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Cantata BWV 45
Es ist dir gesagt, Mensch, was gut ist
Provenance |
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Thomas Braatz wrote (July 22, 2002):
BWV 45 Es ist dir gesagt, Mensch, was gut ist - Provenance:
Autograph Score
The autograph score became part of C.P.E. Bach’s inheritance. In the listing of all the items in C.P.E. Bach’s estate in 1790, this score is listed with several parts included: “Partitur und einige Stimmen.” The next proof of its existence is found in a catalog of the Berliner Singakademie which came into possession of the score, but there it is listed as “Autogr. Partitur nebst Abschrift und doublirten Stiimen” [autograph score along with a copy thereof and doublets of the parts.] When, in 1854, the Berliner Singakademie sold all the Bach manuscripts in their possession, the BB (Berliner Staatsbibliothek) acquired the score, but did not mention the copy of the score and the doublets. The autograph score is still located in the BB today.
Bach wrote the title of the cantata on the cover as follows:
Dominica 8. post Trinitatis | Es ist dir gesagt, Mensch, was gut ist. | à | 4 Voci | 2 Traversieri | 2 Hautbois | 2 Violini | Viola | è | Continuo | di | Joh: Sebast: Bach.
The manuscript is not in very good condition due to the numerous corrections that Bach made. The ink from these corrections is eating its way through the paper (“Tintenfraß.”) Chiffonsilk was used to strengthen the pages were the fold is located.
On top of the first page of music, Bach wrote the following:
J. J Dominica [the abbreviated form of ‘Dominica’ is used] 8 post Trinitatis Concerto
At the end of Part One, Bach has written “DC.” to indicate da capo (repeat of the 1st section of the aria.
At the top of the next page: “Parte Seconda.”
The final mvt. “Choral” has, after the conclusion: “Fine SDG.”
In addition to the above, Bach has various indications of the type of mvt. and the instruments to be used.
The Original Set of Parts:
When the 1790 catalog of C.P.E. Bach’s estate lists only ‘several parts,’ it is assumed that these were only doublets, not the primary set of parts. These doublets were either lost on the way to the BB, or what is more likely, remained with the Berliner Singakademie for their own performances. It is very likely that they were lost or destroyed during WW II.
What this means, is that the original set of parts, if they had ever been in C.P.E. Bach’s possession at all, were given to someone else in 1750, possibly W.F. Bach or J.C. Bach. The title of this cantata appears in the manuscript catalog of Radowitz. If this reference is to these parts, then Count von Voß-Buch acquired them from Radowitz. The BB then acquired them from the count.
Four anonymous copiers were involved in copying these parts. Bach may have helped with a measure or two, but not more. There is no evidence of a proper revision of these parts by Bach.
Text:
The librettist is unknown. As with BWV 187, there is a connection to the texts used by Johann Ludwig Bach for his cantatas, which J.S. Bach also performed during the same year when this cantata was composed. See the discussion of Johann Ludwig Bach for more information about this.
This text is connected with the Gospel for this Sunday (Matthew 7: 15-23) The warning about false prophets in Mat 7: 21) is further developed in connection with Micha 6,8. Part II of the cantata quotes the last two verses of Mat 7: 22-23), then adds a few thoughts based on this, and ends with verse 2 of “O Gott, du frommer Gott” by Johann Heermann (1630).
Date of Composition:
According to Dürr, it was composed just before its 1st performance on August 11, 1726. This date is determined by the watermarks and by the handwriting of specific copiers that Bach used. [Here the experts can see how certain copiers who played a smaller role in an earlier year, advance to positions where more would be entrusted to them – also, their handwriting changes somewhat from year to year.]
It can be assumed that there was a later performance of the same work under Bach’s direction, but there are no sources that can provide solid evidence of this. |
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Thomas Braatz wrote (September 11, 2011):
The Original Set of Parts for BWV 45 |
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1. |
Soprano: |
Copyist 1 |
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2. |
Alto |
Copyist 1: Mvt. 1, tacet marking for Mvt. 2, Mvt. 5 from m62 to end of part
Copyist 2: tacet markings for Mvt. 3 & Mvt. 4, Mvt. 5 to m61 |
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3. |
Tenore: |
Copyist 1: Mvt. 1 to Mvt. 3 m50; title for Part II to end of part
Copyist 2: Mvt. 3 m 51 to end of Part I
Text for Mvt. 7 written by an unknown hand (not copyists 1 or 2) |
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4. |
Basso: |
Copyist 1: Mvt. 1; tacet marking for Mvt. 2; Mvt. 7
Copyist 2: tacet markings for Mvt. 3 to Mvt. 6
J. S. Bach: added Mvt. 1 mm97 to 101 which had been incorrectly copied by Copyist 1; perhaps a few other corrections as well.
Text for Mvt. 7 written by an unknown hand (not copyists 1 or 2) |
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5. |
Traversiere 1: |
Copyist 1: Mvt. 1, Mvt. 5, Mvt. 7 (perhaps some autograph corrections) |
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6. |
Traversiere 2: |
Copyist 1: Mvt. 1 & Mvt. 7 |
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7. |
Hautbois 1: |
Copyist 2: Mvt. 1 mm165-167, mm 187-190
Copyist 1: all the rest (of Mvt. 1 and all of Mvt. 7 |
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8. |
Hautbois 2: |
Copyist 1: Mvt. 1 & Mvt. 7 |
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9. |
Violino 1: |
Copyist 1: Mvt. 1, Mvt. 3 & Mvt. 7 + tacet marking for Mvt. 2
Copyist 2: Mvt. 4 + tacet markings for Mvt. 5 & Mvt. 6
Copyist 3: added the missing measure 194 from Mvt. 1 |
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10. |
Violino 2: |
Copyist 1: Mvt. 1, Mvt. 3 & Mvt. 7 + tacet markings for Mvt. 2, Mvt. 5, & Mvt. 6
Copyist 2: mvt. 4 |
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11. |
Viola: |
Copyist 1: Mvt. 1 through m109; Mvt. 3, Mvt. 7 and tacet marking for Mvt. 2
Copyist 2: Mvt. 4, tacet markings for Mvt. 5 & Mvt. 6; possibly also mm. 110-115 of Mvt. 1
J. S. Bach: Mvt. 1, mm 122-129. |
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12. |
Continuo (transposed): |
Copyist 4: all mvts. 1 – 7 |
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Missing: |
Violino 1 & 2 (doublets) and two continuo parts. |
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Copyis1 = Hauptkopist C (Dürr) = Christian Gottlob Meißner (1707-1760), a Thomaner from 1719-1729), University of Leipzig beginning July 1729; copyist for Carl Gotthelf Gerlach (at the Neukirche) beginning in 1729; Cantor in Geithain (his hometown) from 1731-1760. A copyist for J. S. Bach from Feb. 7, 1723 to Dec. 30, 1728; occasionally in the time period 1727-1731.
Copyist 2 = Hauptkopist B (Dürr) = Johann Heinrich Bach (1707-1783), a Thomaner from 1724- c. 1728; cantor and musician in Ohringen beginning in 1735. A copyist for J. S. Bach from Dec. 26, 1724 until Aug. 31, 1727; one of the main copyists beginning on Jan. 1, 1726, a few other occasions c. 1727.
Copyist 3 = Anonymous IIIb (Dürr) = still unidentified. A copyist for J. S. Bach from Dec. 25, 1725 until Aug. 31, 1727 and occasional used on Mar. 21, 1728. Also helped to copy parts for J.L. Bach cantatas 2-9, 13-16 as well BWV 15 (also a cantata by J.L. Bach) and the following: BWV 16, BWV 17, BWV 27, BWV 28, BWV 35, BWV 39, BWV 43, BWV 47, BWV 52, BWV 55, BWV 56, BWV 58, BWV 69a, BWV 72, BWV 84, BWV 88, BWV 110, BWV 129, BWV 169, BWV 182, BWV 187, BWV 207. Almost all of his copy work took place in 1726.
Copyist 4 = Anonymous IIIf (Dürr) = David Salomon Reichardt (1710 - ?); a Thomaner from July 4, 1726 until 1733; A copyist for J. S. Bach from June 24, 1726 to Feb. 9, 1727 and another dating c. 1727. Also helped to copy parts for BWV 19, BWV 35, BWV 49, BWV 56, BWV 82, BWV 84, BWV 88, BWV 102, BWV 187 and cantatas by J.L. Bach 13, 16, 17 and the Mass in E minor by J.L. Bach = BWV Anh. 166.
An unknown handwriting (added text for Mvt. 7 in parts 3 and 4.)
With the exception of the corrections/additions indicated above, Bach did not revise any of the parts. |
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