Composed for the Seventh Sunday after Trinity for 1726, Bach's Cantata No. 187 "Es wartet alles auf dich" (All things wait upon thee) (BWV 187) sets a text by an unknown poet. The canata is divided into two parts. The first part is in three movements and the opening movement sets

Psalm 104:27-28. The second part is in four movements and is based on the Gospel According to Matthew 6:31-32 set in its opening movement. The cantata ends by setting a chorale by Hans Vogel from 1563. The cantata is scored for bass, alto, and soprano soloists and chorus, a pair of oboes, strings, and basso continuo. "Es wartet alles auf dich" is in dour G minor with its first, fourth, and seventh movements in the tonic; its second movement starts in the relative major of B flat major, but ends in the minor dominant, its third and sixths movements in the relative major of B flat; and its fifth movement in the major submediant of E flat major. The first movement, marked concerto, is a huge fugue for chorus against independent but imitative parts for the full orchestra. The second movement is a passionate secco recitative for bass soloist and continuo. The third is a gracious aria for alto soloist, oboe, strings, and continuo. The fourth movement and the first movement of the second part of the cantata is a powerful aria for strident bass, slashing strings, and continuo. The fifth movement is an aria in the form of a trio sonata for soprano soloist, highly embellished solo oboe, and continuo that starts sorrowfully but ends cheerfully. The sixth movement is a mournful recitative for soprano soloist, strings, and continuo. "Es wartet alles auf dich" concludes with a harmonization of Vogel's chorale for chorus and full orchestra colla parte with a picardy third on the final chord.

© James Leonard, All Music Guide