This setting of Luther’s hymn perfectly typifies the basic concept of a chorale cantata as Buxtehude probably envisaged it. The first two verses are set, line by line, in a four-part homophonic texture. The two violins add interludes to the chorale, and lead in a kind of ritornello to the next verse. In the third and last verse Buxtehude departs from this model as the violins also play the chorale, and in which the lines of the hymn follow each other without a break. This cantata has come down to us in a tabulatur from the Düben Collection. It belongs in the context of a number of chorale cantatas which were copied around 1685.