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Johann Sebastian Bach

Johann Sebastian Bach Composer

Cantata No.58: Ach Gott, wie manches Herzeleid (New Year), BWV58   

Performances: 9
Tracks: 33
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Musicology:
  • Cantata No.58: Ach Gott, wie manches Herzeleid (New Year), BWV58
    Year: 1727
    Genre: Cantata
    Pr. Instruments: Voice & Chorus/Choir
    • 1.Aria and Chorale (Soprano, Bass): Ach Gott, wie manches Herzelied
    • 2.Recitative (Bass): Verfolgt dich gleich die arge Welt
    • 3.Aria (Soprano): Ich bin vergnügt in meinem Leiden
    • 4.Recitative (Soprano): Kann es dei Welt nicht lassen
    • 5.Aria and Chorale (Soprano, Bass): Ich hab für mir ein schwere Reis
Composed for the First Sunday after the New Year, also known as the Feast of the Circumcision, of 1727 and re-composed in 1733 or 1734, Bach's Cantata No. 58 "Ach Gott, wie manches Herzelied" (Dialogus) (Ah, God, how much sorrow) (Dialogue) (BWV 58) sets an anonymous text based on a chorale by Martin Moller in its opening movement and a chorale by Martin Behm in its closing movement. Taking as his foundation the episode called "The Flight into Egypt" from Matthew (2, 13-23), the cantata's poet traces the soul's journey through a life "full of sorrow" to the salvation of heaven. As its subtitle indicates, "Ach Gott, wie manches Herzelied (Dialogus)" is a duet cantata scored for soprano and bass soloists, a pair of oboes with taille, strings, and basso continuo. "Ach Gott, wie manches Herzelied (Dialogus)" is in C major, with its first and last movements in the tonic, its second movement starting in A minor (the relative minor of C major) and ending in F major, its third in D minor (the relative minor of F major), and its fourth starting in F major and ending in A minor, thereby reversing the harmonic motion of the second movement. The first movement is a stately Adagio da capo duetto between the soloists, who are accompanied by the entire orchestra with the soprano intoning Moller's chorale while the bass sings an arioso beneath it. The second movement is a painfully chromatic secco recitative for bass and continuo. The third is a dolcet aria for soprano, concertante violin, and continuo and the fourth movement is a secco recitative for soprano and continuo. The cantata concludes with a quick duetto aria between the soloists in which the soprano intones Behm's chorale, the bass sings elaborate embellishments beneath it, and the whole orchestra accompanies them.

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