This cantata dates from 1714 and is unusual for the period in being through-composed. It consists of two choral sections (again atypically in strictish counterpoint) linked by a short sequence of chords for orchestra. In essence the piece is a chorale fantasy, with the harmonized melody appearing in duple and triple time, with a decorative violin part above. Significantly for Fasch-fans, the two violino ripieno parts were copied by the young Fasch while he was studying in Darmstadt with Kapellmeisters Graupner and Grünewald and is the only direct evidence of his being there known so far...
Edited by Brian Clark.
Scoring: SATB, 2 oboes, bassoon, 2 violins, viola, continuo.
Performance material by negotiation.