Thomas Braatz wrote (August 18, 2002):
BWV 113 - Provenance:
The autograph score:
At the distribution of J. S. Bach’s estate, this score went to W. F. Bach. The sequence of owners looks like this:
W.F. Bach >> unknown owner >> Carl Pistor >> Adolf Rudorff >> Ernst Rudorff >> Music Library of the Peters Music Publishing Firm, Leipzig >>private owner in the USA >>private owner in West Germany >>since 1982 on continuous loan to the International Bachakademie Stuttgart, Germany.
The original parts:
Almost all of the original parts for cantatas from the 2nd yearly Leipzig cycle, of which this is one, were in the library of the St. Thomas School in Leipzig. This is one of the very few sets that are missing from that entire yearly cycle. Mendelssohn already notes that he could not find them there in 1841, and the BG did not have access to them either for its printed edition of this work.
August 20, 1724 [Dürr] Later performances in Bach’s lifetime are probable, but no evidence of this has been found.
The librettist is unknown and the printed text has not survived. Judging on the basis of the style of poetry, Harald Streck in his “Die Verskunst in den poetischen Texten zu den Kantaten J. S. Bachs” Hamburg, 1971, pp. 181, has found certain parallels to the texts of Salomo Franck and states that certain passages are reminiscent of Franck’s style, but he does not go so far as to consider Franck as the actual author. The cantata text is based upon a chorale of penance with the same title, a text by Bartholomäus Ringwaldt (1588). Verses 1, 2, and 8 were taken unchanged into the corresponding verses of the cantata libretto. Verse 4 appears in slightly changed wording and the lines of verse are expanded to include new recitative additions. The text of verses 3 and 7 are free paraphrases of the corresponding verses of the chorale and there are only remote connections between verses 5 and 6 and the same verses of the original chorale.