This Cantata, composed for the 21st Sunday after Trinity probably in 1728, has a libretto by Picander which comes from a collection of religious poetry that he published in 1728-29. The text, a lesson about faith in God in adverse times, is related only loosely to the Gospel of the day, which narrates Jesus’ healing of a nobleman’s son. The source of the final chorale text is unknown.
This autograph score for this cantata had a rough life – it was “sold for parts” by some unscrupulous collector, and as a consequence, different parts of the manuscript ended up dispersed all across Europe and even in Washington. Scholars have been able to put it back together only partially, however there is enough documentation and surviving material to reconstruct it fairly accurately. For example, the opening Sinfonia didn’t survive the massacre, but we know that it was based on the last movement of the violin concerto which later on became the harpsichord concerto BWV 1052. Given the fact that the alto aria of the cantata includes organ obbligato, scholars have been able to reconstruct the sinfonia as an orchestral movement with organ solo.
After the sinfonia, the first aria is for the tenor, accompanied by the strings and a solo oboe. The main theme is dance-like with a triple tempo and playful upward intervals to illustrate confidence and hope, but then the “B” section shifts the texture markedly, with the strings creating a busy texture of sixteenth notes while the tenor and oboe engage in a back-and-forth arpeggiated motif on the image of “all collapsing” and “all falling”.
The following extensive recitative, for the bass, reflects on how God is present even in hard times, and it closes with an arioso on a reference to a Genesis quote (chapter 32 verse 26) which we have already encountered in other cantatas and one of Bach’s motets: “I will not let you go unless you bless me” (“Ich lasse dich nicht”).
This leads to an alto aria with organo obbligato and violoncello reinforcing the organ bass line. The text continues to reflect on adversity and hard times being good for us. Using syncopations, the vocal line creates a sense of contented lament, while the busy organ figuration alludes to God’s grace and good designs.
The brief soprano recitative that follows, with string accompaniment, illustrates the concept of eternity with long sustained notes on the strings. This leads to the luminous closing chorale, underscoring trust and confidence in God.
