Luogo e data di registrazione		(luogo e data di registrazione non indicati)
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Teldec "Das Alte Werk" | 6.35755 EX | 2 LPs - durata 54' 33" - 33' 17" | (p) 1988 | DIGITAL DMM
	Edizione CD		Teldec Classics | LC 6706 | 8.35775 ZL | 2 CDs - durata 54' 33" - 33' 17" | (p) 1988 | DDD
	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 177, BWV 178 e BWV 179 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.

INTRODUCTION by Nele Anders "Er rufet seinen Schafen mit Namen" (BWV 175), composed on a text by Christiane Mariane von Ziegler, is based on the parable of the Good Shepherd, whose sheep know His voice and follow after Him. This Gospel text acquires actuality through its interpretation, namely, as stated in the recitative (No. 5): ”When our deluded senses do not heed what He is saying to us" - here piety asserts itself against the priority of reason. The closing chorale takes up the ninth verse of the hymn “O Gottes Geist, mein Trost und Rat" by Johann Rist (1651); Bach accompanies it in seven parts with the melody of the Lutheran hymn ”Komm, Heilger Geist, Herre Gott" from the Whitsun Cantata No. 59, composed before 1725. Musically the pastoral mood is emphasized by the instrumentation with three recorders (Nos. 1, 2, 7) and by the siciliano rhythm so characteristic of pastoral pieces. In this cantata and in the other one also composed to a Ziegler text Bach shows a general tendency to virtuoso instrumental accompaniment: in the tenor aria “Es dünket mich, ich seh dich kornmen" (No. 4), a ”parody" of the secular aria "Dein Name gleich der Sonnen geh,” from Cantata No. 173a, an obbligato violoncello piccolo is called for. "The small, fivestringed Bach violoncello piccolo, usually held on the arm, as opposed to the considerably bigger violoncello piccolo (da garnba)” (Ulrich Drüner) was used by Bach from about 1724 onwards. In contrast to this, he comments on the news of Jesus’ victory over the devil and death in the bass aria ”Öffnet euch, ihr beiden Ohren” (No. 6) with two trumpets. "In Es ist ein trotzig und verzagt Ding" (BWV 176) Bach transfers the interpretation of text and emotion to the structure and melodic shaping of the opening chorus, a large-scale fugue. The fugal theme is built up on the contrast between the defiantly soaring C minor triad and its upward scale passage to a ”despairingly” descending chromaticism. These two so very different examples of human behaviour are given a more profound significance by means of the reminder in the recitative (No. 2) of Nicodemus, who only dared to visit Jesus at night, and of Joshua, during whose battle with the Ammonites the sun stood still so long until victory was certain. The following dallying gavotte aria (No. 3) indicates that consolation is near with cheerful triplet figurations: the Spirit of God must rest on Man. The second aria (No. 5), too, finds consoling, encouraging words in a dancelike style, using an oboe da caccia and two oboes to emotionally interpret the encouragement of the timid, faint-hearted senses, the summons to give thanks and praise God. The four-part closing chorale, which used the eigth verse of the Paul Gerhardt hymn "Was alle Weisheit in der Welt” (1653) as text and the melody of the Luther chorale "Christ, unser Herr, zum Jordan kam," establishes a connection to the opening chorale: Here, too, the movement develops out of conflict, namely that between the modal chorale melody and its major-minor harmonisation.