It is based on the 1679 hymn of the same name by Ahasverus Fritsch which is focused on the contrast of the vanities of the world and the trust in support by Jesus.

Bach scored the work for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of traversos, two oboes d'amore, strings and basso continuo.

[3] In the following table of the movements, the scoring, keys and time signatures are taken from Alfred Dürr's standard work Die Kantaten von Johann Sebastian Bach.

[8] In the opening chorus, "Liebster Immanuel, Herzog der Frommen, du, meiner Seelen Heil, komm, komm nur bald" (Dearest Emmanuel, ruler of the righteous, You, salvation of my soul, come, come soon),[9] Bach uses the beginning of the chorale melody[10] as an instrumental motif, first in a long introduction, then as a counterpoint to the voices.

Albert Schweitzer said of this chorus that the cantata Liebster Immanuel "is one of those that one cannot forget, so simple are the harmonies and indefinable their charm.

[13] A secco recitative for alto expresses "Die Himmelssüßigkeit, der Auserwählten Lust erfüllt auf Erden schon mein Herz und Brust, wenn ich den Jesusnamen nenne" (The heavenly sweetness, the joy of the chosen already fills my heart and breast on earth when I recite the name of Jesus).

[9][12] The voice narrates with emotion, for example in a rising tritone ro express the word "Schmerz" (pain).

[1] The tenor aria, "Auch die harte Kreuzesreise und der Tränen bittre Speise schreckt mich nicht" (Even the harsh journey of the Cross and the bitter meal of tears does not frighten me),[9] is accompanied by two oboes d'amore.

It is focused on "harte Kreuzesreise" (harsh journey of the Cross), illustrated by a chromatic ritornello of four measures in constant modulation.

[12] A bass secco recitative expresses "Kein Höllenfeind kann mich verschlingen, das schreiende Gewissen schweigt" (No fiend of hell can devour me, the wailing conscience falls silent).