Chorale Melody - Was Gott tut, das ist wohlgetan

Chorale Melodies: Sorted by Title | 371 4-Part Chorales sorted by Breitkopf Number | Explanation

Chorale Melodies used in Bach's Vocal Works Was Gott tut, das ist wohlgetan
Melody & Text \| Use of the CM by Bach \| Use of the CM by other composers \| Arrangements/Transcriptions

Melody & Text:
Melody: Zahn: 5629 \| EKG: 299
Composers: Severus Gastorius/Werner Fabricius Date: 1674, 1679 (Gastorius); based upon 1659 (Fabricius) This melody is generally attributed to Severus Gastorius (his real family name was Bauchspieß = a spit or skewer to run through the stomach; this is similar to Praetorius, the Latin substitution for the actual German name УSchul(t)z(e) Ц a shortened form of УSchultheißФ = Уmayor.Ф ) Gastorius lived from 1646 to 1682. He was born near Weimar and attended school in Weimar where his father was a teacher. Beginning in 1667, Gastorius attended the University of Jena. While there he became the substitute for the 61-year-old cantor, Andreas Zöll, in 1670 and married his daughter a year later. When Zöll died in 1677, Gastorius took over his position as cantor in Jena. According to a report documented in the Nordhäuser Hymnal from 1687, it was Samuel Rodigast (1649-1708), in his position as СAdjunctusТ in Jena, who in 1675 wrote the text of this chorale specifically for his ill friend, Gastorius. Gastorius then fashioned the melody basing it loosely upon a melody by Werner Fabricius (1633-1679). [Fabricius is the Latin name assumed by this family which was normally called УSchmidtФ = УSchmiedФ = СsmithТ] Gastorius based his melody on one of the melodies by Fabricius contained in УE. C. Homburgs geistlicher Lieder 1. Teil., mit 2stimmigen Melodeien gezieret von W. F., jetziger Zeit M D in der Pauliner-Kirchen zu Leipzig,Ф published in Jena in 1659. (The initials, УW. F.,Ф stand for Werner Fabricius.) Amazingly, there is another chorale with the same incipit УWas Gott tut, das ist wohlgetanФ but having a different melody entirely. It appeared in a 4-pt. setting by Samuel Scheidt in 1650 with only the incipit as title. For comparison it is included for viewing below:

Perhaps Rodigast was acquainted with this chorale text and used it as a basis for his own chorale text the same way that Gastorius based his melody upon the melody of another composer. In conflict with the evidence given by the Nordhäuser Hymnal from 1687 is the fact that the melody already appeared (it is not clear whether it is already associated with RodigastТs text) in print as the present melody by Severus Gastorius in УGeistliche Lieder und PsalmenФ (published by Johann Jakob Rebenlein), Hamburg 1674. This, however, still allows for Rodigast to have taken this already published melody (with a different text) and to have desiginated as the melody according to which the chorale text should be sung. This would be the opposite sequence of events as described by the Nordhausen source, calling that source into question at least in regard to GastoriusТ fashioning the melody to suit the Rodigast text. Now we have a melody by Severus Gastorius with its earliest documentation in 1674. But the melody is based upon an earlier somewhat similar melody by Werner Fabricius published in 1659. And yet there was an entirely different melody used for a chorale text beginning with the same words documented in Samuel ScheidtТs collection in 1650. Only a few years later, Gastorius used the same melody with a different text than RodigastТs as documented in a publication in Jena in 1679 in the collection of chorale texts УAndächtige Elends-StimmenФ by Chr. Klesch. The melodies for this collection were supplied by Gastorius and a Silesian cantor, J. Hancke, but their names were not attached to specific melodies to make clear who composed which melody. It is clear, however, in this collection that the melody known as Zahn 5629 makes its appearance here once again, but now combined with a different chorale text: УBrich an, verlangtes Morgenlicht.Ф The EKG gives 1681 with a question mark as the date when RodigastТs text and GastoriusТ (based upon W. FabriciusТ) melody were first combined in printed form; however, no specific publication/hymnal is mentioned to support this contention. It is quite noteworthy just how quickly the Rodigast-Gastorius-Fabricius combination of melody and text caught the attention of a great composer like Johann Pachelbel, who published (according to Johann Walther) 4 chorale melodies with variations for keyboard as early as 1683. The collection was called УMusicalische Sterbens-GedanckenФ [УMusical Thoughts on Dying/DeathФ] and included 4-pt. settings with variations on the following chorale melodies: УChristus, der ist mein LebenФ (12 variations), УAlle Menschen müssen sterbenФ (8), УHerzlich tut mich verlangenФ (7), and УWas Gott tut, das ist wohlgetanФ (9). [Score sample] Remarkably, Walther, in his УMusicalisches LexiconЕФ [Leipzig, 1732], also informs the reader that this set of 4 chorale melodies with variations had been composed earlier in Erfurt during the time of the plague when Pachelbel, at that time organist at the Predigerkirche in Erfurt since 1678, lost both his wife and little son on the 9^th and 28^th of October, 1683. Circa 1690, Pachelbel composed a cantata Сper omnes versusТ on УWas Gott tut, das ist wohlgetan.Ф

Melody Source:
Here is a composite СoriginalТ source drawn from 3 different sources as presented by the NBA. The sources are listed on the melody image score:


Text: Was Gott tut, das ist wohlgetan \| EKG: 299
Author: Samuel Rodigast (1675)

Use of the Chorale Melody by Bach:
Text: Was Gott tut, das ist wohlgetan \| EKG: 299 Author: Samuel Rodigast (1675)
Ver	Work	Mvt.	Year	Br	RE	KE	Di	BC	Score		Music Examples
6	BWV 12	Mvt. 7	1714	292	340	-	-	A68:7	PDF		Mvt. 7 (MG) [midi] \| Mvt. 7 (Leusink) [ram]
6	BWV 69a	Mvt. 6	1723	292	-	293	76	A123:6	PDF \| PDF ver		Mvt. 6 (MG) [midi] \| Mvt. 6 (MG) ver [midi] \| Mvt. 6 (Leusink) [ram]
5	BWV 75	Mvt. 7	1723	-	-	-	-	A94:7	PDF		Mvt. 7 (YFM) [midi] \| Mvt. 7 (MG) [midi] \| Mvt. 7 (Leusink) [ram]
6	BWV 75	Mvt. 14	1723	-	-	-	-	A94:14	PDF		Mvt. 14 (MG) [MIDI] \| Mvt. 14 (Leusink) [ram]
1	BWV 98	Mvt. 1	1726	-	-	-	-	A153:1	PDF		Mvt. 1 (MG) [midi] \| Mvt. 1 (Leusink) [ram]
1	BWV 99	Mvt. 1	1724	-	-	-	-	A133:1	-		Mvt. 1 (Leusink) [ram]
6	BWV 99	Mvt. 6	1724	-	341	-	-	A133:6	PDF		Mvt. 6 (MG) [midi] \| Mvt. 6 (Leusink) [ram]
1	BWV 100	Mvt. 1	1732/35	-	-	-	-	A191:1	-		Mvt. 1 (Laurenscantorij) [mp3] \| Mvt. 1 (Leusink) [ram]
6	BWV 100	Mvt. 6	1732/35	-	-	-	103	A191:6	PDF		Mvt. 6 (MG) [midi] \| Mvt. 6 (Leusink) [ram]
1	BWV 144	Mvt. 3	1724	64	338	65	43	A41:3 F93	PDF		Mvt. 3 (MG) [midi] \| Mvt. 3 (Leusink) [ram]
BWV 12/7: This version has an obbligato part missing from BachТs later use of this setting in BWV 69a/6. BWV 69a/6: Very similar to BWV 12/7. BWV 75: Verses 5 and 6 (last) 7 & 14 are musically identical. BWV 100/1 = BWV 99/1 & BWV 100/6 = BWV 75/7









Untexted:
Ver	Work	Mvt.	Year	Br	RE	KE	Di	BC	Score	Music Examples
-	BWV 75	Mvt. 8	1723	-	-	-	-	A94:8	-	Mvt. 7 (Leusink) [ram]
-	BWV 250	-	?	346	339	347	-	F193:3	PDF	Chorale (MG) [midi]
-	BWV 1116	-	1715	-	-	-	-	K189	-





Use of the Chorale Melody by other composers:
Johann Pachelbel (1653-1706): Was Gott tut, das ist wohlgetan, Chorale with 9 Variations for Keyboard (1683).

Was Gott tut, das ist wohlgetan, Cantata per omnes versus for 4 voices, 2 violins, 2 violas, bassoon, bc. (probably 1683, but otherwise circa 1690) Ewald V. Nolte and John Butt, in the article on Pachelbel contained in the Grove Music Online [Oxford University Press, 2005, acc. 9/6/05] comment as follows:
>>Pachelbel and other Protestant composers in central Germany distinguished between liturgical chorale variations, in which they retained weightier contrapuntal ingredients, and variations intended for diversion, in which they preferred lighter motifs and figuration regardless of whether the melody was sacred or secular. Seven or eight sets of chorale variations by Pachelbel survive, of which four constituted his УMusicalische Sterbens-GedanckenФ (Erfurt, 1683). Although this collection is lost, attempts have been made to reconstruct it from the existing variation sets. All authorities have agreed that the collection included УAlle Menschen müssen sterben,Ф УChristus, der ist mein LebenФ and УHerzlich tut mich verlangen,Ф and all existing editions include УWas Gott tut, das ist wohlgetanФ as the fourth set. However, Hartmann (1987) disputed the status of УWas Gott tutФ and proposed that it be replaced with a newly discovered set of 12 variations on УFreu dich sehr, o meine Sele,Ф which is apparently in the hand of Bach's pupil H.N. Gerber, dated 1716. Nevertheless, УWas Gott tutФ does have close affinities with the other three sets. The variations range in number from seven to 12. Two of the melodies, УChristus, der ist mein LebenФ and УHerzlich tut mich verlangen,Ф date from the first decade of the 17th century, the other two, УAlle Menschen müssen sterbenФ and УWas Gott tut, das ist wohlgetan,Ф from PachelbelТs own time. A mild touch of tender grief is found in the chromaticism of one variation in each of the four sets, but PachelbelТs generally lighthearted style here is compatible with the general feeling of optimism found in the original texts; however, he made no effort to relate any variation to a specific stanza. His choice of modes or keys was perhaps determined by architectural considerations: the first and the last set provide a G Mixolydian frame, the second set is in D (the dominant), the third in the Ionian mode or C (the subdominant). (The melody of the third set was originally in E Phrygian, but composers often used an Ionian harmonization when they wished to avoid the mood characteristic of the Phrygian mode.)<<
Georg Philipp Telemann (1681-1767): Was Gott tut, das ist wohlgetan, Cantata for S, B, vn, bc, TWV 1:1747
Johann Gottfried Walther (1684-1748): Was Gott tut, das ist wohlgetan Chorale Prelude for Organ.

Johann Peter Kellner (1705-1772): Was Gott tut, das ist wohlgetan, Chorale Prelude for Organ
Johann Ludwig Krebs (1713-1780): Was Gott tut, das ist wohlgetan, Chorale Prelude for Organ
Gottfried August Homilius (1714-1785): Panta kalos pepoinke with the German Chorale Was Gott tut, das ist wohlgetan, Motet (June 6, 1768)
Johann Friedrich Doles, Sr. (1715-1797): Was Gott tut, das ist wohlgetan, Cantata for choir soloists and orchestra
Johann Philipp Kirnberger (1721-1783): Was Gott tut, das ist wohlgetan, Chorale prelude for organ
Daniel Gottlob Türk (1750-1813): Was Gott tut, das ist wohlgetan, Cantata (1798)
Johann Gottlob Werner (1777-1822): Chorale prelude for keyboard Was Gott tut, das ist wohlgetan
Johann Gottlob Töpfer (1791-1870): Was Gott tut, das ist wohlgetan, Chorale Prelude for Organ
Julius Schneider (1805-1895): "Was Gott tut, das ist wohlgetan", Choralvariation, Op.16
Franz Liszt (1811-1886): Was Gott tut, das ist wohlgetan No. 1 of Zwölf alte deutsche geistliche Weisen [Deutsche Kirchenlieder und liturgische Gesänge] for piano 1878-9 The complete set consists of: 1 Was Gott tut, das ist wohlgetan, 2 O Traurigkeit, 3 Nun ruhen all Wälder, 4 Meine SeelТ erhebet den Herrn, 5 O Haupt voll Blut und Wunden, 6 O Lamm Gottes, 7 Wer nur den lieben Gott lässt walten, 8 Es segne uns Gott, 9 Vexilla regis, 10 Crux benedicta, 11 Jesu Christe, 12 Nun danket alle Gott. Elaine Sisman comments [Grove Music Online, Oxford University Press, 2005, acc. 9/7/05]:
>>Formal seriousness and a striking set rhythm come to the fore in Liszt's two sets of ostinato variations on Bach's bass line from Cantata BWV 12, Weinen, Klagen, Sorgen, Zagen. The first of these is a small-scale Prelude (1859) that is actually a passacaglia with 25 repetitions of the bass theme. The much larger Variations (1862) contain not only 43 variations but also a recitative, finale and chorale (Was Gott tut, dass ist wohlgetan, the same one that ends Bach's cantata), and considerable chromaticism within its formal outlines. These two works mark the reappearance of the Baroque ostinato-variation as conscious archaism, although ostinato form had made an appearance in Chopin's Berceuse op. 57, with a much simpler pattern. Liszt even included a series of variations on the folia within his Rhapsodie espagnole for piano, immediately after the introduction.<<
Alexandre Guilmant (1837-1911): Was Gott thut, das ist wohlgethan, Choral, Op. 93/1
Friedrich Wilhelm Franke (1862-1932): Was Gott tut, das ist wohlgetan, Chorale Variations for Organ
Max Reger (1873-1916): Was Gott tut, das ist wohlgetan, Chorale Prelude for Organ, Op. 67/46 (1902) Was Gott tut, das ist wohlgetan, Chorale Prelude for Organ, Op. 135a/26 (1914)
Curt Doebler (1896-1970): Was Gott tut, das ist wohlgetan, Chorale Partita for Organ
J.S. Bach (doubtful): "Was Gott tut, das ist wohlgetan (II)", chorale prelude for organ, BWV Anh II 67 The entire sequence of numbers in the group BWV Anh II 47-72 were listed by the BWV as of doubtful authenticity, and the NBA has not even included them in their complete edition of Bach's works. There is almost no possibility that these organ works will ever be identified as being by J. S. Bach.

Arrangements/Transcriptions of Bach's use of the Chorale Melody:
William Walton (1902-1983): "The Wise Virgins", suite from the ballet (1940) includes orchestration of the Opening Chorus - Vivace assai from J.S. Bach's Cantata BWV 99 "What God hath done is rightly doneУ. See: W. Walton: The Wise Virgins, suite from the ballet (arranged music of J.S. Bach)
Walter Rummel (1887-1953): Piano transcription of Was Gott tut, das ist wohlgetan from Cantata BWV 99
Peter Baekgaard: Transcription for organ of Chorale (Mvt. 14) Was Gott tut, das ist wohlgetan from Cantata BWV 75. See: PDF Transcription for organ of Sinfonia (Mvt. 8) from Cantata BWV 75. See: PDF
See list of Piano Transcriptions of BWV 75/7, BWV 75/8, BWV 99/1 & BWV 100/6 by various composers/arrangers at: Piano Transcriptions of Bach's Works - Index by BWV Number Part 1: Cantatas

Sources: NBA, vols. III/2.1 & 2.2 in particular [Bärenreiter, 1954 to present] and the BWV ("Bach Werke Verzeichnis") [Breitkopf & Härtel, 1998] The PDF files of the Chorales were contributed by Margaret Greentree J.S. Bach Chorales Software: Capella 2004 Software, version 5.1. Prepared by Thomas Braatz & Aryeh Oron (September 2005, March 2008)
Chorales BWV 250-438 Recordings \| General Discussions: Part 1 \| Part 2 \| Part 3 \| Chorales in Bach's Vocal Works: Part 1 \| Part 2 \| Part 3 \| Part 4 \| Part 5 \| Part 6 \| Hidden Chorale Melody Allusions \| Passion Chorale Individual Recordings: Hilliard - Morimur \| Chorales - Matt \| Chorales - Rilling \| Preludi ai Corali - Quartetto Italiani di Viola Da Gamba References: Chorales BWV 250-300 \| Chorales BWV 301-350 \| Chorales BWV 351-400 \| Chorales BWV 401-438 Texts & English Translations of Chorales: Sorted by Title Chorale Melodies: Sorted by Title \| 371 4-Part Chorales sorted by Breitkopf Number \| Explanation MIDI files of the Chorales: Cantatas BWV 1-197 \| Other Vocal Works BWV 225-248 \| Chorales BWV 250-438 Articles: The Origin of the Texts of the Chorales [Schweitzer] \| The Origin of the Melodies of the Chorales [Schweitzer] \| The Chorale in the Church Service [Schweitzer] \| Choral / Chorale [Terry] \| The History of the Breitkopf Collection of J. S. BachТs Four-Part Chorales [Braatz] \| Chorale Melody Allusions in Bach's Vocal Works [Braatz] Hymnals used by Bach \| Abbreviations used for the Chorales \| Links to other Sites about the Chorales

Chorale Melodies: Sorted by Title | 371 4-Part Chorales sorted by Breitkopf Number | Explanation

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Last update: ¤March 13, 2008 ¤00:24:49