Manual Cantata No. 77: Du sollst Gott, deinen Herren, lieben, BWV77

Thus does the movement begin, with first and second violins making their entrances as, subsequently, does the choir in the order B, T, S, A. Why produce such a convoluted texture of overlapping themes and motives? The first response to such a question is probably that Bach loved exploring the potential of specific musical ideas and the challenge of seeking out just what could be made to work. At the same time, he always tried to align musical assemblages to textual images in a way that served the sense and quickened the emotions.

Here the text is a double injunction as to what man is required to do if he aspires to salvation—-you must love God mightily with body and soul, mind and vigour and —-you must love your neighbour as yourself. It is the very comprehensiveness of this message that Bach has responded to, the total commitment of mind body and soul to both spiritual and corporeal matters.

All aspects of the known universe are bound together and united as one, just as are the various musical components. Finally, the hymn which Bach chose as the skeleton for this enigmatic movement is Dies sind die heilgen zhen Gebot—- these are the ten Holy Commandments. One cannot imagine that all of this would have been perceived by the Leipzig, or indeed any other congregations, on just the one hearing. Much of this complex allegorical representation must have surely been intended for the ears of God. The intricacy of the opening chorus is balanced by the simplicity of the bass recitative that follows it.

A mere dozen continuo notes are needed to support a direct and straightforward address to the faithful—-it has to be thus—-we must choose Him whole-heartedly and we will never be more content than when He inspires us with His spirit, grace and goodness.

There are no images to paint and the warm C major mode seems appropriately inclusive. Minor modes impinge upon us in the first aria as, indeed, they do for most of the remainder of the work but in this movement the effect is principally one of a warm and all-encompassing affection. The writing for the oboes is atypical of Bach; much of the time they are musically and symbolically bound together in parallel movement in thirds or sixths.

They have only the briefest of moments of independence so the overall effect is that of a trio parallel oboes, voice and continuo rather than of a quartet. It is, however, essentially a love song, almost a swaying barcarolle, tenderly expressed through graceful and flowing contrapuntal lines.

The direct entreaty to know the commandment is expressed in a moment of genuine passion as the voice surges upwards from bar But it is the four complex and alternating melismas that really highlight the basic moral, two on each of entbrennen—-inflaming with love and ewig—-for all eternity bars Thus the central message at the centre of the cantata is made more directly and explicitly than in the opening chorus—-love God forever—-the underlying premise of the first three commandments.

The soprano aria stressed the need to love God. Now the tenor places the emphasis upon the second commandment articulated in the chorus—-love your neighbour. The second and final aria is an enigma in a number of ways. Once received, we should be set firmly on the road to redemption; but this is not how the librettist saw it. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.

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So muss es sein! Gib mir dabei, mein Gott! Duration 17 minutes Composer Time Period Comp. Retrieved from " http: Contents 1 Performances 1. Performer Pages Michel Rondeau trumpet. These file s are part of the Werner Icking Music Collection. Javascript is required for this feature.

Editor Wilhelm Rust — First edition. Bach-Gesellschaft Ausgabe , Band 18 pp. Editor Werner Neumann Neue Bach-Ausgabe , Serie I.

Arranger Bernhard Todt — [? Vocal Scores based on Bach-Gesellschaft Ausgabe. Editor Frieder Rempp Page size is Bach Digital source list. Commentary on the movements, etc.

Wo soll ich fliehen hin BWV 6: Bleib bei uns, denn es will Abend werden BWV 7: Liebster Gott, wenn werd ich sterben? Es ist das Heil uns kommen her BWV Meine Seel erhebt den Herren. Herr Gott, dich loben wir BWV Wer Dank opfert, der preiset mich BWV Es erhub sich ein Streit BWV O Ewigkeit, du Donnerwort. Wir danken dir, Gott, wir danken dir BWV Geist und Seele wird verwirret BWV Schwingt freudig euch empor BWV 36a: Steigt freudig in die Luft BWV 36b: Die Freude reget sich BWV 36c: Schwingt freudig euch empor BWV Aus tiefer Not schrei ich zu dir BWV Dazu ist erschienen der Sohn Gottes.

• Cantata BWV 77 - Details & Discography Part 1: Complete Recordings.
• Du sollt Gott, deinen Herren, lieben, BWV 77 (Bach, Johann Sebastian).
• Chapter 16 Bwv 77.

Jesu, nun sei gepreiset BWV Sie werden euch in den Bann tun BWV Es ist dir gesagt, Mensch, was gut ist BWV Schauet doch und sehet BWV The Cantatas of J. Retrieved 12 September Retrieved 22 June Du sollst Gott, deinen Herren, lieben — No. Bach-Gesellschaft Ausgabe in German. New Bach Edition in German. Score , ; 7ff.

Critical Commentary , Retrieved 21 June Soli Deo Gloria at Hyperion Records website. Retrieved 2 September Retrieved 29 August Church cantatas by Johann Sebastian Bach. Between Trinity and Advent: Chorale cantatas between Trinity and Easter: Bach cantata List of Bach cantatas Discography: Retrieved from " https: Church cantatas by Johann Sebastian Bach compositions. Views Read Edit View history. In other projects Wikimedia Commons.

This page was last edited on 2 September , at By using this site, you agree to the Terms of Use and Privacy Policy. Church cantata by J.