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Play — Bach - Cantata Was Gott tut, das ist wohlgetan BWV 99 - Van Veldhoven | Netherlands Bach Society · Netherlands Bach Society (the player loads on click)
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Play — Was Gott tut, das ist wohlgetan, BWV 99: Was Gott tut, das ist wohlgetan (Chorus) · Johann Sebastian Bach, Arleen Auger, Helen Watts, Lutz-Michael Harder, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling (the player loads on click)
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Public-domain sheet music on IMSLP ↗
Estimated from our difficulty score, not taken from an exam syllabus. Checked against 333 works on the ABRSM syllabus: the exact grade is right 7 times out of 10, and within one grade 99 times out of 100.
Difficulty estimate by MusicCoach on a scale of 1 to 100.
Most works cluster between 45 and 65: a small score gap often marks a real step. The highlighted bar shows this work among those for the same instrument.
The MusicCoach difficulty measures a work's overall demands (technique, reading, stamina) on a shared 0-100 scale, consolidated from editorial and pedagogical reference points (Henle, exam syllabuses, curation) and our own analyses. It measures neither musical value nor the practice time YOU will need: two musicians of the same level can experience the same work very differently depending on their strengths (hands used to octaves, quick sight-reading…). The confidence reflects how many reference points sit behind the score and how well they agree — a lightly documented score is flagged “to validate”. For a truly personal bearing, the diagnostic and your space compare each work to YOUR estimated level, which the score alone cannot do.
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This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
The safest next step.
A genuine step up, without a jolt.
A useful leap with guided practice.
This piece has a steady, contained character, built on a clear melodic line that moves forward with a liturgical confidence rather than grand theatrical gestures. Technically, pay attention to Ornaments baroque (2.5/5) by refining small decorative figures through quick, precise finger actions without upsetting the pulse, and to Voix chantante (2.5/5), which requires shaping phrases with inward breathing, touch control and careful balancing of voices between the hands so the melody projects. The work appears in Bach's BWV catalogue and reflects his handling of chorale-based contrapuntal writing adapted for keyboard. I do not give a recommended reference recording because I am not fully certain of a single widely recognized interpretation for this specific arrangement.