Scholars debate the occasion for this secular cantata, and in some cases even Bach’s authorship, although this matter seems to be settled favorably by now. One unusual element pertaining this cantata is its libretto in Italian, one of only two such librettos set by Bach. Its author is anonymous and there are no surviving autographs to help establish authenticity. However, the fabric and quality of the music really leaves little doubt as to Bach’s penmanship.

This is a farewell cantata, possibly composed around 1734. Current theories point to a Leipzig scholar leaving Leipzig to take a post elsewhere – it could have been Johann Matthias Gesner or Lorenz Christoph Mizler.

Scored for solo soprano, flute, strings and continuo, the work opens with a concerto movement, which reminds us immediately, down to the B minor key signature, of the second Orchestral Suite, BWV 1067. The flute takes the solo in this opening Sinfonia and is also called for in the two arias of the cantata.

The Sinfonia leads to a brief “accompagnato” recitative for the solo voice, which introduces the topic of the departing professor. The 3rd movement, in minor mode, is a pensive and melancholic aria which laments Gesner’s departure and wishes him good fortunes for the trip.

The next recitative praises Gesner’s virtues and mentions where he is going – Ansbach, in Bavaria.

As is often the case with cantata librettos, the final movement shifts the mood and adopts an optimistic outlook on the situation – in this case quite explicitly (“Suppressing grief and fear”). The aria is dance-like and “galant” in style, and of all the movements is the one that could potentially raise more questions as to its authenticity given its musical language, not very characteristic of Bach.