View source for Ach Gott, wie manches Herzeleid, BWV 3

{{Short description|Chorale cantata by Johann Sebastian Bach}}
{{for|Bach's other cantata with the same title|Ach Gott, wie manches Herzeleid, BWV 58}}
{{good article}}
{{Infobox Bach composition
| name                 = {{lang|de|Ach Gott, wie manches Herzeleid}}
| bwv                   = 3
| composer              = [[Johann Sebastian Bach|J. S. Bach]]
| image                 = Thomaskirche-1885.png
| caption               = [[Thomaskirche]], Leipzig 1885
| type                  = [[Chorale cantata (Bach)|Chorale cantata]]
| occasion              = {{nowrap|Second Sunday after [[Epiphany (holiday)|Epiphany]]}}
| performed             = {{Timeline-event|date={{Start date|1725|1|14|df=y}}|location=[[Leipzig]]}}
| movements             = 6
| chorale               = {{based on|"{{lang|de|[[Ach Gott, wie manches Herzeleid]]|italic=no}}"|[[Martin Moller]]}}
| vocal                 = [[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]] soloists and choir
| instrumental          = {{hlist | horn | trombone | 2 oboes d'amore | 2 violins | viola | continuo }}
}}
'''{{lang|de|Ach Gott, wie manches Herzeleid}}''' (Oh God, how much heartache),<ref name="Dellal" /> '''{{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}3''', is a [[Bach cantata|church cantata]] by [[Johann Sebastian Bach]]. He composed the [[Chorale cantata (Bach)|chorale cantata]] in [[Leipzig]] for the Second Sunday after [[Epiphany (holiday)|Epiphany]] and first performed it on 14 January 1725. It is based on [[Ach Gott, wie manches Herzeleid|the hymn]] published by [[Martin Moller]] in 1587.
Bach composed the cantata in his second year as [[Thomaskantor]] in Leipzig as part of a cantata cycle of [[chorale cantata]]s, for the [[Church cantata (Bach)#Epiphany II|second Sunday after Epiphany]]. The work is based on a [[hymn]] without evident connection to the prescribed readings. It is a meditation on Jesus as a comforter in distress,  based on a medieval model. An unknown librettist reworked the ideas of the 18 stanzas in six [[Movement (music)|movement]]s, retaining the words of stanzas 1, 2 and 18 as movements 1, 2 and 6. Similarly, Bach retained the choral melody in three movements, set as a [[chorale fantasia]] in the opening chorus with the bass singing the [[cantus firmus]], as a four-part setting with interspersed [[recitative]]s in the second movement and closing chorale. He scored the cantata for two [[oboes d'amore]], strings and continuo, with an added trombone to support the bass in the first movement, and a horn to support the soprano in the last movement.
{{TOC limit|2}}
== History and words ==
Bach composed the cantata in his second year as [[Thomaskantor]] in Leipzig as part of his second annual cycle, planned to consist only of [[chorale cantata]]s based on Lutheran hymns.<ref name="Wolff" /> He wrote the cantata for the [[Church cantata (Bach)#Epiphany II|Second Sunday after Epiphany]].<ref name="Dürr" /> The prescribed readings for the Sunday were taken from the [[Epistle to the Romans]] (we have several gifts&nbsp;– {{Sourcetext|source=Bible|version=King James|book=Romans|chapter=12|verse=6|range=–16}}) and from the [[Wedding at Cana]] ({{Sourcetext|source=Bible|version=King James|book=John|chapter=2|verse=1|range=–11}}).<ref name="Dürr" />
The cantata is a [[Chorale cantata (Bach)|chorale cantata]] based on the [[hymn]] "{{lang|de|Ach Gott, wie manches Herzeleid|italic=no}}" in 18 stanzas attributed to [[Martin Moller]] (1587). It is a paraphrase of the [[Latin]] "{{lang|la|Jesu dulcis memoria|italic=no}}", a medieval hymn attributed to [[Bernard of Clairvaux]],<ref name="Hofmann" /> a meditation on Jesus as a comforter and helper in distress.<ref name="Dürr" /><ref>C. S. Terry and D. Litti, Bach's Cantata Libretti, [[Journal of the Royal Musical Association]] 1917 44(1):71–125; {{doi|10.1093/jrma/44.1.71}}</ref> The unknown librettist retained the words of stanzas 1, 2 and 18 as movements 1, 2 and 6. In movement 2, stanza 2 is expanded by paraphrases of stanzas 3–5, while movement 3 is a paraphrase of stanza 6; movement 4 incorporates ideas from stanzas 7–14, and movement 5 relies on stanzas 15 and 16. In movement 2, stanza 2 is expanded by paraphrases of stanzas 3–5. Movement 3 is a paraphrase of stanza 6. Movement 4 incorporates ideas from stanzas 7–14. Movement 5 relies on stanzas 15 and 16.<ref name="Dürr" /> The poet did not relate his text to the reading from John 1:2.<ref name="Wolff" />
Bach led the first performance of the cantata on 14 January 1725.<ref name="Dürr" />
== Scoring and structure ==
Bach structured the cantata in six movements. An opening chorus and a closing chorale frame a sequence of alternating [[recitative]]s and [[aria]]s. The first recitative is unusual: the chorus sings one line of the hymn's four lines, continued each time by a soloist in words of the poet.<ref name="Mincham" /> The last aria is a duet. Bach scored the work for four vocal soloists ([[soprano]] (S), [[alto]] (A), [[tenor]] (T), [[Bass (voice type)|bass]] (B)), a [[SATB|four-part choir]] and a [[Baroque instruments|Baroque instrumental]] ensemble of [[Natural horn|horn]] (Co) to double the [[cantus firmus]] in the closing chorale, [[trombone]] (Tb) to reinforce the bass in the opening chorus, two [[oboe d'amore|oboes d'amore]] (Oa), two [[violin]]s (Vl), [[viola]] (Va), and [[basso continuo]].<ref name="Hofmann" /><ref name="Bischof" /> The autograph score bears the title: "Dominica 2 post Epiphanias / Ach Gott! Wie manches Hertzeleyd. / à / 4 Voci. / 2 Hautb: d'Amour / 2 Violini / Viola. / e Continuo / di J. S. Bach", which means "Sunday 2 after Epiphany ... for four voices, 2 oboes d'amore, 2 violins, viola and continuo by J. S. Bach".<ref name="Grob" />
In the following table of the movements, the scoring and keys follow the [[Neue Bach-Ausgabe]]. The [[Key (music)|keys]] and [[time signature]]s are taken from the book on all cantatas by the Bach scholar [[Alfred Dürr]], using the symbol for [[common time]] (4/4).<ref name="Dürr" /> The continuo, played throughout, is not shown.
{{Classical movement header | show_text_source = yes | work = ''Ach Gott, wie manches Herzeleid'' | instruments1 = Winds | instruments2 = Strings }}
{{Classical movement row
| id = m1
| number = [[#1|1]]
| title = {{lang|de|Ach Gott, wie manches Herzeleid|italic=no}}
| text_source = Moller
| type = Chorus
| vocal = SATB
| instruments1 = {{nowrap|Tb 2Oa}}
| instruments2 = 2Vl Va
| key = {{nowrap|[[A major]]}}
| time = {{music|common-time}}
}}
{{Classical movement row
| id = m2
| number = [[#2|2]]
| title = {{lang|de|Wie schwerlich läßt sich Fleisch und Blut|italic=no}}
| text_source = {{plainlist|
* Moller
* anon.
}}
| type = Recitative and chorale
| vocal = T S A B
| instruments1 =
| instruments2 =
| key = A major
| time = {{music|common-time}}
}}
{{Classical movement row
| id = m3
| number = [[#3|3]]
| title = {{lang|de|Empfind ich Höllenangst und Pein|italic=no}}
| text_source = anon.
| type = Aria
| vocal = B
| instruments1 =
| instruments2 =
| key = [[F-sharp minor]]
| time = 3/4
}}
{{Classical movement row
| id = m4
| number = [[#4|4]]
| title = {{lang|de|Es mag mir Leib und Geist verschmachten|italic=no}}
| text_source = anon.
| type = Recitative
| vocal = T
| instruments1 =
| instruments2 =
| key =
| time = {{music|common-time}}
}}
{{Classical movement row
| id = m5
| number = [[#5|5]]
| title = {{lang|de|Wenn Sorgen auf mich dringen|italic=no}}
| text_source = anon.
| type = Aria Duetto
| vocal = S A
| instruments1 = 2Oa
| instruments2 = Vl ([[Unison|unis.]])
| key = [[E major]]
| time = {{music|common-time}}
}}
{{Classical movement row
| id = m6
| number = [[#6|6]]
| title = {{lang|de|Erhalt mein Herz im Glauben rein|italic=no}}
| text_source = Moller
| type = Chorale
| vocal = SATB
| instruments1 = Co 2Ob
| instruments2 = 2Vl Va
| key = A major
| time = {{music|common-time}}
}}
{{End}}
== Music ==
Bach uses a melody of "{{lang|de|Herr Jesu Christ, meins Lebens Licht|italic=no}}"<ref name="Hofmann" /> which appeared first in the [[Lochamer-Liederbuch]]. The melody appears in the opening chorus, sung by the bass as a [[cantus firmus]], in the second movement, as a four-part setting with interspersed recitatives, and in the closing chorale.<ref name="Wolff" />
=== 1 ===
[[File:John Eliot Gardiner at rehearsal in Wroclaw cropped portrait.jpeg|thumb|upright|alt=conductor John Eliot Gardiner at work in rehearsal, looking to the left|[[John Eliot Gardiner]], who conducted the [[Bach Cantata Pilgrimage]], in 2007]]
In the opening chorus, "{{langr|de|Ach Gott, wie manches Herzeleid}}" (Ah, God, how much heartache),<ref name="Dellal" /> the [[cantus firmus]] is in the bass, which is doubled by the trombone, as in {{lang|de|[[Ach Herr, mich armen Sünder, BWV 135|''Ach Herr, mich armen Sünder'', BWV 135]] |italic=unset}}. Its mood of lamentation is supported by "elegiac sounds" of the oboes d'amore, sighing [[Motif (music)|motifs]] in the strings, and the upper voices reflecting the oboe motifs.<ref name="Hofmann" /> [[John Eliot Gardiner]], who conducted the [[Bach Cantata Pilgrimage]] in 2000, notes that Bach used a repeated [[Motif (music)|motif]] of six notes in chromatic descent, which is often used in [[chaconne]]s of the [[Baroque opera]] to express grief. The motif is used for the instrumental opening, each entry of a voice, interludes and conclusion.<ref name="Gardiner" />
=== 2 ===
The recitative, "{{langr|de|Wie schwerlich läßt sich Fleisch und Blut}}" (How difficult it is for flesh and blood),<ref name="Dellal" /> combines the hymn tune sung by the four-part choir, with interpolated text sung by the soloists in turn.<ref name="Wolff" /> The lines of the hymn are separated by a joyful [[ostinato]] motif derived from the chorale tune.<ref name="Gardiner" /> The musicologist Julian Mincham writes that the "hybrid recitative provides an excellent example of Bach's experiments of investing long texts with sustained musical interest".<ref name="Mincham" />
=== 3 ===
The bass aria, "{{langr|de|Empfind ich Höllenangst und Pein}}" (Although I experience the fear and torment of Hell),<ref name="Dellal" /> is accompanied by the continuo. It expresses the contrast of {{lang|de|Höllenangst}} (hell's anguish) and {{lang|de|Freudenhimmel}} (heaven of joy), with inestimable sorrows ({{lang|de|unermessnen Schmerzen}}) disappearing into light mist ({{lang|de|leichte Nebel}}).<ref name="Dellal" /><ref name="Hofmann" />
=== 4 ===
A tenor recitative, "{{langr|de|Es mag mir Leib und Geist verschmachten}}" (My body and spirit might despair),<ref name="Dellal" /> expresses trust in Jesus to overcome despair.<ref name="Dürr" />
=== 5 ===
In the [[duet]] for soprano and alto, "{{langr|de|Wenn Sorgen auf mich dringen}}" (When cares press upon me),<ref name="Dellal" /> in "bright [[E major]]", as the Bach scholar [[Christoph Wolff]] writes, the voices are embedded in a "dense quartet texture". He concludes that the movement "banishes human care by means of joyful singing".<ref name="Wolff" /> The Bach scholar [[Klaus Hofmann]] notes that the [[obbligato]] [[Motif (music)|motif]], which is later picked up by the voices, is played by the oboes d'amore and violin in unison, providing "a new and remarkable tone colour".<ref name="Hofmann" /> Bach refers to the Cross, as mentioned in the text, by using a cross-motif in the melody and applying [[double sharp]] marked by a cross.<ref name="Gardiner" /> The voices intensify words such as {{lang|de|dringen}} (press) and {{lang|de|singen}} (sing) by extended coloraturas.<ref name="Hofmann" />
=== 6 ===
The closing chorale, "{{langr|de|Erhalt mein Herz im Glauben rein}}" (If my heart remains pure in faith),<ref name="Dellal" /> is a four-part setting. The choral melody, now in the soprano, is reinforced by a horn.<ref name="Dürr" />
== Recordings ==
The selection is taken from the listing on the Bach-Cantatas website.<ref name="Oron" />
{{Cantata discography header | work={{lang|de|Ach Gott, wie manches Herzeleid}} | instruments={{abbr|Instr.|Type of instruments}} }}
{{Cantata discography row
| id = Priestman
| title = ''Bach Aria Group – Cantatas, Arias & Choruses''
| conductor = {{sortname|Brian|Priestman}}
| orchestra = Bach Aria Group Chorus & Orchestra
| soloists = {{plainlist|
* [[Lois Marshall]]
* [[Maureen Forrester]]
* [[Richard Lewis (tenor)|Richard Lewis]]
* [[Norman Farrow]]
}}
| label = Vox
| year = 1960s?
| orchestra_type =
}}
{{Cantata discography row
| id = Harnoncourt
| title = ''J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 1''
| conductor = {{sortname|Nikolaus|Harnoncourt}}
| choir = {{plainlist|
* [[Wiener Sängerknaben]]
* [[Chorus Viennensis]]
}}
| orchestra = [[Concentus Musicus Wien]]
| soloists = {{plainlist|
* soloist of the [[Wiener Sängerknaben]]
* [[Paul Esswood]]
* [[Kurt Equiluz]]
* [[Max van Egmond]]
}}
| label = [[Teldec]]
| year = {{Start date|1970}}
| orchestra_type = Period
}}
{{Cantata discography row
| id = Rilling
| title = ''{{lang|de|Die Bach Kantate Vol. 22}}''
| conductor = {{sortname|Helmuth|Rilling}}
| choir = [[Gächinger Kantorei]]
| orchestra = [[Bach-Collegium Stuttgart]]
| soloists = {{plainlist|
* [[Arleen Augér]]
* {{nowrap|[[Gabriele Schreckenbach]]}}
* [[Lutz-Michael Harder]]
* [[Philippe Huttenlocher]]
}}
| label = [[Hänssler Classic|Hänssler]]
| year = {{Start date|1980}}
| orchestra_type =
}}
{{Cantata discography row
| id = Leusink
| title = ''Bach Edition Vol. 12 – Cantatas Vol. 5''
| conductor = {{sortname|Pieter Jan|Leusink}}
| choir = [[Holland Boys Choir]]
| orchestra = [[Netherlands Bach Collegium]]
| soloists = {{plainlist|
* [[Ruth Holton]]
* [[Sytse Buwalda]]
* [[Knut Schoch]]
* [[Bas Ramselaar]]
}}
| label = [[Brilliant Classics]]
| year = {{Start date|1999}}
| orchestra_type = Period
}}
{{Cantata discography row
| id = Gardiner
| title = ''Bach Cantatas Vol. 19: Greenwich/Romsey''
| conductor = {{sortname|John Eliot|Gardiner}}
| choir = [[Monteverdi Choir]]
| orchestra = [[English Baroque Soloists]]
| soloists = {{plainlist|
* [[Joanne Lunn]]
* [[Richard Wyn Roberts]]
* [[Julian Podger]]
* [[Gerald Finley]]
}}
| label = [[Soli Deo Gloria (record label)|Soli Deo Gloria]]
| year = {{Start date|2000}}
| orchestra_type = Period
}}
{{Cantata discography row
| id = Koopman
| title = ''J. S. Bach: Complete Cantatas Vol. 15''
| conductor = {{sortname|Ton|Koopman}}
| orchestra = [[Amsterdam Baroque Orchestra & Choir]]
| soloists = {{plainlist|
* [[Sandrine Piau]]
* [[Bogna Bartosz]]
* [[Paul Agnew]]
* [[Klaus Mertens]]
}}
| label = [[Antoine Marchand]]
| year = {{Start date|2001}}
| orchestra_type = Period
}}
{{Cantata discography row
| id = Suzuki
| title = ''J. S. Bach: Cantatas Vol. 29''
| conductor = {{sortname|Masaaki|Suzuki}}
| orchestra = [[Bach Collegium Japan]]
| soloists = {{plainlist|
* [[Dorothee Mields]]
* [[Pascal Bertin]]
* [[Gerd Türk]]
* [[Peter Kooy]]
}}
| label = [[BIS Records|BIS]]
| year = {{Start date|1996}}
| orchestra_type = Period
}}
{{End}}
== References ==
{{reflist
| refs =
<ref name="Bischof">{{cite web
| last = Bischof
| first = Walter F.
| url = http://webdocs.cs.ualberta.ca/~wfb/cantatas/3.html
| title =  BWV 3 Ach Gott, wie manches Herzeleid
| publisher = [[University of Alberta]]
| access-date = 4 January 2016
}}</ref>
<ref name="Dellal">{{cite web
| last = Dellal
| first = Pamela
| author-link = Pamela Dellal
| url = https://www.emmanuelmusic.org/bach-translations/bwv-3
| title = BWV 3&nbsp;– Ach Gott, wie manches Herzeleid
| publisher = [[Emmanuel Music]]
| access-date = 20 August 2022
}}</ref>
<ref name="Dürr">{{cite book
| last = Dürr
| first = Alfred
| author-link = Alfred Dürr
| title = Die Kantaten von Johann Sebastian Bach
| date = 1981
| publisher = Deutscher Taschenbuchverlag
| isbn = 3-423-04080-7
| volume = 1
| edition = 4
| pages = [https://archive.org/details/diekantatenvonjo0002durr/page/181 181–183]
| language = de
| url = https://archive.org/details/diekantatenvonjo0002durr/page/181
}}</ref>
<ref name="Gardiner">{{Cite AV media notes
| last = Gardiner
| first = John Eliot
| author-link = John Eliot Gardiner
| url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG115
| title = Johann Sebastian Bach (1685-1750) / Cantatas Nos 3, 13, 14, 26, 81 & 155
| publisher = [[Soli Deo Gloria (record label)|Soli Deo Gloria]] (at [[Hyperion Records]] website)
| date = 2006
| access-date = 19 January 2019
}}</ref>
<ref name="Grob">{{cite web
| last = Grob
| first = Jochen
| url = http://www.s-line.de/homepages/bachdiskographie/textkangeist/bwv3text.html
| title = BWV 3 / BC A 33
| publisher = s-line.de
| date = 2014
| language = de
| access-date = 23 December 2015
| archive-url = https://web.archive.org/web/20160304192113/http://www.s-line.de/homepages/bachdiskographie/textkangeist/bwv3text.html
| archive-date = 4 March 2016
| url-status = dead
}}</ref>
<ref name="Hofmann">{{cite web
| last = Hofmann
| first = Klaus
| author-link = Klaus Hofmann
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C29c%5BBIS-SACD1461%5D.pdf
| title = Ach Gott, wie manches Herzeleid, BWV 3 / Oh God, how many a heartfelt woe
| publisher = Bach-Cantatas
| page = 9
| date = 2005
| access-date = 17 January 2013
}}</ref>
<ref name="Mincham">{{cite web
| last = Mincham
| first = Julian
| url = https://www.jsbachcantatas.com/documents/chapter-35-bwv-3/
| title = Chapter 35 Bwv 3 – The Cantatas of Johann Sebastian Bach
| publisher = jsbachcantatas.com
| date = 2010
| access-date = 16 August 2022
}}</ref>
<ref name="Oron">{{cite web
| last = Oron
| first = Aryeh
| url = http://www.bach-cantatas.com/BWV3.htm
| title = Cantata BWV 3 Ach Gott, wie manches Herzeleid I
| publisher = Bach-Cantatas
| access-date = 4 January 2016
}}</ref>
<ref name="Wolff">{{cite book
| last = Wolff
| first = Christoph
| author-link = Christoph Wolff
| url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C15c%5BAM-3CD%5D.pdf
| title = The transition between the second and the third yearly cycle of Bach's Leipzig cantatas (1725)
| publisher = Bach-Cantatas
| pages = 2, 4
| date = 2001
| access-date = 17 January 2013
}}</ref>
}}
== External links ==
* {{IMSLP|work=Ach Gott, wie manches Herzeleid, BWV 3 (Bach, Johann Sebastian)}}
* [http://www.bach-digital.de/receive/BachDigitalWork_work_00000003?lang=en Ach Gott, wie manches Herzeleid BWV 3; BC A 33 / Chorale cantata (2nd Sunday of Epiphany)] [[Bach Digital]]
* [http://www.uvm.edu/~classics/faculty/bach/BWV3.html BWV 3 Ach Gott, wie manches Herzeleid] English translation. [[University of Vermont]]
* Luke Dahn: [http://www.bach-chorales.com/BWV0003_6.htm BWV 3.6] bach-chorales.com
{{Church cantatas by Johann Sebastian Bach}}
{{Bach cantatas}}
{{Authority control}}
{{DISPLAYTITLE:''Ach Gott, wie manches Herzeleid'', BWV 3}}
[[Category:Church cantatas by Johann Sebastian Bach]]
[[Category:1725 compositions]]
[[Category:Wedding at Cana]]