Johann Sebastian Bach composed the church cantata Ich hatte viel Bekümmernis (I had much grief),[1] BWV 21 in Weimar, possibly in 1713, partly even earlier.

The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry.

Bach catalogued the work as e per ogni tempo (and for all times), indicating that due to its general theme, the cantata is suited for any occasion.

It is divided in two parts to be performed before and after the sermon, and scored for three vocal soloists (soprano, tenor, and bass), a four-part choir, and a Baroque instrumental ensemble of three trumpets, timpani, oboe, strings and continuo.

[1][2] Findings by Martin Petzoldt suggest that the cantata began with the later movements 2–6 and 9–10, most of them on biblical text, performed at a memorial service of Aemilia Maria Haress, the wife of a former prime-minister of Schwarzburg-Rudolstadt, at the church St. Peter und Paul in Weimar on 8 October 1713.

The performance material of this event, the only surviving source, shows on the title page the designation e per ogni tempo, indicating that the cantata with its general readings and texts is suitable for any occasion.

", for movement 9 Psalms 116:7 (KJV: "Return unto thy rest, O my soul; for the Lord hath dealt bountifully with thee.

[2] Similar to other cantatas of that time, ideas are expressed in dialogue: in movements 7 and 8 the soprano portrays the Seele (Soul), while the part of Jesus is sung by the bass as the vox Christi (voice of Christ).

[1] The so-called Weimar version, his first composition for an ordinary Sunday in the second half of the liturgical year,[1] marked also a farewell to Duke Johann Ernst who began a journey then.

He scored it for three vocal soloists (soprano (S), tenor (T) and bass (B)), a four-part choir SATB, three trumpets (Tr) and timpani only in the final movement, four trombones (Tb) (only in Movement 9 and only in the 1723 version to double voices in the fifth stanza of the chorale), oboe (Ob), two violins (Vl), viola (Va), and basso continuo (Bc), with bassoon (Fg) and organ (Org) explicitly indicated.

[2] The work is opened by a Sinfonia similar to the one of the cantata Weinen, Klagen, Sorgen, Zagen, BWV 12, possibly the slow movement of a concerto for oboe and violin.

A sighing motif, the picture of a storm of tears, and the flood image conjured by the upwelling music characterizes the dark and oppressive feeling.

[8] The first vocal movement is a choral motet on the psalm verse "Ich hatte viel Bekümmernis in meinem Herzen" (I had much trouble in my heart).

[1][9] A consoling verse from a psalm is treated as a closing motet of Part I: "Was betrübst du dich, meine Seele" (Why do you trouble yourself, my soul).

In a recitative and an aria, the Soul (soprano) and Jesus (bass as the voice of Christ) enter a dialogue, leading to a final choral movement as a strong hymn of praise.