Don't know why I cried, but well - aren't tears subjective? For me it's probably because I learned in my school theater, while being a "fader engineer" - a guy who chooses (mostly pirated) music for the performances and then regulates it according to the scenes dynamics - that
nothing ruins a sad scene more than a sad music. Our director was always against a 'melodramatic' sort of approach, and she intended for cathartic scenes to go silent, with a rare exception. That's where
contrast comes in: happy music in sad times
provokes our feelings, and when I listen to this, I hear exactly what I know:
a short moment of happiness in a long and sad life...
If you check other performances by this obscure Baroque orchestra, you'll hear lots of false notes, and lots of
unrefinement. Almost if this was intended, although I presume that it's just we (casual listeners) went more and more prejudiced and sophisticated, learning to love
artificial beauty. Although I know too good that acoustics is really a personal thing, and while on this website we explore a more scientific side of it, there are little ways to predict what a certain human will like and what not.
P.S. of course one has to acknowledge an intrinsic Baroque quality, associated with the
affect theory, - that this music is intended to provoke feelings in us, mostly in order to redirect them (with help of sublimation) towards
a sublime in us. Bach's cantatas prove this thesis for me. Also this specific piece contains one of the few slow movements that really touch me. It's non-trivial, with its major tone and avoidance of standard cadences, known to any Baroque music lover.