The cantata text by an unknown author includes in movement 2 the beginning of Psalm 75, and as the closing chorale the fifth stanza of Johann Gramann's "Nun lob, mein Seel, den Herren".

Bach scored the work in eight movements for four vocal parts and a festive Baroque orchestra of three trumpets, timpani, two oboes, strings, an obbligato organ and basso continuo.

Bach composed the cantata in 1731 for Ratswechsel, the inauguration of the new town council, which was celebrated annually in a festive service in the Nikolaikirche on the Monday following the feast day of St. Bartholomew (24 August).

For the Ratswechsel service, he could count on the entire council (his employer) listening, probably also civil servants and representatives of the Elector's administration for the region.

The musicologist Klaus Hofmann notes: "It was an opportunity for Bach to show how sacred music was flourishing under his direction and to present himself as a composer.

[2] In 1733, he adapted the music of the first choral movement with only minor changes for the Gratias agimus tibi of his Kyrie-Gloria Mass for the Dresden court, on a text expressing the same idea in Latin.

Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass) (B), a four-part choir, and a Baroque orchestra of three trumpets (Tr), timpani (Ti), two oboes (Ob), two violins (Vl) (violin solo in movement 3), violas (Va), an obbligato organ (Org) and basso continuo (Bc).

[2] In the cantata for Ratswechsel, the solo organ plays the original violin part "in virtuoso motoric writing",[2] while the full orchestra adds an accompaniment.

[5] The first vocal movement is a setting of verse 1 of Psalm 75, "Wir danken dir, Gott, wir danken dir, und verkündigen deine Wunder", translated in the King James version of the bible as "Unto thee, O God, do we give thanks, unto thee do we give thanks: for that thy name is near thy wondrous works declare".

Hofmann comments that although the movement begins in old style, "Bach’s method of intensification (by means of which he gradually introduces trumpets and ultimately allows the theme to be heard in stretta) is thoroughly baroque.

For long stretches in the vocal sections, Bach does without a continuo accompaniment (thus without the instrumental bass register) – a tactic that effectively contributes to creating a sonic impression of tenderness and charm".

The complete recordings of Bach's cantatas are accompanied by liner notes from musicians and musicologists: Klaus Hofmann wrote for Masaaki Suzuki, and Christoph Wolff for Ton Koopman.