[4] The Bach scholar Klaus Hofmann notes that a printed libretto for the congregation was recently found in the Russian National Library in St. Petersburg, containing the texts for the three feast days of Pentecost and Trinity of 1727.

Bach scored the work for three vocal soloists (alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of three trumpets (Tr), timpani (Ti), two flauti traversi (Ft), two oboes (Ob), two violins (Vl), viola (Va) and basso continuo.

While "ewig" appears as long notes, held for more than one measure, the flames (or tongues) of the fire are set in "lively figuration from the strings and agile coloraturas from the voices".

[11] The basses enter first, "holding a top D for most of five bars to symbolise the 'eternal', the other three parts aglitter with 'fiery' embellishments", as John Eliot Gardiner notes.

[11] A tenor recitative, "Herr, unsre Herzen halten dir dein Wort der Wahrheit für" (Lord, our hearts keep Your word of truth fast),[1] adopts an authoritative tone, is in minor mode, and begins with a bass pedal.

[1] An alto aria, "Wohl euch, ihr auserwählten Seelen, die Gott zur Wohnung ausersehn" (It is well for you, you chosen souls, whom God has designated for his dwelling),[1] conveys images of contentment by incorporating a lilting berceuse-like rhythm, with an obbligato melody played by muted violins and flutes in octaves and tenths.

[4] Gardiner notes "the tender sensuousness of the pastoral writing, the pairings of thirds and sixths, the blending of flutes and muted strings and the satisfying textures and calm enchantment disturbed only momentarily by modulation", and considers that the piece possibly had some "deeper personal significance".

[6] The slow music on the psalm text is contrasted by a "spirited and very secular-sounding march,[4] setting "Dankt den höchsten Wunderhänden" (Thank the exalted wondrous hands).

[11] Hofmann notes that this music is reminiscent of Bach's works for the Köthen court, composed for Leopold, Prince of Anhalt-Köthen.

[4] Gardiner concludes: There is an extended stretch of thrilling orchestra writing before the choir returns to the ‘Peace upon Israel’ theme, this time within the Allegro pulse, with a final shout of joy from the sopranos on a top B bringing this irresistible Whit Sunday cantata to a glorious conclusion.