florida state university college of music performance practice

More documents

Recommendations

Info

Several conductors utilized gradual increases in dynamics, with the purpose of adding expressiveness. Neumann (1999) shows an increase in volume in the descending continuo line present in measure 51. Additionally, Carrington (2006) shows an increase of volume beginning in measure 90. Rilling (1996) presents an interesting interpretation in phrasing melismas in measures 21-22 and 64-65. Where other conductors surveyed simply connected the three groupings of four eighth notes together, Rilling adds a luftpause after each three eighth notes. Lastly, Carrington (2006) made the unique choice from other interpretations to apply a molto ritardando in measure 95, five bars before the actual end of the movement. 40 II Christe, du Lamm Gottes (Chorale) The provenance of this G minor chorale, composed in the style of an elaborate chorale prelude, is more assured. “Christe, du Lamm Gottes” was used as the final chorale in Cantata no. 23 Du wahrer Gott und Davids Sohn. 441 The text is a German translation of the Latin “Agnus Dei.” 442 Like in the first movement of the 1725 version, Rilling (1996) and Neumann (1999) perform this movement in a fuller sound than their cohort group of conductors. This movement has fewer written trills in the score than the beginning chorus of the 1725 version. Only measures 24 and 57 have definite indications to trill. However, as practiced in the beginning chorus, the conductors reviewed for this movement were assiduous in incorporating ornamentation within the movement. Below is a list of places within the score of this movement that conductors made cognizant decisions to ornament by using trills. Measure 4 Beat 4 Oboe 1 Measure 8 Beat 4 Oboe 1 Measure 19 Beat 2 Oboe 1 Measure 31 Beat 4 Oboe 1 Measure 38 Beat 2 Oboe 1 Measure 43 Beat 1 Oboe 1 Measure 48 Beat 2 Oboe 1 Measure 53 Beat 2 Oboe 1 441 Dürr, Johann Sebastian Bach’s St. John Passion, 6. 442 Roehrig, “The St. John Passion by J.S. Bach in the light of the Neue Bach-Ausgabe edition 1973,” 89. 133
Lastly, in regards to dynamics, most conductors did not blatantly increase or decrease the volume but rather continued in a consistent volume which was established from the outset. However, Carrington (2006) willfully paces a gradual crescendo in measures 15- 18 during the instrumental interlude. 134
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 and 12:
LIST OF FIGURES 1. Available record
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
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 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
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: ecorded at 2:52 and 2:47 respective
Page 149 and 150: increasing amount of expressive qua
Page 151 and 152: Basiliensis located in Basel, Switz
Page 153 and 154: y the recording industry. With the
Page 155 and 156: conductors of the Berliner Singakad
Page 157 and 158: 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.
Page 175 and 176: Old and Modern Music and Boys‟ Ch
Page 177 and 178: Choir. Pierre Verany. 1987. Kuijken
Page 179 and 180: Wolf, Jürgen, dir. Johannes - Pass
Page 181 and 182: 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.
Page 207 and 208:
APPENDIX F MODERN VERSUS PERIOD INS
Page 209 and 210:
Noll, Christoph Anselm, dir. Johann
Page 211 and 212:
Schulz, Ingo, dir. Johannes - Passi
Page 213 and 214:
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
Page 219 and 220:
Duration Duration 12:00 10:48 9:36
Page 221 and 222:
Table 5 Jesum von Nazareth (2 b Cho
Page 223 and 224:
9. Parrott 1990 10. Weyand 1990 11.
Page 225 and 226:
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
Page 307 and 308:
Table 34 Christe, du Lamm Gottes (C
Page 309 and 310:
APPENDIX K CONDUCTORS WITH MULTIPLE
Page 311 and 312:
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
Page 327 and 328:
14. Kreuzige, kreuzige 15. Wir habe
Page 329 and 330:
1. Guttenberg 1991 0:11 Germany 2.
Page 331 and 332:
3. Beringer 1997 1:10 Germany Faste
Page 333 and 334:
Fastest 21 f Wir haben ein Gesetz (
Page 335 and 336:
Fastest 1. Noll 1997 0:28 Germany 2
Page 337 and 338:
Fastest 39 Ruht wohl, ihr heiligen
Page 339 and 340:
---. “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
show all

florida state university college of music performance practice

Create successful ePaper yourself

Delete template?

Save as template?