Luogo e data di registrazione		Doopsgezinde Kerk, Haarlem (Holland) - Settembre 1978
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | 6.35443 EX | 2 LPs - durata 42' 15" - 45' 35" | (p) 1980 | ANA
	Edizione CD		Teldec Classics | LC 6706 | 8.35443 ZL | 2 CDs - durata 42' 15" - 45' 35" | (c) 1989 | ADD
	Cover		Johann Sebastian Nach, einige Jahre vor seiner Ernennung zum Kantor in Leipzig. Gemälde con JJ. Ihle (1720) Bach Museum Eisenach.
	Note		In questo volume sono presenti anche La Cantate BWV 99, BWV 101 e BWV 102 a cura del Concentus Musicus Wien diretto da Nikolaus Harnoncourt.

INTRODUCTION by Ludwig Finscher BWV 98 and 99 were followed by a third work on Samuel Rodigast’s hymn »Was Gott tut, das ist wohlgetan«: BWV 100, written some time between 1732 and 1735 and thus one of the last of Bach’s surviving cantatas. It was not allocated to a specific Sunday; since the text is retained unaltered throughout the six stanzas, the work can be used on all manner of occasions throughout the ecclesiastical year. The text is much more unified than in BWV 99 and the musical form is correspondingly simpler and even more obviously symmetrical: the first and sixth stanzas are large-scale chorale settings with concertante orchestra; stanzas 2 to 5 are a duet for Alto and Tenor and three arias, for Soprano, Bass and Alto; the key structure is G major - D major - B minor - G major - E minor - G major. As though to compensate for this simplicity, there is a wealth of diversity in detail, particularly in the solo movements. The first and last choruses are borrowed from older cantatas - the opening stanza is the same as that of BWV 99, the sixth is the final chorus of BWV 75, though both are even more joyful and resplendent than the original versions, owing to the addition of two horns and timpani. As in BWV 99, the duet vividly calls to mind the Italian chamber duet (Steffani, Handel) on account of the motet-style arrangement of the text and the imitatory interweaving of the vocal parts; however, a quasi-ostinato of eight bars played by the continuo not only strengthens the strict adherence to this tradition, but also emphasises the deliberate symbolism by matching the rule of law in the music to that in the words. On the other hand, the three arias, with their sensitive writing and suggestion of the Siciliano, display Bach at his most modern: the Soprano aria has a most taxing flute part, the oboe d’amore is given a dulcet, affective solo to play in the Alto aria, and ingratiating parallel thirds and sixths played by the violins introduce an element of the galant into the Bass aria. These pieces provide evidence as beautiful as it is eloquent of the fact, all too often overlooked, that Bach was by no means a conservative composer.