[2] John Julian in his A Dictionary of Hymnology calls the German original "a magnificent hymn of praise to God, perhaps the finest creation of its author, and of the first rank in its class.

[3][6] Julian's A Dictionary of Hymnology lists more than ten English translations of "Lobe den Herren" printed in various 19th-century hymnals.

[9] Hymnologist Lionel Adey uses Winkworth's translation as an example of translators' reshaping a text to their own era's tastes, noting that she discards the German Renaissance flavor of psaltery and harp to introduce a mention of "health" more typical of 19th-century Christianity.

Although he praises other translations by Winkworth, and describes this one as a 20th-century "classic", he critiques her changes to the sense of Neander's text as an example of "muscular Christianity tinged with Philistinism".

Kommet zuhauf, Psalter und Harfe, wacht auf, lasset den Lobgesang[a] hören!

In wieviel Not hat nicht der gnädige Gott über dir Flügel gebreitet!

Er ist dein Licht, Seele, vergiss es ja nicht.

who o’er all things so wondrously reigneth, Shelters thee under His wings, yea, so gently sustaineth: Hast thou not seen How thy desires have been Granted in what He ordaineth?

Praise the Lord, who rules everything so nobly, who guides you safely on eagle's wings, who preserves you as is pleasing to you; have you not felt this?

Praise the Lord, who artfully and finely prepares you, who grants you health, guides you as a friend.

Praise the Lord, who visibly blesses your state, who out of Heaven rains streams of love.

Although only the text of the outer stanzas was kept completely, he referred to the unusual melody in bar form with a Stollen of five measures and a climax at the beginning of the Abgesang in all movements but one.

[12] Conductor John Eliot Gardiner assumes, looking at the festive instrumentation and the general content of praise and thanksgiving, that the cantata was also performed that year to celebrate Ratswahl, the inauguration of the Leipzig city council.

[12] Bach transcribed the second movement of cantata 137 as the last of his Schübler Chorales for solo organ, BWV 650.

The German choral composer Hugo Distler produced a popular arrangement of the hymn for a cappella chorus, as part of his Drei kleine Choralmotetten.