florida state university college of music performance practice

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APPENDIX D RECORDING PROFILES Provided below is information regarding the performing forces <strong>of</strong> individual recordings. Not every recording obtained provided detailed information regarding the make up <strong>of</strong> the orchestra and choir. Beringer, Karl – Friedrich, dir. Johannes – Passion, by J.S. Bach. Münchener Kammerorchester and Windsbacher Knabenchor. Bayer Records. August 1997. Choir 18 Treble Boys (Soprano part) 19 Treble Boys (Alto part) 12 Tenors 23 Basses Orchestra (Incomplete information) 1 Organ 1 Harpsichord 1 Cello 1 Double bass 2 Flutes 2 Oboe/oboe d‟ amore 2 Viola d‟amore 1 Viola da gamba 1 Lute Carrington, Simon, dir. St. John Passion, by J.S. Bach, 1725 Version. Yale Schola Cantorum and Yale Collegium Players. April 2006. Choir 6 Sopranos 6 Altos (1 Counter tenor) 6 Tenors 6 Basses Orchestra 173
5 Violins 1 Viola 1 Viola da gamba 2 Oboes 2 Flutes 1 Bassoon 1 Cello 1 Double bass 1 Organ Christophers, Harry, dir. Johannes-Passion, by J.S. Bach. The Sixteen Choir and Orchestra. Chandos. March 1989. Choir 6 Sopranos 4 Altos (3 Counter tenors) 4 Tenors 4 Basses Orchestra 4 Violin 1 4 Violin 2 2 Viola/Viola d‟amore 2 Cello (1 continuo) 1 double bass 1 Viola da gamba 1 Lute 2 Flutes 2 Oboe/Oboe d‟amore/Oboe da caccia 1 Bassoon 1 Organ Cleobury, Stephen, dir. St. John Passion, by J.S. Bach. The Brandenburg Consort and King‟s College Choir Cambridge. Brilliant Classics. March 1996. Choir All male choir (No additional information provided) Orchestra (Not available) Corboz, Michel, dir. Johannes-Passion, by J.S. Bach. Ensemble Vocal de Lausanne and 174
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FLORIDA STATE UNIVERSITY COLLEGE OF
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Dedicated to my best friend and wif
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TABLE OF CONTENTS List of Tables ix
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Wir haben keinen König 120 Eilt, i
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LIST OF TABLES 1. A summary of the
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LIST OF FIGURES 1. Available record
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ABSTRACT This dissertation investig
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Many broad questions have emerged a
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twentieth centuries, their value is
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performance. 24 However, since it h
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CHAPTER 2 THE HISTORICALLY INFORMED
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century a segment of society had em
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practice. Publications from two pio
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movement occurred as a reaction to
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Furthermore, the conviction known a
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of these microfilms, as well as som
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a purpose of “documenting…the r
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how to master historical instrument
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concerning authenticity, believed c
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are of the opinion that the Early M
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Butt credits Taruskin as one of the
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CHAPTER 3 CURRENTS IN BACH INTERPRE
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professor at Leipzig University and
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It is no surprise, based on these b
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marked by the completion of Wolfgan
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Rifkin discounts this plausibility
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heroic, one-dimensional way, he fee
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portrayals of Bach, not only since
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that concretely sheds light on how
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4 -/- The music is not expressive,
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polyphonically in various ways. In
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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
Page 135 and 136: used this idea expressively were Sc
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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 and 146: ecorded at 2:52 and 2:47 respective
Page 147 and 148: Lastly, in regards to dynamics, mos
Page 149 and 150: increasing amount of expressive qua
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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: Worrel, Stephen W. Review of St. Jo
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: Duration Duration 1:12 1:04 0:57 0:
Page 233 and 234: Table 9 Wer hat dich so geschlagen
Page 235 and 236: 11. Guttenberg 1991 12. Ericson 199
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Duration Duration 0:36 0:28 0:21 0:
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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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Table 17 Sei gegrüßet, lieber Jü
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9. Parrott 1990 10. Weyand 1990 11.
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Table 19 Wir haben ein Gesetz (Chor
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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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Table 23 Wir haben keinen König (C
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9. Parrott 1990 10. Weyand 1990 11.
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Table 25 Schreibe nicht: der Jüden
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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:
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BIOGRAPHICAL SKETCH Michael Troy Mu
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