Wer mich liebet, der wird mein Wort halten (Whoever loves me will keep my word), BWV59, is a church cantatabyJohann Sebastian Bach. He composed the cantata for Pentecost and probably first performed it in Leipzig on 28 May 1724, but an earlier performance on 16 May 1723 at the Paulinerkirche, the University Church of Leipzig, is possible.
Bach certainly performed the cantata on 28 May 1724,[4] which may have been the first performance. The score dates from around 1718,[4] but the parts were written in 1724. Pentecost of 1723 occurred before Bach officially started his tenure as Thomaskantor in Leipzig on the first Sunday after Trinity. The possibility of a performance already on 16 May 1723, perhaps in a service of the university, as Arnold Schering suggested, has been discussed.[1][5][6] Bach used and expanded parts of the cantata in Wer mich liebet, der wird mein Wort halten, BWV 74, for Pentecost of 1725.
The cantata in four movements is scored for two soloists, soprano and bass, a four-part choir only in the chorale, two trumpets, timpani, two violins, viola and basso continuo. Compared to a typical festive orchestra, it lacks a third trumpet and woodwinds.[1][6]
Duet (soprano, bass): Wer mich liebet, der wird mein Wort halten
The first movement is an extended duet, which repeats the text five times. In four sections, the voices imitate each other, using different intervals and various keys; in the final section they sing united in parallels of sixths. The instruments begin with a short prelude, which introduces a motif later sung on the words "Wer mich liebet" with a short melisma on "mich" (me). This motif begins every section.[1]
Movement 2 begins as a recitative with string accompaniment, but ends as an arioso with continuo on the final lines "Ach, daß doch, wie er wollte ihn auch ein jeder lieben sollte" (Ah, that only, as he wishes, everyone might also love him).[1][7]
In the chorale,[8] two violins play partly independent parts, achieving a full sound. The chorale is followed by an aria with an obbligato violin. Scholars have discussed if this unusual ending of the cantata was Bach's intention or if he had planned to conclude the work with Neumeister's fifth movement, another chorale.[1]John Eliot Gardiner chose to repeat the chorale, performing its third stanza.[6][9]
