This brief cantata is about four minutes in duration and scored for bass soloist, strings, and organ continuo. The string arrangement of the chorale is both serene and passionate, and the centuries that stand between the music and the reader's contemporary sensibilities have not diminished the emotive vigor of the listening experience. Schütz generates an intimate stillness that nonetheless sears by means of using accompaniment to emphasize the spirit of the sung text. The strings interact with the vocalist, rather than providing a passive backdrop. When the bass singer sings "Erbarm mich" ("have mercy"), the strings repeat the same melodic phrase, clarifying the strength of the emotion of the material. The instrumentalists ascend beyond the range of the singer, repeating the aforementioned sung motif in higher ranges, and the impression is one of taking the message to such heights that might be heard from heaven. Some scholars attribute this technique to earlier composers as well, claiming Schütz assimilated this method from Praetorius, who in turn was inspired by Monteverdi. However, neither of these previous artists had the same specific type of passion. This cantata is the opposite of showy, aesthetically vernacular, or festive. It is equally not stuffy or dull; the chemistry of this material is quite unique and underappreciated. Readers should make pains to become acquainted with this piece, especially those who are not acquainted with German sacred music before J.S. Bach. It is simply too compelling and resonant to be regarded as a mere precursor to the great work of the late Baroque period.

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