With his appointment as Thomaskantor and Music Director in Leipzig in 1723, Bach began to realize his goal of creating a structured church music tradition in praise of God. At that time, the cantata formed the musical centerpiece of Lutheran services on Sundays and holidays, serving as a musical counterpart to the sermon.
Most of his church cantatas were composed during his early years in Leipzig, but even before that, Bach had composed important works in Weimar that reveal his systematic approach to church music. One example is the early cantata "Gottes Zeit ist die allerbeste Zeit" (God's Time is the Very Best Time), composed in 1707, which deals intensively with the theme of life and death. This work, which was only published posthumously in 1830, is rarely performed, but it captivates with its impressive musical structure.
The cantata is characterized by a gentle instrumental sound, which, in combination with the vocal parts, lends the piece expressiveness and grace. Throughout the work, festive and contemplative sections alternate, ultimately dominated by the hope of eternal life. With expressive fugues and moving melodies, Bach created a composition that powerfully portrays the contrast between earthly transience and heavenly hope.
Before this cantata is performed, an organ variation on a chorale will be played, serving as an introduction and establishing a connection to other works. Bach's move from Mühlhausen to Weimar opened up new possibilities for composing regular cantatas; between 1714 and 1717, he composed approximately twenty of these works.
Among these early compositions is "Himmelskönig, sei willkommen" (King of Heaven, be welcome), which was intended for Palm Sunday and reflects Bach's musical development during his time in Weimar. The work, performed in a special setting, combines influences from French and Italian styles and testifies to Bach's serious engagement with the text—thus achieving a musical fusion of tradition and innovation.