The libretto by Christian Friedrich Hunold, an academic at the University of Halle, takes the form of a dialogue between two allegorical figures, Time and Divine Providence, representing the past and future, respectively.

Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale.

In the initial version of the Easter cantata, he made no changes to the 1719 music other than to omit two movements and replace the text with words for the occasion, written by an unknown author.

[3][4] Bach had earlier been employed at the subordinate position of concert master at the Weimar court, now was Kapellmeister in Köthen, directing a qualified musical ensemble.

[5] The prince was enthusiastic about music, was a good bass singer, and played violin, viola da gamba and harpsichord.

Other texts published by Hunold include that of Bach's cantata Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66a, written for the prince's birthday on 10 December 1718.

[15] For another performance of the Easter cantata on 27 March 1731, Bach made changes to the music, including the composition of new recitatives for the 1724 text.

The editors of the Bach-Gesellschaft-Ausgabe, the first complete edition of the composer's works, were aware of the cantata and observed its relationship to BWV 134.

It is titled Mit Gnade bekröne der Himmel die Zeiten, which is a line from the first tenor aria.

[18] Bach scored the work for two soloists, alto as Divine Providence and tenor as Time, a four-part choir (SATB), and a baroque instrumental ensemble of two oboes (Ob), two violins (Vl), viola (Va) and basso continuo.

[21] Richard D. P. Jones notes that the music of the Köthen secular cantatas is abundant in duets in the spirit of opera, with dances in Italian and French style.

[1] The second movement is an aria for tenor, "Auf, Sterbliche, lasset ein Jauchzen ertönen" (Arise, mortals, let your jubilation resound),[1] calling the people to give thanks for the blessings.

[22] The next recitative for both voices, "So bald, als dir die Sternen hold, o höchstgepriesnes Fürstentum" (As soon as the stars were favorable to you, o highly praised princedom),[1] addresses Leopold, the ruler.

[1] The second solo aria is for the alto, "Der Zeiten Herr hat viel vergnügte Stunden, du Götterhaus, dir annoch beigelegt" (The Lord of Ages has many happy hours, o godly house, bestowed upon you).

[1] The cantata culminates in a choral movement opening by the tenor's "Ergetzet auf Erden" (Delight upon earth),[1] followed by the alto's "erfreuet von oben" (rejoice on high),[1] then all voices sing together in homophony "Glückselige Zeiten, vergnüget dies Haus!"

Alto and tenor start a fugue twice more, singing increasingly embellished lines on "durchlauchtigsten Seelen" (most illustrious souls).

[25] The lively finale in 3/8 time and with regular phrases, like the French gigue or passepied, is typical of Bach's secular cantatas in Köthen.

Reviewer Parry-Ridout notes the "purity of tone" of the alto, the "richness and expression" of the tenor, and the virtuosity of both when competing in a duet.

It was titled "'Die Zeit, die Tag und Jahre macht': zur Chronologie des Schaffens von Johann Sebastian Bach", and featured a public performance of the cantata.

[32][33] Essays by the international musicologists who gathered, such as Hans-Joachim Schulze, Andreas Glöckner and Jean-Claude Zehnder, were published.