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places an ecclesiastical frame of biblical text and chorale around the operatic forms of aria and recitative, a frame that would become a standard in the cantatas of [C]ycle I. Moreover, the impressive opening movement incorporates two modes of treatment that would recur regularly during Cycle I and beyond: the fugal setting of biblical words and the use as [recte of] the bass voice as vox Christi, as in traditional Passion settings."[2] Isoyama points out: "BWV 22 incorporates dance rhythms, and is written with a modern elegance."[22] Mincham interprets Bach's approach in both audition works as "a fair example of the range of music which is suitable for worship and from which others might learn", explaining the "sheer range of forms and musical expression in these two cantatas".[34] Gardiner, who conducted the Bach Cantata Pilgrimage with the Monteverdi Choir and wrote a diary on the project, comments on the disciples' reaction ("and they understood none of these things, neither knew they the things which were spoken"): "One could read into this an ironic prophecy of the way Bach's new Leipzig audience would react to his creative outpourings over the next twenty-six years – in the absence, that is, of any tangible or proven signs of appreciation: neither wild enthusiasm, deep understanding nor overt dissatisfaction".[39] Recordings The entries of the following table follow the selection on the Bach Cantatas Websit