Was Gott tut, das ist wohlgetan (What God does is well
done), BWV 99,[a] 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 composed the cantata in his second year 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 prescr...(+)
Was Gott tut, das ist wohlgetan (What God does is well
done), BWV 99,[a] 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 composed the cantata in his second year 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, but
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, with the oboe playing the
theme introduced by the strings and 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, all of the instruments participate in the
concerto. The complete sequence is repeated for the
second Stollen. For the Abgesang, Bach combines
differently, now the strings and woods play tutti, and
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", or "turn", as 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", or
"appeareth", as in "when God's true loyal will
appeareth". In the last aria, a duet, the strings are
still silent, while the 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.
The cantata in six movements is 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.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Was_Gott_tut,_das_ist_wo
hlgetan,_BWV_99).
I created this arrangement of the opening Chorale: "Was
Gott tut, das ist wohlgetan" (What God does is well
done) for Wind Trio (Flute, Oboe, French Horn) &
Strings (2 Violins, Viola & Cello).
SHEET MUSIC