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Er rufet seinen Schafen mit Namen, BWV 175

January 01, 1970

Er rufet seinen Schafen mit Namen (He calls His sheep by name),[1] BWV 175, is a church cantata by Johann Sebastian Bach. He composed the cantata in Leipzig for the third day of Pentecost and first performed it on 22 May 1725.

Er rufet seinen Schafen mit Namen
BWV 175
Church cantata by J. S. Bach
Christiana Mariana von Ziegler, author of the cantata text
OccasionPentecost Tuesday
Cantata textChristiana Mariana von Ziegler
Bible text
  • John 10:3,6
Choraleby Johann Rist
Performed22 May 1725 (1725-05-22): Leipzig
Movements7
Vocal
  • SATB choir
  • solo: alto, tenor and bass
Instrumental
  • 2 trumpets
  • 3 recorders
  • 2 violins
  • viola
  • violoncello piccolo
  • continuo

History and words edit

Bach wrote the cantata in his second year in Leipzig for Pentecost Tuesday, the third day of Pentecost.[2] In this second year Bach had composed chorale cantatas between the first Sunday after Trinity and Palm Sunday, but for Easter returned to cantatas on more varied texts, possibly because he lost his librettist. Nine of his cantatas for the period between Easter and Pentecost are based on texts of Christiana Mariana von Ziegler.[3] Bach later assigned most of them, including this cantata, to his third annual cycle.[2]

The prescribed readings for the feast day were from the Acts of the Apostles, the Holy Spirit in Samaria (Acts 8:14–17), and from the Gospel of John, the Good Shepherd (John 10:1–10). The cantata is thematically divided in two parts, movements 1 to 4 and movements 5 to 7, but performed consecutively. Both begin with a quotation from the gospel. The first part deals with Jesus as the Good Shepherd and the sheep who hear his voice. The second part deals with those who don't hear this voice. The poet uses the term "verblendete Vernunft" (deluded reason),[1] possibly addressing the attitude of the intellectual movement "Aufklärung" (Age of Enlightenment).[2][4] The cantata is closed with the ninth stanza of Johann Rist's hymn "O Gottes Geist, mein Trost und Ruh".[5]

Bach first performed the cantata on 22 May 1725.[2]

Scoring and structure edit

The cantata in seven movements is distinctively scored for three vocal soloists (alto, tenor and bass), a four-part choir only in the closing chorale, two trumpets, three recorders, two violins, viola, violoncello piccolo and basso continuo. The recorders give a pastorale character to the first part about the Good Shepherd.[2]

  1. Recitative (tenor): Er rufet seinen Schafen mit Namen
  2. Aria (alto): Komm, leite mich
  3. Recitative (tenor): Wo find ich dich?
  4. Aria (tenor): Es dünket mich, ich seh dich kommen
  5. Recitative (alto, bass): Sie vernahmen aber nicht
  6. Aria (bass): Öffnet euch, ihr beiden Ohren
  7. Chorale: Nun, werter Geist, ich folg dir

Music edit

 
The Good Shepherd, by Jean-Baptiste de Champaigne

The first quotation from the Bible is sung by the tenor, like an Evangelist. This recitative, saying "Er rufet seinen Schafen mit Namen und führet sie hinaus" (He calls His sheep by name and leads them out),[1] is accompanied by three recorders, an instrument with pastoral associations.[6][7] The recorders also colour the first aria, a movement in 12/8 time with a text which refers to green fields.[4]

The following short recitative asks in a dissonant and dramatic way, like a lost sheep for its shepherd: "Wo find ich dich? Ach, wo bist du verborgen?" (Where can I find you? Ah, where are you hidden?).[1] The second aria is about the shepherd's arrival. Bach took the music from the secular cantata Durchlauchtster Leopold, BWV 173a, although the meter of Ziegler's poetry does not fit, as if Bach had not communicated the idea of the parody with the poet.[2] Bach transposes movement 7 from his congratulatory cantata up a minor third for tenor rather than bass voice and with an obbligato part for violoncello piccolo contrasting with the low range of the instruments he used in the first version. It is in the form of an extended da capo bourrée.[4]

The central recitative, movement 5, is the first movement of the cantata accompanied by the strings. It begins with the quotation from the gospel "Sie vernahmen aber nicht, was es war, das er zu ihnen gesaget hatte" (But they did not grasp what it was, that He had said to them),[1] sung by the alto as the Evangelist,[4] and leads to an arioso on the final warning not to overhear the words of Jesus, which "may be to your well-being"[1] (zu deinem Heil geschicht). This warning is enforced by two trumpets in the bass aria which reminds of the death of Jesus: "Jesus hat euch zugeschworen, daß er Teufel, Tod erlegt" (Jesus has sworn to you that He has laid low devil, death).[1][4] The trumpets are silent in the middle section, dealing with the gifts of Jesus, "grace, sufficiency, abundant life"[1] (Gnade, Gnüge, volles Leben). The aria may also be a parody, but the model is not known.[2]

The chorale is repeated from the cantata for Pentecost, Wer mich liebet, der wird mein Wort halten, BWV 59. The melody of the hymn for Pentecost "Komm, Heiliger Geist, Herre Gott"[8] is set for four parts and three independent recorder parts, instead of strings in the earlier version, thus returning to the scoring of the beginning of the cantata.[2][4]

Recordings edit

References edit

  1. ^ a b c d e f g h Dellal, Pamela. "BWV 175 – "Er rufet seinen Schafen mit Namen"". Emmanuel Music. Retrieved 7 September 2022.
  2. ^ a b c d e f g h Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 314–316. ISBN 3-423-04080-7.
  3. ^ Wolff, Christoph. (PDF). pregardien.com. Archived from the original (PDF) on 26 July 2011. Retrieved 1 June 2011.
  4. ^ a b c d e f Gardiner, John Eliot (2008). Johann Sebastian Bach (1685-1750) / Cantatas Nos 129, 165, 175, 176, 184 & 194 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 8 June 2019.
  5. ^ "O Gottes Geist, mein Trost und Ruh / Text and Translation of Chorale". Bach Cantatas Website. 2005. Retrieved 1 June 2011.
  6. ^ Robins, Brian (2011). "Cantata No. 175, "Er rufet seinen Schafen mit Namen," BWV 175". Allmusic. Retrieved 7 June 2011.
  7. ^ Mincham, Julian (2010). "Chapter 47 BWV 183 &175, each commencing with a recitative". jsbachcantatas.com. Retrieved 7 September 2022.
  8. ^ "Chorale Melodies used in Bach's Vocal Works / Komm, Heiliger Geist, Herre Gott". Bach Cantatas Website. 2006. Retrieved 1 June 2011.

Sources edit

January 01, 1970
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Er rufet seinen Schafen mit Namen He calls His sheep by name 1 BWV 175 is a church cantata by Johann Sebastian Bach He composed the cantata in Leipzig for the third day of Pentecost and first performed it on 22 May 1725 Er rufet seinen Schafen mit NamenBWV 175Church cantata by J S BachChristiana Mariana von Ziegler author of the cantata textOccasionPentecost TuesdayCantata textChristiana Mariana von ZieglerBible textJohn 10 3 6Choraleby Johann RistPerformed22 May 1725 1725 05 22 LeipzigMovements7VocalSATB choir solo alto tenor and bassInstrumental2 trumpets3 recorders2 violinsviolavioloncello piccolocontinuo Contents 1 History and words 2 Scoring and structure 3 Music 4 Recordings 5 References 6 SourcesHistory and words editBach wrote the cantata in his second year in Leipzig for Pentecost Tuesday the third day of Pentecost 2 In this second year Bach had composed chorale cantatas between the first Sunday after Trinity and Palm Sunday but for Easter returned to cantatas on more varied texts possibly because he lost his librettist Nine of his cantatas for the period between Easter and Pentecost are based on texts of Christiana Mariana von Ziegler 3 Bach later assigned most of them including this cantata to his third annual cycle 2 The prescribed readings for the feast day were from the Acts of the Apostles the Holy Spirit in Samaria Acts 8 14 17 and from the Gospel of John the Good Shepherd John 10 1 10 The cantata is thematically divided in two parts movements 1 to 4 and movements 5 to 7 but performed consecutively Both begin with a quotation from the gospel The first part deals with Jesus as the Good Shepherd and the sheep who hear his voice The second part deals with those who don t hear this voice The poet uses the term verblendete Vernunft deluded reason 1 possibly addressing the attitude of the intellectual movement Aufklarung Age of Enlightenment 2 4 The cantata is closed with the ninth stanza of Johann Rist s hymn O Gottes Geist mein Trost und Ruh 5 Bach first performed the cantata on 22 May 1725 2 Scoring and structure editThe cantata in seven movements is distinctively scored for three vocal soloists alto tenor and bass a four part choir only in the closing chorale two trumpets three recorders two violins viola violoncello piccolo and basso continuo The recorders give a pastorale character to the first part about the Good Shepherd 2 Recitative tenor Er rufet seinen Schafen mit Namen Aria alto Komm leite mich Recitative tenor Wo find ich dich Aria tenor Es dunket mich ich seh dich kommen Recitative alto bass Sie vernahmen aber nicht Aria bass Offnet euch ihr beiden Ohren Chorale Nun werter Geist ich folg dirMusic edit nbsp The Good Shepherd by Jean Baptiste de Champaigne The first quotation from the Bible is sung by the tenor like an Evangelist This recitative saying Er rufet seinen Schafen mit Namen und fuhret sie hinaus He calls His sheep by name and leads them out 1 is accompanied by three recorders an instrument with pastoral associations 6 7 The recorders also colour the first aria a movement in 12 8 time with a text which refers to green fields 4 The following short recitative asks in a dissonant and dramatic way like a lost sheep for its shepherd Wo find ich dich Ach wo bist du verborgen Where can I find you Ah where are you hidden 1 The second aria is about the shepherd s arrival Bach took the music from the secular cantata Durchlauchtster Leopold BWV 173a although the meter of Ziegler s poetry does not fit as if Bach had not communicated the idea of the parody with the poet 2 Bach transposes movement 7 from his congratulatory cantata up a minor third for tenor rather than bass voice and with an obbligato part for violoncello piccolo contrasting with the low range of the instruments he used in the first version It is in the form of an extended da capo bourree 4 The central recitative movement 5 is the first movement of the cantata accompanied by the strings It begins with the quotation from the gospel Sie vernahmen aber nicht was es war das er zu ihnen gesaget hatte But they did not grasp what it was that He had said to them 1 sung by the alto as the Evangelist 4 and leads to an arioso on the final warning not to overhear the words of Jesus which may be to your well being 1 zu deinem Heil geschicht This warning is enforced by two trumpets in the bass aria which reminds of the death of Jesus Jesus hat euch zugeschworen dass er Teufel Tod erlegt Jesus has sworn to you that He has laid low devil death 1 4 The trumpets are silent in the middle section dealing with the gifts of Jesus grace sufficiency abundant life 1 Gnade Gnuge volles Leben The aria may also be a parody but the model is not known 2 The chorale is repeated from the cantata for Pentecost Wer mich liebet der wird mein Wort halten BWV 59 The melody of the hymn for Pentecost Komm Heiliger Geist Herre Gott 8 is set for four parts and three independent recorder parts instead of strings in the earlier version thus returning to the scoring of the beginning of the cantata 2 4 Recordings editJ S Bach Cantatas BWV 100 amp BWV 175 Heinz Wunderlich Kantorei St Jacobi Hamburg Hamburger Kammerorchester Lotte Wolf Matthaus Hans Joachim Rotzsch Hans Olaf Hudemann Cantate 1961 Bach Cantatas Vol 3 Ascension Day Whitsun Trinity Karl Richter Munchener Bach Chor Munchener Bach Orchester Anna Reynolds Peter Schreier Dietrich Fischer Dieskau Cantate 1975 Die Bach Kantate Vol 38 Helmuth Rilling Gachinger Kantorei Bach Collegium Stuttgart Carolyn Watkinson Peter Schreier Philippe Huttenlocher Hanssler 1981 J S Bach Das Kantatenwerk Sacred Cantatas Vol 9 Gustav Leonhardt Knabenchor Hannover Collegium Vocale Gent Leonhardt Consort Paul Esswood Marius van Altena Max van Egmond Teldec 1988 J S Bach Cantatas with Violoncelle Piccolo Vol 2 Christophe Coin Das Leipziger Concerto Vocale Ensemble Baroque de Limoges Barbara Schlick Andreas Scholl Christoph Pregardien Gotthold Schwarz Auvidis Astree 1994 Bach Cantatas Vol 27 Blythburgh Kirkwell John Eliot Gardiner Monteverdi Choir English Baroque Soloists Nathalie Stutzmann Christoph Genz Stephan Loges Soli Deo Gloria 2000 J S Bach Complete Cantatas Vol 15 Ton Koopman Amsterdam Baroque Orchestra amp Choir Bogna Bartosz Christoph Pregardien Klaus Mertens Antoine Marchand 2001 J S Bach Cantatas Vol 39 Cantatas from Leipzig 1725 Masaaki Suzuki Bach Collegium Japan Robin Blaze Gerd Turk Peter Kooy BIS 2007References edit a b c d e f g h Dellal Pamela BWV 175 Er rufet seinen Schafen mit Namen Emmanuel Music Retrieved 7 September 2022 a b c d e f g h Durr Alfred 1981 Die Kantaten von Johann Sebastian Bach in German Vol 1 4 ed Deutscher Taschenbuchverlag pp 314 316 ISBN 3 423 04080 7 Wolff Christoph The transition between the second and the third yearly cycle of Bach s Leipzig cantatas 1725 PDF pregardien com Archived from the original PDF on 26 July 2011 Retrieved 1 June 2011 a b c d e f Gardiner John Eliot 2008 Johann Sebastian Bach 1685 1750 Cantatas Nos 129 165 175 176 184 amp 194 Media notes Soli Deo Gloria at Hyperion Records website Retrieved 8 June 2019 O Gottes Geist mein Trost und Ruh Text and Translation of Chorale Bach Cantatas Website 2005 Retrieved 1 June 2011 Robins Brian 2011 Cantata No 175 Er rufet seinen Schafen mit Namen BWV 175 Allmusic Retrieved 7 June 2011 Mincham Julian 2010 Chapter 47 BWV 183 amp 175 each commencing with a recitative jsbachcantatas com Retrieved 7 September 2022 Chorale Melodies used in Bach s Vocal Works Komm Heiliger Geist Herre Gott Bach Cantatas Website 2006 Retrieved 1 June 2011 Sources editEr rufet seinen Schafen mit Namen BWV 175 Scores at the International Music Score Library Project Er rufet seinen Schafen mit Namen BWV 175 BC A 89 Sacred cantata 3rd Day of Pentecost Bach Digital Cantata BWV 175 Er rufet seinen Schafen mit Namen history scoring sources for text and music translations to various languages discography discussion Bach Cantatas Website Er rufet seinen Schafen mit Namen history scoring Bach website in German BWV 175 Er rufet seinen Schafen mit Namen English translation University of Vermont BWV 175 Er rufet seinen Schafen mit Namen text scoring University of Alberta Retrieved from https en wikipedia org w index php title Er rufet seinen Schafen mit Namen BWV 175 amp oldid 1109089696, wikipedia, wiki, book, books, library,

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