florida state university college of music performance practice

performance, conductors were at liberty to present different interpretations that while
they may not be unequivocally accurate were nonetheless historically responsible. In
other words, choices that conductors made showed an understanding of the historical
practices related to the body of literature referencing this music but also shows that many
conductors in a pragmatic way pick and chose the elements they regard as essential in
achieving a convincing performance of an early music work. Such liberal interpretations
were not as prevalent under the auspices of authenticity. To illustrate this point the
example of Milnes‟s 1996 recording of the St. John Passion is again cited. In the
choruses, “Herr, unser Herrscher” and “Ruht wohl” Milnes uses solo singers (concertists)
in contrast with a fuller choir of sixty. While this shows a basic understanding of the
principles of coro favorito, it is not an exact interpretation of the practice that German
musicians from Schütz to Bach knew.
In regards to performing forces, the majority of conductors chose choirs with
mixed voices; however, seven recordings feature all-male choirs. Only the singular
recording of Harnonocurt‟s 1985 St. John Passion present all-male soloists as well as an
all-male choir in the performing forces. While the sizes of the choirs surveyed are
immensely smaller than the characteristic performing forces of the late nineteenth and
early twentieth centuries, few of them demonstrate the overwhelming evidence that
support minimalist one voice per part (OVPP). The Scholars Baroque Ensemble (1993)
and Jos van Veldhoven (2004) demonstrate one-voice-per-part (concertist) concept that
entails an additional four singers (ripienists) to join in the singing of the chorales. The
lack of OVPP interpretations demonstrate that performances have not reconciled with the
research literature on this topic and could suggest, that at least for now, conductors chose
to reject the historical construct of what a choir was in Bach‟s time. The majority of
conductors (24%) chose vocal forces that were in the form of a mixed choir that consisted
of a roster of anywhere between 10-19 members. Additionally, all but one recording
employs both male and female soloists.
The use of historical instruments indicates that there is an overwhelming
consensus in this matter. All but one recording (Max 2006) indicates in its instrumental
roster at least one historical instrument or copy of one. Scholars believe that Bach‟s
orchestra was slightly larger than his vocal forces, a practice that is also demonstrated in
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