Ach Gott, wie manches Herzeleid

Ach Gott, wie manches Herzeleid

BWV 58 performed by the Netherlands Bach Society
conducted by Jos van Veldhoven
St. Martin's Church, Groningen

  • Menu
  • 1. Ach Gott, wie manches Herzeleid (Arie)
  • 2. Verfolgt dich gleich die arge Welt (Rezitativ)
  • 3. Ich bin vergnügt in meinem Leiden (Arie)
  • 4. Kann es die Welt nicht lassen (Rezitativ)
  • 5. Ich hab für mir ein schwere Reis (Arie)

Behind the music

Extra videos
Extra videos

Efficient frugality

Bach illustrates loneliness extremely effectively with an austere instrumentation

Right at the outset of this piece, Bach makes an abrupt ending to the festive spirit of Christmas with a heartrending aria. It is the first Sunday after New Year’s Day and the sermon is about the story of the Massacre of the Innocents. Herod, afraid that he would lose his throne to Jesus, ordered the massacre of all the children of Bethlehem. Joseph, however, had received a warning, and escaped with Mary and Jesus to Egypt. All the other children were killed.

This great suffering is expressed in the opening aria: a drawn-out sarabande with austere instrumentation. The suffering soul, a soprano, sings the cheerless words of the first verse of the chorale ‘Ach Gott, wie manches Herzeleid’, accompanied by a descending plaintive bass line. The bass, Jesus, interrupts rather more cheerfully, advising patience, as the path to salvation is not strewn with roses.

The turning point of this laboured cantata comes in the extraordinarily beautiful soprano aria, in which the tormented soul – supported by a radiant violin part and in the knowledge that Jesus has been saved – comes to terms with her suffering. At the end of this completely symmetrical cantata, when the duo once again enter into dialogue, we hear the second verse of another chorale: ‘O Jesu Christ, meins Lebens Licht’. A festive fanfare erupts, as the soprano has accepted her devotion and looks forward to the eternal comfort of Jesus.

The exceptional beauty of this gem from 1727 lies in the combination of the limited means and the loneliness caused by the suffering. Even when Bach added a trio of two oboes and an alto oboe to the outer movements, for a later performance around 1733, he still did not put in any solo wind passages. Only right at the end are the trio allowed to give a festive hint of the hope of paradise. And it was, of course, considerate of Bach to think of his musicians, who could certainly have done with a breather after the busy Christmas period and just before the Epiphany festivities on 6 January.

Ach Gott, wie manches Herzeleid, Concerto in Dialogo
bass, soprano
Sunday after New Year’s Day
First performance
5 January 1727
Special notes
Bach only added the two oboes and the alto oboe around 1733.

Extra videos

Conductor Jos van Veldhoven

“Bach wrote this cantata as a dialogue between 'the soul' and Jezus.”

Vocal texts


1. Arie und Choral (Sopran, Bass)
Ach Gott, wie manches Herzeleid
Nur Geduld, Geduld, mein Herze,
begegnet mir zu dieser Zeit!
es ist eine böse Zeit!
Der schmale Weg ist Trübsals voll,
Doch der Gang zur Seligkeit
den ich zum Himmel wandern soll.
führt zur Freude nach dem Schmerze.
Nur Geduld, Geduld, mein Herze,
Es ist eine böse Zeit!

2. Rezitativ (Bass)
Verfolgt dich gleich die arge Welt,
so hast du dennoch Gott zum Freunde,
der wider deine Feinde
dir stets den Rücken hält.
Und wenn der wütende Herodes
das Urteil eines schmähen Todes
gleich über unsern Heiland fällt,
so kommt ein Engel in der Nacht,
der lässet Joseph träumen,
dass er dem Würger soll entfliehen
und nach Ägypten ziehen.
Gott hat ein Wort, das dich vertrauend macht.
Er spricht: ‘Wenn Berg und Hügel niedersinken,
wenn dich die Flut des Wassers will ertrinken,
so will ich dich doch nicht verlassen
noch versäumen.           

3. Arie (Sopran)
Ich bin vergnügt in meinem Leiden,
denn Gott ist meine Zuversicht.
Ich habe sichern Brief und Siegel,
und dieses ist der feste Riegel,
den bricht auch selbst die Hölle nicht.  

4. Rezitativ (Sopran)
Kann es die Welt nicht lassen,
mich zu verfolgen und zu hassen,
so weist mir Gottes Hand
ein andres Land.
Ach! könnt es heute noch geschehen,
dass ich mein Eden möchte sehen!       

5. Arie und Choral (Sopran, Bass)
Ich hab für mir ein schwere Reis
Nur getrost, getrost, ihr Herzen,
zu dir ins Himmels Paradeis,
hier ist Angst, dort Herrlichkeit!
Da ist mein rechtes Vaterland,
Und die Freude jener Zeit
daran du dein Blut hast gewandt.
Überwieget alle Schmerzen.
Nur getrost, getrost, ihr Herzen,
hier ist Angst, dort Herrlichkeit!


1. Aria and Chorale (Soprano, Bass)
Ah God, what deep affliction
Patience, patience, O my heart,
befalls me at this time!
these are bad times!
The narrow path is full of sorrow
Yet the path to salvation
on which I must go to Heaven.
leads to joy after pain.
Patience, patience, O my heart,
these are bad times!

2. Recitative (Bass)
Though the wicked world persecutes you,
you still have God as a friend,
who, in the face of your foes,
will always support you.
And even though furious Herod
sentenced our Saviour
to shameful death,
there came an angel in the night
and sent a dream to Joseph,
that He should escape the butcher
and flee into Egypt.
God’s Word gives you confidence.
He saith: when hills and mountains crumble,
when flood waters submerge you,
I shall neither leave you
nor forsake you.

3. Aria (Soprano)
I am content in my suffering,
for God is my reassurance.
I have a trustworthy seal and charter,
and this is the solid bolt
that Hell itself cannot break.

4. Recitative (Soprano)
Though the world cannot refrain
from persecuting and hating me,
God’s hand reveals to me
another land.
Ah, could it but come to pass today
that I might behold my Eden!

5. Aria with Chorale (Soprano, Bass)
I have a difficult journey to go
Be consoled, consoled, O hearts,
to reach Thee in heaven’s paradise;
here is fear, there glory reigns!
that is my true fatherland,
And the joy of that day
for which Thou hast shed Thy blood.
outweighs all pain.
Be consoled, consoled, O hearts,
here is fear, there glory reigns!


  • Release date
    20 January 2017
  • Recording date
    26 September 2015
  • Location
    St. Martin's Church, Groningen
  • Conductor
    Jos van Veldhoven
  • Soprano
    Monika Mauch
  • Bass
    Stephan MacLeod
  • Violin 1
    Shunske Sato, Annabelle Ferdinand, Anneke van Haaften, Annelies van der Vegt
  • Violin 2
    Sayuri Yamagata, Pieter Affourtit, Paulien Kostense
  • Viola
    Staas Swierstra, Deirdre Dowling
  • Cello
    Lucia Swarts, Richte van der Meer
  • Double bass
    Robert Franenberg
  • Oboe
    Martin Stadler
  • Oboe 2
    Peter Frankenberg
  • Taille
    Hanna Lindeijer
  • Bassoon
    Benny Aghassi
  • Organ
    Leo van Doeselaar
  • Harpsichord
    Siebe Henstra
  • Director
    Simon Aarden
  • Editor
    Pjotr 's Gravesande
  • Assistant director
    Niek Wijns
  • Music recording
    Guido Tichelman, Bastiaan Kuijt, Micha de Kanter
  • Music edit and mix
    Guido Tichelman
  • Camera
    Jorrit Garretsen, Bart Ten Harkel, Chris Reichgelt, Jochem Timmerman
  • Lights
    Daan de Boer
  • Lighting assistant
    Gijs 't Hoen
  • Video engeneer
    Niels Cnossen
  • Set technique
    Marco Korzelius
  • Project manager nep
    Peter Ribbens
  • Interview
    Onno van Ameijde
  • Producer concert
    Marco Meijdam, Imke Deters
  • Producer film
    Jessie Verbrugh
  • Acknowledgements
    Jan Haak

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