of wisdom and warfare, Irene, a Greek goddess of peace, and Fama, a Roman goddess of fame and rumor. Bach led the Collegium Musicum at the first performance at the Zimmermannsches Caffeehaus in Leipzig on 8 December 1733. Bach used some of the music a year later for his Christmas Oratorio: including the opening movement with a timpani solo which is used to begin Part I, its closing movement which became the opening of Part III, and two arias. Tönet, ihr Pauken is counted among Bach's works for celebrations of the Leipzig University, Festmusiken zu Leipziger Universitätsfeiern. Publication Tönet, ihr Pauken! was published in 1887 as part of the first complete edition of the composer's works, by the Bach Gesellschaft. The Christmas Oratorio had already appeared in the same series in 1856. The cantata was published as part of the Neue Bach-Ausgabe in 1962, edited by Werner Neumann. Music Scoring and structure The cantata is structured in nine movements, with choral outer movements and alternating recitatives and arias as inner movements. The work features four vocal soloists who represent allegorical figures: Bellona (soprano), Pallas (alto), Irene (tenor), and Fama (bass). It is further scored for four-part choir () and a Baroque instrumental ensemble of three trumpets (Tr), timpani, two flutes (Ft), two oboes (Ob), oboe d'amore (Oa), two violins (Vl), viola (Va) and basso continuo. In the following table, the scoring follows the (New Bach Edition). The keys and time signatures are from Alfred Dürr, and use the symbol for common time. The continuo, played throughout, is not shown. The timpani always play with the trumpets. Movements 1 The opening chorus, "" (Sound, you drums! Ring forth, trumpets!), is a complex long da capo form (ABA). Unusually for Bach, it opens with a timpani solo. It is followed by the trumpets, and then by the strings and woodwinds. The extended instrumental ritornello presents the musical material of the whole movement. The voices enter in unison, first imitating timpani, then trumpets. In the following section, the vocal lines are mostly homophonic and sometimes imitative, while the instrumental forces drive the movement. The second section is a modified repeat of the first. The middle section (B) of the movement also has two elements, an imitative passage in B minor accompanied only by the strings, and a mostly homophonic part with strings and woodwinds, after which A is repeated completely. Musicologist Julian Mincham