florida state university college of music performance practice

many of the recordings demonstrated a full-voiced sound with core in a tenuto style, but
Jos van Veldhoven begins the first two “Herr” with full volume with subsequent decay
with the last “Herr” sung soft with a full tenuto value.
Conductors made various decisions regarding inserting trills into the score. The
edited NBA score by Arthur Mendel of the first movement shows only one marked trill (B
flat) at measure thirty-two in the Tranverse Flute 2 /Oboe 2 part. Conductors chose to
enhance the music by adding trills in the following places:
Measure 2 F sharp (3 rd beat) Tranverse Flute 1/ Oboe 1 part
Measure 9 C sharp (3 rd beat) Tranverse Flute 1/ Oboe 1 part
Measure 15 F sharp (4 th beat) Tranverse Flute 1/ Oboe 1 part
Measure 18 F sharp (3 rd beat) Tranverse Flute 1/ Oboe 1 part
Measure 20 F sharp (3 rd beat) Tranverse Flute 1/ Oboe 1 part
Measure 32 C sharp (3 rd beat) Tranverse Flute 1/ Oboe 1 part
Measure 48 C sharp (3 rd beat) Tranverse Flute 1/ Oboe 1 part
Measure 48 C sharp (4 th beat) Soprano vocal part
Measure 56 C sharp (3 rd beat) Bass vocal part
Measure 57 F sharp (3 rd beat) Tranverse Flute 1/ Oboe 1 part
Measure 57 F sharp (3 rd beat) Soprano vocal part
Measure 94 C sharp and E flat (3 rd beat) Soprano and Tenor vocal part
Jos van Veldhoven (2004) chose not to insert the written B flat trill at measure thirty-two.
German conductors Noll (1997) and Güttler (1998) had the fastest recordings in
the thirty-eight analyzed lasting 7:33 and 7:47, respectively. Belgium conductor, Kuijken
(1987) was recorded as the slowest coming in three minutes slower than the fastest
recording at 10:34. German conductor Schulz was the second slowest with 10:25. For this
movement Hempfling‟s 2004 recording is unusual in that it begins with MM72 on the
outset and suddenly jumps to MM80 on the anacrusis of measure 21.
Nikolaus Harnoncourt‟s 1985 recording demonstrates an array of dynamic
shadings, more than any other recording analyzed. Harnoncourt‟s dynamics show careful
planning in presenting softer dynamics in imitative and lighter textures and louder
dynamics in homophonic and thicker textures. Recordings like Kuijken (1987) present
an objective treatment of dynamics without variance, with forte as the default.
For this movement two other recordings should be noted for their interesting
treatment of vocal forces. Both American Eric Milnes (1996) and Dutchman Jos van
Veldhoven (2004) use the concept of concertists to sing selected imitative passages in
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