chor Heilbronn]]
| orchestra = [[Pforzheim Chamber Orchestra]]
| soloists = {{plainlist|
* [[Edith Selig]]
* [[Georg Jelden]]
* [[Erich Wenk]]
}}
| label = [[Erato Records|Erato]]
| year = {{Start date|1962}}
| orchestra_type =
}}
{{Cantata discography row
| title = ''Bach Cantatas Vol. 3 – Ascension Day, Whitsun, Trinity''
| conductor = {{sortname|Karl|Richter|dab=conductor}}
| choir = [[Münchener Bach-Chor]]
| orchestra = [[Münchener Bach-Orchester]]
| soloists = {{plainlist|
* [[Edith Mathis]]
* [[Ernst Haefliger]]
* [[Dietrich Fischer-Dieskau]]
}}
| label = [[Archiv Produktion]]
| year = {{Start date|1969}}
| orchestra_type =
}}
{{Cantata discography row
| title = ''J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 20''
| conductor = {{sortname|Nikolaus|Harnoncourt}}
| choir = [[Wiener Sängerknaben]]
| orchestra = [[Concentus Musicus Wien]]
| soloists = {{plainlist|
* soloist of the [[Wiener Sängerknaben]]
* [[Kurt Equiluz]]
* [[Walker Wyatt]]
}}
| label = [[Teldec]]
| year = {{Start date|1973}}
| orchestra_type = Period
}}
{{Cantata discography row
| title = {{lang|de|Die Bach Kantate Vol. 14}}
| conductor = {{sortname|Helmuth|Rilling}}
| choir = [[Indiana University Chamber Singers]]
| orchestra = [[Bach-Collegium Stuttgart]]
| soloists = {{plainlist|
* [[Arleen Augér]]
* [[Adalbert Kraus]]
* [[Wolfgang Schöne]]
}}
| label = [[Hänssler Classic|Hänssler]]
| year = {{Start date|1976}}
| orchestra_type =
}}
{{Cantata discography row
| title = ''J. S. Bach: Magnificat BWV 243 · Cantata BWV 21''
| conductor = {{sortname|Sigiswald|Kuijken}}
| choir = [[Nederlands Kamerkoor]]
| orchestra = [[La Petite Bande]]
| soloists = {{plainlist|
* [[Greta De Reyghere]]
* {{nowrap|[[Christoph Prégardien]]}}
* [[Peter Lika]]
}}
| label = Virgin Classics
| year = {{Start date|1983}}
| orchestra_type = Period
}}
{{Cantata discography row
| title = {{lang|de|J. S. Bach: Ich hatte viel Bekümmernis}}
| conductor = {{sortname|Philippe|Herreweghe}}
| choir = [[Collegium Vocale Gent]]
| orchestra = [[La Chapelle Royale]]
| soloists = {{plainlist|
* [[Barbara Schlick]]
* [[Howard Crook]]
* [[Peter Harvey (bass)|Peter Harvey]]
}}
| label = Harmonia Mundi
| year = {{Start date|1990}}
| orchestra_type = Period
}}
{{Cantata discography row
| title = ''Christmas With the Vienna Boys Choir''
| choir = [[Wiener Sängerknaben]]
| conductor = {{sortname|Peter|Marschik}}
| orchestra = [[Stuttgart Philharmonic Orchestra]]
| soloists = {{plainlist|
* Stefan Preyer
* Albin Lenzer
* Michael Knapp
* Ernst Jankowitsch
}}
| label = [[Delta Entertainment Corporation]]
| year = {{Start date|1993}}
| orchestra_type =
}}
{{Cantata discography row
| title = ''J. S. Bach: Complete Cantatas Vol. 1''
| conductor = {{sortname|Ton|Koopman}}
| orchestra = [[Amsterdam Baroque Orchestra & Choir]]
| soloists = {{plainlist|
* [[Barbara Schlick]]
* [[Guy de Mey]]
* [[Klaus Mertens]]
}}
| label = [[Antoine Marchand]]
| year = {{Start date|1994}}
| orchestra_type = Period
}}
{{Cantata discography row
| title = ''J. S. Bach: Cantatas Vol. 6''
| conductor = {{sortname|Masaaki|Suzuki}}
| orchestra = [[Bach Collegium Japan]]
| soloists = {{plainlist|
* [[Monika Frimmer]]
* [[Gerd Türk]]
* [[Peter Kooy]]
}}
| label = [[BIS Records|BIS]]
| year = {{Start date|1997}}
| orchestra_type = Period
}}
{{Cantata discography row
| title = ''Bach Edition Vol. 19 – Cantatas Vol. 10''
| conductor = {{sortname|Pieter Jan|Leusink}}
| choir = [[Holland Boys Choir]]
| orchestra = [[Netherlands Bach Collegium]]
| soloists = {{plainlist|
* [[Ruth Holton]]
* [[Knut Schoch]]
* [[Bas Ramselaar]]
}}
| label = [[Brilliant Classics]]
| year = {{Start date|2000}}
| orchestra_type = Period
}}
{{Cantata discography row
| title = ''Bach Cantatas Vol. 2: Paris/Zürich / For the 2nd Sunday after Trinity / For the 3rd Sunday after Trinity''
| conductor = {{sortname|John Eliot|Gardiner}}
| choir = [[Monteverdi Choir]]
| orchestra = [[English Baroque Soloists]]
| soloists = {{plainlist|
* [[Lisa Larsson]]
* [[James Gilchrist (tenor)|James Gilchrist]]
* [[Stephen Varcoe]]
}}
| label = [[Soli Deo Gloria (record label)|Soli Deo Gloria]]
| year = {{Start date|2000}}
| orchestra_type = Period
}}
{{End}}
== References ==
{{reflist | 30em
| refs =
<ref name="Bischof">{{cite web
| last = Bischof
| first = Walter F.
| url = https://webdocs.cs.ualberta.ca/~wfb/cantatas/21.html
| title = BWV 21 Ich hatte viel Bekümmernis
| publisher = [[University of Alberta]]
| access-date = 4 November 2015
}}</ref>
<ref name="Dellal">{{cite web
| last = Dellal
| first = Pamela
| author-link = Pamela Dellal
| url = https://www.emmanuelmusic.org/bach-translations/bwv-21
| title = BWV 21 – Ich hatte viel Bekümmernis
| publisher = [[Emmanuel Music]]
| access-date = 20 August 2022
}}</ref>
<ref name="Dürr-de">{{cite book
| last = Dürr
| first = Alfred
| author-link = Alfred Dürr
| url=https://books.google.com/books?id=r2X0AAAAMAAJ&q=BWV+21
| title = Die Kantaten von Johann Sebastian Bach
| year = 1981
| publisher = Deutscher Taschenbuchverlag
| isbn = 3-423-04080-7
| volume = 1
| edition = 4
| pages = 348–350
| language = de
}}</ref>
<ref name="Dürr">{{cite book
| last1 = Dürr
| first1 = Alfred
| author-link = Alfred Dürr
| last2 = Jones
| first2 = Richard D. P.
| author-link2 = Richard D. P. Jones
| url = https://books.google.com/books?id=m9JuwslMcq4C&pg=PA405
| title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text
| publisher = [[Oxford University Press]]
| year = 2006
| pages = 405–412
| isbn = 9780199297764
}}</ref>
<ref name="Gardiner">{{Cite AV media notes
| last = Gardiner
| first = John Eliot
| author-link = John Eliot Gardiner
| url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG165
| title = Bach: Cantatas Nos 2, 10, 21, 76 & 135 (Cantatas Vol 2)
| publisher = [[Soli Deo Gloria (record label)|Soli Deo Gloria]] (at [[Hyperion Records]] website)
| year = 2010
| access-date = 11 August 2018
}}</ref>
<ref name="Hofmann">{{cite web
| last = Hofmann
| first = Klaus
| author-link = Klaus Hofmann
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C06c%5BBIS-CD851%5D.pdf
| title = BWV 2l: Ich hatte viel Bekümmernis / (There were many afflictions)
| website = Bach Cantatas Website
| page = 2
| year = 1997
| access-date = 15 June 2015
}}</ref>
<ref name="Mincham">{{cite web
| last = Mincham
| first = Julian
| url = http://www.jsbachcantatas.com/documents/chapter-4-bwv-21
| title = Chapter 4 Bwv 21 – The Cantatas of Johann Sebastian Bach
| year = 2010
| access-date = 18 August 2022
| publisher = jsbachcantatas.com
}}</ref>
<ref name="Oron">{{cite web
| last = Oron
| first = Aryeh
| url = http://www.bach-cantatas.com/BWV21.htm
| title = Cantata BWV 21 Ich hatte viel Bekümmernis
| website = Bach Cantatas Website
| access-date = 14 June 2015
}}</ref>
<ref name="Wolff">{{cite web
| last = Wolff
| first = Christoph
| author-link = Christoph Wolff
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C01-2c%5BAM-3CD%5D.pdf
| title = Ich hatte viel Bekümmernis, BWV 21
| website = Bach Cantatas Website
| year = 1994
| access-date = 15 June 2015
}}</ref>
<ref name="chorale text">{{cite web
| url = http://www.bach-cantatas.com/Texts/Chorale052-Eng3.htm
| title = Wer nur den lieben Gott läßt walten / Text and Translation of Chorale
| website = Bach Cantatas Website
| year = 2008
| access-date = 15 June 2015
}}</ref>
<ref name="chorale melody">{{cite web
| url = http://www.bach-cantatas.com/CM/Wer-nur-den-lieben-Gott.htm
| title = Chorale Melodies used in Bach's Vocal Works / Wer nur den lieben Gott läßt walten
| website = Bach Cantatas Website
| year = 2006
| access-date = 15 June 2015
}}</ref>
}}
== External links ==
* [https://www.bachvereniging.nl/en/bwv/bwv-21/ Ich hatte viel Bekümmernis, BWV 21]: performance by the [[Netherlands Bach Society]] (video and background information)
* {{IMSLP|work=Ich hatte viel Bekümmernis, BWV 21 (Bach, Johann Sebastian)}}
* [https://www.bach-digital.de/receive/BachDigitalWork_work_00000024?lang=en Ich hatte viel Bekümmernis (1st version) BWV 21; BC A 99a / Sacred cantata (3rd Sunday after Trinity)], [[Bach Digital]]
* [https://www.bach-digital.de/receive/BachDigitalWork_work_00000025?lang=en Ich hatte viel Bekümmernis (2nd version) BWV 21; BC A 99a / Sacred cantata (3rd Sunday after Trinity)], [[Bach Digital]]
* [https://www.bach-digital.de/receive/BachDigitalWork_work_00000026?lang=en Ich hatte viel Bekümmernis (3rd version) BWV 21; BC A 99a / Sacred cantata (3rd Sunday after Trinity)], [[Bach Digital]]
<!-- Dubious: interesting, but I can't find the identity and thus expertise of the author rapidly, so can't judge appropriateness * [https://web.archive.org/web/20161008183706/http://odur.let.rug.nl/Linguistics/diversen/bach/cantatas/comment/21.html  Ich hatte viel Bekümmernis (BWV 21) / Commentary] odur.let.rug.nl-->
{{Church cantatas by Johann Sebastian Bach}}
{{Bach cantatas}}
{{Authority control}}
{{DISPLAYTITLE:''Ich hatte viel Bekümmernis'', BWV 21}}
{{DEFAULTSORT:Ich Hatte Viel Bekummernis Bwv 21}}
[[Category:Church cantatas by Johann Sebastian Bach]]
[[Category:1713 compositions]]
[[Category:Psalm-related compositions by Johann Sebastian Bach]]