Text No. 2
Psalm 75:2

Text No. 3–7
Poet unknown

Text No. 8
Königsberg, 1548

First performance
27 August 1731

Cantata BWV 29 was re-performed several times after its premiere in 1731, and its introductory sinfonia is an impressive example of how the requirements of a specific event inspired Bach to further develop his ideas. First conceived in 1720 as the Preludio to his Partita for Violin in E Major (BWV 1006), Bach reworked the movement around 1729 for a wedding cantata, forming it into a concerto-style setting for organ and string orchestra, possibly with oboes. For the council election in 1731, trumpets and timpani were then added, lending it the exhilarating character that later inspired Felix Mendelssohn to write a piano arrangement of the movement in 1840. This transformation from a delicate solo setting into a compact orchestral movement demonstrates Bach’s mastery of motivic combination and instrumentation: first, strings and woodwinds take on the melody of the solo setting, while the addition of trumpets introduces fanfares; developmental elements and polychoral effects are then added to round out the concerto-style structure. The inclusion of an organ lends a sacred tone to the sinfonia, which together with the subsequent chorus calls to mind a St Cecilia composition dedicated to the praise of church music. This succession of a concertante-modern instrumental setting and a strict vocal fugue in early dacappella style constitutes a double prelude in which the combination of old-fashioned constancy and splendid grandeur reflects central attributes of the council. The two short text components glorifying God are captured by Bach in two contrasting themes; this music was then later reworked in 1733 for a setting with practically the same text, the Gratias of the Mass in B Minor, and later again for his Dona Nobis Pacem, which is by far the more famous today. Overall, the composition is remarkable for the successive development of its tonal scope, which, like the ascending figure of the closely controlled motive on the words of thanks, lends the work suggestive power.
By way of contrast, the light-footed tenor aria, set in the bright key of A major, unites a heroic attitude with cantabile elements. With the running “Hallelujah” figure, the soloist makes an effective entry; the libretto, by placing glorification of God above praise of the authorities, establishes a clear hierarchy. The mention of “Zion” in the middle section then introduces the ideal of a Christian community – one in which God himself would happily live.
The bass recitative takes this thought further by presenting God’s protection as the cornerstone of a good life. This general wellbeing is also owed to wise city governance, and Psalm 85 alludes to the council’s obligation to preserving peace and justice. These words of flattery are followed by the soprano aria, an intimate plea for mercy from which both rulers and servants should benefit in equal measure. Set in a flowing 6⁄8 metre and earnest B minor key, the aria conjures a magic (reminiscent of Handel’s operas and some Passion arias) that attains even greater lightness through the frequent tasto solo instruction for the organ.
Nonetheless, the libretto – as appropriate for a city of trade – also has commercial elements; in the alto recitative, the Highest is urgently implored to protect the prosperity of the community in return for praise and sacrifice. After this ceremonial declaration, the choir, representative of the people, concludes with a unison “Amen” – an acclamation in which the political contract is publicly renewed. In the ensuing alto aria, however, the gravity of the situation dissolves; the “Hallelujah” music, based on the tenor aria, gives rise to a liberated song of thanksgiving. By using the organ in place of the violins in this setting, Bach establishes a theological connection to the opening sinfonia.
“Sei Lob und Preis mit Ehren” (Now laud and praise with honour): this hymnal chorale with powerful tutti winds is a succinct expression of confidence under the aegis of the divine Trinity. Although the change in council membership was nothing more than a regular rotation within the patrician class, and thus little more than an early example of a managed democracy, Bach’s imaginative composition leaves no doubt as to the significance of this supplicatory church service in renewing the community’s covenant with God. Indeed, it is successful events such as these that probably helped Bach retain his position as Stadtkantor long after his serious rift with the council in 1729/30.