intending it to project a view of a heavenly world as counterpoint to pain and suffering in the real world. Nicolai published the hymn in 1599 as part of a collection titled ('Mirror of the joys of eternal life') in 1599. The hymn tune with which Nicolai published his text, Zahn No. 8359, is reminiscent of a 1538 melody published in the Strasbourg Psalter in 1539 with the song , possibly by Jakob Dachser, Zahn No. 1705. The image of the morning star is taken from Revelation 22:16 ("I am the root and the offspring of David, and the bright and morning star."). In its title, Nicolai indicated the hymn as ('Bridal song') of the soul addressing Jesus as its heavenly bridegroom, which refers to Psalm 45, described as a bridal song in the Luther Bible, and to the Song of Songs. Nicolai did not write a paraphrase of the biblical texts, but used elements from them for the seven stanzas of his hymn. He also alludes to the nativity. The hymn was associated with Epiphany but also with the Annunciation. Expressing the longing for the arrival of the Saviour, it can be connected to the reading about Jesus' birth being announced to Mary. The theme of arrival was also fitting for Palm Sunday, when the arrival of Jesus in Jerusalem is celebrated. Libretto and first performance A librettist retained the first and last stanzas of the hymn and paraphrased the other stanzas, using the second stanza for the first recitative, the third stanza for the first aria, the fourth stanza and part of the fifth for the second recitative, and the sixth stanza for the second aria. Bach scholar Alfred Dürr wrote: "The librettist must be credited with the empathy he shows for that fervour which characterises Nicolai's poem and which has made his hymns into an enduring possession of the Protestant Church." While the identity of the librettist, a "poetically and theologically competent specialist", is not certain, scholars have suggested Andreas Stübel, a Leipzig intellectual who held controversial theological views. For the first performance of the cantata, on 25 March 1725, Bach helped copy out his composition score for the musicians participating in the premiere. Johann Andreas Kuhnau, a main copyist of Bach at the time, produced most of this performance material, that is, all performance parts, except the figured bass part (partly written by the composer) and