Er rufet seinen Schafen mit Namen (He calls His sheep by name), BWV 175, is a church cantata composed by Johann Sebastian Bach in Leipzig for the third day of Pentecost (Pentecost Tuesday). First performed on May 22, 1725, it is based on a libretto by Christiana Mariana von Ziegler. The work is thematically divided, drawing from the Gospel of John (10:1–10) about the Good Shepherd. It is notable for its pastoral scoring, including three recorders, and contains a mix of recitatives, arias, and a closing chorale. The cantata reflects on those who hear and those who ignore the voice of the Shepherd, with a possible critique of the Enlightenment era's "deluded reason."
This aria is part of Bach's Pentecost cantata featuring pastoral recorder motifs and theological themes contrasting divine revelation with Enlightenment-era rationalism. The work exemplifies Bach's sacred parody technique, adapting earlier secular compositions.
Composed for Pentecost Tuesday in 1725, BWV 175 is part of Bach's third cantata cycle and features a fascinating structure thematically divided between those who hear the Shepherd's call and those who don't. The work contains striking musical contrasts, including pastoral recorder accompaniments representing the faithful, and dramatic, dissonant passages possibly criticizing Enlightenment rationalism. Bach employed parody techniques, adapting music from his secular cantata BWV 173a, and created unusual instrumentation with three recorders and violoncello piccolo.
Er rufet seinen Schafen mit Namen, BWV 175, is a church cantata composed by Johann Sebastian Bach for Pentecost Tuesday. First performed in Leipzig on May 22, 1725, it features texts by Christiana Mariana von Ziegler and incorporates biblical quotations about Jesus as the Good Shepherd. The work is notable for its use of three recorders creating pastoral effects and includes movements borrowed from Bach's earlier secular cantata BWV 173a.
