The absence of any choral movements might indicate composition between 1730 and 1732 when the remodeling of the Thomasschule caused the temporary dispersing of the choir. The extensive use of the organ in Cantata 35 also points to this period, during which the positive organ in the Thomaskirche was made separately playable.

The purpose of the Cantata in the context of the Leipzig service was to instruct the congregation in the Word of God, the Commandments, and godly conduct in general - as well as providing a measure of reassurance in a difficult world. Both cantatas are based strictly on the biblical text for the day. Cantata 35 takes the text of Mark 7: 31-37 where Jesus causes a deaf and dumb man to hear and speak; the mood of the text is one of wonderment and admiration at the miracles which Heaven can work.

The text of Cantata 42 is based on John 20: 19-31 - "Where two or three are gathered together in Jesus' name, there stands Jesus amongst them". Here we find consolation and reassurance. "Let the foes rage without", while Jesus guards his flock within.

Cantata 53 is a single Mourning Aria, here most beautifully performed by Hilde Roessl-Majdan. The unusual employment of two bells in the score has given it the name Campanella Cantata.