Gott, wie dein Name, so ist auch dein Ruhm, BWV 171

Bach structured the cantata in six movements. An opening chorus and a closing chorale frame a sequence of alternating arias and recitatives. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T), bass (B)), a four-part choir and a festive Baroque instrumental ensemble of three trumpets (Tr) and timpani (Ti), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo.[5][6] The heading of the autograph score reads: "J.J. Festo Circumcisionis Xsi. Concerto . à 4 Voci. 3 Trombe, Tamburi, 2 Hautb. 2 Violini, Viola e Contin: di Bach", which means "Jesus help. Feast of the circumcision of Christ. Concerto for 4 voices, 3 trumpets, timpani, 2 oboes, 2 violins, viola and continuo".[7] The duration is given as 22 minutes.[3]

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.[6] The keys and time signatures are taken from the book on all cantatas by the Bach scholar Alfred Dürr, using the symbols for common time (4/4) and alla breve (2/2).[3] The continuo, playing throughout, is not shown.

Movements of Gott, wie dein Name, so ist auch dein Ruhm, BWV 171

No.	Title	Text	Type	Vocal	Winds	Strings	Key	Time
1	Gott, wie dein Name, so ist auch dein Ruhm	Psalm	Chorus	SATB	3Tr Ti 2Ob	2Vl Va	D major	2/4
2	Herr, so weit die Wolken gehn	Picander	Aria	T		2Vl	A major
3	Du süßer Jesus-Name du	Picander	Recitative	A
4	Jesus soll mein erstes Wort	Picander	Aria	S		Vl solo	D major	12/8
5	Und da du, Herr, gesagt	Picander	Recitative	B	2Ob		A major	3/8
6	Laß uns das Jahr vollbringen	Herman	Chorale	SATB	3Tr Ti 2Ob	2Vl Va	B minor	3/4

The first movement, "Gott, wie dein Name, so ist auch dein Ruhm bis an der Welt Ende." (God, as Your name is, so also Your praise is to the ends of the world.),[1] deals with universal praise of God's name is a choral fugue. While the trumpets are independent, the strings and oboes mostly double the voices in the style of Bach's motets. The first trumpet even plays the fugue theme.[3] The Bach scholar Alfred Dürr argues that the work is probably no new composition but the reworking of an older lost movement, which forms the basis of both this movement and the later second part of the Credo of this music to the Mass in B minor, Patrem omnipotentem, factorem coeli et terrae ([I believe in the] almighty father, maker of Heaven and Earth). The idea of both is the "world-embracing almighty power of God".[3]

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

John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, summarized:

there is something old-fashioned and motet-like about the way the fugue unfolds with colla parte strings and oboes doubling. But then after twenty-three bars Bach brings in his first trumpet for a glittering restatement of the theme and the music suddenly acquires a new lustre and seems propelled forwards to a different era for this assertion of God's all-encompassing dominion and power.[8]

The tenor aria, "Herr, so weit die Wolken gehen" (Lord, as far as the clouds stretch),[1] is accompanied by two instruments not specified in the manuscript score, perhaps violins, according to the range.[3]

An alto recitative, "Du süßer Jesus-Name du" (O You sweet name of Jesus),[1] is secco.[3] The musicologist Julian Mincham notes the development from the initial F-sharp minor, illustrating "introverted contemplation", to "confident assertion" in D major.[9]

The soprano aria, "Jesus soll mein erstes Wort in dem neuen Jahre heißen" (Jesus shall be my first word uttered in the new year),[1] is a parody of an aria from the secular Zerreißet, zersprenget, zertrümmert die Gruft, BWV 205, in which a virtuoso solo violin represents a gentle wind, while in the church cantata solo it serves the praise of the name Jesus.[5]

A tripartite bass recitative, "Und da du, Herr, gesagt" (And as You, Lord, have said),[1] begins as an arioso, only accompanied by the continuo, leading to prayers, accompanied by two oboes, concluding in an arioso with the oboes.[3][2]

The final chorale,"Laß uns das Jahr vollbringen" (Let us complete the year),[1] is taken from Jesu, nun sei gepreiset, BWV 41, written for the same occasion in 1725. While the earlier cantata used the third stanza, this one has a setting of the second[5] and is transposed up a step.[8] It matches the opening chorus with a support of the voices by oboes and strings, while trumpets and timpani play interludes which add weight to the movement.[2]