Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172

Erschallet, ihr Lieder, erklinget, ihr Saiten!
BWV 172
Church cantata by J. S. Bach
The Schlosskirche in Weimar
Occasion	Pentecost Sunday
Cantata text	Salomon Franck
Bible text	John 14:23–31
Chorale	Komm, Heiliger Geist, Herre Gott (tune) Wie schön leuchtet der Morgenstern
Performed	20 May 1714 (1714-05-20): Weimar 28 May 1724 (1724-05-28): Leipzig
Published	1888 (1888): by Bach-Gesellschaft 1960 (1960): NBA
Movements	6
Vocal	SATB choir and solo
Instrumental	(Weimar) 3 trumpets timpani recorder oboe d'amore 2 violins 2 violas bassoon cello continuo

Erschallet, ihr Lieder, erklinget, ihr Saiten! (Resound, you songs; ring out, you strings!),^[1] BWV 172,^[a] is a church cantata by Johann Sebastian Bach, composed in Weimar for Pentecost Sunday in 1714. Bach led the first performance on 20 May 1714 in the Schlosskirche, the court chapel in the ducal Schloss. Erschallet, ihr Lieder is an early work in a genre to which he later contributed complete cantata cycles for all occasions of the liturgical year.

Bach was appointed Konzertmeister in Weimar in the spring of 1714, a position that called for the performance of a church cantata each month. He composed Erschallet, ihr Lieder as the third cantata in the series, to a text probably written by court poet Salomon Franck. The text reflects different aspects of the Holy Spirit. The librettist included a quotation from the day's prescribed Gospel reading in the only recitative, and for the closing chorale he used a stanza from Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern" (1599).

The work is in six movements, and scored for four vocal soloists, four-part choir, three trumpets, timpani, oboe, bassoon and a string orchestra of two violins, two violas, and basso continuo. The orchestra for the holiday occasion is festive compared to the two works previously composed in Weimar. The cantata opens with a chorus, followed by the recitative, in which words spoken by Jesus are sung by the bass as the vox Christi (voice of Christ). A bass aria with trumpets addresses the Trinity, and a tenor aria then describes the Spirit that was present at the Creation. This is followed by an intimate duet of the Soul (soprano) and the Spirit (alto), to which an oboe plays the ornamented melody of Martin Luther's hymn "Komm, Heiliger Geist, Herre Gott" and a solo cello provides the bass line. The theme of intimacy between God and Man is developed further in the following chorale, after which Bach specified an unusual repeat of the opening chorus.

While Bach served as Thomaskantor – director of church music – in Leipzig from 1723, he performed the cantata several times, sometimes in a different key and with changes in the scoring. Musicologists agree that he loved the cantata's Gospel text, "If ye love me ...", and the Pentecost hymn used in the duet, setting both the text and the hymn several times. John Eliot Gardiner writes that Bach "particularly valued"^[2] this cantata. It contains features that he used again in later compositions of cantatas, oratorios and his masses, for example movements with three trumpets and timpani in a triple meter for festive occasions, and duets as a symbol of God and man.

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