Johann Sebastian Bach used the second and third melodies in chorale preludes, and the third also in cantatas and the St Matthew Passion.

English versions include a translation by Catherine Winkworth, "In Thee, Lord, have I put my trust".

Like Luther, and unlike Reformed theologians such as Ambrosius Lobwasser and later Matthias Jorissen [de] who followed the tradition of the Genevan Psalter, Reusner expanded the psalm verses.

[1]: 24  The hymn was translated into English in several versions,[3] including Catherine Winkworth's "In Thee, Lord, have I put my trust", which has appeared in more than ten hymnals.

[4] "In dich hab ich gehoffet, Herr" is part of the current German Protestant hymnal Evangelisches Gesangbuch under number EG 257.

[1]: 24 The hymn follows the psalm as a confession of trust and hope in God, who is compared to a fortress, rock and shield when confronted with distress and enemies.

Das bitt ich dich: erhalte mich in deiner Treu, mein Gotte.

Mein Gott und Schirmer, steh mir bei; sei mir ein Burg, darin ich frei und ritterlich mög streiten, ob mich gar sehr der Feinde Heer anficht auf beiden Seiten.

Mir hat die Welt trüglich gericht’ mit Lügen und falschem Gedicht viel Netz und heimlich Stricke; Herr, nimm mein wahr in dieser G’fahr, b’hüt mich vor falscher Tücke.

Bow down thine ear to me; deliver me speedily: be thou my strong rock, for an house of defence to save me.

Into thine hand I commit my spirit: thou hast redeemed me, O LORD God of truth.

My God and Shield, now let Thy pow'r Be unto me a mighty tow'r Whence bravely I defend me Against the foes That round me close.

All honor, praise, and majesty To Father, Son, and Spirit be, Our God forever glorious, In whose rich grace We'll run our race Till we depart victorious.

In the first publication in 1533 and still in his 1554 hymnal, Reusner designated the melody to be the Passion song "Da Jesus an dem Kreuze stund".

[1]: 24 In Martin Bucer's Strasbourg hymnal of 1560, the text appears with a second melody (Zahn 2459), which was derived from late-medieval models.

[6] He used the third melody more frequently: with the original text of the seventh stanza in the early funeral cantata Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus tragicus),[7]: 476  with the text of the first stanza as the closing chorale of cantata Falsche Welt, dir trau ich nicht, BWV 52,[8] and with the text of the fifth stanza, "Mir hat die Welt trüglich gericht'" in the St Matthew Passion.