She collaborated with Bach on nine cantatas after Easter 1724, beginning with Ihr werdet weinen und heulen, BWV 103.

She concluded the text with the second stanza from Paul Gerhardt's hymn "Gott Vater, sende deinen Geist".

[1] The cantata has eight movements:[5] The opening chorus of this cantata is shorter than average and is a substantial reworking of the opening chorus from Wer mich liebet, der wird mein Wort halten, BWV 59, composed two years earlier and performed again the previous year.

The original movement was a two-part vocal entry; the expansion relies on imitative pairings, reflecting the earlier texture.

[6] Craig Smith suggests that this is one of Bach's most successful arrangements of his own work because it remakes the "patchy" and "hollow" duet into "something richly varied and exquisitely delicate".

The movement is in a combined ternary and ritornello form, adopting a heavy emphasis on the words komm and eilet ("come" and "hasten"), and concludes with a modulation to a minor key and darker harmonies.

The short middle section moves to a less dense accompaniment and a minor key, with a "manic chortling" of triplets on the word lache ("laugh").