Was willst du dich betrüben, BWV 107

Bach structured the cantata in seven movements, beginning with a chorale fantasia and ending in a closing chorale, as usually in his chorale cantatas, but with an unusual sequence of only one recitative and four arias, setting the poetic hymn stanzas. He scored it for three vocal soloists (soprano (S), tenor (T) and bass) (B), a four-part choir, and a Baroque chamber ensemble of corno da caccia (Co) to support the chorale tune in the outer movements, two flauti traversi (Ft), two oboes d'amore (Oa), two violins (Vl), two violas (Va) and basso continuo (Bc).[6]

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, the keys are given for the Weimar version. The time signature is provided using the symbol for common time (4/4).[1]

Movements of Was willst du dich betrüben

No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
1	Was willst du dich betrüben	Heermann	Chorale fantasia	SATB	Co 2Ft 2Oa	2Vl 2Va	B minor
2	Denn Gott verlässet keinen	Heermann	Recitative	B	2Oa		F-sharp minor
3	Auf ihn magst du es wagen	Heermann	Aria	B		2Vl 2Va	A major
4	Wenn auch gleich aus der Höllen	Heermann	Aria	T			E minor	3/4
5	Er richts zu seinen Ehren	Heermann	Aria	S	2Oa		B minor	12/8
6	Drum ich mich ihm ergebe	Heermann	Aria	T	2Ft		D major
7	Herr, gib, daß ich dein Ehre	Heermann	Chorale	SATB	Co 2Ft 2Oa	2Vl 2Va	B minor	6/8

The opening chorus, "Was willst du dich betrüben" (Why do you wish to trouble yourself),[7] is a chorale fantasia, with the vocal part embedded in an independent concerto of the instruments.[8] The cantus firmus on the melody of "Von Gott will ich nicht lassen"[9] is in long notes, partly embellished, in the soprano and horn; the lower voices are mostly set in homophony. The lines of the chorale are not rendered separately, but accenting the bar form (Stollen–Stollen–Abgesang) of the text, 1 and 2 are combined, 3 and 4 are combined, 5 is single and 6 to 8 are combined. The scoring is relatively rich in woodwinds.[1]

The only recitative, "Denn Gott verlässet keinen, der sich auf ihn verläßt" (For God abandons none who entrust themselves to Him),[7] is accompanied by the oboes d'amore, shows an extended melisma on the word "Freuden" (joy) and culminates in an arioso in the final line, with a melisma on retten (rescue).[4] The following four stanzas are composed as arias,[8] not as the typical da capo arias, but mostly in two parts.[1] Bach achieves variation by changing voice type, key and time signature. He also varies the mode, alternating major and minor keys, expresses different affekts, and he successfully "blurs" the bar form of the stanzas.[4]

The first aria, "Auf ihn magst du es wagen" (In Him you can dare all),[7] depicts a "hunting scene" for bass and strings. Bach plays on the double meaning of the German word erjagen, which in the text has the sense "achieve by great exertion", but he expresses the word's literal meaning ("to hunt") by an "outrageous hunting call trill" of the bass.[4] This aria and those following are not da capo arias, but follow the bar form of the poem as bipartite structures.[1]

The second aria, "Wenn auch gleich aus der Höllen" (Even if, out of hell),[7] for tenor and continuo begins with strong words on Satan as an enemy: "Wenn auch gleich aus der Höllen / der Satan wollte sich / dir selbst entgegenstellen / und toben wider dich" ("Even if, out of hell, Satan wishes to set himself against you, and vent his rage on you").[7] Gardiner calls the music "a vivid pen-portrait of Satan and his wiles, delivered with typically Lutheran relish". The rhythm alternates between 6/8 and 3/4 one measure to the next, but the change is irregular and unpredictable. The bass line (marked "organo e continuo") is "extravagantly animated and angular. Albert Schweitzer likens it to the contortions of a huge dragon".[4]

The third aria, "Er richt's zu seinen Ehren" (He arranges for your honor),[7] for soprano and the two oboes d'amore begins with an embellished version of the chorale tune,[8] and the last line quotes the tune exactly on the words "was Gott will, das geschicht"[8] ("What God wants, that happens").[7]

The fourth aria, "Drum ich mich ihm ergebe" (Therefore, I devote myself to Him),[7] is scored for tenor, the flutes in unison and muted violin.[4] The melodic style is significantly different from the chorale melody, being song-like.[1]

The closing chorale, "Herr, gib, daß ich dein Ehre" (Lord, grant that Your honor),[7] is set in four parts for the voices, but embedded in a rich orchestral Siciliano concerto. The lines of the chorale are grouped as in the first stanza, again highlighting line 5, "O Vater, Sohn und Geist" ("Oh Father, Son and Spirit") as a miniature doxology.[1][8]