The Lord is My Shepherd - Franz Schubert

After hearing different hymn tunes for Psalm 23, this was the first choral version I heard.  This piece is often heard in a SSA arrangement, which will test those singing it, but the result is worth it.  "Ethereal in quality one is almost taken up to meet the Shepherd."  I am also very partial to a male voice choir singing this.

Franz Schubert

composed by Franz Schubert (1797-1828). 'The Lord is my Shepherd’ is a chorus for female voices based on the 23rd Psalm from the Bible. Composed by Franz Schubert in 1820, this piece comes from the Classical era of music and is therefore classified as a Classical piece (Classical Archives 2011). Schubert is a highly regarded and leading Austrian composer from the Classical and early Romantic era of music who wrote many scores including the famous ‘Unfinished Symphony’ (ClassicalNet 2011). ‘The Lord is my Shepherd’ is another ‘beautiful’ vocal piece and incorporates many techniques to support the features of a ‘beautiful’ piece. Whilst creating a beautiful as well as angelic sound and feel, these techniques are all conveyed through the elements of music (ClassicalNet 2011). 

The structure of this choral piece is quite different from a regular vocal score, which is often in the form of verse and chorus. This differentiation makes it effective and unique. The Lord is my Shepherd has no clear form. Rather, the composer has broken down the score into sections, which is similar to the verses of the original biblical text. However sometimes the lyrics are repeated within that section to add emphasis and intensity. The texture of the piece is homophonic meaning that two or more parts (voice and piano accompaniment) are moving together in harmony. There are 10 sections in the piece all together. Each section has it’s own theme despite still keeping qualities that match the other sections too. This is done through the use of things such as a key change, rhythmic patterns, a change in the accompaniment and comprehensive dynamics.

The rhythms of this piece are unique and detailed, creating a happy and angelic feeling whilst still making use of the features that creates a ‘beautiful’ piece. The rhythms for each section are unique and help carry the melody and harmonies through. In some sections such as bar 19 (figure 1) and 62, the soprano 1 part has an individual rhythm while the other parts have the same. This adds interest to the piece and emphasises the importance of the words such as ‘leadeth me beside still waters’ in bar 19. These words are important because it is asking for God to lead the people to a calm and peaceful place (still waters). However, in contrast to this, bar 27 (figure 2) has all parts singing the same rhythm. But it is slower and suddenly loud (fz) by using minims. This is effective as it is such a contrast to the rest of the piece and helps reach a climax, while gives a dramatic, yet celebratory feeling and mood based on the lyrics. This use of minims breaks down the important lyrics rather than using crotchets and quavers, which are faster and adds emphasise and effect as it is carried in harmony. The piece then contracts to short sharp rhythms and being played pianissimo; a major contrast to the previous bars. Triplets also, are used throughout the accompaniment and occasionally in the soprano 1 line such as in bar 20 (figure 1). They add a constant beat to the song and the important lyrics are often sung on the 1st accent of the triplet. This is evident and can be seen in bar 40. However, occasionally triplets are replaced with other rhythms in certain sections because of a mood change. For example, in bar 27 (figure 2) the triplets are replaced with strong chords because the piece reaches a climax where the mood changes to be more dramatic and intense. Overall, it is the rhythms in this piece that form a unique and beautiful chorus for female voices.

The melody and tonality of this vocal piece primarily creates particular moods and feelings. The piece opens in the key of A flat major and continues until the beginning of section C where it modulates to the unrelated key of E minor (bar 31) (figure 3). From there the beginning of section D (bar 38) (figure 4) sees another modulation to B flat major. This key remains only for a short time, before returning to A flat major (bar 45) (figure 5) for the rest of the piece. However, when in the key of B flat major, it is not a significant key, meaning that many of the chords used whilst in this key, do not belong to the B flat major scale. Rather, this section sees movement through a number of keys such as D major and G minor. This adds tension and intensity to the piece, which compliments the lyrics as they are talking about death, dark, evil and shadows, which enable the non-relating chords to work. Throughout the piece, word paintings and melismas are evident. A word painting is where the melody mimics what the lyrics say. This is evident in bar 70 where the soprano 1 part is to sing a high B. The phrase says 'to dwell with God forever more'. Dwell, means to live up in heavan with God and this is a word painting as the notes get higher and rise to a high point. melismas are also evident, which is where there are many notes per syllable. For example, bar 20 (figure 1) says, 'beside still waters'. The word waters is carried out on a number of notes in the form of a triplet, which is therefore a melisma. These syllabic text settings are effective as they intrigue the audience more and help them stay engaged. Bar 27 (figure 2) sees the accompaniment part take on a different tone by constantly playing strong dramatic chords (chordal audit). This adds tension, drama and reinforces the significance of the words. It is evident that this is a difficult vocal piece as there is no melody line included in the accompaniment and no chordal notes to support the singers. Rather, the four-part harmony created by the singers establishes the relative chords which are played in the accompaniment in the form of broken chords which is evident and can be seen in bar 6 (figure 6). However, the effect of the creation of chords by the four-part harmony gives the piece purity. Overall, these techniques together created a pure and enriching melody from the Classical era. 

Harmony is one of the main components in Schubert’s The Lord is my Shepherd and is evident throughout the entire piece. Firstly, there are many interesting harmonies between the four choral parts. At the beginning of bar 5 (figure 7), where the singing starts, harmonizing is done through the use of thirds from chord I (tonic – A flat major). The piece opens with broken chorded triplets being played up high, which sound like bells or chimes. This continues throughout most of the piece but is most evident at the beginning when the singing is soft from bars 1 to 10. Chords that are most commonly used include the tonic, relative minor (F minor) and chord iii (C minor). This shift to a minor chord is to do with a change of mood in the words. For example, bar 6 (figure 6) reads ‘shepherd I shall not want’. This is minor as it is talking about something they do not want and is therefore negative or sad. Bar 4 consists of four triplets (figure 8), all using chord I, however using different inversions which adds interest and keeps the piece light and happy (using a major chord). Sequences are also often used and repeated at least once. This adds tension and reinforces the lyrics by playing the repeat up or down a semi-tone depending on the mood of the section, this is evident and can be seen in bar 17 (figure 9). Clear moods and feelings are also established during the piece through the innovative use of harmonies. For example, at the beginning of section C (end of bar 30) clashing of harmonies and chords are used which makes the piece dark and unpleasant. This supports the lyrics and context of the section, which is talking about death and evil. Pedal notes are seldom used in this piece, as there are normally chords being played in the bass section, however a pedal note is evident at bar 44 (figure 10) where the pedal note is on the tonic. Again, there are evident chords at the beginning of section G (bar 65) (figure 11), where the chord is played in the bass part, and the broken chord in the form of a triplet is played in the right hand with the vocal parts supporting the same chord also. Finally, the piece concludes with a piano solo of broken chorded triplets being played up high and softly which is reminiscent of the beginning of the piece and concludes it appropriately as if it were a dream, the chords add an angelic and pure tone to the piece. Overall, harmony played a significant part in this piece and enhanced it as a whole creating many different sections and moods throughout.

This score also makes significant use of dynamics to embellish and enhance the piece based on those from the Classical era. The dynamics from Classical era were more diverse than those from the Baroque period, yet without the immense passion of the Romantic era. However, the later Classical era became more expressive and began to incorporate dramatic, sudden dynamic changes from later Classical composers such as Beethoven and Schubert. For the duration of the score, crescendos, decrescendos and specific dynamic markings are very expressive which create mood and feeling. Dynamic markings also dictate the phrasing in this piece. Within the middle of each phrase there is a crescendo and then a decrescendo to emphasise the importance of one or two significant words. Each section traditionally begins piano (p) or pianissimo (pp) and then builds with the use of a crescendo to forte (f) or becoming suddenly loud (Fz) before retreating to its original piano or pianissimo for the commencement of the next section. This can be seen in bars 4 to 8. A heightened example of this is from bar 24 to 29. The section begins softly, and then there is a crescendo at bar 24 (figure 12), which leads into being played fortissimo (ff) and sfortzando (Fz) at bar 27 (figure 2), where the piece reaches a climax and gives a dramatic, yet celebratory feeling and mood based on the lyrics. Other specific dynamic markings can be seen throughout the score such as from bar 61 (figure 13), where the piece is sung soft and loud within a few bars to show expression and emphasise the lyrics. Overall, it can be seen that dynamics are important in this piece as they are one of the main elements that enhance and dictate expression, feeling and mood.

The tempo of this piece is the same throughout which is adagio. This means to be played or sung slowly and gracefully. The tempo for the accompaniment does change at the beginning of bar 5 (figure 7) to legato (to be played smoothly and connected) and then remains being played that way for the remainder of the song. These tempo markings reinforce the mood and style of the piece, which can be described as peaceful, light and angelic.

In conclusion, ‘The Lord is my Shepherd’ by Franz Schubert, is a ‘beautiful’ piece and can be distinguished by creative employment of the elements of music. It is a Classical, religious piece about God guiding his people and them proclaiming him. 
https://sites.google.com/a/geale.com.au/music/the-lord-is-my-shepherd-analysis

Words/Lyrics

English:
God is my Shepherd,
I will lack nothing.
He keeps me in a green pasture
And leads me by quiet streams;
He refreshes my fainting courage.
He leads me on the right paths 
To the honor of His Name.
And although I wander 
In the valley of the shadow of death,
Yet I wander without fear,
For You protect me,
Your rod and staff are always my comfort.
You prepare joyous meal for me
In front of my enemies;
You anoint my head with oil,
And give me an overflowing cup,
Blessing and happiness 
Will follow me in this life,
And one day I will rest forever
There in the house of the Eternal.

German:
Gott ist mein Hirt,
Mir wird nichts mangeln.
Er lagert mich auf grüne Weide,
Er leitet mich an stillen Bächen,
Er labt mein schmachtendes Gemüth.
Er führt mich auf gerechtem Steige
zu seines Namens Ruhm.
Und wall’ ich auch im Todesschatten-Thale,
So wall’ ich ohne Furcht,
Denn du beschützest mich,
Dein Stab und deine Stütze
Sind mir immerdar mein Tröst.
Du richtest mir ein Freudenmahl
Im Angesicht der Feinde zu,
Du salbst mein Haupt mit Öle,
Und schenkst mir volle Becher ein,
Mir folgest Heil und Seligkeit 
In diesem Leben nach,
Einst ruh’ ich ew’ge Zeit dort 
In des Ew’gen Haus.

from: http://www.emmanuelmusic.org/notes_translations/translations_motets/t_schubert_gott_ist_mein_hirt.htm


Accompaniment

An organ accompaniment is much better than a piano. 
If you can get a harp - well, that is magnificent!

Miscellaneous

On the SCORE EXCHANGE website there is an arrangement by Pamela Webb Tubbs who has transposed the Schubert "The Lord is My Shepherd" to F major and arranged to suit a mixed school choir (SATB). 2014
​http://www.scoreexchange.com/scores/127885.html

Availability


SSAA - 12 pages. Novello & Co Ltd. #NOV290103. Published by Novello & Co Ltd. (HL.14019418).

SSAA - Published by Banks Publications KP.YS651                    10034461 
                                                                                                
SSAA - G Schirmer Co. 4070215

2-Part (female or boys' choir) - Novello - 29-0328
SA - Lorenz Corp - 1230796

SATB - Theodor Presser Co - 1465608
SATB - Lorenz Corp - 1984780

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