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touted as original instruments. More often than not, this actually means instruments that are copies of originals. Only one of the thirty-eight recordings did not include an instrument that would be considered “historical” in the eighteenth century sense of the word. The lone recording without any “historical instruments” was Hermann Max‟s presentation of Robert Schumann‟s arrangement of the St. John Passion. 351 This interesting recording, that prominently features Romantic inclinations like the pianoforte accompanying recitatives, clearly would not be expected to include Baroque instruments because Max‟s purpose was to present an interpretation that demonstrated Romantic style performance practice. Even Helmut Rilling, who argued for many years the advantage of using modern instruments, incorporated a viola da gamba in his 1996 St. John Passion. Unlike the choices regarding choir size it seems that choosing early instruments, or copies of early instruments, is an accepted practice, demonstrated by a consensus of the conductors studied in this dissertation. Whether it was an entire orchestra made up of historical instruments or just a few like the viola da gamba or oboe da caccia, conductors seem to feel strongly that it is paramount to perform the St. John Passion with early instruments. Thus, the recordings examined here provide credibility to the reality that historical instruments that used to be part of the periphery in the early to middle of the twentieth century, have now evolved to exist in the mainstream. 351 It could be argued that Max‟s 2006 recording featuring Schumann‟s version of the St. John Passion demonstrates period performance and instruments indicative of the Romantic era. 89
34% 8% Instrumental forces for acquired recordings 5% 90 3% 11% 5% Figure 4. Instrumental forces for acquired recordings. 1. 13 recordings (34%) no information or incomplete information was available 2. 2 recordings (5%) featuring 10-15 member orchestra 3. 4 recordings (11%) featuring 16-20 member orchestra 4. 13 recordings (34%) featuring 21-25 member orchestra 5. 3 recordings (8%) featuring 26-30 member orchestra 6. 2 recordings (5%) featuring 31-35 member orchestra 7. 1 recordings (3%) featuring 36-40 member orchestra One of the most interesting choices that conductors make in the St. John Passion is what continuo instrument, harpsichord or organ, is chosen to accompany the recitatives. This point will only be addressed slightly since this dissertation looks at the choruses and chorales and two arias with choral accompaniment. Fabian (2003) attends to this subject when she writes that nineteenth century scholars and notably Arnold Schering in the 1920s deemed the practice of accompanying the narrative recitatives with the harpsichord as historically inaccurate. 352 Despite scholars‟ advice, against the practice of 352 Fabian, Bach Performance Practice, 1945-1975, 60. 34% 1 2 3 4 5 6 7
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FLORIDA STATE UNIVERSITY COLLEGE OF
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Dedicated to my best friend and wif
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TABLE OF CONTENTS List of Tables ix
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Wir haben keinen König 120 Eilt, i
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LIST OF TABLES 1. A summary of the
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LIST OF FIGURES 1. Available record
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ABSTRACT This dissertation investig
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Many broad questions have emerged a
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twentieth centuries, their value is
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performance. 24 However, since it h
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CHAPTER 2 THE HISTORICALLY INFORMED
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century a segment of society had em
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practice. Publications from two pio
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movement occurred as a reaction to
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Furthermore, the conviction known a
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of these microfilms, as well as som
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a purpose of “documenting…the r
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how to master historical instrument
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concerning authenticity, believed c
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are of the opinion that the Early M
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Butt credits Taruskin as one of the
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CHAPTER 3 CURRENTS IN BACH INTERPRE
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professor at Leipzig University and
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It is no surprise, based on these b
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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
Page 95 and 96: Carrington‟s 2006 live recording
Page 97 and 98: composers like Mattheson who experi
Page 99 and 100: nineteenth century and university c
Page 101: its intensity today. Both musicolog
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
Page 113 and 114: Dynamics Most scholars and performe
Page 115 and 116: Table 3 Pitch Standards Conductor Y
Page 117 and 118: that the trill initiates on the dis
Page 119 and 120: measures 58-69a and 78b-86a. The re
Page 121 and 122: fermata on “Himmelreich.” Yet m
Page 123 and 124: subsequent forte dynamic at “Jesu
Page 125 and 126: 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
Page 133 and 134: Beringer (1997) held out the last n
Page 135 and 136: used this idea expressively were Sc
Page 137 and 138: milde dich hast geblut‟ zu Tod!
Page 139 and 140: expressiveness, conductors Milnes (
Page 141 and 142: German conductor Max (1990) was the
Page 143 and 144: given space with breath to enhance
Page 145 and 146: 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
Page 151 and 152: 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
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distinct styles formed within the g
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Version 4, which is believed to hav
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majority of the work. The performan
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performance, conductors were at lib
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While issues of rhythm played a par
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true in the sphere of duration, whe
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Christophers, Harry, dir. Johannes-
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---, 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
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APPENDIX C SURVEY OF REVIEWS The fo
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Worrel, Stephen W. Review of St. Jo
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5 Violins 1 Viola 1 Viola da gamba
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8 Violins 3 Violas (2 Viola d‟amo
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(Not available) Orchestra (Not avai
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2 Flutes 2 Oboes 1 Bassoon 1 Lute 1
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2 Violas 2 Cellos 1 Violoncello 1 V
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15 Basses Orchestra 4 Violin 1 4 Vi
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(Not available) Orchestra (Not avai
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Choir 5 Sopranos 5 Altos 5 Tenors 5
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Choir (Not available) Orchestra (In
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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
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Peter Schreier (1988, 2001) Ingo Sc
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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:
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Table 7 O große Lieb (Chorale) Con
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9. Parrott 1990 10. Weyand 1990 11.
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Table 9 Wer hat dich so geschlagen
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11. Guttenberg 1991 12. Ericson 199
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Table 11 Petrus, der nicht denkt zu
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10. Weyand 1990 11. Guttenberg 1991
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Table 13 Wäre dieser nicht ein Üb
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9. Parrott 1990 10. Weyand 1990 11.
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Table 15 Ach großer König (Choral
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9. Parrott 1990 10. Weyand 1990 11.
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Table 17 Sei gegrüßet, lieber Jü
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9. Parrott 1990 10. Weyand 1990 11.
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Table 19 Wir haben ein Gesetz (Chor
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Table 21 Lässest du diesen los (Ch
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9. Parrott 1990 10. Weyand 1990 11.
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Table 23 Wir haben keinen König (C
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9. Parrott 1990 10. Weyand 1990 11.
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Table 25 Schreibe nicht: der Jüden
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Table 27 Lasset uns den nicht zerte
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9. Parrott 1990 10. Weyand 1990 11.
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Table 29 Mein teurer Heiland, laß
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9. Parrott 1990 10. Weyand 1990 11.
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Table 31 Ruht wohl, ihr heiligen Ge
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9. Parrott 1990 10. Weyand 1990 11.
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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
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Table 36 Peter Schreier Herr, unser
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Table 37 Hermann Max Herr, unser He
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Table 38 Masaaki Suzuki Herr, unser
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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.
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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
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---. Playing with History: The Hist
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Dulak, Michelle. “Bringing Back B
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Harnoncourt, Nikolaus. The Musical
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---. “One-to-a-part? Who then tur
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---. “The Notes inégales Revisit
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Schubert, Peter. “Authentic Analy
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Translation by John Lambert, Paris:
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BIOGRAPHICAL SKETCH Michael Troy Mu
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