Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a … Read Full Bio ↴Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. Having become an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by the Elector of Saxony and King of Poland in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue.
Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. Having become an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by the Elector of Saxony and King of Poland in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue.
Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
Cantata "Du Hirte Israel höre" BWV 104: 5. Arie: Beglückte Herde Jesu Schafe
Johann Sebastian Bach Lyrics
Стой!
Пока ещё не выключен свет
Я хочу услышать ответ
Скажи, зачем мы по кругу друг от друга
Вот и всё!
Мы доиграли роли любви
Ну почему так бьётся в груди?
И мне внутри неспокойно
Мне больно
Прощай!
Не нужно больше слов
Спасибо за любовь твою
Удержи моё сердце руками
Прошу тебя, не дай мне уйти!
Удержи моё сердце – не камень
И нас всё ещё можно спасти!
Удержи моё сердце словами
Скажи мне, если любишь меня!
Удержи моё сердце губами
Ведь я всё ещё люблю тебя
Знай, я не смогу забыть твоих глаз
Если мы исчезнем сейчас
Разбив любовь на осколки, иголки
Ну и пусть!
Значит, нам так суждено
Потерять и падать на дно
Искать в чужих друг друга
Мы по кругу
Прощай!
Не нужно больше слов
Спасибо за любовь твою
Удержи моё сердце руками
Прошу тебя, не дай мне уйти!
Удержи моё сердце – не камень
И нас всё ещё можно спасти!
Удержи моё сердце словами
Скажи мне, если любишь меня!
Удержи моё сердце губами
Ведь я всё ещё люблю тебя
Удержи моё сердце!
Удержи моё сердце!
Удержи моё сердце руками
Прошу тебя, не дай мне уйти!
Удержи моё сердце – не камень
И нас всё ещё можно спасти!
Удержи моё сердце словами
Скажи мне, если любишь меня!
Удержи моё сердце губами
Ведь я всё ещё люблю тебя
Люблю тебя
Пока ещё не выключен свет
Я хочу услышать ответ
Скажи, зачем мы по кругу друг от друга
Вот и всё!
Мы доиграли роли любви
Ну почему так бьётся в груди?
И мне внутри неспокойно
Мне больно
Не нужно больше слов
Спасибо за любовь твою
Удержи моё сердце руками
Прошу тебя, не дай мне уйти!
Удержи моё сердце – не камень
И нас всё ещё можно спасти!
Удержи моё сердце словами
Скажи мне, если любишь меня!
Удержи моё сердце губами
Ведь я всё ещё люблю тебя
Знай, я не смогу забыть твоих глаз
Если мы исчезнем сейчас
Разбив любовь на осколки, иголки
Ну и пусть!
Значит, нам так суждено
Потерять и падать на дно
Искать в чужих друг друга
Мы по кругу
Прощай!
Не нужно больше слов
Спасибо за любовь твою
Удержи моё сердце руками
Прошу тебя, не дай мне уйти!
Удержи моё сердце – не камень
И нас всё ещё можно спасти!
Удержи моё сердце словами
Скажи мне, если любишь меня!
Удержи моё сердце губами
Ведь я всё ещё люблю тебя
Удержи моё сердце!
Удержи моё сердце!
Удержи моё сердце руками
Прошу тебя, не дай мне уйти!
Удержи моё сердце – не камень
И нас всё ещё можно спасти!
Удержи моё сердце словами
Скажи мне, если любишь меня!
Удержи моё сердце губами
Ведь я всё ещё люблю тебя
Люблю тебя
Writer(s): барских макс
Contributed by Tyler C. Suggest a correction in the comments below.
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Costantino Benini
Thou, shepherd of Israel, listen: Thou, who lead Joseph like a flock, seated on the cherubs, shine forth.
The Supreme Shepherd watches over me, why bother? Every morning the goodness of the shepherd is renewed. My heart, rest assured, God is faithful.
Even if my shepherd stay hidden, even if the desert disturbs me, my feeble steps are hastened. My mouth invokes Thee and Thou, my shepherd, inspire in me a faithful: "Abba, Father" through Thy word.
Yes, this word is nourishment for my soul, balm for my chest, the pasture that I consider my joy, a first fruit from Heaven, is everything for me. Ah, gather, oh good sheperd, us poor and lost; ah, let our journey end early and lead us to Thy fold.
Blessed flock, lamb of Jesus, the world is for you the Kingdom of Heaven. Here you already have a foretaste of the goodness of Jesus and hope for the reward of faith after the sweet sleep of death.
The Lord is my faithful shepherd, to whom I can entrust myself completely, He takes me, His lamb, to pasture on green and lovely meadows, to fresh waters He leads me, with strenghth He refreshes my soul by means of His blessed word.
John Silverton
BWV 104 - "Du Hirte Israel, höre"
Cantata for Misericordias Domini
1. Chor
Du Hirte Israel, höre, der du Joseph hütest wie der Schafe, erscheine, der du sitzest über Cherubim.
(Psalm 80:1-2)
1. Chorus
You Shepherd of Israel, hear, You who watch over Joseph like a sheep, appear, You who sit above the Cherubim.
2. Rezitativ T
Der höchste Hirte sorget vor mich,
Was nützen meine Sorgen?
Es wird ja alle Morgen
Des Hirten Güte neu.
Mein Herz, so fasse dich,
Gott ist getreu.
2. Recitative T
The Highest Shepherd watches over me,
what use are my worries?
Indeed every morning
is the Shepherd's goodness renewed.
My heart, take hold of yourself,
God is faithful.
3. Arie T
Verbirgt mein Hirte sich zu lange,
Macht mir die Wüste allzu bange,
Mein schwacher Schritt eilt dennoch fort.
Mein Mund schreit nach dir,
Und du mein Hirte, wirkst in mir
Ein gläubig Abba durch dein Wort.
3. Aria T
Though my Shepherd might remain hidden,
though the wilderness makes me all too fearful,
nevertheless my weak steps hurry forth.
My mouth cries to You,
and You my Shepherd, inspire in me
a faithful "Abba"* through Your word.
4. Rezitativ B
Ja, dieses Wort ist meiner Seelen Speise,
Ein Labsal meiner Brust,
Die Weide, die ich meine Lust,
Des Himmels Vorschmack, ja mein alles heiße.
Ach! Sammle nur, o guter Hirte,
Uns Arme und Verirrte;
Ach laß den Weg nur bald geendet sein
Und führe uns in deinen Schafstall ein!
4. Recitative B
Yes, this word is the nourishment of my soul,
a refreshment to my breast,
the pasture, which I call my delight,
the fortaste of heaven, indeed my all.
Ah! Only gather, o good Shepherd,
us poor and erring ones;
ah, let our journey soon reach an end
and lead us into your sheepfold!
5. Arie B
Beglückte Herde, Jesu Schafe,
Der Welt ist euch ein Himmelreich.
Hier schmeckt ihr Jesu Güte schon
Und hoffet noch des Glaubens Lohn
Nach einem sanften Todesschlafe.
5. Aria B
Happy flock, sheep of Jesus,
the world is a heavenly kingdom to you.
Here you already taste Jesus' goodness
and hope still for faith's reward
after a gentle sleep of death.
6. Choral
Der Herr ist mein getreuer Hirt,
Dem ich mich ganze vertraue,
Zur Weid er mich, sein Schäflein, führt,
Auf schöner grünen Aue,
Zum frischen Wasser leit' er mich,
Mein Seel zu laben kräftiglich
Durchs selig Wort der Gnaden.
("Der Herr ist mein getreuer Hirt," verse 1)
6. Chorale
The Lord is my faithful shepherd,
to whom I entrust myself totally,
He leads me, His lamb, to pasture
in a lovely green meadow,
He leads me to fresh water,
to refresh my soul powerfully
through the blessed word of grace.
Psalm 80:1-2 (mov't. 1); "Der Herr ist mein getreuer Hirt," verse 1: Cornelius Becker 1598 (mov't. 6)
* "Abba" is Hebrew for "Father"
©Pamela Dellal
Ivan Rock n Roll
1.
Was mein Gott will, das g'scheh allzeit,
Sein Will, der ist der beste;
Zu helfen den'n er ist bereit,
Die an ihn gläuben feste.
Er hilft aus Not, der fromme Gott,
Und züchtiget mit Maßen:
Wer Gott vertraut, fest auf ihn baut,
Den will er nicht verlassen.
2.
Entsetze dich, mein Herze, nicht,
Gott ist dein Trost und Zuversicht
Und deiner Seele Leben.
Ja, was sein weiser Rat bedacht,
Dem kann die Welt und Menschenmacht
Unmöglich widerstreben.
3.
O Törichter! der sich von Gott entzieht
Und wie ein Jonas dort
Vor Gottes Angesichte flieht;
Auch unser Denken ist ihm offenbar,
Und unsers Hauptes Haar
Hat er gezählet.
Wohl dem, der diesen Schutz erwählet
Im gläubigen Vertrauen,
Auf dessen Schluss und Wort
Mit Hoffnung und Geduld zu schauen.
4.
So geh ich mit beherzten Schritten,
Auch wenn mich Gott zum Grabe führt.
Gott hat die Tage aufgeschrieben,
So wird, wenn seine Hand mich rührt,
Des Todes Bitterkeit vertrieben.
5.
Drum wenn der Tod zuletzt den Geist
Noch mit Gewalt aus seinem Körper reißt,
So nimm ihn, Gott, in treue Vaterhände!
Wenn Teufel, Tod und Sünde mich bekriegt
Und meine Sterbekissen
Ein Kampfplatz werden müssen,
So hilf, damit in dir mein Glaube siegt!
O seliges, gewünschtes Ende!
6.
Noch eins, Herr, will ich bitten dich,
Du wirst mir's nicht versagen:
Wenn mich der böse Geist anficht,
Laß mich doch nicht verzagen.
Hilf, steur und wehr, ach Gott, mein Herr,
Zu Ehren deinem Namen.
Wer das begehrt, dem wird's gewährt;
Drauf sprech ich fröhlich: Amen.
Netherlands Bach Society
0:09 Du Hirte Israel (Chor)
4:51 Der höchste Hirte (Rezitativ)
5:30 Verbirgt mein Hirte (Arie)
8:40 Ja, dieses Wort (Rezitativ)
9:43 Beglückte Herde (Arie)
16:43 Der Herr ist mein getreuer Hirt (Choral)
Maria Van Hoof
Weer een Prachtige♥️ vertolking van de NBS, vooral het openingscoraal en de aria van bariton Matthew Brook., wat een expressiviteit in zn gezicht. Bravo allemaal, het blijft genieten van al jullie uitvoeringen en achtergrond uitleg👏👏, een luxe in deze coronatijd
Boterkoekjes
I will never in my life get enough of this opening chorus. I’ve listened to it since I was 16 years old and 20 years later it’s still my favourite piece of music in the world. The first ‘Erscheine’ in the fuga moved me to tears in this recording. Every musician is performing so well and there’s so much movement, nothing static. I truly love it.
theonion7
The opening chorus is a miracle and has to be my favorite cantata movement in the oeuvre.
Lothar La Murtra
Boterkoekjes
This is exactly what I feel!
Cleopatra
Feeling addicted to it
Martin Stremlow
Perfectly expressed .!
Payl Moffat
I will never listen to the Monophonic ten tenors ever again. This chorus is what Polyphony is all about.
Amazing
Stu Farnham
In a time ravaged by a pandemic, one in which our leaders — at least here in America — sow discord and hate for selfish motives — this cantata is a balm for the soul. Moments of tranquility are few. Matthew in particular gives a wonderful performance. Thank you. With love for the NBS, JSB,and my fellow mankind. Stu
John Mueter
Thank you, Nederlandse Bachvereniging, for another superb performance. In these troubled times, this is music of solace and comfort.