Johann Sebastian Bach composed the church cantata (Why would you grieve), 107 in Leipzig for the seventh Sunday after Trinity and first performed on 23 July 1724. The chorale cantata is based on the words of Johann Heermann's hymn in seven stanzas "" (1630). Bach structured the cantata, the seventh work in his chorale cantata cycle, in seven movements: two framing choral movements, a recitative and an unusual sequence of four bipartite arias. He scored the work for three vocal soloists, a four-part choir, and a Baroque chamber ensemble of a horn to reinforce the hymn tune in the outer movements, two transverse flutes, two oboes d'amore, strings and continuo. It is the only known work from his chorale cantata cycle that kept the original words unchanged. History and words Bach composed the chorale cantata in Leipzig for the Seventh Sunday after Trinity. The prescribed readings for the Sunday are from the Epistle to the Romans, "I speak in human terms because of your human limitations ... the wages of sin is death; but the gift of God is eternal life" (), and from the Gospel of Mark, the feeding of the 4000 (). The cantata is based on Johann Heermann's hymn in seven stanzas, "" (1630), which is focused on trust in God, even when facing adversaries including the devil. Trust in God is also a theme of the Gospel. Unusually for a chorale cantata of the second cycle, the text is not changed in the middle movements, but kept "" (for all stanzas). The middle movements are, however, composed as a recitative and four arias. The treatment was decidedly old-fashioned in Bach's time. He had used it once much earlier in (1707), and then again later, as in (1726), though it was not repeated during the second cycle. John Eliot Gardiner assumes that Bach imposed this restriction on himself, as he had done with the restriction to place the cantus firmus in soprano, alto, tenor and bass in the first four cantatas of the cycle. Gardiner comments on the "seventeenth-century design" of composing the unchanged chorale text, compared to settings of Stölzel, Telemann and Graupner: The chorales in Heermann's 1630 publication (Music of a devoted heart), which also included "", the first chorale in Bach's St Matthew Passion, have been described as "the first in which the correct and elegant versification of Opitz was applied to religious subjects,