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In John 16:20, Jesus announces to his disciples that he is going to leave them, and that they will go through a period of hardship during which the rest of the world will mock them. For this 3rd Sunday after Easter, this is the story on which Bach and his librettists had to base their cantatas.

In 1714 in Weimar, Bach made this into a true lament, that he would later rewrite into the Crucifixus of his Mass in B Minor: Cantata 12 Weinen, Klagen, Sorgen, Zagen.  

The librettist of this cantata (and of all other cantatas Bach wrote in Weimar) was Salomo Franck, librarian to the Duke of Weimar. Franck very cleverly portrays the “sorrow to joy”-theme of this cantata. The alto aria is a good example: after the Gospel quote in the recitative “Wir müssen durch viel Trübsal” (we have to go through tribulation) comes an upbeat aria illuminating how “Kreuz und Krone” (cross and crown) and “Kampf and Kleinod” (conflict and jewel) are always connected.

While I love everything about this cantata, my absolute favorite part is the tenor aria Sei getreu. Find out why in my blog post from 2016, where you can also find links to my favorite recordings of this cantata.

Most of the texts Bach had to work with in Leipzig were not nearly as good as Franck’s libretti. But there arguably was one exception: in 1725, between Easter and Pentecost, Bach set nine cantatas in a row to beautiful poetry by Christiane Mariana von Ziegler. Von Ziegler was a single woman who had known much sadness in her life already: her father was in prison, she was twice widowed, and had also lost all her four children. However, her family fortune was still intact and at her disposal, and the sad circumstances meant that she didn’t have to answer to a father or a husband. She thus enjoyed much more freedom than any other woman in Leipzig at the time, and could publish under her own name.

For the third Sunday in 1725, Bach wrote Cantata 103: Ihr werdet weinen und heulen on a libretto by Von Ziegler. This cantata also starts out very sad, but there is much “Freude” (joy) in the music. A sopranino recorder illustrates the “mocking” Jesus predicted, or does it? Read it all in my blog post from 2018, which also includes a link to the excellent introduction to this cantata (now with English subtitles!) by Rudolf Lutz of the J.S. Bach Foundation in Switzerland.

Wieneke Gorter, May 2, 2020.