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Several conductors utilized gradual increases in dynamics, with the purpose <strong>of</strong><br />

adding expressiveness. Neumann (1999) shows an increase in volume in the descending<br />

continuo line present in measure 51. Additionally, Carrington (2006) shows an increase<br />

<strong>of</strong> volume beginning in measure 90. Rilling (1996) presents an interesting interpretation<br />

in phrasing melismas in measures 21-22 and 64-65. Where other conductors surveyed<br />

simply connected the three groupings <strong>of</strong> four eighth notes together, Rilling adds a<br />

luftpause after each three eighth notes. Lastly, Carrington (2006) made the unique choice<br />

from other interpretations to apply a molto ritardando in measure 95, five bars before the<br />

actual end <strong>of</strong> the movement.<br />

40 II Christe, du Lamm Gottes (Chorale)<br />

The provenance <strong>of</strong> this G minor chorale, composed in the style <strong>of</strong> an elaborate<br />

chorale prelude, is more assured. “Christe, du Lamm Gottes” was used as the final<br />

chorale in Cantata no. 23 Du wahrer Gott und Davids Sohn. 441 The text is a German<br />

translation <strong>of</strong> the Latin “Agnus Dei.” 442 Like in the first movement <strong>of</strong> the 1725 version,<br />

Rilling (1996) and Neumann (1999) perform this movement in a fuller sound than their<br />

cohort group <strong>of</strong> conductors. This movement has fewer written trills in the score than the<br />

beginning chorus <strong>of</strong> the 1725 version. Only measures 24 and 57 have definite indications<br />

to trill. However, as <strong>practice</strong>d in the beginning chorus, the conductors reviewed for this<br />

movement were assiduous in incorporating ornamentation within the movement. Below<br />

is a list <strong>of</strong> places within the score <strong>of</strong> this movement that conductors made cognizant<br />

decisions to ornament by using trills.<br />

Measure 4 Beat 4 Oboe 1<br />

Measure 8 Beat 4 Oboe 1<br />

Measure 19 Beat 2 Oboe 1<br />

Measure 31 Beat 4 Oboe 1<br />

Measure 38 Beat 2 Oboe 1<br />

Measure 43 Beat 1 Oboe 1<br />

Measure 48 Beat 2 Oboe 1<br />

Measure 53 Beat 2 Oboe 1<br />

441 Dürr, Johann Sebastian Bach’s St. John Passion, 6.<br />

442 Roehrig, “The St. John Passion by J.S. Bach in the light <strong>of</strong> the Neue Bach-Ausgabe edition 1973,” 89.<br />

133

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