My experience with this cantata first came about when I was to give a short introductory lecture on Bach’s Leipzig cantatas for a class in Fall of 2009. When looking into a heightened use of rhetorical gestures which accompanied Bach’s employment in what would be his home for the remainder of his life, one text pointed to the third movement of this cantata.
While I had hitherto been without much experience in the realm of Bach's cantatas, and had little knowledge of the composer’s use of cantata word-painting in his pre-Leipzig days, this movement, a soprano aria, had a profound effect on me. Furthermore, I had enjoyed the large-scale detective work which was carried out earlier in the year for one of J.S. Bach’s motets and which had served as a primer for a new and interesting kind of analysis for me. I was determined to be able to discover on my own the same kind of eye-opening revelations which were so readily exposed in that motet-- to delve into the text, learn about the circumstances of composition, and to see what role this piece played in Bach’s life.