Weinen, Klagen, Sorgen, Zagen (Weeping, lamenting, worrying, fearing),[1] BWV 12, is a church cantata by Johann Sebastian Bach.

He composed Weinen, Klagen, Sorgen, Zagen as the second cantata in the series, on a text probably written by court poet Salomon Franck.

The cantata is scored for three vocal soloists, a four-part choir, trumpet, oboe, bassoon, two violins, two violas, and basso continuo.

As concertmaster, he assumed principal responsibility for composing new works, specifically cantatas for the Schlosskirche (palace church), on a monthly schedule.

It follows details of the Gospel and the idea from the epistle reading: "For this is thankworthy, if a man for conscience toward God endure grief, suffering wrongfully."

[7] The cantata is closed by the sixth and final stanza of the hymn "Was Gott tut, das ist wohlgetan" (1674) by Samuel Rodigast.

[6] The cantata in seven movements is scored for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir SATB, trumpet (Tr), oboe (Ob), bassoon (Fg), two violins (Vl), two violas (Va) and basso continuo (Bc).

[11] John Eliot Gardiner notes that the keys of the arias and the closing chorale move upwards like a ladder, ascending by thirds.

[4] The cantata is opened by a Sinfonia, marked adagio assai, which resembles the slow movement of an oboe concerto, with an expressive and plaintive solo.

[3][5] The first choral movement, "Weinen, Klagen, Sorgen, Zagen" (Weeping, lamentation, worry, despair),[1] is in da capo form.

The setting is intensified, until in the seventh repeat all voices continue the text simultaneously: "Angst und Not" ("dread and need" or "anguish and trouble"[1]).

[7] John Eliot Gardiner describes the first section as a "tombeau, one of the most impressive and deeply affecting cantata movements Bach can have composed to that point".

[4] The only recitative, "Wir müssen durch viel Trübsal in das Reich Gottes eingehen" (We must enter the Kingdom of God through much sorrow),[1] is accompanied by the strings in a recitativo accompagnato.

[13] Orchestras playing period instruments in historically informed performance, and vocal ensembles with one voice per part are marked by green background.