florida state university college of music performance practice

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such as the St. John Passion, that has enjoyed increased popularity in the past quarter-of- a-century, would show characteristics of such expressions. 29 29 Many authors use various terms for the theory of increased expression. Terms such as “romantic,” “neoromantic,” “expressive,” “sumptuous,” “luxuriant,” and “greater sonority” are all words used to describe the belief that performances are becoming more expressive. 7
CHAPTER 2 THE HISTORICALLY INFORMED MOVEMENT The enterprise of performing and listening to music in contemporary society is an impressive but more divergent phenomenon than a century ago. A recent 2005 study from Early Music America indicates that 98.5 million adults in America listened to early music on the radio or on a recording over the course of a year. 30 Other impressive findings indicate that 21.4 million adults (10% of American adults) attended a live performance of early music during that year while 6.9 million adults (3% of American adults) participated in rehearsing or performing early music throughout that year. 31 These numbers provide evidence that early music is a thriving endeavor widely accepted by practicing musicians and the public as well. What is early music? The consensus is that the term “early music” refers to repertory from before 1800 but also can imply a specific approach to performance. A retrospective look into the movement indicates that several analogous terms have been used to describe the movement. Designations such as “early music,” “authenticity movement” and “historically informed movement” all have been used to describe the movement popular in the past century. Each of these designations has served the movement in similar but different ways, sometimes drawing stiff criticism. Each of these terms will be explored in the following summary of the movement. Antecedents of the Historically Informed Movement The fascination and appeal of historical performance practice and early music repertory has enjoyed a rich, albeit controversial, history. Some consider the movement in its full maturation, surviving a timid inception and infancy experienced in the middle of the twentieth century and a tumultuous adolescence of Sturm und Drang proportions occurring in the later part of the twentieth century. Reflection upon the movement is rational to establish criteria for qualitative evaluation of accomplishments and to avoid 30 Early Music America, A Study of Early Music Performers, Listeners, and Organizations, 2005. 31 Ibid. 8
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: performance. 24 However, since it h
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
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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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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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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:
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BIOGRAPHICAL SKETCH Michael Troy Mu
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