florida state university college of music performance practice

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23. Temporal comparisons for Weg, weg mit dem 260 24. Temporal comparisons for Wir haben keinen König 263 25. Temporal comparisons for Eilt, ihr angefochtnen Seelen 266 26. Temporal comparisons for Schreibe nicht: der Jüden König 269 27. Temporal comparisons for In meines Herzens Grunde 272 28. Temporal comparisons for Lasset uns den nicht zerteilen 275 29. Temporal comparisons for Er nahm alles wohl in acht 278 30. Temporal comparisons for Mein teurer Heiland, laß dich fragen 281 31. Temporal comparisons for O hilf, Christe, Gottes Sohn 284 32. Temporal comparisons for Ruht wohl, ihr heiligen Gebeine 287 33. Temporal comparisons for Ach Herr, laß dein lieb Engelein 290 34. Temporal comparisons for O Mensch, bewein dein Sünde groß 293 35. Temporal comparisons for Christe, du Lamm Gottes 295 xii
ABSTRACT This dissertation investigates developments in the performance of Johann Sebastian Bach‟s St. John Passion as evidenced in recordings of the work in the past quarter-of-a-century (1982-2007). These findings are contextualized within currents and trends found in and leading up to the movement known as the Historically Informed Performance (HIP), Bach reception and recently the premise of renewed liberalization of expressive elements often associated with “Romantic -style” performances. This performance analysis explores available commercial recordings completed between the years 1982 to 2007. Recordings were analyzed to determine particular trends in performing forces, pitch, dynamics, ornamentation, articulation and rhythm. The recent augmentation in the discography of the St. John Passion allows for a large number of recordings to be compared and contrasted in hopes of discovering present and emerging trends in contemporary practice of performance. Several inferences can be made regarding the results. First, this study suggests that despite the calls of a return to Romantic inclinations of expression and slower tempos, no observable trend can be deduced from recordings of the St. John Passion regarding if performances are becoming faster or slower. Second, the assumption concerning certain nationalities being faster or slower in their interpretations than others could not be demonstrated in this study. Third, conductors fully embraced some aspects of historical practices while ignoring others. Fourth, the diverse representations that these recordings demonstrate suggest that the early music movement has indeed experienced a relaxation from the narrow quest of authenticity to a more liberal approach of being historically aware. xiii
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 and 10: LIST OF TABLES 1. A summary of the
Page 11: LIST OF FIGURES 1. Available record
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
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other principal church, the Nicolai
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chorale cantata was supposed to acc
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officials, as well as it cannot be
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Musik-Zeitung printed in May 24, 18
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Table 1 Continued NBA no. Version 1
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Table 1 Continued NBA no. Version 1
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we still lack the important assuran
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and chorales as well as any soprano
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performance of the majority of the
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movements omitted, conducted by Jos
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Interestingly enough Wolle‟s cond
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the St. John Passion. While no one
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ecordings made of the St. John Pass
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CHAPTER 6 CASE STUDY As stated befo
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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
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nineteenth century and university c
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its intensity today. Both musicolog
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34% 8% Instrumental forces for acqu
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Table 2 Keyboard Continuo Instrumen
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What are the attributes and differe
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His study suggests that there are p
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transition in attaca fashion. Most
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Dynamics Most scholars and performe
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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
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fermata on “Himmelreich.” Yet m
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subsequent forte dynamic at “Jesu
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its delivery. Interestingly enough,
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Many conductors took advantage of t
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Weyand (1990) was documented as the
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elongated the fermatas slightly lon
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Beringer (1997) held out the last n
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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
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Lastly, in regards to dynamics, mos
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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
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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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Page 257 and 258:
Table 17 Sei gegrüßet, lieber Jü
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9. Parrott 1990 10. Weyand 1990 11.
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Page 263 and 264:
Table 19 Wir haben ein Gesetz (Chor
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Page 267 and 268:
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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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Page 275 and 276:
Table 23 Wir haben keinen König (C
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9. Parrott 1990 10. Weyand 1990 11.
Page 279 and 280:
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Table 25 Schreibe nicht: der Jüden
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Page 285 and 286:
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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:
Page 355:
BIOGRAPHICAL SKETCH Michael Troy Mu
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