Was Gott tut, das ist wohlgetan, BWV 98

What God does is well done ( BWV 98 ) is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1726 for the 21th Sunday after Trinity and first performed it on November 10, 1726 for the first time on.

History and words

Bach composed the cantata in 1726 in his fourth year in office in Leipzig for the 21th Sunday after Trinity. It is attributed to his third cantata cycle. The prescribed readings for the Sunday were Eph 6:10-17 LUT, " Seize the whole armor of God," and Jn 4.46 to 54 LUT, the healing of the son of a Royal. The cantata begins with the first verse of Samuel Rodigasts Choral What God does is well done ( 1674), but it is not a chorale cantata, unlike two other cantatas of Bach, based on the full chorale, What God does is well done, BWV 99 (1723 ) and What God does is well done, BWV 100 ( 1732). The text of the hymn focuses on trust in God, while the two cantatas that Bach had written for the occasion, I believe, dear Lord, help my unbelief! and Out of the depths I cry to Thee, BWV 38, both went out of doubt and distress. The unknown poet refers in a general way for the Gospel. He stresses that a prayer is answered for salvation, as in Theorem 4 based on 7.7 Mt LUT, " Knock, and it shall be opened ", continued in the final set 5 as a paraphrase of Gen 32,26 LUT, " I not let thee go, except thou bless me. " This sentence is not a hymn, but it starts exactly like Christian Keymanns my Jesus I will not let ( 1658).

Scoring and structure

The cantata is staffed with four soloists, soprano, alto, tenor and bass, four-part choir, two oboes, taille ( tenor oboe), two violins, viola, and basso continuo.

Music

The cantata is busy chamber music, as is particularly noticeable in comparison to the two chorale cantatas on the same chorale with the melody of Severus Gastorius. In the opening chorus, a string section is the predominantly homophonic set of voices that are amplified by the oboes colla parte, opposite which is led by the first violin as Obligat instrument. The last line is set in free polyphony, which is continued in the long Schlussmote tune into it. All voices sing extended melismas on the word " exercise ". Strings and voices alternate in the two tunnels of the bar form while playing music the swan song together.

Both recitatives are secco. The first aria is accompanied by an obbligato oboe. The first two bars of the oboe theme derived from the chorale melody. The refrain is repeated after a first vocal section, and a second time is represented by a different type of second vocal section in which God's work through a series of triplets. The second aria of the cantata as an unusual circuit is constructed as the first. Here the violins take the unison accompaniment. Bach reached it, to indicate the expected final chorale by becoming the opening words of Keymanns Choral my Jesus I will not let the ornamented melody of this hymn by Andreas Hammerschmidt uses .. These initial words appear repeatedly in four of five appearances of the singing voice.

Recordings

  • Les Grandes Cantates de J. S. Bach Vol 14, Fritz Werner, Heinrich-Schütz -Chor Heilbronn, Pforzheim Chamber Orchestra, Agnes Giebel, Claudia Hellmann, Helmut Krebs, Erich Wenk, Erato 1963
  • J. S. Bach: The cantatas - Sacred Cantatas Vol 5, Gustav Leonhardt, Hannover Boys Choir, Leonhardt Consort, soloist of the Hannover Boys Choir, Paul Esswood, Kurt Equiluz, Max van Egmond, Telefunken 1979
  • The Bach Cantata Vol 55, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Arleen Augér, Julia Hamari, Lutz -Michael Harder, Walter Held wine, Haenssler 1983
  • Bach Edition Vol 5 - Cantatas Vol 2, Pieter Jan Leusink, Holland Boys Choir, Netherlands Bach Collegium, Ruth Holton, Sytse Buwalda, Knut Schoch, Bas Ramselaar, Brilliant Classics 1999
  • Bach Cantatas Vol 11: Genova / Greenwich / For the 20th Sunday after Trinity / For the 21st Sunday after Trinity, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Joanne Lunn, William Towers, Paul Agnew, Gotthold Schwarz, Soli Deo Gloria 2000
  • J. S. Bach: Complete Cantatas Vol 18, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Johan Zomer, Bogna Bartosz, Christoph Prégardien, Klaus Mertens, Antoine Marchand 2003
  • J. S. Bach: Cantatas for the Complete Liturgical Year Vol 1: " I want the cross -staff gladly carry " - Cantatas BWV 98 · 180 · 56 · 55, Sigiswald Kuijken, La Petite Bande, Sophie Carthusian, Petra Noskaiová, Christoph Genz, Dominik Wörner, TO 2004
  • J. S. Bach: Cantatas Vol 48 - Cantatas from Leipzig in 1723, Masaaki Suzuki, Bach Collegium Japan, Hana Blažíková, Robin Blaze, Satoshi Mizukoshi, Peter Kooij, BY 2010
Bach-Werke-Verzeichnis Epistle to the Ephesians Book of Genesis Bass (voice type) Homophone Barform Ritornello Knabenchor Hannover Leonhardt-Consort BIS Records Peter Kooy Werner Neumann Christoph Wolff Ach Gott, wie manches Herzeleid, BWV 3 Allein zu dir, Herr Jesu Christ, BWV 33 Brich dem Hungrigen dein Brot, BWV 39 Am Abend aber desselbigen Sabbats, BWV 42 Also hat Gott die Welt geliebt, BWV 68 Alles nur nach Gottes Willen, BWV 72 Alles, was von Gott geboren, BWV 80a Bisher habt ihr nichts gebeten in meinem Namen, BWV 87 Ach, lieben Christen, seid getrost, BWV 114 Christum wir sollen loben schon, BWV 121 Auf Christi Himmelfahrt allein, BWV 128 Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 Bereitet die Wege, bereitet die Bahn! BWV 132 Erforsche mich, Gott, und erfahre mein Herz, BWV 136 Bringet dem Herrn Ehre seines Namens, BWV 148 Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 Barmherziges Herze der ewigen Liebe, BWV 185 Mein Herze schwimmt im Blut, BWV 199 Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a St Mark Passion (Bach)
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