Classical Music | Piano Music

Recorded on 03/31/2010, uploaded on 08/05/2010

Musician's or Publisher's Notes

Sheep May Safely Graze         Johann Sebastian Bach (arr. Egon Petri)

The melody we have come to know as "Sheep May Safely Graze" is from J.S. Bach's 1713 cantata "Was mir behagt, ist nur die muntre Jagd" (The lively hunt is all my heart's desire). Egon Petri was a Dutch/German pianist who assisted his teacher, Ferruccio Busoni, in editing Bach's keyboard works, and went on to arrange several other compositions to use in his recitals.  The original aria is for soprano accompanied by two flutes and continuo.     Pia Bose

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Was mir behagt, ist nur die muntre Jagd, BWV 208 (“Sheep May Safely Graze”)    Johann Sebastian Bach

Among the many sacred cantatas Bach composed, were several of the secular sort. The most famous of these is the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208 (“The lively hunt is all my heart’s desire”), often referred to as the Hunting Cantata. It was composed in 1713 for the 31^st birthday for Duke Christian of Saxe-Weissenfels.

The text of the cantata calls on the characters of Greek and Roman mythology to celebrate the Duke’s birthday. Diana, the Roman goddess of the hunt, opens the cantata by praising the hunt. Later, Pan, the Greek god of flocks and shepherds, joins and sings praise to the Duke with the words “A prince is his own country’s Pan.” Following, Pan’s aria, Pales enters with a recitative that leads to one of the most well-known of Bach’s arias. This soprano aria, Schafe können sicher weiden, known in English as “Sheep may safely graze,” is scored for two flutes with continuo. It is widely known in its piano transcription form and the Australian-born composer Percy Granger composed several pieces based on it as well as a popular wind band arrangement. While the title of the aria is innocent enough, its text praises benevolent despotism by comparing the people to sheep in the pasture of the monarch. No doubt this was meant to appease the Duke and does not necessarily reflect the sentiments of librettist or composer. The remainder of the cantata proceeds in like fashion with the soloists continuing on about the Duke. Two choral movements appear in the latter half of the work.

Incidentally, it has been speculated that an early version of the first movement of the first Brandenburg Concerto served as an introduction to this cantata. This assertion has never been proven, though an instrumental introduction is sometimes added in modern recordings.     Joseph DuBose