BACH Johann Sebastian (1685-1750). MANUSCRIT...

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BACH Johann Sebastian (1685-1750). MANUSCRIT...

BACH Johann Sebastian (1685-1750).
MANUSCRIT MUSICAL autograph, fragment of the cantata Ich habe meine Zuversicht BWV 188, [1728]; 2 pages of a leaf of about 15.8 x 19.5 cm (defects due to acidification of the ink, with small cracks and losses, in the upper part of the fragment reinforced by a strip of old sticky paper on about 4 x 18 cm of the recto, quite discoloured, the lower part in good condition), sealed in an archival showcase folder (198 x 232 mm
), blue
morocco folder
and slipcase.

Extremely rare and precious autograph musical fragment of a

Bach cantata.


Ich habe meine Zuversicht ("I have put my trust in my faithful God...") BWV 188 is a cantata for the 21st Sunday after the Trinity, probably composed for 17 October 1728 (or perhaps 6 November 1729). The text, as often at that time, was taken from Picander (Christian Friedrich Henrichi, Ernst-Schertzhaffte und Satyrische Gedichte, Leipzig, 1728). "About the healing by Christ of the son of a civil servant in Capernaum, the libretto is a simple song glorifying trust in God, in the image of the man to whom Christ had said, "Your son lives," and who believed this word. It emphasizes once again the faith that saves the Christian in the midst of the vicissitudes of life. It is in God that he puts his trust and hope, since he is all love. His designs are unfathomable, and even in torments he continues to lead his creatures for their good" (Gilles Cantagrel, Les Cantates de J.-S. Bach). The ensemble consists of 4 voices, 2 oboes, viola, organ and
























































































































































basso continuo.



The present fragment relates to the 4th movement, Aria for viola accompanied by cello and organ. It corresponds to the lower half of f. 17 of the original manuscript, comprising bars 59b-66 and 73-76, i.e. 11 and a half bars from the conclusion of the movement, with the words "Seinen führt, unerförschlich iste die Weise, Wie der Herr die Seinen führt, unerförschlich iste die Weise, Wie ...". (Unfathomable is the way in which the Lord leads His own...), with the instrumental conclusion, followed by the words "Seq. Recit". It is noted on 4 systems of 4 staves. "Confidence in God can be questioned in the face of the sorrows experienced by the Christian in his existence, even if it is necessary to know that all that one has to undergo is for one's own good. To better understand this climate of doubt and suffering, it is the voice of the viola that is expressed here, and in the key of E minor, which Bach had already used in the tenor aria of the cantata Ich glaube, lieber Herr BWV 109, for that same Sunday, to express the shaky hope of the Christian who is not sure of his faith. This aria is written in a trio that favours the lower registers of the viola voice and the cello playing the basso continuo, while the organist's right hand is in the high register with the viola. The triplets and syncopations of the organ part, which gradually take hold of the soloist, establish a feeling of instability, almost of wandering, characterizing the doubts that invade the soul of the Christian" (Gilles Cantagrel



























































































































































































































































































).




Provenance. The autograph manuscript of this cantata BWV 188, originally consisting of 18 leaves, has undergone many vicissitudes. It is believed to have been part of a batch of manuscripts inherited by Bach's impecunious eldest son, Wilhelm Friedemann, which the latter auctioned in 1774. The first ten leaves have since been lost, taking with them most of the first movement (which can be identified as a reworking of the last movement of a lost violin concerto, also used in the harpsichord concerto BWV 1052). Fragments of Wilhelm Friedemann's estate were sold again in 1827 and were acquired by the engineer and collector Carl Philipp Heinrich Pistor (1778-1847). Pistor's manuscripts were inherited by his son-in-law, Adolf Friedrich Rudorff (1803-1873), and then passed to the musicologist Friedrich Wilhelm Jähns (1809-1888). The present sheet was one of four acquired from Jähns by the Viennese collector Gustave Petter (1828-1868), who is held responsible for their dismemberment. The remaining leaves of the cantata are now scattered, and four leaves are cut, as here, into two or even three pieces; although the fragments are found in ten collections and in eight countries, they follow each other sufficiently to allow the cantata to be reconstructed without significant gaps, from the second to the fifth movement. The present fragment, which comprises the lower half of f. 17, is identified in the Kritische Bericht as A14 (private collection unknown). The same work notes that the obvious ink acidification that affected the upper half of the present fragment is characteristic of the dismembered leaves, and is partly the result of the composer's very dense compositional writing (in this case with numerous sixteenth notes). The last owner of this fragment, according to the Kritische Bericht du Neue Bach-Ausgage (1997), is Nora Kluge (née von Hase), from Lübeck, wife of the composer and musicologist Manfred Kluge (1928-1971), who probably inherited it from her grandfather, Oskar von Hase (1846-1921), owner of the music publishing house Breitkopf & Hartel. It went on sale in London at Christie's (November 4, 1981, lot 144); acquired by Frederick Lewis Maitland PATTISON (1923-2101, ex libris), it went back on sale at Christie's (May 21, 2014, lot






































































































































































































































































































































































































































































15).





The manuscripts of Johann Sebastian Bach are extremely rare.









































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