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Thomas Braatz wrote (April 22, 2003):
The Autograph Score:
This cantata seems to have come from chorale cantata cycle that was inherited by W.F. Bach. The next owner (date of ownership uncertain) was C.F. Penzel who then passed it on to Cantor G. Schuster, his nephew. In May of 1833, Franz Hauser purchased this score along with the autograph score of BWV 62 from Schuster. These were inherited by his son, Kammersänger [“title awarded to a singer of outstanding merit”] Joseph Hauser, who then sold it to the BB [Staatsbibliothek Berlin] in 1904.
The original cover page with title has been lost and replaced with a different one.
On top of the 1st page of the score Bach wrote:
J. J. Festi Nativ: Christi Feria 1. Gelobet seystu Jesu Christ
The Corno 1 | Corno 2 | Tamburi parts/staffs at the top of the score are given these specific titles.
Bach’s economical methods are apparent here as he uses the space at the bottom of each sheet to fill in the other mvts. as follows:
Page 1 (front side): Mvt. 1, ms. 1-9. At the bottom of the sheet is are single-line sketches, one of which gives a few ms. of the continuing corno 1 part, the other is related to the theme used in Mvt. 5.
Page 1 (back side): Mvt. 1, ms. 10-14. At the bottom of the sheet “Recit 1”
Page 2 (front side): Mvt. 1, ms. 15-19. At the bottom of the sheet “Aria 3 Hautb e Baßon” Mvt. 3, ms. 1-7
Page 2 (back side): Mvt. 1, ms. 20-24. At the bottom of the sheet: Mvt. 3, ms. 8-21
Page 3 (front side): Mvt. 1, ms. 24-29. At the bottom of the sheet: Mvt. 3, ms. 22-35
Page 3 (back side): Mvt. 1, ms. 29-34. At the bottom of the sheet: Mvt. 3, ms. 36-48
Page 4 (front side): Mvt. 1, ms. 34-39. At the bottom of the sheet: Mvt. 3, ms. 49-61
Page 4 (back side): Mvt. 1, ms. 40-44. At the bottom of the sheet: Mvt. 3, ms. 62-75
Page 5 (front side): Mvt. 1, ms. 45-49. At the bottom of the sheet: Mvt. 3, ms. 75 to the end. At the end, and indication of what would follow: “Seqt Recit.”
Page 5 (back side): Mvt. 1, ms. 50-54. At the bottom of the sheet: Mvt. 4, ms. 1-6
Page 6 (front side): Mvt. 1, ms. 54-58. At the bottom of the sheet: Mvt. 4, ms. 7 to the end.
Page 6 (back side): Mvt. 1, ms. 59 to the end with two accolades rather than the usual one devoted to Mvt. 1 on each sheet.
Page 7 (front side): Mvt. 5, ms. 1-21. The title at the top reads: “Aria Duett o Sopr. è Alto col Violini unis.”
Page 7 (back side): Mvt. 5, ms. 22-43, and on the 2nd accolade ms. 44-67
Page 8 (front side): Mvt. 5, ms. 67-72. with ‘DC’ marked at end. Then in the space left at the end (right side) of the 2nd accolade: “Choral Tutti”
Then Mvt. 6 on 2 accolades with the title: “Choral” with “Corno 1 | Corno 2” marked specifically.
Under the final accolade: “Fine SDG”
The condition of the paper displays a moderate amount of ‘browning.’
The Original Parts:
The condition of the paper is generally good with just a little “Tintenfraß” [“ink eating into the paper.”]
Anna Magdalena gave these to the St. Thomas School after Bach’s death. They are now kept in the Bach-Archiv in Leipzig.
Copyist 1 was responsible for copying all the parts except the transposed continuo part which was copied by Copyist 2. Bach was extensively involved in completing certain items and correcting the parts.
The Parts:
1. Soprano
2. Alto
3. Tenore
4. Baßo
5. Corno 1
6. Corno 2
7. Tamburi
8. Hautbois Primo
9. Hautbois 2do
10. Hautbois 3
11. Violino 1mo
12. Violino 2do
13. Viola
14. Continuo
15. Continuo (transposed down one whole tone, figured (by Bach)
The following original parts (doublets) are in the BB.
1. Violino Primo
2. Violino 2do
3. Continuo
Text:
The librettist is unknown. Wustmann described this transformation of Luther’s Christmas hymn as being ‘in the manner of Henrici.’ [reference to Picander] The 1st and 7th (last) verses are kept as is in Mvt. 1 and 6 in the cantata. The others are modified and expanded poetically in the remaining mvts. |
