laud for Thy great glory: Father, Thy kingdom lasts always, Not frail, nor transitory: Thy power is endless as Thy praise, Thou speak'st, the universe obeys: In such a Lord we're happy. O Jesus Christ, enthroned on high, The Father's Son beloved By Whom lost sinners are brought nigh, And guilt and curse removed; Thou Lamb once slain, our God and Lord, To needy prayers Thine ear afford, And on us all have mercy. O Comforter, God Holy Ghost, Thou source of consolation, From Satan's power Thou wilt, we trust, Protect Christ's congregation, His everlasting truth assert, All evil graciously avert, Lead us to life eternal.BWV 675 Allein Gott in der Höh' (All glory be to God on high) BWV 675, 66 bars long, is a two-part invention for the upper and lower voices with the cantus firmus in the alto part. The two outer parts are intricate and rhythmically complex with wide leaps, contrasting with the cantus firmus which moves smoothly by steps in minims and crotchets. The time signature has been taken to be one of the references in this movement to the Trinity. Like the two preceding chorale preludes, there is no explicit manualiter marking, only an ambiguous "a 3": performers are left with the choice of playing on a single keyboard or on two keyboards with a 4′ pedal, the only difficulty arising from the triplets in bar 28. The movement is in bar form (AAB) with bar lengths of sections divisible by 3: the 18 bar stollen has 9 bars with and without the cantus firmus and the 30 bar abgesang has 12 bars with the cantus firmus and 18 without it. The invention theme provides a fore-imitation of the cantus firmus, subsuming the same notes and bar lengths as each corresponding phase. The additional motifs in the theme are ingeniously developed throughout the piece: the three rising starting notes; the three falling triplets in bar 2; the leaping octaves at the beginning of bar 3; and the quaver figure in bar 4. These are playfully combined in ever-changing ways with the two motifs from the counter subject—the triplet figure at the end of bar 5 and the semiquaver scale at the beginning of bar 6—and their inversions. At the end of each stollen and the abgesang, the complexity of the outer parts lessens, with simple triplet descending scale passages in the soprano and quavers