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Ich bin ein guter Hirt, BWV 85

November 29, 2023

Ich bin ein guter Hirt (I am a Good Shepherd),[1] BWV 85, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the second Sunday after Easter and first performed it on 15 April 1725.

Ich bin ein guter Hirt
BWV 85
Church cantata by J. S. Bach
OccasionSecond Sunday after Easter
Bible textJohn 10:11
Chorale
Performed14 April 1725 (1725-04-14): Leipzig
Movements6
VocalSATB solo and choir
Instrumental
  • 2 oboes
  • 2 violins
  • viola
  • violoncello piccolo
  • continuo

History and words edit

Bach composed the cantata in his second annual cycle in Leipzig for the second Sunday after Easter, called Misericordias Domini. The prescribed readings for that Sunday were from the First Epistle of Peter, Christ as a model (1 Peter 2:21–25), and from the Gospel of John, the Good Shepherd (John 10:11–16).[2]

According to John Eliot Gardiner, the poet is likely the same as for two preceding cantatas, Bleib bei uns, denn es will Abend werden, BWV 6, and Am Abend aber desselbigen Sabbats, BWV 42,[3] before Christiana Mariana von Ziegler became the poet for the following cantatas of the period.[4] The three cantata texts were probably written for Bach's first year in Leipzig, but postponed due to the workload of the first performance of the St John Passion that year. They are a sequence on themes from the Gospel of John.[3] The poet opens the cantata with the beginning from the Gospel, verse 11.[5] The second movement explains that being a Good Shepherd was realized in the Passion. The thought is commented by the first stanza of Cornelius Becker's hymn "Der Herr ist mein getreuer Hirt" (1598),[6] a paraphrase of Psalm 23.[3] The poet refers In movement 4 to verse 12 of the Gospel, the contrast of the shepherd who is awake to watch over the sheep, whereas the hired servants sleep and neglect them. Movement 5 names love as the shepherd's motivation to care for the sheep. The cantata ends with the chorale "Ist Gott mein Schutz und treuer Hirt", the fourth stanza of Ernst Christoph Homberg's hymn "Ist Gott mein Schild und Helfersmann" (1658).[2]

Bach first performed the cantata on 15 April 1725.[2]

Scoring and structure edit

The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only in the chorale, two oboes, two violins, viola, violoncello piccolo and basso continuo.[2]

  1. Aria (bass): Ich bin ein guter Hirt
  2. Aria (alto): Jesus ist ein guter Hirt
  3. Chorale (soprano): Der Herr ist mein getreuer Hirt
  4. Recitative (tenor): Wenn die Mietlinge schlafen
  5. Aria (tenor): Seht, was die Liebe tut
  6. Chorale (satb): Ist Gott mein Schutz und treuer Hirt

Music edit

In the first movement, the bass as the vox Christi sings "I am a good shepherd", framed by instrumental ritornellos. The motif on these words appears already four times in the ritornello.[7] The movement is between aria and arioso, with the oboe as a concertante instrument in "a mood of tranquil seriousness".[5] The alto aria is accompanied by an obbligato violoncello piccolo.[5] The chorale stanza is sung by the soprano on the tune of "Allein Gott in der Höh sei Ehr" by Nikolaus Decius,[8] with a slightly ornamented melody, whereas the two oboes play a theme in ritornellos which is derived from the first line of the tune.[2]

The only recitative is a miniature sermon, accompanied by the strings accenting phrases of the text. Movement 5 is the only movement in the cantata in pastorale rhythm. The strings, violins and viola's, play in unison, so in the low register. Thus the tenor voice frequently appears as the highest part, beginning with three times "Seht" (look). Gardiner observes the similarity to an alto aria (movement 60) of the St Matthew Passion, Sehet, Jesus hat die Hand, similarities in both the theme "pastoral love emanating from the cross", and the music, described as "rich, flowing melody and gently rocking rhythm". The closing chorale is a four-part setting.[2][7]

Recordings edit

References edit

  1. ^ Dellal, Pamela. "BWV 85 – Ich bin ein guter Hirt". Emmanuel Music. Retrieved 24 August 2022.
  2. ^ a b c d e f Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 258–261. ISBN 3-423-04080-7.
  3. ^ a b c Gardiner, John Eliot (2007). Johann Sebastian Bach (1685-1750) / Cantatas Nos 42, 67, 85, 104, 112, 150 & 158 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 27 April 2019.
  4. ^ Wolff, Christoph (2001). "The transition between the second and the third yearly cycle of Bach's Leipzig cantatas (1725)" (PDF). Bach Cantatas Website. p. 5. Retrieved 17 April 2012.
  5. ^ a b c Hofmann, Klaus (2008). "Ich bin ein guter Hirt / I am the Good Shepherd, BWV 85" (PDF). Bach Cantatas Website. p. 8. Retrieved 17 April 2012.
  6. ^ "Der Herr ist mein getreuer Hirt / Text and Translation of Chorale". Bach Cantatas Website. 2006. Retrieved 16 April 2012.
  7. ^ a b Mincham, Julian (2010). "Chapter 44: BWV 85, BWV 108 and BWV 87, each commencing with a bass aria". jsbachcantatas.com. Retrieved 24 August 2022.
  8. ^ "Chorale Melodies used in Bach's Vocal Works / Allein Gott in der Höh sei Ehr / The German Gloria (in excelsis Deo)". Bach Cantatas Website. 2006. Retrieved 15 April 2012.

Sources edit

November 29, 2023
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Ich bin ein guter Hirt I am a Good Shepherd 1 BWV 85 is a church cantata by Johann Sebastian Bach He composed it in Leipzig for the second Sunday after Easter and first performed it on 15 April 1725 Ich bin ein guter HirtBWV 85Church cantata by J S BachThe Good Shepherd by Jean Baptiste de ChampaigneOccasionSecond Sunday after EasterBible textJohn 10 11Choraleby Ernst Christoph Homberg by Cornelius BeckerPerformed14 April 1725 1725 04 14 LeipzigMovements6VocalSATB solo and choirInstrumental2 oboes2 violinsviolavioloncello piccolocontinuo Contents 1 History and words 2 Scoring and structure 3 Music 4 Recordings 5 References 6 SourcesHistory and words editBach composed the cantata in his second annual cycle in Leipzig for the second Sunday after Easter called Misericordias Domini The prescribed readings for that Sunday were from the First Epistle of Peter Christ as a model 1 Peter 2 21 25 and from the Gospel of John the Good Shepherd John 10 11 16 2 According to John Eliot Gardiner the poet is likely the same as for two preceding cantatas Bleib bei uns denn es will Abend werden BWV 6 and Am Abend aber desselbigen Sabbats BWV 42 3 before Christiana Mariana von Ziegler became the poet for the following cantatas of the period 4 The three cantata texts were probably written for Bach s first year in Leipzig but postponed due to the workload of the first performance of the St John Passion that year They are a sequence on themes from the Gospel of John 3 The poet opens the cantata with the beginning from the Gospel verse 11 5 The second movement explains that being a Good Shepherd was realized in the Passion The thought is commented by the first stanza of Cornelius Becker s hymn Der Herr ist mein getreuer Hirt 1598 6 a paraphrase of Psalm 23 3 The poet refers In movement 4 to verse 12 of the Gospel the contrast of the shepherd who is awake to watch over the sheep whereas the hired servants sleep and neglect them Movement 5 names love as the shepherd s motivation to care for the sheep The cantata ends with the chorale Ist Gott mein Schutz und treuer Hirt the fourth stanza of Ernst Christoph Homberg s hymn Ist Gott mein Schild und Helfersmann 1658 2 Bach first performed the cantata on 15 April 1725 2 Scoring and structure editThe cantata in six movements is scored for four vocal soloists soprano alto tenor and bass a four part choir only in the chorale two oboes two violins viola violoncello piccolo and basso continuo 2 Aria bass Ich bin ein guter Hirt Aria alto Jesus ist ein guter Hirt Chorale soprano Der Herr ist mein getreuer Hirt Recitative tenor Wenn die Mietlinge schlafen Aria tenor Seht was die Liebe tut Chorale satb Ist Gott mein Schutz und treuer HirtMusic editIn the first movement the bass as the vox Christi sings I am a good shepherd framed by instrumental ritornellos The motif on these words appears already four times in the ritornello 7 The movement is between aria and arioso with the oboe as a concertante instrument in a mood of tranquil seriousness 5 The alto aria is accompanied by an obbligato violoncello piccolo 5 The chorale stanza is sung by the soprano on the tune of Allein Gott in der Hoh sei Ehr by Nikolaus Decius 8 with a slightly ornamented melody whereas the two oboes play a theme in ritornellos which is derived from the first line of the tune 2 The only recitative is a miniature sermon accompanied by the strings accenting phrases of the text Movement 5 is the only movement in the cantata in pastorale rhythm The strings violins and viola s play in unison so in the low register Thus the tenor voice frequently appears as the highest part beginning with three times Seht look Gardiner observes the similarity to an alto aria movement 60 of the St Matthew Passion Sehet Jesus hat die Hand similarities in both the theme pastoral love emanating from the cross and the music described as rich flowing melody and gently rocking rhythm The closing chorale is a four part setting 2 7 Recordings editBach Cantata 85 Cantata 151 Anthon van der Horst De Nederlandse Bachvereniging Amsterdam Kamerorkest Helene Ludolph Wilhelmine Matthes Tom Brand Hermann Schey Telefunken 1957 Les Grandes Cantates de J S Bach Vol 4 Pforzheim Chamber Orchestra Ingeborg Reichelt Hertha Topper Helmut Krebs Franz Kelch Erato 1959 J S Bach Kantate BWV 85 Ich bin ein guter Hirt Karl Ristenpart Chorus of the Conservatory of Sarrebruck Chamber Orchestra of the Saar Eva Bornemann Helmut Kretschmar Jakob Stampfli Saarlandischer Rundfunk 1960 Bach Kantaten Vol 8 BWV 103 BWV 85 BWV 86 BWV 144 Diethard Hellmann Bachchor und Bachorchester Mainz DdM Records Mitterteich late 1960s Les Grandes Cantates de J S Bach Vol 24 Fritz Werner Heinrich Schutz Chor Heilbronn Wurttembergisches Kammerorchester Heilbronn Hedy Graf Barbara Scherler Kurt Huber Jakob Stampfli Erato 1970 J S Bach Das Kantatenwerk Complete Cantatas Les Cantates Folge Vol 22 BWV 84 90 Nikolaus Harnoncourt Tolzer Knabenchor Concentus Musicus Wien Paul Esswood Kurt Equiluz Ruud van der Meer Teldec 1977 Die Bach Kantate Vol 13 Helmuth Rilling Gachinger Kantorei Bach Collegium Stuttgart Arleen Auger Gabriele Schreckenbach Adalbert Kraus Walter Heldwein Hanssler 1981 J S Bach Cantatas with Violoncelle Piccolo Christophe Coin Das Leipziger Concerto Vocale Ensemble Baroque de Limoges Barbara Schlick Andreas Scholl Christoph Pregardien Gotthold Schwarz Auvidis Astree Naive 1994 Bach Edition Vol 5 Cantatas Vol 2 Pieter Jan Leusink Holland Boys Choir Netherlands Bach Collegium Ruth Holton Sytse Buwalda Nico van der Meel Bas Ramselaar Brilliant Classics 1999 Bach Cantatas Vol 23 Arnstadt Echternach John Eliot Gardiner Monteverdi Choir English Baroque Soloists Katharine Fuge William Towers Norbert Meyn Stephen Varcoe Soli Deo Gloria 2000 J S Bach Complete Cantatas Vol 15 Ton Koopman Amsterdam Baroque Orchestra amp Choir Deborah York Bogna Bartosz Jorg Durmuller Klaus Mertens Antoine Marchand 2001 J S Bach Cantatas Vol 39 Masaaki Suzuki Bach Collegium Japan Carolyn Sampson Robin Blaze Gerd Turk Peter Kooy BIS 2007 J S Bach Cantatas for the Complete Liturgical Year Vol 11 Sigiswald Kuijken La Petite Bande Gerlinde Samann Petra Noskaiova Christoph Genz Jan van der Crabben Accent 2008References edit Dellal Pamela BWV 85 Ich bin ein guter Hirt Emmanuel Music Retrieved 24 August 2022 a b c d e f Durr Alfred 1981 Die Kantaten von Johann Sebastian Bach in German Vol 1 4 ed Deutscher Taschenbuchverlag pp 258 261 ISBN 3 423 04080 7 a b c Gardiner John Eliot 2007 Johann Sebastian Bach 1685 1750 Cantatas Nos 42 67 85 104 112 150 amp 158 Media notes Soli Deo Gloria at Hyperion Records website Retrieved 27 April 2019 Wolff Christoph 2001 The transition between the second and the third yearly cycle of Bach s Leipzig cantatas 1725 PDF Bach Cantatas Website p 5 Retrieved 17 April 2012 a b c Hofmann Klaus 2008 Ich bin ein guter Hirt I am the Good Shepherd BWV 85 PDF Bach Cantatas Website p 8 Retrieved 17 April 2012 Der Herr ist mein getreuer Hirt Text and Translation of Chorale Bach Cantatas Website 2006 Retrieved 16 April 2012 a b Mincham Julian 2010 Chapter 44 BWV 85 BWV 108 and BWV 87 each commencing with a bass aria jsbachcantatas com Retrieved 24 August 2022 Chorale Melodies used in Bach s Vocal Works Allein Gott in der Hoh sei Ehr The German Gloria in excelsis Deo Bach Cantatas Website 2006 Retrieved 15 April 2012 Sources editIch bin ein guter Hirt BWV 85 Scores at the International Music Score Library Project Ich bin ein guter Hirt BWV 85 BC A 66 Sacred cantata 3rd Sunday of Easter Bach Digital Cantata BWV 85 Ich bin ein guter Hirt history scoring sources for text and music translations to various languages discography discussion Bach Cantatas Website BWV 85 Ich bin ein guter Hirt English translation University of Vermont BWV 85 Ich bin ein guter Hirt text scoring University of Alberta Luke Dahn BWV 85 6 bach chorales com Retrieved from https en wikipedia org w index php title Ich bin ein guter Hirt BWV 85 amp oldid 1159006824, wikipedia, wiki, book, books, library,

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