The language intensifies the mystical aspects: Himmelskönig (King of Heaven),[1] "Du hast uns das Herz genommen" (You have taken our hearts from us),[1] "Leget euch dem Heiland unter" (Lay yourselves beneath the Savior).

[1] The chorale in movement 7 is the final stanza 33 of Paul Stockmann's hymn for Passiontide "Jesu Leiden, Pein und Tod" (1633).

[5] The cantata in eight movements is scored for alto, tenor, and bass soloists, a four-part choir, recorder, two violins, two violas and basso continuo.

[5] (In his cantata Nun komm, der Heiden Heiland, BWV 61, for Advent that same year on the same reading, Bach went further and set a chorus in the form of such an overture).

[4] The instrumentation of the three arias turns from the crowd in the Biblical scene to the individual believer, the first accompanied by violin and divided violas, the second by a lone recorder, the last only by the continuo.

[5] The closing chorus is, according to conductor John Eliot Gardiner, "a sprightly choral dance that could have stepped straight out of a comic opera of the period".