The cantata dates from Bach's time in Weimar. The instrumental scoring of four violas and basso continuo - in the Leipzig performances enhanced by two recorders doubling viola I and II at the octave - is unique in Bach's cantata oeuvre. It lends a dark, luxurious sound to the four movements which is gently illuminated by the recorders. The work - with its instrumental sinfonia, a short secco recitative and an extended accompagnato recitative (both of which contain arioso inserts), a short soprano aria and a simple closing chorale - makes no great demands on the performing forces. Admirers of text interpretation by means of instrumental figuration will be richly rewarded.