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Thomas Braatz wrote (October 27, 2002):
BWV 98 - Provenance:
Both autograph score and original parts are in the BB. See Göttinger Bachkatalog for further details.
The cover for the score and the title page in Bach’s own handwriting state:
Dominica 21 post Trinit: | Was Gott thut, das ist wohlgethan | â | 4 Voci | 2 Hautbois | Taille | 2 Violini | Viola | e | Continuo | di | Joh. Sebastian [abbreviated] | Bach.
J. J. Doīca 21. post Trinitatis. Concerto
Mvt. 2 has the title: “Recit.”
Mvt. 3 has no title but the lines for the solos are given as: “Hautbois solo” and “Soprano”
At the end of mvt. 3 at the end of the page, there is the designation “Recit.” pointing to the next mvt.
Mvt. 4 has the title: “Recit.” at the end of which “Aria” points to the next mvt. to follow.
Mvt. 5 has no title but at the end of the mvt. there is “Fine SDG” (Yes, there it is in Bach's own handwriting!)
Text:
The librettist is unknown. In place of a final chorale which one would expect in a cantata that begins the way a typical chorale cantata normally does, there is no final chorale. The 1st mvt. is the 1st verse of the chorale by Samuel Rodigast (1674) that consists of 6 verses.
Other correspondences:
Mvt. 3 “Klopfet an, so wird Euch aufgetan” comes from the Sermon on the Mount (Matt 7:7.)
Mvt. 5 The librettist paraphrases Gen 32:37 “Ich lasse Dich nicht, Du segnest mich denn” the same occurs in BWV 188 („Ich habe meine Zuversicht.“) there is also a textual parallel with the chorale, „Meinen Jesum laß ich nicht“ by Christian Keimann (1658.)
1st Performance:
This cantata from the 3rd Leipzig cantata cycle was 1st performed on November 10, 1726. This was determined by Alfred Dürr by examining the watermarks and determining which copyists were used.
Other Cantatas with the Same Title:
This is the 2nd of 3 cantatas having the same chorale as the basis for each. The correct chronological sequence is: BWV 99 (1724); BWV 98 (1726); and BWV 100 (1732/35.) |
