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

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.

Erschallet, ihr Lieder, erklinget, ihr Saiten!
BWV 172
Church cantata by J. S. Bach
OccasionPentecost Sunday
Cantata textSalomon Franck
Bible textJohn 14:23–31
Chorale
Performed
  • 20 May 1714 (1714-05-20): Weimar
  • 28 May 1724 (1724-05-28): Leipzig
Published
Movements6
VocalSATB choir and solo
Instrumental(Weimar)
  • 3 trumpets
  • timpani
  • recorder
  • oboe d'amore
  • 2 violins
  • 2 violas
  • bassoon
  • cello
  • continuo

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.

Background edit

Bach is known as a prolific composer of cantatas. When he assumed the position as Thomaskantor (director of church music) in Leipzig in 1723, he began the project to write church cantatas for the occasions of the liturgical year – Sundays and feast days – a project that he pursued for three years.[3]

Bach was appointed organist and chamber musician in Weimar at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August on 25 June 1708.[4] He had composed sacred cantatas before, some during his tenure in Mühlhausen from 1706 to 1708. Most were written for special occasions and were based mainly on biblical texts and hymns. Examples include: Aus der Tiefen rufe ich, Herr, zu dir, BWV 131; the early chorale cantata Christ lag in Todes Banden, BWV 4 for Easter; Gott ist mein König, BWV 71, to celebrate the inauguration of the new city council on 4 February 1708; and the Actus Tragicus for a funeral.[5]

 
Wilhelm Ernst, Duke of Saxe-Weimar

In Weimar, Bach first concentrated on the organ, composing major works for the instrument,[4] including the Orgelbüchlein, the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. Christoph Wolff suggests that Bach may have studied musical material belonging to the Hofkapelle, ("court capelle" or court orchestra), and that he copied and studied works by Johann Philipp Krieger, Christoph Graupner, Georg Philipp Telemann, Marco Giuseppe Peranda and Johann David Heinichen in the period from 1711 to 1713.[6] In early 1713 Bach composed his first cantatas in the new style that included recitatives and arias: the so-called Hunting Cantata, BWV 208, as a homage cantata for Christian, Duke of Saxe-Weissenfels, celebrated on 23 February,[4] and possibly the church cantata for Sexagesima (the second Sunday before Lent) Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18, on a text by Erdmann Neumeister.[7]

In 1713, he was asked to apply for the position of music director of the Marktkirche in Halle, succeeding Friedrich Wilhelm Zachow.[8] Zachow had taught the young George Frideric Handel, and composed many church cantatas in the new style, adopting recitatives and arias from the Italian opera. Bach was successful in his application for the position, but declined[9] after Duke Wilhelm Ernst increased his salary and offered him a promotion.[10]

Bach was promoted to Konzertmeister on 2 March 1714, an honour that entailed performing a church cantata monthly in the Schlosskirche:[11] With the appointment, he received the title Konzertmeister and new privileges:

"das praedicat eines Concert-Meisters mit angezeigtem Rang nach dem Vice-Capellmeister ... dargegen Er Monatlich neüe Stücke ufführen, und zu solchen Proben die Capell Musici uf sein Verlangen zu erscheinen schuldig ... gehalten seyn sollen" (the title of a concert master, next in rank to the vice chapel master ... for which he is to perform new pieces each month, and the chapel musicians shall be under a duty to attend such rehearsals as he may require).[12]

Circumstances were favourable: Bach enjoyed a "congenial and intimate" space in the court chapel, called Himmelsburg (Heaven's Castle),[13] and a professional group of musicians in the court capelle. He was inspired by a collaboration with the court poet Salomon Franck, who provided the texts for most of his church cantatas, capturing a "pure, straightforward theological message" in "elegant poetic language".[14] The first two cantatas Bach composed in Weimar based on Franck's texts were Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, which coincided with the Annunciation that year,[15] and Weinen, Klagen, Sorgen, Zagen, BWV 12 for Jubilate Sunday.[16] One month after Erschallet, ihr Lieder, Bach performed Ich hatte viel Bekümmernis, BWV 21, on the third Sunday after Trinity, again on a text by Franck.[17][18] Erschallet, ihr Lieder, the third cantata in this series, is the first cantata for a feast day.[19]

Occasion and words edit

 
Portrait of the young Bach (disputed)[20]

Erschallet, ihr Lieder is the third of the Weimar cantatas.[21] It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter.[22] The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.[23][24]

Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united.[23] In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His temple,[25] more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him).[25] Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern".[26] Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.[27]

Performances and theme edit

With Bach's appointment to concert master and his regular monthly cantata compositions, he achieved permission to hold rehearsals in the church, to ensure high performance standards: "the rehearsing of the pieces at the home [of the capellmeister] has been changed, and it is ordered that it must always take place at the Kirchen-Capelle [the music gallery in the palace church], and this is also to be observed by the Capellmeister".[28] The orchestra at his disposition consisted of the members of the court cappelle, three leaders, five singers and seven instrumentalists, augmented on demand by military musicians, town musicians and choristers from a gymnasium.[29]

Bach conducted the first performance of Erschallet, ihr Lieder on 20 May 1714. His son Carl Philipp Emanuel Bach remembered that he often conducted and played first violin: "he played the violin cleanly and penetratingly, and thus kept the orchestra in better order than he could have done with the harpsichord".[13] The parts for the first performance are lost, but the score and performing material for later performances have survived. Bach performed the cantata again, possibly in Köthen between 1717 and 1722,[2][30] and several times as Thomaskantor in Leipzig. For the performance on 28 May 1724,[31] he changed the instrumentation slightly and transposed the work from C major to D major. He reverted to C major for a performance on 13 May 1731.[31] An organ part for a later performance of movement 5 is extant.[32]

John Eliot Gardiner remarked that Bach "particularly valued" this cantata, and that it set "a pattern for his later approaches to the Pentecostal theme".[2] Bach set the Gospel text of the recitative in a choral movement in other cantatas for Pentecost – Wer mich liebet, der wird mein Wort halten, BWV 59,[33] and Wer mich liebet, der wird mein Wort halten, BWV 74.[34][35]

Music edit

Scoring and structure edit

In the Weimar version, Bach scored the cantata four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and an orchestra of three trumpets (Tr), timpani (Ti), recorder (Fl) or flauto traverso (Ft), oboe d'amore (Oa), two violins (Vl), two violas (Va), bassoon (Fg), cello (Vc), and basso continuo (Bc).[30] It is a festive, rich instrumentation for the holiday, whereas the previous two cantatas in Weimar had not employed brass instruments.[26] Bach used the French string orchestra with two viola parts, as in most cantatas until 1715, when he started to prefer the Italian scoring with one viola.[36] In Weimar, a recorder or flauto traverso doubled the first violin an octave higher; in the first Leipzig performance it was a flauto traverso. A part for obbligato organ (Org) replacing oboe and cello in movement 5 was adopted in an even later performance.[32] The work is about 25 minutes long.[1] In the Weimar version and the 1724 version, Bach requested a repeat of the opening chorus, by adding after the chorale Chorus repetatur ab initio.[32]

In the following table of the movements, the scoring follows the Weimar version of the Neue Bach-Ausgabe,[30] and the abbreviations for voices and instruments the list of Bach cantatas. The keys are given for the Weimar version. The time signature is provided using the symbol for common time (4
4
).

Movements of Erschallet, ihr Lieder, BWV 172
No. Title Text Type Vocal Winds Strings Bass Key Time
1 Erschallet, ihr Lieder Franck Chorus SATB 3Tr Ti Fg 2Vl 2Va Bc C major 3
8
2 Wer mich liebet, der wird mein Wort halten Bible Recitative B Bc A minor C major  
3 Heiligste Dreieinigkeit Franck Aria B 3Tr Fg Bc C major  
4 O Seelenparadies Franck Aria T 2Vl 2Va Bc A minor 3
4
5 Komm, laß mich nicht länger warten Franck Aria S A Oa Vc F major  
6 Von Gott kömmt mir ein Freudenschein Nicolai Chorale SATB Fg 2Vl 2Va Bc F major  
7 "Chorus repetatur ab initio" (Repeat opening chorus) Franck Chorus SATB 3Tr Ti Fg 2Vl 2Va Bc C major 3
8


Movements edit

 
John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage, in 2007

The cantata text does not tell a story but reflects different aspects of the Holy Spirit, celebrated on Pentecost. It begins with general praise, then concentrates on one line from the Gospel, addresses the Holy Trinity, refers to the Spirit that was present at the Creation, shows a dialogue between the Soul and the Spirit, and concludes with a stanza from Nicolai's hymn which picks up the topic of unity between God (Spirit) and man, as shown in the dialogue. The text thus proceeds from general to more and more personal and intimate reflection.[37]

John Eliot Gardiner, who conducted all Bach's church cantatas in 2000, placed the Pentecostal cantatas in the middle of the project, which he saw as a "year-long exploration of his cantatas in their seasonal context". He described Pentecost as "the culmination of those 'great fifty days' which follow the Resurrection, a watershed marking the completion of Jesus' work on earth and the coming of the Holy Spirit", and commented that Bach "comes up with music of unalloyed optimism and exuberance in celebration of ... the miraculous ignition of the divine Pentecostal spark which allows human beings to communicate across the language barrier". Regarding Erschallet, ihr Lieder, the first cantata written for the occasion, he observed that Bach reflects the "stages in the evolving relationship of God with man", both by scoring and by his choice of keys.[37] In the Weimar first version, the key of the first movements is C major, lowered to A minor (a third lower) in the fourth, lowered further to F major (again a third lower) in the fifth and sixth. The scoring is majestic, with three trumpets and timpani in movement 1 and three trumpets again in movement 3, reduced to strings in movement 4 and to single instruments in movement 5.[38]

1 edit

 
Natural trumpet, copy by Francisco Pérez after

"Erschallet, ihr Lieder" (literally: sound, you songs) is a festive concerto, marked Coro by Bach.[39] Words and music are possibly based on an earlier lost secular Glückwunschkantate (congratulatory cantata). A printing of Franck's works contains a cantata for New Year's Day, Erschallet nun wieder, glückwünschende Lieder (Sound again, congratulating songs) that may have served as a model.[40][41] The movement is in da capo form: the first section is repeated after a contrasting middle section.[26] It is scored for three "choirs": one of trumpets, another of strings and bassoon, and a four-part chorus.[2] The number three, symbolizing the Trinity, appears again in the 3
8
time signature and in the use of three trumpets.[42] The first part opens with trumpet fanfares, alternating with flowing coloraturas in the strings. The voices enter as a third homophonic choir. They repeat the first measure of the fanfare motif on the word "Erschallet" (resound!), as the trumpets echo the motif. The voices repeat the motif from the second measure of the fanfare on "ihr Lieder", and the trumpets echo it again. The chorus repeats measures 3 and 4 on "erklinget, ihr Saiten", commanding the strings to play.[43] As a culmination, the first syllable of "seligste Zeiten" (most blessed times) is held on a seventh chord (first in measure 53),[2] during which the instruments play their motifs.[44]

In the middle section in A minor the trumpets rest[45] while the other instruments play colla parte with the voices.[46] Polyphonic imitation expands on the idea that God will prepare the souls to be his temples. The first sequence progresses from the lowest to the highest voice, with entrances after two or three measures. The highest voice begins the second sequence, and the other voices enter in closer succession, one or two measures apart. Gardiner interprets the polyphony as "conjuring before us the elegant tracery of those 'temples' which God promises to make of our souls".[2] The first part is repeated as da capo.[26]

The movement is comparable to the opening of Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214 (Resound, ye drums! Ring out, ye trumpets!) composed in 1733 on another text calling instruments to sound,[47] which Bach later used with a different text to open his Christmas Oratorio.[42][48] Bach used a festive scoring with three trumpets in triple meter in his 1733 Missa for the court in Dresden, in the Gloria,[49] in contrast to the preceding Kyrie.[50]

2 edit

The cantata's only recitative quotes one line from the Gospel reading of the day: "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word[, and My Father will love him, and We will come to him and make Our dwelling with him]).[25] Bach reflects Jesus' promise to "make Our dwelling with him" in melismatic lines in counterpoint with motifs in the cello similar to motifs in movement 5. He assigned the words of Jesus to the bass as the vox Christi (voice of Christ).[42] He illustrates the final rest in God by ending the solo line on a whole note low C, the lowest note he demanded of a soloist. The musicologist Julian Mincham describes the vocal line:

The initial bars of melody are warm and quietly authoritative, but at the mention of dwelling with Him the movement takes on a very different character. The bass line becomes enlivened with little leaps of delight ... The singer's last note is a bottom d (c in the transposed version) several notes lower than a bass's accepted range. ... when achieved it is an arresting sound, confirming the rock-like certainty of the promise that we shall eventually reside with God.[51]

3 edit

The first aria,[52] addressing the Trinity, "Heiligste Dreieinigkeit" (Holiest Trinity),[25] is accompanied by a choir of three trumpets and basso continuo,[53] a rare combination that expresses the idea of the words. The trumpet is a symbol of a ruler.[54] The three trumpets sometimes play in unison, to further illustrate the Trinity.[46] The theme is composed of the three notes of the major chord. The aria is in three sections.[45]

Bach wrote an aria accompanied by only an obbligato brass instrument again in his Missa of 1733 in B minor, composed for the court in Dresden and much later integrated into his Mass in B minor. The bass aria Quoniam tu solus sanctus, reflecting God's holiness and majesty, is set for corno da caccia, two bassoons and basso continuo.[55] When he assembled the complete mass, he used an aria with only woodwinds to reflect the Holy Spirit in Et in Spiritum Sanctum, also a movement with many symbols of the Trinity.[56]

4 edit

 
Baroque violin by Jacob Stainer, 1658

The second aria,[57] for tenor, "O Seelenparadies" (O paradise of the soul[25]), also contains three sections and a triple meter,[45] but in contrast to the previous movement, describes in continuous waves of the unison strings[58] the Spirit that was present at the Creation, worded O Seelenparadies, das Gottes Geist durchwehet, der bei der Schöpfung blies (O paradise of the soul, fanned by the Spirit of God, which blew at creation[25]).[37] Alfred Dürr wrote that the music "conveys the impression of release from all earthly gravity".[54][59]

5 edit

The last solo movement, a duet aria,[60] "Komm, laß mich nicht länger warten" (Come, do not keep me waiting longer[25]), consists of a dialogue between the Soul and the Holy Spirit, and takes a form close to a love lyric. The part of the Spirit is assigned to the alto,[61] while similar duets of the Soul and Jesus in later cantatas are set for soprano and bass – for example in Ich hatte viel Bekümmernis, BWV 21 and Wachet auf, ruft uns die Stimme, BWV 140.[62]

 
Baroque oboe d'amore

Bach set the text in a complex structure uniting two singers, a solo oboe and a solo cello. The soprano and alto sing of their unity in "neo-erotic"[21] or "overtly erotic/Pietistic"[37] language: "I shall die, if I have to be without you" the one; "I am yours, and you are mine!" the other. The cello provides an intricate counterpoint throughout,[33] which Albert Schweitzer describes as "a motif of purified happiness".[45] The voices and the cello form a trio, another symbol of the Trinity.[62] The musicologist Anne Leahy of the Dublin Institute of Technology notes that Bach had possibly stanza 3 in mind, which speaks of love, and used the instrument which is named after love.[63]

The oboe d'amore plays the richly ornamented melody of the Pentecost hymn "Komm, Heiliger Geist, Herre Gott"[64] ("Come, Holy Spirit, Lord God, fill with the goodness of Your grace the hearts, wills, and minds of Your faithful. Ignite Your burning love in them".[25]) Bach set this hymn, which seems close to his heart, twice in his Great Eighteen Chorale Preludes, as BWV 651 and BWV 652.[62]

Bach used duets again when he composed in 1733 his Missa (Kyrie and Gloria) in B minor for the court in Dresden, which he later integrated into his Mass in B minor. He wrote two duets movements in the style of contemporary operatic love duets and placed two of them in the centre of each part of the Missa: Christe eleison for two sopranos in the centre of the Kyrie,[50] Domine Deus in the centre of the symmetrical structure of the Gloria.[65] When he compiled the Mass in B minor, he chose another duet Et in unum Dominum Jesum Christum for the Credo, scored for soprano and alto,[66] as in Erschallet, ihr Lieder.

6 edit

 
"Wie schön leuchtet der Morgenstern", first publication of the hymn by Philipp Nicolai, 1599

The text of the concluding chorale is taken from Nicolai's "Geistlich Brautlied" (Spiritual bridal song) "Wie schön leuchtet der Morgenstern", continuing the theme of unity between Soul and Spirit.[27] "Von Gott kömmt mir ein Freudenschein" (A joyful radiance reaches me from God[25]) is illustrated by a violin part added to the four-part choir.[67] The text ends with the words:

Nimm mich freundlich
In dein' Arme, daß ich warme
Werd' von Gnaden!
Auf dein Wort komm' ich geladen.

(Take me like a friend / in your arms, so that I may become warm / with your grace / To your word I come invited.)[68]

Until 1724 the opening chorus was repeated after the chorale, marked "chorus repetatur ab initio" in the manuscript.[69][19]

Gardiner describes the cantata as "evidently ... a work which he particularly valued", adding: "he comes up with music of unalloyed optimism and exuberance in celebration of the first gifts of newly-awakened nature, as well as the miraculous ignition of the divine Pentecostal spark which allows human beings to communicate across the language barrier."[2] Dürr comments:

All the various changes he made show how much trouble Bach took over a work which – as the number of documented performances (at least four) suggests – he seems to have particularly loved.[70]

Publication edit

The cantata was published by Breitkopf & Härtel in 1888 in volume 35 of the first complete edition of Bach's works by the Bach Gesellschaft, edited by Alfred Dörffel.[71] In the Neue Bach-Ausgabe, the second complete edition of Bach's works, in the historical-critical edition, Dietrich Kilian edited both the reconstructed Weimar version (1959)[30] and the first Leipzig version (1960) in volume 13, adding the critical report in 1960.[72]

Recordings edit

The entries are taken from the listing on the Bach Cantatas Website.[73] Ensembles playing period instruments in historically informed practise are marked green.

Recordings of Erschallet, ihr Lieder, erklinget, ihr Saiten!, BWV 172
Title Conductor / Choir / Orchestra Soloists Label Year Orch. type
J.S. Bach: Cantatas BWV 68 & BWV 172 Klaus Martin Ziegler
Vokalensemble Kassel
Deutsche Bachsolisten
Cantate / Nonesuch 1966 (1966)
Cantatas BWV 172 & BWV 78 Erhard Mauersberger
Thomanerchor
Gewandhausorchester
Eterna 1970 (1970)
Cantatas. Selections (BWV 172–175) Helmuth Rilling
Frankfurter Kantorei
Bach-Collegium Stuttgart
Hänssler 1975 (1975)
Cantatas BWV 172 & BWV 78 Hans-Joachim Rotzsch
Thomanerchor
Gewandhausorchester
Berlin Classics 1981 (1981)
J. S. Bach: Das Kantatenwerk – Sacred Cantatas Vol. 9 Gustav Leonhardt
Leonhardt-Consort
Teldec 1987 (1987) Period
J. Bach: Complete Cantatas Vol. 2 Ton Koopman
Amsterdam Baroque Orchestra & Choir
Antoine Marchand 1995 (1995) Period
Cantatas Vol. 7 Masaaki Suzuki
Bach Collegium Japan
BIS 1998 (1998) Period
Bach Edition Vol. 8 – Cantatas Vol. 3 Pieter Jan Leusink
Holland Boys Choir
Netherlands Bach Collegium
Brilliant Classics 1999 (1999) Period
Bach Cantatas Vol. 26 John Eliot Gardiner
Monteverdi Choir
English Baroque Soloists
Soli Deo Gloria 2000 (2000) Period


Notes edit

  1. ^ "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.

References edit

  1. ^ a b Dürr & Jones 2006, p. 346.
  2. ^ a b c d e f g Gardiner 2006, p. 2.
  3. ^ Wolff 1991, p. 30.
  4. ^ a b c Koster 2011.
  5. ^ Arnold 2009, p. 37.
  6. ^ Arnold 2009, p. 40.
  7. ^ Dürr 1971, pp. 209–210.
  8. ^ Wolff 2002, p. 149.
  9. ^ Wolff 2002, p. 151.
  10. ^ Wolff 2002, p. 155.
  11. ^ Wolff 2002, p. 147.
  12. ^ Magdolna 2008, p. 9.
  13. ^ a b Wolff 2002, p. 157.
  14. ^ Wolff 2002, p. 165.
  15. ^ Wolff 2002, p. 156.
  16. ^ Dürr & Jones 2006, p. 14.
  17. ^ Dürr 1971, p. 344.
  18. ^ Wolff 2002, p. 162.
  19. ^ a b Dürr 1971, p. 296.
  20. ^ Towe 2014.
  21. ^ a b Robins 2013.
  22. ^ Isoyama 1998, p. 32.
  23. ^ a b Dürr & Jones 2006, p. 347.
  24. ^ Arnold 2009, p. 38.
  25. ^ a b c d e f g h i Dellal 2012.
  26. ^ a b c d Dürr 1971, p. 297.
  27. ^ a b Zedler 2008, p. 68.
  28. ^ Wolff 2002, p. 148.
  29. ^ Wolff 2002, pp. 157–158.
  30. ^ a b c d Bach Digital Weimar 1960.
  31. ^ a b Bach 2012.
  32. ^ a b c Isoyama 1998, pp. 32–33.
  33. ^ a b Dürr 1971, p. 298.
  34. ^ Dürr 1971, p. 301.
  35. ^ Zedler 2008, pp. 68–69.
  36. ^ Buelow 2004, p. 533.
  37. ^ a b c d Gardiner 2006, p. 3.
  38. ^ Dürr & Jones 2006, pp. 346–347.
  39. ^ Kilian 1965, p. 1.
  40. ^ Dürr 1951.
  41. ^ Kilian 1965, preface.
  42. ^ a b c Zedler 2008, p. 69.
  43. ^ Lowen 1999, p. 1.
  44. ^ Lowen 1999, p. 6.
  45. ^ a b c d Isoyama 1998, p. 33.
  46. ^ a b Zedler 2008, p. 70.
  47. ^ Dürr 1971, pp. 665.
  48. ^ Dürr 1971, pp. 115–117.
  49. ^ Rathey 2003, p. 8.
  50. ^ a b Rathey 2003, p. 6.
  51. ^ Mincham 2010.
  52. ^ Kilian 1965, p. 12.
  53. ^ Lowen 1999, p. 11.
  54. ^ a b Dürr & Jones 2006, p. 348.
  55. ^ Amati-Camperi 2005.
  56. ^ Baxter 2013, p. 5.
  57. ^ Kilian 1965, p. 15.
  58. ^ Lowen 1999, p. 13.
  59. ^ Quinn 2007.
  60. ^ Kilian 1965, p. 19.
  61. ^ Lowen 1999, p. 14.
  62. ^ a b c Zedler 2008, p. 71.
  63. ^ Leahy 2011, p. 30.
  64. ^ Braatz & Oron 2006.
  65. ^ Rathey 2003, p. 11.
  66. ^ Rathey 2003, p. 14.
  67. ^ Lowen 1999, p. 16.
  68. ^ Browne 2005.
  69. ^ Kilian 1965.
  70. ^ Dürr & Jones 2006, p. 349.
  71. ^ Heidelberg 2014.
  72. ^ Bach Digital Leipzig 1960.
  73. ^ Oron 2012.

Cited sources edit

Scores

  • Erschallet, ihr Lieder, BWV 172: Scores at the International Music Score Library Project
  • "Erschallet, ihr Lieder [Weimar version] BWV 172.1; BWV 172; BC A 81a". Bach Digital. 1960. Retrieved 18 February 2022.
  • "Erschallet, ihr Lieder [2nd version] BWV 172.2; BWV 172; BC A 81b". Bach Digital. 1960. Retrieved 18 February 2022.
  • . CPDL Free Choral Sheet Music. Archived from the original on 19 May 2009. Retrieved 3 December 2013.
  • "No. 171–180". Universitätsbibliothek Heidelberg. Retrieved 8 April 2013.
  • Kilian, Dietrich (1965). Bach Erschallet, ihr Lieder, Vocal Score based on the Urtext of the New Bach Edition. Bärenreiter.

Books

Online sources

The complete recordings of Bach's cantatas are accompanied by liner notes from musicians and musicologists; John Eliot Gardiner commented on his Bach Cantata Pilgrimage, Tadashi Isoyama wrote for Masaaki Suzuki, and Christoph Wolff for Ton Koopman.

  • Amati-Camperi, Alexandra (2005). . San Francisco Bach Choir. Archived from the original on 4 October 2013. Retrieved 4 October 2013.
  • Bach, Peter (2012). "Erschallet, ihr Lieder, erklinget, ihr Saiten!" (in German). bach.de. Retrieved 27 November 2012.
  • Baxter, Geffrey (2013). "Bach's Creed / Two Views of the Symbolum Nicenum of the Mass in B-Minor" (PDF). ASO Chamber Chorus. Retrieved 25 March 2014.
  • Braatz, Thomas; Oron, Aryeh (2006). "Chorale Melodies used in Bach's Vocal Works / Komm, Heiliger Geist, Herre Gott". Bach Cantatas Website. Retrieved 1 June 2011.
  • Browne, Francis (2005). "Wie schön leuchtet der Morgenstern / Text and Translation of Chorale". Bach Cantatas Website. Retrieved 28 February 2014.
  • Dellal, Pamela (2012). "BWV 172 – "Erschallet, ihr Lieder, erklinget, ihr Saiten!"". Emmanuel Music. Retrieved 7 September 2022.
  • Gardiner, John Eliot (2006). Johann Sebastian Bach (1685-1750) / Cantatas Nos 34, 59, 68, 74, 172, 173 & 174 (Media notes). Soli Deo Gloria (at Hyperion Records website). Retrieved 8 June 2019.
  • Isoyama, Tadashi (1998). "BWV 172: Erschallet, ihr Lieder, erklinget, ihr Saiten! / (Ring out, songs, resound, strings!)" (PDF). Bach Cantatas Website. Retrieved 15 November 2013.
  • Koster, Jan (2011). . let.rug.nl. Archived from the original on 28 March 2014. Retrieved 16 December 2011.
  • Lowen, Marla (1999). (PDF). Oregon Bach Festival Discovery Series. Archived from the original (PDF) on 2 March 2014. Retrieved 3 December 2013.
  • Magdolna, Friedler (2008). "Johann Sebastian Bach Orgelbüchlein-gyűjteményének nyomában" (PDF) (in Hungarian). Magyar Bach Társaság.
  • Mincham, Julian (2010). "Chapter 57 BWV 172 Erschallet, ihr Lieder, erklinget, ihr Saiten! / Resound songs, and ring out strings!". jsbachcantatas.com. Retrieved 7 September 2022.
  • Oron, Aryeh (2012). "Cantata BWV 172 Erschallet, ihr Lieder, erklinget, ihr Saiten!". Bach Cantatas Website. Retrieved 1 June 2011.
  • Quinn, John (2007). "Johann Sebastian Bach – Legendary Recordings". musicweb-international.com. Retrieved 1 June 2011.
  • Rathey, Markus (2003). (PDF). bach.nau.edu. Archived from the original (PDF) on 5 October 2013. Retrieved 17 September 2013.
  • Robins, Brian (2013). "Cantata No. 172, "Erschallet, ihr Lieder," BWV 172". Allmusic. Retrieved 15 November 2013.
  • Towe, Teri Noel (2014). . The Face Of Bach. Archived from the original on 16 July 2011. Retrieved 28 April 2014.

External links edit

  • Literature by and about Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 in the German National Library catalogue
  • Ambrose, Z. Philip (2012). "BWV 172 Erschallet, ihr Lieder, erklinget, ihr Saiten!". University of Vermont. Retrieved 1 June 2011.
  • Luke Dahn: BWV 172.6 bach-chorales.com

erschallet, lieder, erklinget, saiten, erschallet, lieder, erklinget, saiten, resound, songs, ring, strings, church, cantata, johann, sebastian, bach, composed, weimar, pentecost, sunday, 1714, bach, first, performance, 1714, schlosskirche, court, chapel, duca. 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 Erschallet ihr Lieder erklinget ihr Saiten BWV 172Church cantata by J S BachThe Schlosskirche in WeimarOccasionPentecost SundayCantata textSalomon FranckBible textJohn 14 23 31ChoraleKomm Heiliger Geist Herre Gott tune Wie schon leuchtet der MorgensternPerformed20 May 1714 1714 05 20 Weimar 28 May 1724 1724 05 28 LeipzigPublished1888 1888 by Bach Gesellschaft 1960 1960 NBAMovements6VocalSATB choir and soloInstrumental Weimar 3 trumpetstimpanirecorderoboe d amore2 violins2 violasbassooncellocontinuo 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 schon 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 Contents 1 Background 2 Occasion and words 3 Performances and theme 4 Music 4 1 Scoring and structure 4 2 Movements 4 2 1 1 4 2 2 2 4 2 3 3 4 2 4 4 4 2 5 5 4 2 6 6 5 Publication 6 Recordings 7 Notes 8 References 9 Cited sources 10 External linksBackground editBach is known as a prolific composer of cantatas When he assumed the position as Thomaskantor director of church music in Leipzig in 1723 he began the project to write church cantatas for the occasions of the liturgical year Sundays and feast days a project that he pursued for three years 3 Bach was appointed organist and chamber musician in Weimar at the court of the co reigning dukes in Saxe Weimar Wilhelm Ernst and his nephew Ernst August on 25 June 1708 4 He had composed sacred cantatas before some during his tenure in Muhlhausen from 1706 to 1708 Most were written for special occasions and were based mainly on biblical texts and hymns Examples include Aus der Tiefen rufe ich Herr zu dir BWV 131 the early chorale cantata Christ lag in Todes Banden BWV 4 for Easter Gott ist mein Konig BWV 71 to celebrate the inauguration of the new city council on 4 February 1708 and the Actus Tragicus for a funeral 5 nbsp Wilhelm Ernst Duke of Saxe Weimar In Weimar Bach first concentrated on the organ composing major works for the instrument 4 including the Orgelbuchlein the Toccata and Fugue in D minor BWV 565 and the Prelude and Fugue in E major BWV 566 Christoph Wolff suggests that Bach may have studied musical material belonging to the Hofkapelle court capelle or court orchestra and that he copied and studied works by Johann Philipp Krieger Christoph Graupner Georg Philipp Telemann Marco Giuseppe Peranda and Johann David Heinichen in the period from 1711 to 1713 6 In early 1713 Bach composed his first cantatas in the new style that included recitatives and arias the so called Hunting Cantata BWV 208 as a homage cantata for Christian Duke of Saxe Weissenfels celebrated on 23 February 4 and possibly the church cantata for Sexagesima the second Sunday before Lent Gleichwie der Regen und Schnee vom Himmel fallt BWV 18 on a text by Erdmann Neumeister 7 In 1713 he was asked to apply for the position of music director of the Marktkirche in Halle succeeding Friedrich Wilhelm Zachow 8 Zachow had taught the young George Frideric Handel and composed many church cantatas in the new style adopting recitatives and arias from the Italian opera Bach was successful in his application for the position but declined 9 after Duke Wilhelm Ernst increased his salary and offered him a promotion 10 Bach was promoted to Konzertmeister on 2 March 1714 an honour that entailed performing a church cantata monthly in the Schlosskirche 11 With the appointment he received the title Konzertmeister and new privileges das praedicat eines Concert Meisters mit angezeigtem Rang nach dem Vice Capellmeister dargegen Er Monatlich neue Stucke uffuhren und zu solchen Proben die Capell Musici uf sein Verlangen zu erscheinen schuldig gehalten seyn sollen the title of a concert master next in rank to the vice chapel master for which he is to perform new pieces each month and the chapel musicians shall be under a duty to attend such rehearsals as he may require 12 Circumstances were favourable Bach enjoyed a congenial and intimate space in the court chapel called Himmelsburg Heaven s Castle 13 and a professional group of musicians in the court capelle He was inspired by a collaboration with the court poet Salomon Franck who provided the texts for most of his church cantatas capturing a pure straightforward theological message in elegant poetic language 14 The first two cantatas Bach composed in Weimar based on Franck s texts were Himmelskonig sei willkommen BWV 182 for Palm Sunday which coincided with the Annunciation that year 15 and Weinen Klagen Sorgen Zagen BWV 12 for Jubilate Sunday 16 One month after Erschallet ihr Lieder Bach performed Ich hatte viel Bekummernis BWV 21 on the third Sunday after Trinity again on a text by Franck 17 18 Erschallet ihr Lieder the third cantata in this series is the first cantata for a feast day 19 Occasion and words edit nbsp Portrait of the young Bach disputed 20 Erschallet ihr Lieder is the third of the Weimar cantatas 21 It was the first composed for a feast day Pentecost Sunday Whit Sunday Pentecost being a high holiday along with Christmas and Easter 22 The prescribed readings for the feast day are taken from the Acts of the Apostles on the Holy Spirit Acts 2 1 13 and from the Gospel of John in which Jesus announces the Spirit who will teach in his Farewell discourse John 14 23 31 As in many Bach cantatas the libretto is compiled from Bible text contemporary poetry and chorale The poetry is attributed to Salomon Franck although the verses are not included in his printed editions Several of Bach s early stylistic mannerisms appear here such as a biblical quotation in a recitative second movement rather than in a first choral movement arias following each other without a recitative in between and dialogue in a duet 23 24 Franck s text shows elements of early Pietism the expression of extreme feelings for example O seligste Zeiten O most blessed times in the opening chorus and a mystical demeanour for example in the duet of the Soul and the Spirit united 23 In the middle section of the first movement Franck paraphrases the Gospel text which says in verse 23 that God wants to dwell with man to Gott will sich die Seelen zu Tempeln bereiten God Himself shall prepare our souls for His temple 25 more literally God wants to prepare our souls to become his temples The words for the recitative are the quotation of verse 23 from the Gospel of John Wer mich liebet der wird mein Wort halten Whoever loves Me will keep My Word and My Father will love him and We will come to him and make Our dwelling with him 25 Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation Movement 5 is a duet of the Soul and the Spirit underlined by an instrumental quote from Martin Luther s Pentecost hymn Komm Heiliger Geist Herre Gott which is based on the Latin hymn Veni Sancte Spiritus reple tuorum corda fidelium Movement 6 is a chorale verse four of Philipp Nicolai s hymn Wie schon leuchtet der Morgenstern 26 Nicolai s Geistlich Brautlied Spiritual bridal song continues the theme of unity between Soul and Spirit 27 Performances and theme editWith Bach s appointment to concert master and his regular monthly cantata compositions he achieved permission to hold rehearsals in the church to ensure high performance standards the rehearsing of the pieces at the home of the capellmeister has been changed and it is ordered that it must always take place at the Kirchen Capelle the music gallery in the palace church and this is also to be observed by the Capellmeister 28 The orchestra at his disposition consisted of the members of the court cappelle three leaders five singers and seven instrumentalists augmented on demand by military musicians town musicians and choristers from a gymnasium 29 Bach conducted the first performance of Erschallet ihr Lieder on 20 May 1714 His son Carl Philipp Emanuel Bach remembered that he often conducted and played first violin he played the violin cleanly and penetratingly and thus kept the orchestra in better order than he could have done with the harpsichord 13 The parts for the first performance are lost but the score and performing material for later performances have survived Bach performed the cantata again possibly in Kothen between 1717 and 1722 2 30 and several times as Thomaskantor in Leipzig For the performance on 28 May 1724 31 he changed the instrumentation slightly and transposed the work from C major to D major He reverted to C major for a performance on 13 May 1731 31 An organ part for a later performance of movement 5 is extant 32 John Eliot Gardiner remarked that Bach particularly valued this cantata and that it set a pattern for his later approaches to the Pentecostal theme 2 Bach set the Gospel text of the recitative in a choral movement in other cantatas for Pentecost Wer mich liebet der wird mein Wort halten BWV 59 33 and Wer mich liebet der wird mein Wort halten BWV 74 34 35 Music editScoring and structure edit In the Weimar version Bach scored the cantata four vocal soloists soprano S alto A tenor T and bass B a four part choir and an orchestra of three trumpets Tr timpani Ti recorder Fl or flauto traverso Ft oboe d amore Oa two violins Vl two violas Va bassoon Fg cello Vc and basso continuo Bc 30 It is a festive rich instrumentation for the holiday whereas the previous two cantatas in Weimar had not employed brass instruments 26 Bach used the French string orchestra with two viola parts as in most cantatas until 1715 when he started to prefer the Italian scoring with one viola 36 In Weimar a recorder or flauto traverso doubled the first violin an octave higher in the first Leipzig performance it was a flauto traverso A part for obbligato organ Org replacing oboe and cello in movement 5 was adopted in an even later performance 32 The work is about 25 minutes long 1 In the Weimar version and the 1724 version Bach requested a repeat of the opening chorus by adding after the chorale Chorus repetatur ab initio 32 In the following table of the movements the scoring follows the Weimar version of the Neue Bach Ausgabe 30 and the abbreviations for voices and instruments the list of Bach cantatas The keys are given for the Weimar version The time signature is provided using the symbol for common time 44 Movements of Erschallet ihr Lieder BWV 172 No Title Text Type Vocal Winds Strings Bass Key Time 1 Erschallet ihr Lieder Franck Chorus SATB 3Tr Ti Fg 2Vl 2Va Bc C major 38 2 Wer mich liebet der wird mein Wort halten Bible Recitative B Bc A minor C major nbsp 3 Heiligste Dreieinigkeit Franck Aria B 3Tr Fg Bc C major nbsp 4 O Seelenparadies Franck Aria T 2Vl 2Va Bc A minor 34 5 Komm lass mich nicht langer warten Franck Aria S A Oa Vc F major nbsp 6 Von Gott kommt mir ein Freudenschein Nicolai Chorale SATB Fg 2Vl 2Va Bc F major nbsp 7 Chorus repetatur ab initio Repeat opening chorus Franck Chorus SATB 3Tr Ti Fg 2Vl 2Va Bc C major 38 Movements edit nbsp John Eliot Gardiner who conducted the Bach Cantata Pilgrimage in 2007 The cantata text does not tell a story but reflects different aspects of the Holy Spirit celebrated on Pentecost It begins with general praise then concentrates on one line from the Gospel addresses the Holy Trinity refers to the Spirit that was present at the Creation shows a dialogue between the Soul and the Spirit and concludes with a stanza from Nicolai s hymn which picks up the topic of unity between God Spirit and man as shown in the dialogue The text thus proceeds from general to more and more personal and intimate reflection 37 John Eliot Gardiner who conducted all Bach s church cantatas in 2000 placed the Pentecostal cantatas in the middle of the project which he saw as a year long exploration of his cantatas in their seasonal context He described Pentecost as the culmination of those great fifty days which follow the Resurrection a watershed marking the completion of Jesus work on earth and the coming of the Holy Spirit and commented that Bach comes up with music of unalloyed optimism and exuberance in celebration of the miraculous ignition of the divine Pentecostal spark which allows human beings to communicate across the language barrier Regarding Erschallet ihr Lieder the first cantata written for the occasion he observed that Bach reflects the stages in the evolving relationship of God with man both by scoring and by his choice of keys 37 In the Weimar first version the key of the first movements is C major lowered to A minor a third lower in the fourth lowered further to F major again a third lower in the fifth and sixth The scoring is majestic with three trumpets and timpani in movement 1 and three trumpets again in movement 3 reduced to strings in movement 4 and to single instruments in movement 5 38 1 edit nbsp Natural trumpet copy by Francisco Perez after Erschallet ihr Lieder literally sound you songs is a festive concerto marked Coro by Bach 39 Words and music are possibly based on an earlier lost secular Gluckwunschkantate congratulatory cantata A printing of Franck s works contains a cantata for New Year s Day Erschallet nun wieder gluckwunschende Lieder Sound again congratulating songs that may have served as a model 40 41 The movement is in da capo form the first section is repeated after a contrasting middle section 26 It is scored for three choirs one of trumpets another of strings and bassoon and a four part chorus 2 The number three symbolizing the Trinity appears again in the 38 time signature and in the use of three trumpets 42 The first part opens with trumpet fanfares alternating with flowing coloraturas in the strings The voices enter as a third homophonic choir They repeat the first measure of the fanfare motif on the word Erschallet resound as the trumpets echo the motif The voices repeat the motif from the second measure of the fanfare on ihr Lieder and the trumpets echo it again The chorus repeats measures 3 and 4 on erklinget ihr Saiten commanding the strings to play 43 As a culmination the first syllable of seligste Zeiten most blessed times is held on a seventh chord first in measure 53 2 during which the instruments play their motifs 44 In the middle section in A minor the trumpets rest 45 while the other instruments play colla parte with the voices 46 Polyphonic imitation expands on the idea that God will prepare the souls to be his temples The first sequence progresses from the lowest to the highest voice with entrances after two or three measures The highest voice begins the second sequence and the other voices enter in closer succession one or two measures apart Gardiner interprets the polyphony as conjuring before us the elegant tracery of those temples which God promises to make of our souls 2 The first part is repeated as da capo 26 The movement is comparable to the opening of Tonet ihr Pauken Erschallet Trompeten BWV 214 Resound ye drums Ring out ye trumpets composed in 1733 on another text calling instruments to sound 47 which Bach later used with a different text to open his Christmas Oratorio 42 48 Bach used a festive scoring with three trumpets in triple meter in his 1733 Missa for the court in Dresden in the Gloria 49 in contrast to the preceding Kyrie 50 2 edit The cantata s only recitative quotes one line from the Gospel reading of the day Wer mich liebet der wird mein Wort halten Whoever loves Me will keep My Word and My Father will love him and We will come to him and make Our dwelling with him 25 Bach reflects Jesus promise to make Our dwelling with him in melismatic lines in counterpoint with motifs in the cello similar to motifs in movement 5 He assigned the words of Jesus to the bass as the vox Christi voice of Christ 42 He illustrates the final rest in God by ending the solo line on a whole note low C the lowest note he demanded of a soloist The musicologist Julian Mincham describes the vocal line The initial bars of melody are warm and quietly authoritative but at the mention of dwelling with Him the movement takes on a very different character The bass line becomes enlivened with little leaps of delight The singer s last note is a bottom d c in the transposed version several notes lower than a bass s accepted range when achieved it is an arresting sound confirming the rock like certainty of the promise that we shall eventually reside with God 51 3 edit The first aria 52 addressing the Trinity Heiligste Dreieinigkeit Holiest Trinity 25 is accompanied by a choir of three trumpets and basso continuo 53 a rare combination that expresses the idea of the words The trumpet is a symbol of a ruler 54 The three trumpets sometimes play in unison to further illustrate the Trinity 46 The theme is composed of the three notes of the major chord The aria is in three sections 45 Bach wrote an aria accompanied by only an obbligato brass instrument again in his Missa of 1733 in B minor composed for the court in Dresden and much later integrated into his Mass in B minor The bass aria Quoniam tu solus sanctus reflecting God s holiness and majesty is set for corno da caccia two bassoons and basso continuo 55 When he assembled the complete mass he used an aria with only woodwinds to reflect the Holy Spirit in Et in Spiritum Sanctum also a movement with many symbols of the Trinity 56 4 edit nbsp Baroque violin by Jacob Stainer 1658 The second aria 57 for tenor O Seelenparadies O paradise of the soul 25 also contains three sections and a triple meter 45 but in contrast to the previous movement describes in continuous waves of the unison strings 58 the Spirit that was present at the Creation worded O Seelenparadies das Gottes Geist durchwehet der bei der Schopfung blies O paradise of the soul fanned by the Spirit of God which blew at creation 25 37 Alfred Durr wrote that the music conveys the impression of release from all earthly gravity 54 59 5 edit The last solo movement a duet aria 60 Komm lass mich nicht langer warten Come do not keep me waiting longer 25 consists of a dialogue between the Soul and the Holy Spirit and takes a form close to a love lyric The part of the Spirit is assigned to the alto 61 while similar duets of the Soul and Jesus in later cantatas are set for soprano and bass for example in Ich hatte viel Bekummernis BWV 21 and Wachet auf ruft uns die Stimme BWV 140 62 nbsp Baroque oboe d amore Bach set the text in a complex structure uniting two singers a solo oboe and a solo cello The soprano and alto sing of their unity in neo erotic 21 or overtly erotic Pietistic 37 language I shall die if I have to be without you the one I am yours and you are mine the other The cello provides an intricate counterpoint throughout 33 which Albert Schweitzer describes as a motif of purified happiness 45 The voices and the cello form a trio another symbol of the Trinity 62 The musicologist Anne Leahy of the Dublin Institute of Technology notes that Bach had possibly stanza 3 in mind which speaks of love and used the instrument which is named after love 63 The oboe d amore plays the richly ornamented melody of the Pentecost hymn Komm Heiliger Geist Herre Gott 64 Come Holy Spirit Lord God fill with the goodness of Your grace the hearts wills and minds of Your faithful Ignite Your burning love in them 25 Bach set this hymn which seems close to his heart twice in his Great Eighteen Chorale Preludes as BWV 651 and BWV 652 62 Bach used duets again when he composed in 1733 his Missa Kyrie and Gloria in B minor for the court in Dresden which he later integrated into his Mass in B minor He wrote two duets movements in the style of contemporary operatic love duets and placed two of them in the centre of each part of the Missa Christe eleison for two sopranos in the centre of the Kyrie 50 Domine Deus in the centre of the symmetrical structure of the Gloria 65 When he compiled the Mass in B minor he chose another duet Et in unum Dominum Jesum Christum for the Credo scored for soprano and alto 66 as in Erschallet ihr Lieder 6 edit nbsp Wie schon leuchtet der Morgenstern first publication of the hymn by Philipp Nicolai 1599The text of the concluding chorale is taken from Nicolai s Geistlich Brautlied Spiritual bridal song Wie schon leuchtet der Morgenstern continuing the theme of unity between Soul and Spirit 27 Von Gott kommt mir ein Freudenschein A joyful radiance reaches me from God 25 is illustrated by a violin part added to the four part choir 67 The text ends with the words Nimm mich freundlich In dein Arme dass ich warme Werd von Gnaden Auf dein Wort komm ich geladen Take me like a friend in your arms so that I may become warm with your grace To your word I come invited 68 Until 1724 the opening chorus was repeated after the chorale marked chorus repetatur ab initio in the manuscript 69 19 Gardiner describes the cantata as evidently a work which he particularly valued adding he comes up with music of unalloyed optimism and exuberance in celebration of the first gifts of newly awakened nature as well as the miraculous ignition of the divine Pentecostal spark which allows human beings to communicate across the language barrier 2 Durr comments All the various changes he made show how much trouble Bach took over a work which as the number of documented performances at least four suggests he seems to have particularly loved 70 Publication editThe cantata was published by Breitkopf amp Hartel in 1888 in volume 35 of the first complete edition of Bach s works by the Bach Gesellschaft edited by Alfred Dorffel 71 In the Neue Bach Ausgabe the second complete edition of Bach s works in the historical critical edition Dietrich Kilian edited both the reconstructed Weimar version 1959 30 and the first Leipzig version 1960 in volume 13 adding the critical report in 1960 72 Recordings editThe entries are taken from the listing on the Bach Cantatas Website 73 Ensembles playing period instruments in historically informed practise are marked green Recordings of Erschallet ihr Lieder erklinget ihr Saiten BWV 172 Title Conductor Choir Orchestra Soloists Label Year Orch type J S Bach Cantatas BWV 68 amp BWV 172 Klaus Martin Ziegler Vokalensemble KasselDeutsche Bachsolisten Ursula Buckel Irma Keller Theo Altmeyer Jakob Stampfli Cantate Nonesuch 1966 1966 Cantatas BWV 172 amp BWV 78 Erhard Mauersberger ThomanerchorGewandhausorchester Adele Stolte Annelies Burmeister Peter Schreier Theo Adam Eterna 1970 1970 Cantatas Selections BWV 172 175 Helmuth Rilling Frankfurter KantoreiBach Collegium Stuttgart Eva Csapo Doris Soffel Adalbert Kraus Wolfgang Schone Hanssler 1975 1975 Cantatas BWV 172 amp BWV 78 Hans Joachim Rotzsch ThomanerchorGewandhausorchester Arleen Auger Ortrun Wenkel Peter Schreier Theo Adam Berlin Classics 1981 1981 J S Bach Das Kantatenwerk Sacred Cantatas Vol 9 Gustav Leonhardt Knabenchor Hannover Collegium Vocale GentLeonhardt Consort Matthias Echternach soloist of the Knabenchor Hannover Paul Esswood Marius van Altena Max van Egmond Teldec 1987 1987 Period J Bach Complete Cantatas Vol 2 Ton KoopmanAmsterdam Baroque Orchestra amp Choir Barbara Schlick Kai Wessel Christoph Pregardien Klaus Mertens Antoine Marchand 1995 1995 Period Cantatas Vol 7 Masaaki Suzuki Bach Collegium Japan Ingrid Schmithusen Yoshikazu Mera Makoto Sakurada Peter Kooy BIS 1998 1998 Period Bach Edition Vol 8 Cantatas Vol 3 Pieter Jan Leusink Holland Boys ChoirNetherlands Bach Collegium Ruth Holton Sytse Buwalda Nico van der Meel Bas Ramselaar Brilliant Classics 1999 1999 Period Bach Cantatas Vol 26 John Eliot Gardiner Monteverdi ChoirEnglish Baroque Soloists Lisa Larsson Derek Lee Ragin Christoph Genz Panajotis Iconomou Soli Deo Gloria 2000 2000 PeriodNotes edit BWV is Bach Werke Verzeichnis a thematic catalogue of Bach s works References edit a b Durr amp Jones 2006 p 346 a b c d e f g Gardiner 2006 p 2 Wolff 1991 p 30 a b c Koster 2011 Arnold 2009 p 37 Arnold 2009 p 40 Durr 1971 pp 209 210 Wolff 2002 p 149 Wolff 2002 p 151 Wolff 2002 p 155 Wolff 2002 p 147 Magdolna 2008 p 9 a b Wolff 2002 p 157 Wolff 2002 p 165 Wolff 2002 p 156 Durr amp Jones 2006 p 14 Durr 1971 p 344 Wolff 2002 p 162 a b Durr 1971 p 296 Towe 2014 a b Robins 2013 Isoyama 1998 p 32 a b Durr amp Jones 2006 p 347 Arnold 2009 p 38 a b c d e f g h i Dellal 2012 a b c d Durr 1971 p 297 a b Zedler 2008 p 68 Wolff 2002 p 148 Wolff 2002 pp 157 158 a b c d Bach Digital Weimar 1960 a b Bach 2012 a b c Isoyama 1998 pp 32 33 a b Durr 1971 p 298 Durr 1971 p 301 Zedler 2008 pp 68 69 Buelow 2004 p 533 a b c d Gardiner 2006 p 3 Durr amp Jones 2006 pp 346 347 Kilian 1965 p 1 Durr 1951 Kilian 1965 preface a b c Zedler 2008 p 69 Lowen 1999 p 1 Lowen 1999 p 6 a b c d Isoyama 1998 p 33 a b Zedler 2008 p 70 Durr 1971 pp 665 Durr 1971 pp 115 117 Rathey 2003 p 8 a b Rathey 2003 p 6 Mincham 2010 Kilian 1965 p 12 Lowen 1999 p 11 a b Durr amp Jones 2006 p 348 Amati Camperi 2005 Baxter 2013 p 5 Kilian 1965 p 15 Lowen 1999 p 13 Quinn 2007 Kilian 1965 p 19 Lowen 1999 p 14 a b c Zedler 2008 p 71 Leahy 2011 p 30 Braatz amp Oron 2006 Rathey 2003 p 11 Rathey 2003 p 14 Lowen 1999 p 16 Browne 2005 Kilian 1965 Durr amp Jones 2006 p 349 Heidelberg 2014 Bach Digital Leipzig 1960 Oron 2012 Cited sources editScores Erschallet ihr Lieder BWV 172 Scores at the International Music Score Library Project Erschallet ihr Lieder Weimar version BWV 172 1 BWV 172 BC A 81a Bach Digital 1960 Retrieved 18 February 2022 Erschallet ihr Lieder 2nd version BWV 172 2 BWV 172 BC A 81b Bach Digital 1960 Retrieved 18 February 2022 Cantata BWV 172 Erschallet ihr Lieder Johann Sebastian Bach CPDL Free Choral Sheet Music Archived from the original on 19 May 2009 Retrieved 3 December 2013 No 171 180 Universitatsbibliothek Heidelberg Retrieved 8 April 2013 Kilian Dietrich 1965 Bach Erschallet ihr Lieder Vocal Score based on the Urtext of the New Bach Edition Barenreiter Books Arnold Jochen 2009 Von Gott poetisch musikalisch reden Gottes verborgenes und offenbares Handeln in Bachs Kantaten in German Vandenhoeck amp Ruprecht ISBN 978 3 647 57124 9 Buelow George J 2004 A History of Baroque Music Indiana University Press ISBN 0 253 34365 8 Durr Alfred 1951 Studien uber die fruhen Kantaten Johann Sebastian Bachs Fassung der im Jahr 1951 erschienenen Dissertation in German Breitkopf und Hartel ISBN 3 7651 0130 3 Durr Alfred 1971 Die Kantaten von Johann Sebastian Bach in German Vol 1 4 ed Deutscher Taschenbuchverlag ISBN 3 423 04080 7 Durr Alfred Jones Richard D P 2006 Erschallet ihr Lieder BWV 172 The Cantatas of J S Bach With Their Librettos in German English Parallel Text Oxford University Press ISBN 978 0 19 929776 4 Leahy Anne 2011 J S Bach s Leipzig Chorale Preludes Music Text Theology Scarecrow Press ISBN 978 0 8108 8182 2 Wolff Christoph 2002 Johann Sebastian Bach The Learned Musician Oxford University Press ISBN 978 0 393 32256 9 Wolff Christoph 1991 Decisive Career Steps Bach Essays on his Life and Music Harvard University Press ISBN 978 0 674 05926 9 Zedler Gunther 2008 Die erhaltenen Kirchenkantaten Johann Sebastian Bachs Muhlhausen Weimar Leipzig I Besprechungen in Form von Analysen Erklarungen Deutungen in German BoD Books on Demand ISBN 3 8370 4401 7 Online sourcesThe complete recordings of Bach s cantatas are accompanied by liner notes from musicians and musicologists John Eliot Gardiner commented on his Bach Cantata Pilgrimage Tadashi Isoyama wrote for Masaaki Suzuki and Christoph Wolff for Ton Koopman Amati Camperi Alexandra 2005 Notes Bach B Minor Mass San Francisco Bach Choir Archived from the original on 4 October 2013 Retrieved 4 October 2013 Bach Peter 2012 Erschallet ihr Lieder erklinget ihr Saiten in German bach de Retrieved 27 November 2012 Baxter Geffrey 2013 Bach s Creed Two Views of the Symbolum Nicenum of the Mass in B Minor PDF ASO Chamber Chorus Retrieved 25 March 2014 Braatz Thomas Oron Aryeh 2006 Chorale Melodies used in Bach s Vocal Works Komm Heiliger Geist Herre Gott Bach Cantatas Website Retrieved 1 June 2011 Browne Francis 2005 Wie schon leuchtet der Morgenstern Text and Translation of Chorale Bach Cantatas Website Retrieved 28 February 2014 Dellal Pamela 2012 BWV 172 Erschallet ihr Lieder erklinget ihr Saiten Emmanuel Music Retrieved 7 September 2022 Gardiner John Eliot 2006 Johann Sebastian Bach 1685 1750 Cantatas Nos 34 59 68 74 172 173 amp 174 Media notes Soli Deo Gloria at Hyperion Records website Retrieved 8 June 2019 Isoyama Tadashi 1998 BWV 172 Erschallet ihr Lieder erklinget ihr Saiten Ring out songs resound strings PDF Bach Cantatas Website Retrieved 15 November 2013 Koster Jan 2011 Weimar 1708 1717 let rug nl Archived from the original on 28 March 2014 Retrieved 16 December 2011 Lowen Marla 1999 BWV 172 Erschallet ihr Lieder erklinget ihr Saiten PDF Oregon Bach Festival Discovery Series Archived from the original PDF on 2 March 2014 Retrieved 3 December 2013 Magdolna Friedler 2008 Johann Sebastian Bach Orgelbuchlein gyujtemenyenek nyomaban PDF in Hungarian Magyar Bach Tarsasag Mincham Julian 2010 Chapter 57 BWV 172 Erschallet ihr Lieder erklinget ihr Saiten Resound songs and ring out strings jsbachcantatas com Retrieved 7 September 2022 Oron Aryeh 2012 Cantata BWV 172 Erschallet ihr Lieder erklinget ihr Saiten Bach Cantatas Website Retrieved 1 June 2011 Quinn John 2007 Johann Sebastian Bach Legendary Recordings musicweb international com Retrieved 1 June 2011 Rathey Markus 2003 Johann Sebastian Bach s Mass in B Minor The Greatest Artwork of All Times and All People PDF bach nau edu Archived from the original PDF on 5 October 2013 Retrieved 17 September 2013 Robins Brian 2013 Cantata No 172 Erschallet ihr Lieder BWV 172 Allmusic Retrieved 15 November 2013 Towe Teri Noel 2014 The Portrait in Erfurt Alleged to Depict Bach the Weimar Concertmeister The Face Of Bach Archived from the original on 16 July 2011 Retrieved 28 April 2014 External links editLiterature by and about Erschallet ihr Lieder erklinget ihr Saiten BWV 172 in the German National Library catalogue Ambrose Z Philip 2012 BWV 172 Erschallet ihr Lieder erklinget ihr Saiten University of Vermont Retrieved 1 June 2011 Luke Dahn BWV 172 6 bach chorales com Portal nbsp Classical music Retrieved from https en wikipedia org w index php title Erschallet ihr Lieder erklinget ihr Saiten BWV 172 amp oldid 1223858296, wikipedia, wiki, book, books, library,

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