Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214
Bach reused the music of the two choral movements and two arias a year later in his "Christmas Oratorio", notably for the movements opening Part I, "Jauchzet, frohlocket!", and Part III, "Herrscher des Himmels". Background and text. Bach composed in 1733, ten years after he became "Thomaskantor" in Leipzig, director of music in major churches in the town in the Electorate of Saxony. That year, Augustus succeeded his father as Elector of Saxony. Bach had hopes of being appointed composer to his court which was based in Dresden. He dedicated his Kyrie–Gloria  Mass in B minor to the elector, a work which was to become the Kyrie and Gloria of his Mass in B minor. Bach also composed cantatas in honour of the elector's family, , performed on 5 September 1733, the eleventh birthday of the son of the elector, and another for his wife, Maria Josepha. Bach composed to honour the 34th birthday of Maria Josepha on 8 December. It is also known by the description "" (Congratulation cantata for the Queen's birthday), although Maria Josepha was not crowned Queen of Poland until January 1734. The librettist of the text is  unknown. The action in the cantata is between four allegorical figures for goddesses from Roman and Greek mythology: Bellona, a Roman goddess of war, Pallas, a Greek goddess of wisdom and warfare, Irene, a Greek goddess of peace, and Fama, a Roman goddess of fame and rumor. Bach led the Collegium Musicum at the first performance at the Zimmermannsches Caffeehaus in Leipzig on 8 December 1733. Bach used some of the music a year later for his "Christmas Oratorio": including the opening movement with a timpani solo which is used to begin Part I, its closing movement which became the  opening of Part III, and two arias. "Tönet, ihr Pauken" is counted among Bach's works for celebrations of the Leipzig University, "Festmusiken zu Leipziger Universitätsfeiern". Publication. "Tönet, ihr Pauken!" was published in 1887 as part of the first complete edition of the composer's works, by the Bach Gesellschaft. The "Christmas Oratorio" had already appeared in the same series in 1856. The cantata was published as part of the "Neue Bach-Ausgabe" in 1962, edited by Werner Neumann. Music. Scoring and structure. The cantata is structured in nine movements, with choral outer movements and alternating recitatives and arias as  inner movements. The work features four vocal soloists who represent allegorical figures: Bellona (soprano), Pallas (alto), Irene (tenor), and Fama (bass). It is further scored for four-part choir () and a Baroque instrumental ensemble of three trumpets (Tr), timpani, two flutes (Ft), two oboes (Ob), oboe d'amore (Oa), two violins (Vl), viola (Va) and basso continuo. In the following table, the scoring follows the ("New Bach Edition"). The keys and time signatures are from Alfred Dürr, and use the symbol for common time. The continuo, played throughout, is not shown. The timpani always play with the trumpets. Movements. 1. The  opening chorus, "" (Sound, you drums! Ring forth, trumpets!), is a complex long da capo form (ABA). Unusually for Bach, it opens with a timpani solo. It is followed by the trumpets, and then by the strings and woodwinds. The extended instrumental ritornello presents the musical material of the whole movement. The voices enter in unison, first imitating timpani, then trumpets. In the following section, the vocal lines are mostly homophonic and sometimes imitative, while the instrumental forces drive the movement. The second section is a modified repeat of the first. The middle section (B) of the movement also has two  elements, an imitative passage in B minor accompanied only by the strings, and a mostly homophonic part with strings and woodwinds, after which A is repeated completely. Musicologist Julian Mincham notes that "the sweeping exhilaration of this movement is impossible to describe in words". Bach reused the movement as the opening movement of his "Christmas Oratorio", "Jauchzet, frohlocket" (Shout for joy, exult). The voices imitate the sound of timpani and trumpets even with the new text. 2. Irene is the first to address the dedicatee. The tenor recitative, "" (This is the day, when everyone can be happy), conveys imagery. 3 . Bellona sings an aria, "" (Blow the well-handled flutes). Matching the text, the soprano is accompanied by two obbligato flutes. The aria is in three parts, with the third part similar to the first but on different text. 4. The soprano recitative, "" (My clashing metal), represents the "clashing of arms" and the battlefield, related to the goddess of war. 5. Pallas refers to the muses in an alto aria, (Virtuous Muses! My followers!). It is the only movement in a minor key, accompanied by an obbligato oboe d'amore. Bach reused the music, transposed for a tenor, in "Und es waren  Hirten in derselben Gegend", Part II of his "Christmas Oratorio", as the aria "Frohe Hirten, eilt, ach eilet", with an obbligato flute, No. 15, in which the shepherds are called to rush to the manger. 6. The alto recitative, "" (Our Queen of the land!), is accompanied by strings playing chords. 7. Fama is the last character to appear, singing in a bass da capo aria, "" (Crown and trophy of royal ladies). The voice is complemented by a majestic obbligato trumpet line that underlines the "triumph, dignity and splendor" of the queen. The text focuses on the dual themes of fame  and virtue. In this aria, the queen is addressed directly for the first time, "Königin! Mit deinem Namen füll ich diesen Kreis der Welt" (Queen! With your name I flood the entire world). The fanfares of the trumpet are used to illustrate her royal appearance. In his "Christmas Oratorio", Bach used the music in the aria "Großer Herr und starker König" (No. 8). 8. The bass recitative, "" (Thus throughout the whole round earth), is accompanied by woodwinds. 9. The cantata is closed with the chorus "" (Bloom, you Saxon lindens, like cedars), a dance-like chorus. Three voices enter successively with  parts of the text, first the tenor, the only voice without an aria, then the soprano followed by the alto. All voices repeat the text in homophony, with the first theme in the alto. After an interlude, the process is repeated for the other half of the text. Bach reused the music of this movement in his "Christmas Oratorio" to frame Part III, "Herrscher des Himmels" (No. 36). Performances and recordings. The cantata was performed at the BBC Proms in 1997 by the Amsterdam Baroque Orchestra & Choir conducted by Ton Koopman. In contrast, the complete "Christmas Oratorio" was given in  the same concert series in 1972 conducted by Paul Steinitz, and one aria had been performed as early as 1908. Recordings have been made by several ensembles, including: