He based it on his congratulatory cantata Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66.1, first performed in Köthen on 10 December 1718.

They represent different attitudes to the news of the Resurrection of Jesus, which may be found in the two disciples, discussing the events on their walk, but also within the listener of the cantata.

[4] The new cantata was derived from his earlier secular work, the Serenata Der Himmel dacht auf Anhalts Ruhm und Glück composed in Köthen.

He kept the dialogue in three movements, in the middle section of the opening chorus and two duets, assigning the "roles" Hope ("Zuversicht", later "Hoffnung") and Fear ("Schwachheit", later "Furcht") to the voices.

The text reflects these different reactions to the news of the Resurrection of Jesus, which might be attributed both, to the two disciples, discussing the events on their walk, and to the listener of the cantata.

Bach scored the work for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: trumpet (Tr), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo (Bc) including bassoon (Fg).

Finally the choir enters, one voice after the other building a chord, gently adding words of consolation: "Der Heiland erquicket sein geistliches Reich" (the Savior revives his spiritual kingdom).

[14] The bass summarizes in a short recitative, accompanied by the strings: "Es bricht das Grab und damit unsre Not" (The grave is broken and with it our suffering).

[1] After singing together extendedly, the two different viewpoints are rendered in an argument, termed "a linear discourse as in conventional conversation", ended by the alto trying to believe: "Ich glaube, aber hilf mir Schwachen" (I believe, but help my weakness).

[1][14] In the following duet the voices are homophonic for most of the time, but with little rhythmical differences, showing their different attitude to the darkness of the grave ("des Grabes Finsternissen"): the alto expresses "ich furchte zwar" (I truly fear)[1] on steady long notes, whereas the tenor tells in ornamented figuration "ich furchte nicht" (I do not fear).

The flowing 12/8 time signature of the duet and a virtuoso solo violin are reminiscent of the original purpose of the music in the congratulatory cantata.

It is most fitting for the middle section of the da capo form, when both voices agree: "Nun ist mein Herze voller Trost" (Now my heart is full of comfort).