Was Gott tut, das ist wohlgetan (What God does is well
done), BWV 99, is a church cantata by Johann Sebastian
Bach. He composed the chorale cantata in Leipzig for
the 15th Sunday after Trinity and first performed it on
17 September 1724. It is based on the hymn by Samuel
Rodigast (1674).
Bach wrote the cantata in his second year Bach in
Leipzig as part of his second annual cycle of chorale
cantata for the 15th Sunday after Trinity and first
performed it on 17 September 1724. The prescri...(+)
Was Gott tut, das ist wohlgetan (What God does is well
done), BWV 99, is a church cantata by Johann Sebastian
Bach. He composed the chorale cantata in Leipzig for
the 15th Sunday after Trinity and first performed it on
17 September 1724. It is based on the hymn by Samuel
Rodigast (1674).
Bach wrote the cantata in his second year Bach in
Leipzig as part of his second annual cycle of chorale
cantata for the 15th Sunday after Trinity and first
performed it on 17 September 1724. The prescribed
readings for the Sunday were from the Epistle to the
Galatians, Paul's admonition to "walk in the Spirit"
(Galatians 5:25–6:10), and from the Gospel of
Matthew, from the Sermon on the Mount the demand not to
worry about material needs, but to seek God's kingdom
first (Matthew 6:23–34). The cantata text is based on
the chorale "Was Gott tut, das ist wohlgetan" (1674) by
Samuel Rodigast, which is generally related to the
Gospel. Bach used the chorale in several other
cantatas, especially later in another chorale cantata,
Was Gott tut, das ist wohlgetan, BWV 100. All six
stanzas begin with the same line. An unknown author
kept the text of the first and last stanza, and
paraphrased the inner four stanzas to as many
movements, even keeping some of the rhymes in movement
2. In movement 4 he refers to the Gospel, paraphrasing
the last verse to "Even if every day has its particular
trouble". He introduced references to the cross twice
in movement 5, stressing the suffering of Jesus and his
followers.
The opening chorus is a distinct concerto movement. The
strings open with a theme derived from the chorale
melody. After 16 measures, a concertino of flute, oboe
d'amore and violin I begins, the oboe playing the theme
introduced by the strings, the flute playing a virtuoso
counterpoint. Three measures later the voices enter,
with the cantus firmus in the soprano, doubled by the
horn. In the interlude following the Stollen of the bar
form, finally all instruments participate in the
concerto. The complete sequence is repeated for the
second Stollen. For the Abgesang Bach combines
differently, now strings and woods play tutti, the
flute appears as a solo, alternating with the oboe.
Therefore the instrumental postlude is not a repeat of
the introduction, but a more complex combination.
According to Julian Mincham, "this movement would still
work perfectly well if the vocal parts were entirely
removed."
The first secco recitative ends on a long coloratura on
the last word "wenden", "turn" in "can turn aside my
misfortune". The first aria is accompanied by the
flute, another work for an able flute player, following
Was frag ich nach der Welt, BWV 94 and Nimm von uns,
Herr, du treuer Gott, BWV 101, composed only a few
weeks earlier. The text mentions "erschüttern"
(shudder); shaking and torment of the soul are pictured
in virtuoso figuration, although the soul is asked, not
to shudder. The second recitative is similar to the
first, ending on the last word "erscheinet",
"appeareth" in "when God's true loyal will appeareth".
In the last aria, a duet, the strings are still silent,
flute and oboe accompany the voices. The instruments
begin with a ritornello, a trio with the continuo.
After a first vocal section, a second section presents
new material, but refers to the first section by a
repeat of instrumental motifs from the first section
and a complete repeat of the ritornello as a
conclusion. The closing chorale is set for four
parts.
Although originally scored for four vocal soloists
(soprano, alto, tenor and bass), a four-part choir,
horn, flauto traverso, oboe d'amore, two violins, viola
and basso continuo, I created this arrangement for Wind
Quintet (Flute, oboe, Bb Clarinet, French Horn &
Bassoon).
PARTITION