Luogo e data di registrazione		(luogo e data di registrazione non conosciuti)
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | 6.35602 EX | 2 LPs - durata 37' 57" - 37' 27" | (p) 1982 | ANA
	Edizione CD		Teldec Classics | LC 6706 | 242 615-2 ZK | 1 CD - durata 76' 06" | (c) 1989 | ADD
	Cover		Johann Sebastian Nach, einige Jahre vor seiner Ernennung zum Kantor in Leipzig. Gemälde con JJ. Ihle (1720) Bach Museum Eisenach.
	Note		In questo volume sono presenti anche La Cantate BWV 124, BWV 125 e BWV 126 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.

INTRODUCTION by Ludwig Finscher »Herr Jesu Christ, wahr’ Mensch und Gott« (BWV 127), written for Quinquagesima Sunday 1725 (11th February) provides a commentary on the Gospel for that Sunday, Christ’s prophecy of His passion and resurrection and the healing of the blind man (St. Luke, Ch. 18), in a hymn by Paul Eber which is actually a funeral hymn. Bach stresses its relevance to passion and resurrection by superimposing a number of symbols in the orchestral writing of the opening chorus: recorders as mourning instruments, dotted rhythms representing mourning (or scourging), the insistent repetition of the first line of the hymn, containing the key ideas Herr, Mensch, Gott (Lord, man, God), and - mainly in the violins - the use of the chorale »Christe, du Lamm Gottes« (Christ, Thou lamb of God). After a recitative, paraphrasing verses 2 and 3 of the hymn, there follows an equally unusual soprano aria in which the staccato chords of the recorders and the figures in the oboe played concertante with the voice each express transcendence in its own way (»Die Seele ruht in Jesu Händen« - My soul rests in Jesus’ hands), while the pizzicato of the basses, which runs through the whole aria, is revealed in the middle section as the sound of the death knell (strings). In strong contrast there follows a representation of the Last Judgement which is quite exceptional in Bach’s works. An accompanied recitative, in which the trumpet acts as the last trump, leads into the comforting words of Jesus set in a pattern in which a passage of chorale recitative, accompanied only by the continuo, alternates with a verse of aria with strings and trumpet. By virtue of the fact that the chorale recitative consists entirely of repetitions and variants of the first line of the hymn tune, which has already been all-pervading in the opening chorus, the text of this line is again brought continually to our attention, the dramatic impact of the Last Judgement and its exegetic profundity being inextricably interwoven. The final chorale begins simply, but ends with a setting of the last line »bis wir einschlafen seliglich« (until we go blissfully to sleep) which is as bold as it is vivid.