In stylistic terms, Trier’s vocal works, and therefore also this cantata, are rooted in the Baroque tradition. However, many mannerisms and melody lines already clearly manifest the transition from high Baroque to the “galant” style of Rococo. The splendor of the sound and the convincing traceability both for the listener and for the performers are undoubtedly the reason why not a few of Trier’s works published so far appear again and again on the programs of church concerts and music worship se...