Johann Sebastian BachWEINEN KLAGEN SORGEN ZAGEN

CANTATA BWV 12 / BC A 68

Dominica JubilateConcerto à 9

(Chorton)

!"#$%&'($)*$+,#,"!)

PREFACE

Two original sources for BWV 12 / BC A 68 survive: an autograph score D-B Mus. ms. Bach P 44,

Faszikel 7; and an incomplete set of performance parts D-B Mus. ms. Bach St 109, Faszikel 1, in vari-ous hands, including Bach himself. This cantata was first performed in 1714 in Weimar, and then a second time in 1724 in Leipzig.

The cover page of the autograph score designates the work as a "Concerto a 9. / 5 stromenti. 4 voci." The first page of the score is titled "Concerto a 1 Oboe, 2 Violini, 2 Viole, Fagotto, è 4 voci coll'Organo".

Like other cantatas written during Bach’s tenure as Konzertmeister in Weimar, this work was intended for performance in Chorton pitch (a' = 465Hz). The original set of parts only includes the four vocal parts in Chorton, a transposed vocal part for the tenor aria for performance in Kammerton, and a transposed, unfigured continuo part for performance in Kammerton. Since there are no extant oboe, string, or organ parts, we can only assume the following: for the first performance in Weimar Bach used instruments and voices at Chorton→f, with the exception of the oboe at Kammerton→g. The tromba part would have called for the usage of a trumpet in Chorton→C with a whole tone crook . The term "fagotto" suggests an instrument in Chorton . For 1 2

the second performance in Leipzig Bach would have presumably transposed the string parts up a whole tone in order to perform the work at Kammerton→g, thus maintaining the same effective pitch.

The present edition preserves the original pitch intended by Bach, comprising two sets of per-formance materials, both score and parts, in Chorton→f and in Kammerton→g. The performance materials also include a combined oboe / tromba part, in which the oboe takes up the choral melody in the tenor aria, and the obbligato part in the concluding choral; and a fully figured con-tinuo part in both pitches.

Sharon Rosnernoteflakes editionsWissembourg 2016

For more information see the critical notes.1

Bruce Haynes (2002), “A history of performing pitch”, pp. 235-236.2

1. SINFONIA

2. [CHOR]3

Weinen, Klagen,Sorgen, Zagen,Angst und NotSind der Christen Tränenbrot,Die das Zeichen Jesu tragen.

3. RECITATIVO (ALTO)Wir müssen durch viel Trübsal in das Reich Gottes eingehen.

4. ARIA (ALTO)Kreuz und Kronen sind verbunden,Kampf und Kleinod sind vereint.Christen haben alle StundenIhre Qual und ihren Feind,Doch ihr Trost sind Christi Wunden.

5. ARIA (BASSO)Ich folge Christo nach,Von ihm will ich nicht lassenIm Wohl und Ungemach,

Im Leben und Erblassen.Ich küsse Christi Schmach,Ich will sein Kreuz umfassen.Ich folge Christo nach,Von ihm will ich nicht lassen.

6. ARIA (TENORE)Sei getreu, alle PeinWird doch nur ein Kleines sein.Nach dem RegenBlüht der Segen,Alles Wetter geht vorbei,Sei getreu, sei getreu!

7. CHORALE4

Was Gott tut, das ist wohlgetan,Dabei will ich verbleiben,Es mag mich auf die rauhe BahnNot, Tod und Elend treiben,So wird Gott michGanz väterlichIn seinen Armen halten:Drum lass’ ich ihn nur walten.

Cantata text attributed to Salomo Franck. See Neue Bach-Ausgabe (1989) I/11.2.3

Choral text by Samuel Rodigast, 1674, melody by Severus Gastorius, 1680.4

1

1. SINFONIA

6

5!

6

OBOE

VIOLINO I

VIOLINO II

!

"

VIOLA I

VIOLA II

!

"

CONTINUO

6

Adagio assai

!6

5

6!5

!

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"

3

7"

2

56

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4

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246

13

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15

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5

2. [CHOR]

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Za

Wei

Lente

#

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#

#

#

# #

#

#

Kla

nen,

Sor

gen,

gen,

Wei

Za

gen,

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#

ALTO#

SOPRANO

!

"

VIOLA II

VIOLA I

!

"VIOLINO II

VIOLINO I

#

#

CONTINUO

!

"BASSO#

8

Sor

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9

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6

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brod,

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brod,

brod,

nen

Thrä

Thrä

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Angst

Angst

Angst

Angst

Noth

Noth,

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und

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26

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viel

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viel

durch

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sen

müs

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CONTINUO

ALTO

!

"VIOLA II

VIOLA I

!

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VIOLINO I

wir

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ge

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11

4. ARIA

#

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OBOE

#ALTO

CONTINUO

#

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4

65

eint,

sind

nod

ver

#

Kreuz

und

Kro

und

sind

ne

7

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und

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ver

bun

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und

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und

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14

5. ARIA

##

VIOLINO I

VIOLINO II

!

"

#BASSO

CONTINUO

#

willihm

ich

nicht

von

las

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ge

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las

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im

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19

7. CHORALE

&&

&&

&&

&&

&&

&&

will

will

willund

Es

und

willund

Eich

Eich

E

ich

Eich

und

ge than,

he Bahn

Bahnthan,

Bahnthan,

Bahnthan,

hege

hege

hege

Was

Tod

Todbei

bei

Todbei

Todbei

da

Noth,

Noth,

da

Noth,

da

Noth,da

so

so

Was

blei

trei

treiblei

treiblei

treibleiver

lendver

lendver

lendver

lend

ben,

ben,

Es

ben,ben,

ben,ben,

ben,ben,

Was

mich

mich

mich

mich

Gott

Gott

Gott

Gott

ganz

ganz

ganz

ganz

Es

8

BASSO

TENORE

ALTO

SOPRANO

[TROMBA]

so

so

CONTINUO

!

"

wird

wird

wird

wird

auf

dieist

dieist

dieist

das

dieist

michthut,

aufdas

aufdas

aufdas

rau

wohl

rau

wohl

rau

wohl

rau

wohl

mag

magGott

mag mich

Gott

magGott

Es

Was

Gott thut,

michthut,

michthut,

ich

ich

ich

ich

ihn

ihn

ihn

ihn

drum

drum

drum

drum

ten:

ten:

ten:

ten:

lass'

lass'

lass'

lass'

ten.

ten.

ten.

ten.

wal

walwal

wal

nur

nur

nur

nur

lich

lich

lich

lich

ter

sei

sei

sei

sei

in

in

in

in

8

!

"

6

ter

ter

ter

vä

vä

vä

vä

men

men

men

men

hal

hal

hal

hal

nen

nen

nen

nen

Ar

Ar

Ar

Ar

© 2016 noteflakes editions - noteflakes.com

20

CRITICAL NOTESSOURCES5

A. AUTOGRAPH SCORE

Scribe: J. S. Bach, title page: J. S. Bach & C. P. E. Bach Format: 6 leaves, 34 x 20 cm Period of origin: first half of 18th century (ca. 1720-1739) Berlin, Staatsbibliothek zu Berlin - Preußischer Kulturbesitz,D-B Mus. ms. Bach P 44, Faszikel 7

The autograph score shows signs of a hurried preparation, with bass figures prac-tically stopping 3 bars before the end of the opening sinfonia (a few figures are notated though in a few distinct locations in the following movements). An unusual feature of this score is the non-transposing oboe part, whereas in other autograph scores of early Bach cantatas woodwinds would normally be notated in Kammer -ton (a' = 415Hz) or tief-Kammerton (a' = 392Hz).

B. ORIGINAL PARTS

Scribe: S, A, B: J. S. Bach, Anon. Weimar 1;T, B.c.: J. S. Bach, C. G. Meisner, J. C. Lindner Format: 6 leaves, S, A: 34 x 20 cm; T: 34.5 x 21 cm; B: 32 x 20 cm, B.c.: 34.5 x 21.5 cm Period of origin: first half of 18th century (ca. 1720-1739) Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, D-B Mus. ms. Bach St 109, Faszikel 1

This original set of parts contains the following:

B5 is a second copy of the tenore part to this aria, transposed up a whole tone to a-minor for use in Kammerton (see the preface) and notated in treble clef, instead of the customary tenor clef. The unusual use of clef raises doubts as to the origi-nality and reliability of this part.

A is clearly the earlier of the two sources, and might well be considered the source used in the preparation of B. The latter, however, contains a substantial number of additional details, mainly slurs and trills.

EDITORIAL POLICYWhile B contains many details missing in A, and is the later source, it is unfortu-nately incomplete. The primary source for the present edition is therefore A. Where B includes additional details, they are incorporated into the edition.

NOTESAbbreviations: Ob = Oboe, Vn = Violino, Va = Viola, S = Soprano, A = Alto, T = Tenore, B = Basso, Bc = Basso continuo. References are given in the following order: Measure / part, sign number within measure / source and remarks. Sign numbering does not include grace notes.

1. SINFONIA

2. [CHOR]While the notated time signature is 3/2, in A Bach employs double bars, separated in the middle using a short vertical separator, implying a 6/2 meter:

However this form of notation is not preserved in B. In order to avoid possible confusion a simple 3/2 time signature for this movement was chosen.

3. RECITATIVO

4. ARIA

5. ARIA

6. ARIA

The tromba part in the autograph score is non-transposing and calls for a trumpet in Kammerton→C. Trumpets in Chorton→C or Kammerton→D were the norm in 17th- and 18th-century Germany, . In order to bring the trumpet down to Kam-merton→C, trumpeters could use a whole-tone crook, which is also supplied by contemporary trumpet makers. This practice is documented by Praetorius in his Syntagma Musicum: de Organographia (1618), and also by Johann Kuhnau in the preface to his cantata Daran erkennen wir, daß wir in ihm verbleiben .6

7. CHORALE

A Includes only the lyrics to the first couplet, “Was Gott thut, das ist wohlgethan, dabei will ich verbleiben”. Also missing from A are the customary fermatas. No colla parte indications are given. B1 and B2 are also missing the fermatas.

B1 Complete soprano part in Chorton (movement 7 in Bach's hand)B2 Complete alto part in Chorton (movements 3-7 in Bach's hand)B3 Complete tenore part in Chorton (movements 1-5 in Bach's hand)B4 Basso part for movements 5-7 in Chorton (mvts. 5-6 in Bach's hand)B5 Tenore part in Kammerton for movement 5B6 Complete non-figured basso continuo part in Kammerton

3 Va I 1-8 A: The 8th notes are slurred in groups of 4 with a lighter ink stroke, instead of pairs as indicated in 1/1-4.

14-16 Bc A: The last three bars of continuo are unfigured.

1 S B1: missing “Lente” indication.33-34 S B1: missing slur.49 S, T A, B1, B3: missing “Un poc’allegro” indication.81 A A: the syllable “-gen” is erroneously placed on 81/1-3, on top

of a dash continuing the melisma.

81 B 3-4 A: erroneous slur connecting the syllables “-gen” and “das”.83 S, T B1, B3: missing “Andante” indication.

3 A 9-10 A: missing slur.4 A 1-2 A: missing slur.4 Bc 1 A: fig. natural 7.5 A 1 A: the trill is placed at the beginning of the slur.6 A 1-2 A: missing slur.7 A: missing fermatas in all parts.

7 A 2-4 A: missing slur.8 A 9-10 A: missing slur.8 Bc 1-2 A: missing tie.9 Bc A: missing trill 9/1, missing natural 9/2.10 Bc 6 B6: Chorton e.11 A, Ob A, B2: a-flat in alto against a-natural in oboe on third beat.14 A 14-15 A: missing slur.16 A 5-7 A: missing slur.17 A 1-2, 3-4 A: missing slurs.17 Bc 1-3, 4-6 A: missing slurs.24 A 10-11 A: missing slur.27 A 5-6 A: missing slur.28 A 4-5 B2: missing slur.29 A A: missing slur on 29/7-8. B2: missing slur on 29/10-11.29 Bc 4 A: fig. non-slashed 4.32 A A: missing appoggiatura on 32/3, missing trill on 32/10.33 A 5 A: missing appoggiatura.34 A A: missing trill 34/1, missing slurs 34/1-2, 34/3-4, 34/16-17.36 A 8-10 B2: missing slur.

18 B 1-2 A: missing slur.

9-32 T, Bc B3, B5, B6: the repeat is written out.9 T 5-6 B5: missing slur.17 T B5: added slur on 17/1-2, missing slurs 17/3-4, 17/5-6, missing

trill 17/5.22 T B5: missing slur 22/1-3 on repeat, missing slur 22/4-6.23 T B5: missing slurs 23/2-3, 23/4-6.24-28 T A: the syllable “Pein” is kept from m. 24 over the melisma

until the first beat of m. 28. The present edition follows the text underlay given in both B3 and B5. Compare with mm. 14-17.

27 T 11-12 B5: missing slur.36 T B3, B5: missing slur 36/1-2. B5: missing slur 36/5-6.39 T B5: added trill 39/3, missing slur 39/3-4.41 T B3, B5: missing slur 41/1-5. B5: missing slur 41/6-7.51 T 8-10 B5: missing slur.54 T 1 A, B5: missing trill.62 T B3, B5: missing slur 62/1-2. A: missing trill 62/2.63 T 3 B5: missing trill.

3 B 2-3 A: missing slur.6 T 3-4, 6-7 B3: missing slurs.7 T 3-4 B3: missing slur.7 B 2-3 A: missing slur.8 S 1 B1: missing trill.8 T 1-2 A: missing slur.9 B 4-5, 6-7 A: missing slurs.

Digital facsimiles of the sources can be consulted at tinyurl.com/bachbwv12.5

For a detailed discussion see Bruce Haynes (2002),“A history of performing pitch”, pp. 25-26, 183, 247.6