The opening movement, a full-chorus expansion of the duo from BWV 59, establishes a celebratory tone for the powerful Bible dictum from John 14:23. Through the fuller scoring of BWV 74 with a third trumpet, a partly obbligato oboe trio as well as alto and tenor voices, Bach creates a multi-chorus setting, but without compromising on sparkling clarity. In the following soprano aria “Komm, komm, mein Herze steht dir offen” (Come, come, my heart to thee is open), the faithful soul effusively reiterates the promise of Pentecost. While this aria also stems from BWV 59, the distinct change in scoring from violin and bass to oboe da caccia and soprano lends the setting a gentle ease. The alto recitative “Die Wohnung ist bereit” (Thy dwelling is prepared) confirms the yielding of the faithful heart, but links it to a Pentecostal interpretation of Jesus’ parting words that culminates in the entreaty “Drum laß mich nicht erleben, daß du gedenkst, von mir zu gehen” (So let me never suffer that thou shouldst mean from me to part).

Accompanied solely by the continuo, the bass aria presents an answer that likewise stems from Jesus’ words of farewell. While the promise it bestows allows for no doubt (“Ich gehe hin und komme wieder zu euch” – I go from here and come again unto you), the addition of the Bible phrase “Hättet ihr mich lieb, so würdet ihr euch freuen” (If I had your love, then would ye be rejoicing) introduces an admonitory tone. Bach, ever mindful of such constellations, thus combines a gently earnest vocal cantilena befitting Jesus’ words with a busy continuo motive, whose deftly modulating ascending lines reflect Jesus’ uphill battle to win the trust of the faithful and inspire them to emulate him.

Without a preceding recitative, the soloist in the tenor aria speaks for the faithful inspired by these proceedings and, in a gesture of musical self-encouragement, encourages them to play and sing with joy. Set in the bright key of G major and the lively style of a violin concerto, the extended movement transitions to a resounding declaration of faith, while also combining hope in the Second Coming of Christ with a warning against the temptations of Satan.

The following bass recitative alleviates all such concerns with a quote from Paul’s letter to the Romans: “Es ist nichts Verdammliches an denen, die in Christo Jesu sind” (There is nought destructible in any who in Christ, Lord Jesus, live). Here, the highly unusual accompaniment of three oboes breathes an expansive warmth and loving presence – mainly into the dogmatic statement – of this brief five-bar movement.

In a bravura-style setting uncommon in Bach’s oeuvre, the alto aria articulates the notion that only the suffering and death of Christ can save fallible humans and, by offering them a share of the heavenly legacy, give them strength to break free of their shackles – and even laugh at the brittle power of such bonds. Through the unusual combination of a highly dramatic vocal part and a dance-like orchestral setting reminiscent of the concerto-style overtures by Georg Philipp Telemann, Bach touches more than briefly on the style of operatic affect that was officially off limits to him in his capacity as cantor. Yet it is precisely the liberated violin solo, flying effortlessly across the chords, that proves to be the perfect evocation of the victorious Saviour.

Accompanied by the full orchestra, including a trumpet, the cantata closes with the second verse of Paul Gerhardt’s Pentecost chorale “Gott Vater sende deinen Geist” (God our Father send your spirit). Here, in good Lutheran fashion, the notion that the gifts of the Spirit are awarded not by merit of good deeds but by the grace of God is captured in the evocative word-painting of this powerfully simple cantional setting.