Gott ist unsre Zuversicht (God is our confidence), BWV 197.2 (formerly BWV 197),^[1] is a church cantata by Johann Sebastian Bach.

In 1728 in Leipzig, Bach composed a Christmas cantata, Ehre sei Gott in der Höhe, BWV 197.1 (Glory be to God in the Highest), which he revised in 1736–37 into this wedding cantata. Movement 5 is a chorale stanza by Martin Luther, the final movement is by Georg Neumark; the rest of the poetry is anonymous.^[2]

The cantata is scored for three vocal soloists (soprano, alto, and bass), a four-part choir, three trumpets, timpani, two oboes, two oboes d'amore, bassoon, two violins, viola, and basso continuo.^[3]

The work's ten movements are divided into two parts of five movements each, to be performed before and after the wedding sermon.^[3]

Part 1

1. Chorus: Gott ist unsre Zuversicht
2. Recitative (bass): Gott ist und bleibt der beste Sorger
3. Aria (alto): Schläfert allen Sorgenkummer
4. Recitative (bass): Drum folget Gott und seinem Triebe
5. Chorale: Du süße Lieb, schenk uns deine Gunst

Part 2

6. Aria (bass): O du angenehmes Paar
7. Recitative (soprano): So wie es Gott mit dir
8. Aria (soprano): Vergnügen und Lust
9. Recitative (bass): Und dieser frohe Lebenslauf
10. Chorale: So wandelt froh auf Gottes Wegen

The opening movement is a chorus in da capo form with a prominent trumpet part and an active violin line. The vocal parts use fugal techniques. The bass recitative is secco and "set to a melody of almost childlike naivety and simplicity". The alto aria's structure combines elements of da capo and ritornello form; the instrumental introduction does not completely recur and the reprise differs significantly from the opening section. The fourth movement is a bass recitative with chordal strings. The section closes with a four-part setting of the chorale tune with varied phrase lengths.^[4]

The second section opens with a bass aria that "has a lavishness of sound which is almost unparalleled". A two-part secco soprano recitative leads to an aria that was for bass in BWV 197.1 but in BWV 197.2 is scored for soprano.^[4] The aria is in the style of a siciliano.^[5] The penultimate movement is a bass recitative with chordal oboes and interjecting strings. The final chorale setting is relatively simple and in minor mode.^[4]

• Max van Egmond (bass soloist), Wiener Sängerknaben (soprano soloist, alto soloist and choir), Concentus musicus Wien (orchestra), conducted by Nikolaus Harnoncourt. Recorded in 1967. Telefunken SAWT-9539 / Telefunken 6.41101 / Teldec 0630-12321-2
• Gächinger Kantorei Stuttgart, Württembergisches Kammerorchester Heilbronn, conducted by Helmuth Rilling. Recorded in 1984. Die Bach Kantate Vol. 66. Hänssler 98.828 / Hänssler 92.059
• Holland Boys Choir, Netherlands Bach Collegium, conducted by Pieter Jan Leusink. Recorded in 2000. Bach Edition Vol. 19. Brilliant Classics 99378
• Amsterdam Baroque Orchestra & Choir, conducted by Ton Koopman. Recorded in 2002–2003. J.S. Bach: Complete Cantatas Vol. 21. Antoine Marchand, 2006

• Cantatas, BWV 191–200: Scores at the International Music Score Library Project
• Gott ist unsre Zuversicht: history, scoring, Bach website (in German)
• BWV 197 Gott ist unsre Zuversicht: English translation, University of Vermont