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BWV64 (27 December 1723) is one of those cantatas that linger in one’s mind from the moment one has heard it firSt This is probably due to the `Sehet!’ figure which is heard all through the fine opening chorus, a motet in the old style with independent continuo. The cries of `Sehet!’ contrast with the enormous runs on `erzeiget’. The chorale which follows the chorus explains how it could be that we became God’s children: `Das hat Er [Christ] alles uns getan.’ The alto recitative with its scales expressive of the flight from this earth, ends with a colon: the following chorale expresses the same idea of the renouncement of worldly goods. A splendid aria is now sung by the soprano, with a fine violin tune indicating how these worldly goods will vanish in smoke; the ascending runs are the same as in the recitative. Another recitative, this one for the bass, leads to the last aria which once more contrasts heaven and earth; the `nichts, nichts’ is thrown away to show that we care not for this world, while
