Cantatas for secular occasions repeatedly stimulated Telemann’s sparkling wit and humor. In The Schoolmaster, for example, he depicted a puffed-up cantor lecturing his class; in the Cantata to a Canary Bird, he evoked the painful loss of a little feathered friend; and in the cantata The Women’s Order TWV 20:49 he portrayed a young bride who looks forward to her future married life with joyful anticipation.

The text, at times drastic and coarse, is set to carefree, joyous music and is guaranteed to provoke chuckles. While some of the arias are restrained and operatic, others are joyful and exuberant. Between them, our interest is secured by the short recitatives and, above all, by the lullaby. Telemann masterfully yet mischievously underlines and elucidates certain textual passages with the music. There are a wealth of surprising little effects which are always a delight. They show that this work was no doubt conceived as a serenade for a wedding ceremony, whereby one can assume that the performers acted out their parts during the performance.