Text
Poet unknown

First performance
First Day of Pentecost,
probably in May 1746 or 1747

The opening chorus is conceived as a three-choir orchestral concerto (trumpets and timpani, oboes, and strings) in da capo form. In particular, the partially aria-like, partially broad contrapuntal choir section with its euphonic declamation demonstrates exceptional maturity in its craftsmanship. Even the middle section of this fragmented movement, which begins with an elegant vocal duet, features an expressive fugue (“Ah, let our souls please you in faith”).
After a brief recitative, an alto aria follows in which the original text of “ye chosen of the shepherd” was amended to “ye, the chosen spirits” in the parody work, without giving rise to changes in the pastoral music. Two transverse flutes, doubled an octave lower by muted violins, evoke a peaceful mood over the gentle long-tones of the bass and viola, while the long stretches of syncopated melody lend the movement a modern touch. The brief recitative no. 4 forms a transitional movement, building up to an oratorical colon that culminates in the massive tutti choral proclamation “Peace be over Israel” and a final movement of light-hearted rejoicing. In this last section, a sweeping figure sends the soprano soaring over one and a half octaves up to a second ledger-line “A”. This slide figure, originally set for the Wedding Cantata to the text “Haste unto that holy stairway”, is equally effective as text painting for “Thank the lofty hands of wonder” and deftly demonstrates the skill of the baroque librettists and the efficiency of the oft-criticised parody technique.
Considering its composition date of the mid 1740s and its striking style, one is tempted to think Bach was experimenting with the gallant style of his sons and students. If, however, we remember that the original composition was written in 1726, it becomes apparent that Bach had long mastered this popular style and was, in a sense, ahead of his time. It is certainly the case that Wilhelm Friedemann Bach was able to perform his father’s work decades later in Halle with no loss of face whatsoever.