… distinguished by great depth and tenderness of feeling, by an intense love of the Saviour, and earnest but not self-conscious humility". Bach first performed the cantata, the seventh extant cantata of his second annual cycle, on 23 July 1724. Music Scoring and structure Bach structured the cantata in seven movements, beginning with a chorale fantasia and ending in a closing chorale, as usually in his chorale cantatas, but with an unusual sequence of only one recitative and four arias, setting the poetic hymn stanzas. He scored it for three vocal soloists (soprano (S), tenor (T) and bass) (B), a four-part choir, and a Baroque chamber ensemble of corno da caccia (Co) to support the chorale tune in the outer movements, two flauti traversi (Ft), two oboes d'amore (Oa), two violins (Vl), two violas (Va) and basso continuo (Bc). In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, the keys are given for the Weimar version. The time signature is provided using the symbol for common time (4/4). Movements 1 The opening chorus, "" (Why do you wish to trouble yourself), is a chorale fantasia, with the vocal part embedded in an independent concerto of the instruments. The cantus firmus on the melody of "" is in long notes, partly embellished, in the soprano and horn; the lower voices are mostly set in homophony. The lines of the chorale are not rendered separately, but accenting the bar form (Stollen–Stollen–Abgesang) of the text, 1 and 2 are combined, 3 and 4 are combined, 5 is single and 6 to 8 are combined. The scoring is relatively rich in woodwinds. 2 The only recitative, "" (For God abandons none who entrust themselves to Him), is accompanied by the oboes d'amore, shows an extended melisma on the word "" (joy) and culminates in an arioso in the final line, with a melisma on (rescue). The following four stanzas are composed as arias, not as the typical da capo arias, but mostly in two parts. Bach achieves variation by changing voice type, key and time signature. He also varies the mode, alternating major and minor keys, expresses different affekts, and he successfully "blurs" the bar form of the stanzas. 3 The first aria, "" (In Him you can dare all), depicts a "hunting scene" for bass and strings. Bach plays on the double meaning of the German word , which