(Contented rest, belove’d inner joy) for alto, oboe d’amore, transverse flute, organo obbligato, strings and continuo

Cantata BWV 170, surviving among the works inherited by Carl Philipp Emanuel Bach, is particularly rich in contrasts despite its setting for solo alto alone. The work opens with a ­sense of Elysian comfort, ere the unexpected ­dramatic developments of the libretto transform it into a lament of pain and sorrow that culminates in a fervid rejection of the world. Indeed, despite the work’s overarching meditation on forgiveness, the theme of vengeance continually thrusts its way to the fore. Like a disillusioned Sarastro, the prayers of the pious and an enlightened, all-powerful God can only despair at the folly of humans, who, unable to put their God-given freedom to good use, leave the righteous little option but to long for the future flight to Jesus’ otherworldly dwelling.