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Thomas Braatz wrote (January 17, 2003):
BWV 11 Himmelfahrts=Oratorium - Provenance:
Both the autograph score and ‘a few’ parts went to C.P.E. Bach; at the time of the latter’s death these were noted as a “Partitur und einige Stimmen” [“a score and several parts” – these are most likely the doublets] These doublets eventually came to the BB, but it remains unknown who owned these in the interim period. There is a seeming contradiction involved here: The Berliner Singakademie has its marks on the score, but it also appears that Georg Poelchau was the owner (he notes the date 1832) until 1841, when his estate sold it to the BB.
The 17 original parts were part of W.F. Bach’s inheritance. The earliest known owner was the Berliner Singakademie. The set’s whereabouts were unknown for at least a century and a half. The parts surfaced after the 2nd World War. Somehow this set ended up in the Biblioteka Jagiellońska Kraków where it remains today.
The NBA which had published BWV 11 based only upon the autograph score, the only source used by all publications of this oratorio since the BGA, was forced to publish it again including this time any new information gleaned from the study of the original parts. Unfortunately not much that would prove different and helpful would be found. Bach had not, as he usually did, provided the phrasing, dynamics, ornamentation, etc. One of the bc parts with Bach’s figured bass indications was useful.
The autograph title as it appears on the separate title page of the autograph score:
Oratorium
Festo Ascensionis Christi.
à
4 Voci.
3 Trombe
Tamburi
2 Traversieri
2 Oboi
2 Violini
Viola
e
Continuo
di
J. S. Bach.
On top of the 1st page of the autograph score, Bach wrote the following title:
J. J Oratorium Festo Ascensionis Xsti. à 4 Voci. 3 Trombe Tamburi
3 Trombe Tamburi
2 Travers. 2 Hautb. 2 Violini, Viola e Cont. Di
Bach.
There are a number of ‘Evang’ marked, also some parts separately marked. Certain mvt. names are also given, but there is no ‘Fine’ at the end.
Bach completed mvt. 9 for many of the parts, but did almost nothing about adding articulation and making corrections (which, as indicated above, was unusual for him.) |
