What God does is done well, BWV 100
| Bach cantata | |
|---|---|
| What God does is well done | |
| BWV: | 100 |
| Occasion: | unknown |
| Year of origin: | circa 1734 |
| Place of origin: | Leipzig |
| Genus: | cantata |
| Solo : | SATB |
| Choir: | SATB |
| Instruments : | 2Co Tp Ft Oa 2Vl Va Vc Vo Bc |
| text | |
| Samuel Rodigast | |
| List of Bach cantatas | |
What God does is well done ( BWV 100) is a church cantata by Johann Sebastian Bach . He composed the chorale cantata based on the chorale What God does, that is well done ( Samuel Rodigast , 1674) between 1732 and 1735 and performed it for the first time around 1734. Bach had already set the chorale to music as part of his choral cantata cycle, but this time left the chorale text unchanged.
Story and words
Bach composed the choir cantata between 1732 and 1735 in Leipzig for an unknown occasion. The work is considered to be one of the last surviving church cantatas by Bach. The text is based on the chorale What God does is well done (1674) by Samuel Rodigast. The chant refers generally to the gospel. Its six stanzas begin with the same line.
When dividing the cantata into movements, Bach followed the stanza division of the chorale. As usual with his chorale cantatas, he framed solo movements in a chorale fantasy at the beginning and a final chorale. Between these two movements there are four arias, the first being a duet.
Bach performed the cantata again in 1737 and 1742.
Occupation and structure
The cantata is occupied by four vocal soloists ( soprano , alto , tenor and bass ), four-part choir, two horns , timpani, flauto traverso , oboe d'amore , two violins , viola , cello, violone and basso continuo .
The sentences each begin with "What God does is well done". Therefore the second line of stanzas is given.
- Choral fantasy (choir): It remains its will
- Aria (duet alto, tenor): He won't cheat me
- Aria (soprano): He will probably consider me
- Aria (bass): He is my light, my life .
- Aria (Alt): Do I have to taste the cup right away?
- Chorale (chorus): I want to stay with that
music
Only the opening and closing choruses use the chorale melody, while the inner movements use “carefully graded timbres”. The rising fourth at the beginning of the chorale melody is repeated in the composition.
The opening chorale fantasy essentially corresponds to the opening movement of BWV 99, but adds horns and timpani, which makes the instrumentation solemn. The movement begins with two instrumental themes that are repeated when the soprano kicks in with the chorale melody. Compared to the vocal part, the instrumental lines are complex.
The alto tenor duet resembles an Italian chamber duet in terms of the motet-like arrangement of the text and the interwoven imitation of the voices. The melody begins with a rising fourth.
According to John Eliot Gardiner , the soprano aria is accompanied by a technically extremely challenging flute obligato with roulades consisting of 24 thirty-second notes .
The bass aria is notable for the closing descending motif. Formally it is interesting that the A and B sections are not followed by a repetition of the A section, but a final ritornello.
In the 12 / 8 aria set ¯ clock is in a minor key and is used by oboe d'amore and continuo accompanied. Thematically, bitterness is presented.
The final chorale resembles the chorale that occurs twice in Die Elenden shall eat , BWV 75, Bach's first cantata as Thomas Cantor. For BWV 100, Bach also added horns and timpani, which makes the movement appear more solemn and creates a symmetry with the first movement.
Recordings
- JS Bach: Cantatas BWV 100 & BWV 175 . Kantorei St. Jacobi Hamburg / Hamburg Chamber Orchestra, Heinz Wunderlich . Soli Deo Gloria, 1961.
- Bach Cantatas Vol. 4 - Sundays after Trinity I . Munich Bach Choir / Munich Bach Orchestra , Karl Richter . Archive production, 1977.
- Bach Edition Vol. 15 - Cantatas Vol. 8 . Holland Boys Choir / Netherlands Bach Collegium , Pieter Jan Leusink . Brilliant Classics, 2000.
- Bach Cantatas Vol. 8 . Monteverdi Choir / English Baroque Soloists , John Eliot Gardiner . Soli Deo Gloria, 2000.
- JS Bach: Complete Cantatas Vol. 21 . Amsterdam Baroque Orchestra & Choir , Ton Koopman . Antoine Marchand, 2003.
- JS Bach - Cantatas, Vol.54 (BWV 100, 14, 197, 197a) . Bach Collegium Japan / Masaaki Suzuki . UNTIL 2013.
literature
- Alfred Dürr : Johann Sebastian Bach: The Cantatas. Bärenreiter, Kassel 1999, ISBN 3-7618-1476-3 and Deutscher Taschenbuchverlag, Munich 1995, ISBN 3-423-04431-4 .
- Werner Neumann : Handbook of the cantatas by JS Bach. 1947. 5th edition 1984, ISBN 3-7651-0054-4 .
- Hans-Joachim Schulze: The Bach Cantatas: Introductions to all of Johann Sebastian Bach's cantatas. Evangelische Verlags-Anstalt, Leipzig, ISBN 3-374-02390-8 ; Carus-Verlag, Stuttgart 2006, ISBN 3-89948-073-2 (Edition Bach Archive Leipzig).
- Christoph Wolff , Ton Koopman : The world of Bach cantatas. Verlag JB Metzler, Stuttgart / Weimar 2006, ISBN 978-3-476-02127-4 .
Web links
- Cantata, BWV 100 : Sheet music and audio files in the International Music Score Library Project
- Materials from cantata BWV 100 at Bach Digital of the Bach Archive Leipzig
- Cantata BWV 100 What God does is good for Bach Cantatas (English)
- BWV 100 What God does is done well on the personal homepage of Walter F. Bischof at the University of Alberta
Individual evidence
- ↑ What God does is done well in Bach Cantatas (English)
- ↑ Christoph Wolff: Liner Notes to Bach Cantatas, Vol. 21 by Ton Koopman and the Amsterdam Baroque Orchestra and Choir (PDF) Bach Cantatas. Pp. 21-22. 2003. Retrieved June 1, 2013.
- ↑ JS Bach - Cantatas, Vol.54 (BWV 100, 14, 197, 197a) . TO .
