Was Gott tut, das ist wohlgetan, BWV 99 Bach lived in Leipzig from 1723 until his death in 1750. During the early years of this period (1723-1730), he wrote the majority of his 200-plus church cantatas. This one, dating from 1724, is one of three using the same Samuel Rodigast text. The other two are Nos. 98 & 100, which, despite the numbering, were written after this one (1726 and 1732-1735, respectively). Bach actually uses Rodigasts text only in the first and last of the works six movements and employs an anonymous text in the four central panels. Was Gott tut, das ist wohlgetan (What God has done, that is done well) is scored for soprano, alto, tenor, and bass soloists; four-part chorus; and an orchestra consisting of horn (or cornet, trumpet, or flügelhorn), transverse flute, oboe damore, two violins, viola, and continuo. Bach wrote the cantata for church services for the 15th Sunday after Trinity Sunday. The first movement (Coro, or Chorale) begins with a relatively lengthy orchestral introduction (19 bars!) before the chorus enters to sing the title words. The instrumental music here dominates the proceedings, exuding a sense of optimism and joyous energy, while the choral music fits in with the celebratory character, but in shorter, somewhat isolated statements. The ensuing Recitativo, for bass and continuo, is slow and comparatively sober in mood. The tenor Aria that follows is also somewhat dark, as the text consoles the discouraged spirit with the advice that God is thy wise physician. But, as the orchestra served to energize with joy in the opening panel, here it is the transverse flute that suggests both struggle and consolation in its downward slides and fluttering, Bachs writing here is quite challenging for the soloist. A Recitativo for alto follows, again not breaking the somber mood, not least because of the barren accompaniment of the continuo. The fifth movement is a duet for soprano and alto, with accompaniment on transverse flute, oboe damore, and continuo. Here the music restores the sense of optimism prevalent in the first movement, though there is also a feeling of conflict, too, noticeable in the contrasting of themes of triumph with those of suffering. Bachs vocal and instrumental music are invested here with some of his more deftly wrought contrapuntal writing. The closing panel, Choral, is stately and triumphant in mood, repeating the full text from the first movement. It typically lasts only about a minute, but is a fitting close to this fine work.
Posted on: Thu, 01 Jan 2015 03:01:10 +0000
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