Composed for the third Sunday after Pentecost, which fell on May 30, 1724, Bach's Cantata No. 184 "Erwünschtes Freudenlicht" (Welcome, joyous light) (BWV 184) sets a text by an anonymous poet published in the Leipziger Kirchenmusik (Leipzig Church Music) of 1731. Apparently, the cantata is based on an earlier secular cantata that had been performed in Cothen in 1721, but the text for that cantata no longer exists. "Erwünschtes Freudenlicht" is scored for tenor, alto, soprano, and bass soloists and chorus, a pair of transverse flutes, strings, and basso continuo. In keeping with the anonymous text's conceit that Christ is the true Good Shepherd, "Erwünschtes Freudenlicht" is in pastoral G major with its first, second, sixth movements in the tonic; its third and fifth movement in the dominant of D major; and its fourth movement in the relative minor of B minor. The first movement is a delicately beautiful recitative for tenor soloist and continuo, with ethereal piping in a pair of transverse flutes. The second is a dynamically subtle triple-time duetto da capo aria for soprano and alto soloists, full orchestra, and continuo. The third is a secco recitative for tenor soloist and a continuo that becomes more lyrical in its closing bars. The fourth is a triple-time aria in the form of a trio sonata for tenor soloist, obbligato violin, and continuo. The fifth is a flowing chorale harmonization for chorus and full orchestra colla parte. Unusually, "Erwünschtes Freudenlicht" concludes with a second chorale setting in two parts: the first part is a straight chorale setting embedded in an independent orchestral ritornello with the pair of transverse flutes playing an agile descant, and the second part is an exquisitely scored duet between the sopranos and basses with several discreet interjections from the orchestra.

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