Text No. 1, 6
Samuel Rodigast (1649–1708)

Text No. 2–5
Arranger unknown

First performance
Fifteeth Sunday after Trinity,
17 September 1724

The introductory chorus is predominantly lively, commencing with a motive of paired slurs that is introduced by the violins. This is then passed to a colourful concertino of transverse flute, oboe d’amore and violin whose variations on this theme are soon interrupted by the entry of the choir. Here, the soprano (doubled by a wind instrument) introduces the hymn melody line-for-line in long tones, before the lower voices enter with their support. The extended movement continues in this charming interplay of various ensemble combinations, evoking a sense of serene trust in God’s guidance.

The bass recitative delivers an expressive declamation that, like many such moments in Bach’s cantatas, melds into an arioso passage: here, most appropriately, on the keyword “change”. And change in the direction of shadowy affect is then introduced in the tenor aria no. 3, whose compositional idea is founded on the textual contrast between uncertainty and fortitude – “Disturb thyself do not, discouraged spirit!” – expressed beautifully by the fleeting, tender timbre of the transverse flute, whose obbligato part unites harmonic tension and stark chromatic passages in supremely elegant phrases. Bach’s ability to disguise his artistry in an efficient composition – much as “hidden sweetness” is concealed in the “cross’s cup” – is given ample proof in this aria.
The ensuing alto recitative paints a striking picture of “pain endured” and daily “torment” despite making a declaration of faith, before duet no. 5 leads these contrasting affects into direct confrontation. In this masterly quintet, Bach reinstates the wind concertino of the opening chorus next to the soprano and alto with transverse flute and oboe d’amore. Here, the motif of repeated notes is equally light and terse, and culminates in a painful sigh. Central to this two-part movement is a virtuoso coloratura, in which the antithetical concepts of “struggle” and “pleasure” meet. This musical insight into the inevitability of suffering as part of the divine plan emerges as the cantata’s key theme, with the interim transition to D major on the words “it is ne’erless rightly done” proving to be a mere battle gained in the ongoing human and musical struggle. All the more powerful then is the closing chorale, in which the return to the G major tonality of the introductory movement happily coincides with the movement’s recapitulation of the hymn’s opening motto: “What God doth, that is rightly done”.