Cantata No. 146: Wir muessen durch viel Truebsal in das Reich Gottes eingehen, BWV 146 Cover Image

Cantata No. 146: Wir muessen durch viel Truebsal in das Reich Gottes eingehen, BWV 146: Cantata/ Oratorio, Orchestra Accompaniment, Conductor Score & Parts

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Cantata No. 146: Wir muessen durch viel Truebsal in das Reich Gottes eingehen, BWV 146 Cover Image
Cantata No. 146: Wir muessen durch viel Truebsal in das Reich Gottes eingehen, BWV 146: Cantata/ Oratorio, Orchestra Accompaniment, Conductor Score & Parts

Cantata No. 146: Wir muessen durch viel Truebsal in das Reich Gottes eingehen, BWV 146: Cantata/ Oratorio, Orchestra Accompaniment, Conductor Score & Parts

By Johann Sebastian (J.S.) Bach, ed./arr. by Paul Waldersee/ Texts from Acts 14: 2 (No. 2), an anonymous author (Nos. 3-7), and Gregorius Richter (No. 8). German text.

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Cantata No. 146: Wir muessen durch viel Truebsal in das Reich Gottes eingehen, BWV 146: Cantata/ Oratorio, Orchestra Accompaniment, Conductor Score

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Cantata No. 146: Wir müssen durch viel Trübsal in das Reich Gottes eingehen. BWV 146 (We must through much tribulation enter into the kingdom of God) was composed in 1726 by Johann Sebastian Bach (1685-1750) during his Leipzig tenure as Thomaskantor, and was written for Jubilate Sunday (the Third Sunday after Easter). The cantata's text reflects the Lutheran theology of suffering as a necessary passage to salvation, drawing on Acts 14:22, and Bach underscores this message by reworking instrumental material -- likely adapted from a lost concerto -- into a weighty and expressive opening Sinfonia and chorus. BWV 146 received its first performance in Leipzig in 1726 as part of the city's regular liturgical cycle. Today Cantata No. 146 occupies an important place within Bach's church-cantata repertoire, and it is frequently performed and recorded both in liturgical reconstructions and concert settings. Instrumentation: 1.2(both dObd'a)+1(EH).0.0: 0.0.0.0: [Org in score].[Hpchd]: Str (2.2.1.1.1 in set): Solo SATB: Mix Chorus. The Oboe d'amore parts also transposed to played on the standard Oboe. Reprint of the 1884 edition by Paul Waldersee, which was published as part of the Bach-Gesellschaft Ausgabe (Bach Society Edition).

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Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
UPC: 605258981783
SKU: 36-A452502
Instrumentation: 1.2(both dObd'a)+1(EH).0.0: 0.0.0.0: [Org in score].[Hpchd]: Str (2.2.1.1.1 in set): Solo SATB: Mix Chorus

More about this title

About the Composer: Johann Sebastian Bach

Johann Sebastian Bach (1685-1750) served as Thomaskantor in Leipzig from 1723 until his death, a position that required him to compose, rehearse, and conduct music for the city's churches. During his 27 years in this role, he produced the majority of his nearly 200 church cantatas, creating a vast liturgical repertoire that addressed the entire church calendar and reflected deep theological engagement with Lutheran doctrine.

Bach's cantatas represent the pinnacle of the Baroque sacred vocal genre. Each work integrates solo voices, choir, and orchestra in service of a specific theological message tied to its liturgical occasion. His mastery of counterpoint, harmonic language, and instrumental writing transformed what could have been routine church music into enduring masterworks that continue to reveal new layers of meaning to performers and listeners.

Why we love this

BWV 146 showcases Bach at his most architecturally ambitious: the opening Sinfonia establishes profound emotional weight through reworked instrumental material, and the choral and solo writing demands real interpretive maturity from singers and players alike. This is essential repertoire for conductors serious about Baroque sacred music, and it works equally well in liturgical settings (where it belongs historically) or concert performances that frame the journey through suffering and redemption with proper theological weight.

What to expect

Austere and searching, yet profoundly moving. The music unfolds with the inevitability of theological argument; suffering and struggle are present in the harmonic language and contrapuntal density, but they are always directed toward grace and resolution. The interplay between solo voices and choir, between instrumental commentary and human voice, creates a sense of dialogue between the individual soul and the gathered community.

Who it's for

Conductors leading well-trained choral ensembles with available orchestral forces, particularly those programming Bach cantatas in concert or liturgical contexts. This work requires experienced soloists capable of sustained Baroque vocal style and an orchestra comfortable with the specific technical and stylistic demands of early 18th-century sacred music.

How to get the most out of it

  • Shape the opening Sinfonia as a unified architectural statement rather than a collection of phrases; Bach reworked this material deliberately, and its expressive power depends on how completely the orchestra commits to its harmonic trajectory.
  • Balance the obbligato instruments (oboe d'amore or oboe) carefully with the solo voices in the arias and duets; these lines are not accompaniment but conversation partners, and they must be heard distinctly.
  • Approach the chorus writing with attention to textual clarity; the opening chorus is complex and contrapuntal, and crisp articulation in both voices and orchestra will reveal Bach's voice-leading.
  • Use the continuo (organ and harpsichord) as a structural anchor rather than mere harmonic filler; these instruments help singers track their entries and provide the harmonic foundation that holds the entire structure together.

How to use it

Program this cantata as the centerpiece of a Bach sacred music concert, pairing it with shorter companion works that share its Eastertide context or theological concerns. Alternatively, restore it to its original liturgical function by performing it during the Third Sunday after Easter (Jubilate Sunday) in a church setting, where its message about tribulation and redemption connects directly to the day's scriptural readings.

Skills your students will build

  • Reading and executing Baroque vocal ornamentation and phrase shaping
  • Understanding contrapuntal voice-leading across multiple simultaneous lines
  • Interpreting obbligato instrumental writing that rivals the vocal line in importance
  • Balancing choral blend and clarity within complex harmonic progressions
  • Recognizing theological narrative structure and how music reinforces liturgical meaning

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