On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the Schlosskirche, on a monthly schedule. Bach originally wrote this cantata in his last year there, for the Second Sunday of Advent. The prescribed readings for the Sunday were from the Epistle to the Romans, call of the Gentiles, and from the Gospel of Luke, the Second Coming of Christ, also called Second Advent. The cantata text was provided by the court poetSalomon Franck, published in Evangelische Sonn- und Fest-Tages-Andachten in 1717. Bach wrote five movements, a chorus and four arias, and concluded with the fifth verse of the chorale "Meinen Jesum laß ich nicht" by Christian Keymann. Bach first performed the cantata on 6 December 1716. In Leipzig, Advent was a quiet time, thus no cantata music was performed in services from Advent II to Advent IV. In order to use the music again, Bach had to dedicate it to a different liturgical event and chose the 26th Sunday after Trinity with a similar theme. The prescribed readings for this Sunday were from The Second Epistle of Peter, "look for new heavens and a new earth", and from the Gospel of Matthew, the Second Coming of Christ, also called Second Advent. An unknown poet kept the existing movements and added recitatives and a chorale to end part 1 of the new cantata, the final verse of "Freu dich sehr, o meine Seele" by Christoph Demantius. Bach performed the extended cantata first on 21 November 1723, and a second time on 18 November 1731.
Bach shaped the opening chorus in a da capo form and used a technique to embed the vocal parts in the concerto of the orchestra. A characteristic trumpet calls to wake up, initiating figurative movement in the other instruments and the voices. The choir contrasts short calls "Wachet!" and long chords "betet!". All instruments accompany the recitative, illustrating the fright of the sinners, the calmness of the chosen ones, the destruction of the world, and the fear of the ones called to be judged. Part I is closed by the final verse of "Freu dich sehr, o meine Seele" in a four-part setting. The recitative in movement 9 opens with a Furioso depicting the "unerhörten letzten Schlag", while the trumpet quotes the hymn "Es ist gewisslich an der Zeit". This chorale had been used as kind of a Dies irae during the Thirty Years' War. The recitative ends on a long melisma on the words "Wohlan, so ende ich mit Freuden meinen Lauf". The following bass aria begins immediately, without the usual ritornello, molt' adagio. After this intimate reflection of the thought "Jesus führet mich zur Stille, an den Ort, da Lust die Fülle." the closing chorale is set richly for seven parts, independent parts for the upper three strings forming a "halo" for the voices.
