CXCIV. BACH, J.S. Cantata #100: Was Gott tut, das ist wohlgetan, BWV 100

CXCIV. BACH, J.S. (1685-1750)

Cantata #100: Was Gott tut, das ist wohlgetan, BWV 100 (1732-35)
1. Chorale fantasia
2. Aria (duet: alto, tenor)
3. Aria (soprano)
4. Aria (bass)
5. Aria (alto)
6. Chorale
Netherlands Bach Society
(21:42)

Previous cantata posts:

1. BWV 19 (Post CLXVI)
2. BWV 51 (Post CLX)
3. BWV 69 (Post XVII)
4. BWV 83 (Post XV)
5. BWV 98 (Post CLXXIV)
6. BWV 111 (Post CXIV)
7. BWV 117 (Post CLXV)
8. BWV 209 (Post XXIII)

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Besides the four soloists, and the four-part choir, the work is scored for two horns, timpani, flute, oboe d'amore, two violins, viola, cello, violone and basso continuo.

Bach usually used newly written texts for the chorale melody, but here he leaves intact the original 1674 hymn by Samuel Rodigast.

1. Chorale fantasia

Chorus only (note the chorale melody in the soprani):

2. Aria (duet: alto, tenor)

This is so gorgeous! Notice the Perfect Fourth ("Was Gott") from the hymn -- in both voices, two beats apart and at the distance of a fugal Perfect Fifth:

3. Aria (soprano)

Check out the technically difficult, but beautifully decorative obligatto flute part accompanying the soprano. Notice again the Perfect Fourth which continues to begin the movements:

4. Aria (bass)

Again, notice the consistent opening Fourth ... this fast, light movement is a real joy. Notice the melisma on the word Leben ("life") ...

5. Aria (alto)

Accompanied by oboe d'amore. E Minor -- note the tinge on the text: der bitter ist nach meinum Wahn ("His bitter cup I must not shun") ...

6. Chorale

The chorale melody is still in the soprani, but see how Bach re-orchestrated the whole thing!