florida state university college of music performance practice

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22. Weg, weg mit dem 259 23. Wir haben keinen König 262 24. Eilt, ihr angefochtnen Seelen 265 25. Schreibe nicht: der Jüden König 268 26. In meines Herzens Grunde 271 27. Lasset uns den nicht zerteilen 274 28. Er nahm alles wohl in acht 277 29. Mein teurer Heiland, laß dich fragen 280 30. O hilf, Christe, Gottes Sohn 283 31. Ruht wohl, ihr heiligen Gebeine 286 32. Ach Herr, laß dein lieb Engelein 289 33. O Mensch, bewein dein Sünde groß 292 34. Christe, du Lamm Gottes 294 35. Nikolaus Harnoncourt 296 36. Peter Schreier 300 37. Hermann Max 304 38. Masaaki Suzuki 308 39. Philippe Herreweghe 312 x
LIST OF FIGURES 1. Available recordings broken down by nationality for the years 1982-2007 79 2. Obtained recordings broken down by nationality for the years 1982-2007 80 3. Vocal forces for acquired recordings 86 4. Instrumental forces for acquired recordings 90 5. Temporal comparisons for Herr, unser Herrscher 206 6. Temporal comparisons for Jesum von Nazareth (2b) 209 7. Temporal comparisons for Jesum von Nazareth (2d) 212 8. Temporal comparisons for O große Lieb 215 9. Temporal comparisons for Dein Will gescheh, Herr Gott, zugleich 218 10. Temporal comparisons for Wer hat dich so geschlagen 221 11. Temporal comparisons for Bist du nicht seiner Jünger einer 224 12. Temporal comparisons for Petrus, der nicht denkt zurück 227 13. Temporal comparisons for Christus, der uns selig mach 230 14. Temporal comparisons for Wäre dieser nicht ein Übeltäter 233 15. Temporal comparisons for Wir dürfen niemand töten 236 16. Temporal comparisons for Ach großer König 239 17. Temporal comparisons for Nicht diesen, sondern Barrabam 242 18. Temporal comparisons for Sei gegrüßet, lieber Jüdenkönig 245 19. Temporal comparisons for Kreuzige, kreuzige 248 20. Temporal comparisons for Wir haben ein Gesetz 251 21. Temporal comparisons for Durch dein Gefängnis, Gottes Sohn 254 22. Temporal comparisons for Lässest du diesen los 257 xi
Page 1 and 2: FLORIDA STATE UNIVERSITY COLLEGE OF
Page 3 and 4: Dedicated to my best friend and wif
Page 5 and 6: TABLE OF CONTENTS List of Tables ix
Page 7 and 8: Wir haben keinen König 120 Eilt, i
Page 9: LIST OF TABLES 1. A summary of the
Page 13 and 14: ABSTRACT This dissertation investig
Page 15 and 16: Many broad questions have emerged a
Page 17 and 18: twentieth centuries, their value is
Page 19 and 20: performance. 24 However, since it h
Page 21 and 22: CHAPTER 2 THE HISTORICALLY INFORMED
Page 23 and 24: century a segment of society had em
Page 25 and 26: practice. Publications from two pio
Page 27 and 28: movement occurred as a reaction to
Page 29 and 30: Furthermore, the conviction known a
Page 31 and 32: of these microfilms, as well as som
Page 33 and 34: a purpose of “documenting…the r
Page 35 and 36: how to master historical instrument
Page 37 and 38: concerning authenticity, believed c
Page 39 and 40: are of the opinion that the Early M
Page 41 and 42: Butt credits Taruskin as one of the
Page 43 and 44: CHAPTER 3 CURRENTS IN BACH INTERPRE
Page 45 and 46: professor at Leipzig University and
Page 47 and 48: It is no surprise, based on these b
Page 49 and 50: marked by the completion of Wolfgan
Page 51 and 52: Rifkin discounts this plausibility
Page 53 and 54: heroic, one-dimensional way, he fee
Page 55 and 56: portrayals of Bach, not only since
Page 57 and 58: that concretely sheds light on how
Page 59 and 60: 4 -/- The music is not expressive,
Page 61 and 62:
polyphonically in various ways. In
Page 63 and 64:
parts as the “B” parts in his K
Page 65 and 66:
other principal church, the Nicolai
Page 67 and 68:
chorale cantata was supposed to acc
Page 69 and 70:
officials, as well as it cannot be
Page 71 and 72:
Musik-Zeitung printed in May 24, 18
Page 73 and 74:
Table 1 Continued NBA no. Version 1
Page 75 and 76:
Table 1 Continued NBA no. Version 1
Page 77 and 78:
we still lack the important assuran
Page 79 and 80:
and chorales as well as any soprano
Page 81 and 82:
performance of the majority of the
Page 83 and 84:
movements omitted, conducted by Jos
Page 85 and 86:
Interestingly enough Wolle‟s cond
Page 87 and 88:
the St. John Passion. While no one
Page 89 and 90:
ecordings made of the St. John Pass
Page 91 and 92:
CHAPTER 6 CASE STUDY As stated befo
Page 93 and 94:
14 12 10 8 6 4 2 0 Obtained recordi
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Carrington‟s 2006 live recording
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composers like Mattheson who experi
Page 99 and 100:
nineteenth century and university c
Page 101 and 102:
its intensity today. Both musicolog
Page 103 and 104:
34% 8% Instrumental forces for acqu
Page 105 and 106:
Table 2 Keyboard Continuo Instrumen
Page 107 and 108:
What are the attributes and differe
Page 109 and 110:
His study suggests that there are p
Page 111 and 112:
transition in attaca fashion. Most
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Dynamics Most scholars and performe
Page 115 and 116:
Table 3 Pitch Standards Conductor Y
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that the trill initiates on the dis
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measures 58-69a and 78b-86a. The re
Page 121 and 122:
fermata on “Himmelreich.” Yet m
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subsequent forte dynamic at “Jesu
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its delivery. Interestingly enough,
Page 127 and 128:
Many conductors took advantage of t
Page 129 and 130:
Weyand (1990) was documented as the
Page 131 and 132:
elongated the fermatas slightly lon
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Beringer (1997) held out the last n
Page 135 and 136:
used this idea expressively were Sc
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milde dich hast geblut‟ zu Tod!
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expressiveness, conductors Milnes (
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German conductor Max (1990) was the
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given space with breath to enhance
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ecorded at 2:52 and 2:47 respective
Page 147 and 148:
Lastly, in regards to dynamics, mos
Page 149 and 150:
increasing amount of expressive qua
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Basiliensis located in Basel, Switz
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y the recording industry. With the
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conductors of the Berliner Singakad
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is now regarded as one of the most
Page 159 and 160:
distinct styles formed within the g
Page 161 and 162:
Version 4, which is believed to hav
Page 163 and 164:
majority of the work. The performan
Page 165 and 166:
performance, conductors were at lib
Page 167 and 168:
While issues of rhythm played a par
Page 169 and 170:
true in the sphere of duration, whe
Page 171 and 172:
Christophers, Harry, dir. Johannes-
Page 173 and 174:
---, dir. Johannespassion, by J.S.
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Old and Modern Music and Boys‟ Ch
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Choir. Pierre Verany. 1987. Kuijken
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Wolf, Jürgen, dir. Johannes - Pass
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Leusink, Pieter Jan, dir. Johannes
Page 183 and 184:
APPENDIX C SURVEY OF REVIEWS The fo
Page 185 and 186:
Worrel, Stephen W. Review of St. Jo
Page 187 and 188:
5 Violins 1 Viola 1 Viola da gamba
Page 189 and 190:
8 Violins 3 Violas (2 Viola d‟amo
Page 191 and 192:
(Not available) Orchestra (Not avai
Page 193 and 194:
2 Flutes 2 Oboes 1 Bassoon 1 Lute 1
Page 195 and 196:
2 Violas 2 Cellos 1 Violoncello 1 V
Page 197 and 198:
15 Basses Orchestra 4 Violin 1 4 Vi
Page 199 and 200:
(Not available) Orchestra (Not avai
Page 201 and 202:
Choir 5 Sopranos 5 Altos 5 Tenors 5
Page 203 and 204:
Choir (Not available) Orchestra (In
Page 205 and 206:
Version 5 (1851) Max, Hermann, dir.
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APPENDIX F MODERN VERSUS PERIOD INS
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Noll, Christoph Anselm, dir. Johann
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Schulz, Ingo, dir. Johannes - Passi
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APPENDIX I NATIONALITY OF CONDUCTOR
Page 215 and 216:
Peter Schreier (1988, 2001) Ingo Sc
Page 217 and 218:
APPENDIX J TIMING TABLES The tables
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Duration Duration 12:00 10:48 9:36
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Table 5 Jesum von Nazareth (2 b Cho
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9. Parrott 1990 10. Weyand 1990 11.
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Duration Duration 0:12 0:11 0:10 0:
Page 227 and 228:
Table 7 O große Lieb (Chorale) Con
Page 229 and 230:
9. Parrott 1990 10. Weyand 1990 11.
Page 231 and 232:
Page 233 and 234:
Table 9 Wer hat dich so geschlagen
Page 235 and 236:
11. Guttenberg 1991 12. Ericson 199
Page 237 and 238:
Page 239 and 240:
Table 11 Petrus, der nicht denkt zu
Page 241 and 242:
10. Weyand 1990 11. Guttenberg 1991
Page 243 and 244:
Page 245 and 246:
Table 13 Wäre dieser nicht ein Üb
Page 247 and 248:
9. Parrott 1990 10. Weyand 1990 11.
Page 249 and 250:
Page 251 and 252:
Table 15 Ach großer König (Choral
Page 253 and 254:
9. Parrott 1990 10. Weyand 1990 11.
Page 255 and 256:
Page 257 and 258:
Table 17 Sei gegrüßet, lieber Jü
Page 259 and 260:
9. Parrott 1990 10. Weyand 1990 11.
Page 261 and 262:
Page 263 and 264:
Table 19 Wir haben ein Gesetz (Chor
Page 265 and 266:
Page 267 and 268:
Page 269 and 270:
Table 21 Lässest du diesen los (Ch
Page 271 and 272:
9. Parrott 1990 10. Weyand 1990 11.
Page 273 and 274:
Page 275 and 276:
Table 23 Wir haben keinen König (C
Page 277 and 278:
9. Parrott 1990 10. Weyand 1990 11.
Page 279 and 280:
Page 281 and 282:
Table 25 Schreibe nicht: der Jüden
Page 283 and 284:
Page 285 and 286:
Page 287 and 288:
Table 27 Lasset uns den nicht zerte
Page 289 and 290:
9. Parrott 1990 10. Weyand 1990 11.
Page 291 and 292:
Page 293 and 294:
Table 29 Mein teurer Heiland, laß
Page 295 and 296:
9. Parrott 1990 10. Weyand 1990 11.
Page 297 and 298:
Page 299 and 300:
Table 31 Ruht wohl, ihr heiligen Ge
Page 301 and 302:
9. Parrott 1990 10. Weyand 1990 11.
Page 303 and 304:
Page 305 and 306:
Table 33 O Mensch, bewein dein Sün
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Table 34 Christe, du Lamm Gottes (C
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APPENDIX K CONDUCTORS WITH MULTIPLE
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Duration Duration 10:48 9:36 8:24 7
Page 313 and 314:
Table 36 Peter Schreier Herr, unser
Page 315 and 316:
Page 317 and 318:
Table 37 Hermann Max Herr, unser He
Page 319 and 320:
Page 321 and 322:
Table 38 Masaaki Suzuki Herr, unser
Page 323 and 324:
Page 325 and 326:
Table 39 Philippe Herreweghe Jesum
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14. Kreuzige, kreuzige 15. Wir habe
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1. Guttenberg 1991 0:11 Germany 2.
Page 331 and 332:
3. Beringer 1997 1:10 Germany Faste
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Fastest 21 f Wir haben ein Gesetz (
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Fastest 1. Noll 1997 0:28 Germany 2
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Fastest 39 Ruht wohl, ihr heiligen
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---. “Harnoncourt - Never too ear
Page 341 and 342:
---. Playing with History: The Hist
Page 343 and 344:
Dulak, Michelle. “Bringing Back B
Page 345 and 346:
Harnoncourt, Nikolaus. The Musical
Page 347 and 348:
---. “One-to-a-part? Who then tur
Page 349 and 350:
---. “The Notes inégales Revisit
Page 351 and 352:
Schubert, Peter. “Authentic Analy
Page 353 and 354:
Translation by John Lambert, Paris:
Page 355:
BIOGRAPHICAL SKETCH Michael Troy Mu
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