It uses both fugal techniques and paired entries. The coda is a recapitulation of the first section. Analysis of corrections show that Bach probably used an instrumental piece composed earlier, and that the characteristic upward run on the first word "Preise" was added later. The text from psalm 147,12–14a addresses Jerusalem, but the Leipzig congregation understood it as their city. A secco recitative introduces the topic, "" (Blessed land, fortunate city): a town is blessed if God reigns in it. The oboes da caccia present a dotted-rhythm ritornello to introduce the tenor aria. The vocal entry is before the ritornello cadence, "" (Good fortune, you people of the lindens), a reference to Leipzig sometimes being called ". The bass recitative, "" (So gloriously you stand, dear city!), is introduced and concluded with a fanfare-like trumpet and timpani line, further wind instruments, recorders and oboes da caccia add colour to the middle section, in an unusual movement for the Leipzig congregation. The alto aria, "" (Authority is God's gift), is accompanied by two obbligato recorders in unison. It is the only minor-mode movement of the cantata. The obbligato presents high repeated notes beginning midway through the ritornello theme, which recurs as episodes and at the conclusion of the movement. The movement is, in effect, a trio sonata. A soprano recitative, "" (Now! we acknowledge it and bring to You), expresses thanks for God's gift and acknowledgement of the burden on the people serving as town council, those who did it the last year and those who succeed. A choral movement confirms "" (The Lord has done good things for us). The movement is structured like a da capo aria, with a fugue in the opening and repeat, while the contrasting middle section is mostly homophonic. A a long ritornello theme features an "imperious" trumpet melody, which is played four times during the movement. The voices then enter from the lowest to the highest, with the fugal section based on the first phrase of . Additional instruments then lead to a climax. In the middle section motifs from the ritornello are played "above and between" the voices. One fanfare motif appears also in Bach's first Brandenburg Concerto and would later be used in the bass aria " in the "Christmas Oratorio".