(Stand steadfast against transgression) for alto, strings and continuo

At first sight, the libretto and score suggest nothing spectacular. Comprising only two arias grouped around a recitative, BWV 54 reflects the simplest form of the new “sacred cantata instead of church music” (without bible texts and chorales) that was developed by theologist Erdmann Neumeister and his followers after 1700. Composed for solo alto, strings and continuo, the work cannot rely on great variety between the parts or contrasting tonal colours to engage the listener; moreover, the five-part string section with two violas is reminiscent of 17th century orchestration. All in all, one could easily be forgiven for expect-ing solid craftsmanship rather than a stroke of genius.