Leipzig: Breitkopf und Härtel, [1802/1803]. Folio. Two volumes bound together in contemporary marbled boards,with oval cut paper label with manuscript titling in black ink in Stolze's hand to upper: "X 32, 33. Joh. Seb. Bachs Motetten Erster und Zweiter[!] Heft. Stolze 1803 im Nov." 1f. (title of Vol. 1), 48, 1f. (title of Vol. 2), 50 pp. Typeset.
With annotations in the hand of Georg Christoph Stolze: shelfmarks "X, 32" and "X, 33" to both titles; comment, "wahrscheinlich von Joh[ann] Mich[ael] Bach" to "Ich lasse dich nicht" to title of Vol. 1; comment, "wahrscheinlich componirt von Joh. Mich Bach" to caption title of same motet (p. 41); in both instances "Mich" crossed out and replaced with "Christ." in pencil. Dynamics added in pencil to "Ich lasse dich nicht" (Vol. 1, pp. 41-48). Notational corrections in brown ink to Vol. 2, p. 18; in red crayon to Vol. 2, p. 29.
Signature "Fritz Heitmann 1913" to lower right corner of title of Vol. 1.
First Edition. Schmieder 2, pp. 366-73, 875. Bach Compendium III, C1-5, 9. Hirsch IV, 685. RISM B447.
Slightly foxed. Some paper imperfections.
Autograph organ part in Stolze's hand to Vol. 1 of the motets. 350 x 210 mm. Sewn. 6 leaves notated on 14 staves per page in black ink. Unpaginated. With caption title "Organo" with addition in red ink: "Motetto I Singet dem H. S[ebastian] B[ach]." Organo part notated primarily on one staff, with bass figures; passages marked "Chorale" notated on two staves. All three motets transposed down a whole tone. "Singet dem Herrn" and "Ich lasse dich nicht" with tempo marks ("Andante" for the chorale of "Singet dem Herrn" in red ink).
The editor of both volumes (not credited) is Johann Gottfried Schicht (1753-1823), Kapellmeister at the Gewandhaus since 1785 and Thomaskantor from 1810. He modernized the texts; drastic imagery and references to Satan and hell are deleted. Like the autographs, the edition lacks a continuo part, leading to the misconception prevalent throughout the 19th and 20th centuries that the authentic performance practice was a cappella. The organ part by Stolze, included with the present copy, not only serves to document performance practice around 1800, but is also endowed with some authority as Stolze was a friend (and landlord) of J.S. Bach's last student, Johann Christian Kittel (1732-1809).
The authorship of the motet BWV Anh. 159 has long been disputed. Part of the manuscript source is in Johann Sebastian Bach's hand, in a volume with motets by his uncle Johann Christoph Bach (1642-1703). It has traditionally been most often ascribed to Johann Christoph Bach but also to others, including Johann Michael Bach (1648-1694), as in the present copy). More recent scholarship is again discussing an authorship of Johann Sebastian. The final chorale, however, does nor occur in the source; it is a contrafactum of J.S. Bach's chorale BWV 421 and certainly spurious, most likely arranged and added by Johann Gottfried Schicht.
Fritz Heitmann (1891-1953) was an organist in Berlin and an authority on Bach. Item #25036
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