This is a celebratory cantata for the New Year, probably premiered in 1729. Its libretto is also by Picander, who had become a regular collaborator of Bach by now. Picander’s text is closely related to the Gospel for the day, Luke 2: 21, a single verse that states that eight days after his birth, Mary’s baby was circumcised and named Jesus.
Alfred Dürr observes that this cantata moves through three stages: reading, contemplation and prayer. In the first movement, Picander references Psalm 48:10 (Jesus’ name is known “through the end of the world”). The aria that follows elaborates the same idea. Movements 3 and 4 shift to contemplation as the perspective changes to become more personal and relevant to the occasion – the new year. The last two movements take the character of prayers.
The opening Psalm text is set to an imposing choral fugue, in a somewhat outdated motet-like style. The music has ties to the “Patrem omnipotent” of the Mass in B minor – both movements are probably based on the same lost original vocal piece. Suitable for the occasion, the orchestration is festive: 3 trumpets, timpani, 2 oboes, strings and continuo. While the instruments largely double the voices, it’s interesting to observe that the first trumpet gets an independent part in the fugue.
The next movement is an aria for the tenor with 2 solo violins and continuo. It has an extensive instrumental introduction in the character of a double concerto. Once the tenor enters, the 3 lines are on equal footing as the elaborate counterpoint develops.
A secco recitativo for the alto then leads to the soprano aria with solo violin, which opens the “contemplation” section of the libretto. The music is parodied from the secular Cantata 205, No. 9, in which the violin figurations were originally conceived as praises to gentle zephyrs, now very successfully translated into praise of Jesus’ name.
The next movement is an interesting recitative for the bass, which starts with a short “secco” introduction of just one bar, turns into an arioso as it quotes Jesus’ words, and then incorporates the oboes on sustained notes as the text articulates the prayers.
The closing chorale is the second stanza of the hymn “Jesu, nun sei gepreiset” by Johannes Herman (1591). The music was previously used by Bach in another New Year’s cantata, BWV 41. Consistent with the celebratory occasion, the verses of the chorale are punctuated by trumpet fanfares and timpani. In a surprise turn, the last few verses are set in 3/4 meter for a dance-like character, before returning to the original 4/4 for the last repetition and closing fanfare.
