This cantata is one of three settings of the chorale Was Gott tut, das ist wohlgetan (the others are cantatas nos. 98 and 100) with arias and duets that act as commentaries upon the central chorale text. The chorus part is written in Bach's Italianesque four-part style with its clarity of lines that move slowly in awestruck and prayerful contrast to the enthusiastic joy of the instrumental ensemble.

Scored for SATB chorus, a cornetto (playable by cornet, trumpet, or flügelhorn) that doubles the soprano melody in the chorale, transverse flute, oboe d'amore, two violins, viola, and basso continuo part (organ, cello, and/or string bass and/or bassoon), this cantata is part of Bach's "second cycle" of 1724 - 1725 in which he based the cycle on a unified theme.

The first part is the "Coro" (Chorale) in which the instruments occupy the majority of the time, not acting so much as accompaniment to the voices but as creators of an atmosphere of jubilation in which the voices are immersed. The instrumental melodies consist of fanfare-like figures and gently rolling gestures. The voices seem to sail in slower durations among these glorifications.

It is unknown exactly why Bach suddenly began composing virtuoso parts for the transverse flute in the summer of 1724. These rapid and ornate lines occur in cantatas nos. 94, 113, 99, and 114. Perhaps there was a remarkable performer who became available (one Friedrich Gottlieb Wild, a law student and pupil of Bach's, has been suggested as the identity of this person), or perhaps these were studies for the Sonata in E minor for flute and continuo (BWV 1034). In this cantata, the transverse flute passages are almost exclusively in continuously running sixteenth notes and trills.

The mood of the coro is celebratory but like the other settings of this chorale, expressing trust in the comforting and protecting aspects of God, there are slight hints of pathos concerning the human condition, and these are described in passing dissonances and brief minor-key modulations.

The first recitativo for bass voice is cast in B minor but its message is one of courage and reassurance. In the Italian manner, Bach saves a special dramatic effect for the final verb "wenden" (to turn around, change) which is set to ascending and descending scales.

The following aria features an extremely complex transverse flute part in brilliantly composed counterpoint with the tenor voice. The text presents God as a wondrous physician who "will not poison your cup" (a passage which provides an occasion for bitterly edged dissonances).

The recitativo for alto voice speaks of the covenant with God concerning everlasting life. Bach again reserves a special figure for the cadential verb "erscheinet" referring to the manifestation of God's goodness.

The aria (Duetto) for soprano and alto voices, transverse flute, and oboe d'amore with continuo expresses deliverance from "wrestling and suffering" in involved, close four-part writing.

The chorale is then presented in its straight hymn form with the instruments doubling the choir.

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