For the oratorio, the libretto by an unknown author followed the nativity of Jesus from the Gospel of Luke, interspersed with reflecting texts for recitatives and arias, and stanzas from Lutheran hymns.

Both scenes are composed of a quotation from the Gospel of Luke, a recitative reflecting the narration, an aria-like prayer or meditation, and a chorale setting a stanza from a Lutheran hymn.

Bach scored the cantata for three vocal soloists, a four-part choir and a festive Baroque orchestra with trumpets, timpani, flutes, oboes and strings.

There are two chorales: a four-part setting of Paul Gerhardt's "Wie soll ich dich empfangen" and a closing score with an independent orchestra set to text for a stanza from Martin Luther's "Vom Himmel hoch, da komm ich her".

The opening movement and the two arias rely on secular cantatas composed for members of the Dresden court.

Bach led the first performances with the Thomanerchor at the two main churches of Leipzig on 25 December 1734 during morning and vespers services.

[13] He wrote a further cantata for the elector's wife, Maria Josepha, to honour her 34th birthday on 8 December:[14] Tönet, ihr Pauken!

[19] After the opening chorus, the story is told following the Gospel of Luke, interspersed with reflecting recitatives, arias and chorales.

[2] The choir sings two chorales, a four-part setting of Paul Gerhardt's "Wie soll ich dich empfangen" and a setting for choir and independent orchestra of the 13th stanza from Martin Luther's "Vom Himmel hoch, da komm ich her", to close the cantata.

[2][21] In the seventh movement, a recitative is combined with the sixth stanza of Luther's hymn "Gelobet seist du, Jesu Christ".

[23] The libretto was printed and bears the title of the oratorio, Oratorium, welches die Heilige Weyhnacht über in beyden Haupt-Kirchen zu Leipzig musiciret wurde.

[19] It features three vocal soloists (alto, tenor and bass), a four-part choir (SATB) and a Baroque instrumental ensemble of three trumpets (Tr), timpani, two traversos (Tra), two oboes (Ob), two oboes d'amore (Oa), two violins (Vl), viola (Va) and basso continuo.

Auf, preiset die Tage", translated by Richard D. P. Jones as "Shout for joy, exult, rise up, praise the day!

With the text "Lasset das Zagen, verbannet die Klage" (Abandon despair, banish laments),[22] the voices, now in imitation, dominate while the instruments accompany.

"Dienet dem Höchsten mit herrlichen Chören" (Serve the Highest with glorious choruses)[22] is an imitative section in B minor, accompanied only by the strings.

[31] The musicologist Markus Rathey notes that in the secular model, Tönet, ihr Pauken, Bach had not initially thought of beginning with the timpani alone, but arrived at the present version in a later revision.

Rathey suggests that Bach sought a more dramatic way to begin with reduced force and let the music increase, in keeping with his endeavor to transfer operatic features from Dresden to Leipzig.

[33] The tenor begins with the secco recitative "Es begab sich aber zu der Zeit" (It came to pass at that time),[22] from Luke 2:1,3–6.

[35] A chorale concludes the first scene, "Wie soll ich dich empfangen" (How shall I embrace You),[22][36] deepening the right preparation for the reception of the beloved.

The tenor continues the narration with another secco recitative, "Und sie gebar ihren ersten Sohn" (And she bore her first son),[22] after Luke 2:7, reporting the birth of the baby which is laid in a manger.

[22] In a combination of chorale and recitative, the soprano sings the sixth stanza, "Er ist auf Erden kommen arm" (He came to earth poor),[22] from Luther's hymn "Gelobet seist du, Jesu Christ"[22] in a triple metre and embellished.

The movement is taken from the bass aria in Tönet, ihr Pauken, in which the Queen is addressed, accompanied by an obbligato trumpet to refer to her royalty.

[17] The cantata is closed with the chorale "Ach mein herzliebes Jesulein" (Ah, my heart's beloved little Jesus),[22][39] the 13th stanza of Luther's hymn "Vom Himmel hoch, da komm ich her".

[22] While the compassionate text addresses the baby, interjections by trumpets and timpani recall the opening movement and refer to his godly nature.

my dearest little Jesus Make you a clean soft little bed, To rest in my heart's shrine That I never forget you.

[19] Rathey observes that although the Christmas Oratorio is one of Bach's most frequently performed works, it has not attracted much scholarship in English.