Their importance for musical innovations was neglected for a long time, as a 2013 concert program showed, "Von Kaminski bis Pepping / Kirchenmusik im Spannungsfeld der 1930er Jahre" (From Kaminski to Pepping / Church music in the area of tension of the 1930s).

It presented the motet in the context of other works by Pepping and compositions by Igor Stravinsky, Ernest Bloch, Erich Wolfgang Korngold, Paul Ben-Haim and Heinrich Kaminski.

[4] Pepping set the biblical text in German, showing "by musical means the sensuality and the expressive emotion of the gospel text ("mit musikalischen Mitteln zugleich die hohe Sinnlichkeit und die expressive Emotionalität des Evangeliumtextes").

[5] In a time of oppression, Pepping's music offers "the reality of a different, heavenly world" (die Wirklichkeit einer anderen, himmlischen Welt).

[7] It is in the repertory of the Dresdner Kreuzchor, typically performed in vesper services and recorded in 2010 on a collection of works related to the Holy Spirit (Komm, Heiliger Geist) from the Renaissance to contemporary, conducted by Roderich Kreile.