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Herreweghe, Philippe, dir. Johannes-Passion, by J.S. Bach. Orchestre de La Chapelle Royale and Collegium Vocale Gent. Harmonia Mundi France. April 1987. Higginbottom, Edward, dir. St. John Passion, by J.S. Bach. Collegium Novum and the Choir of New College. Naxos. June 2002. Koopman, Ton, dir. Johannes- Passion, by J.S. Bach. Amsterdam Baroque Orchestra and Nederlandse Bachvereniging. Erato. March 1993. Leusink, Pieter Jan, dir. Johannes Passion, by J.S. Bach. Netherlands Bach Collegium and Holland Boys Choir. Brilliant Classics. January 2001. Milnes, Eric J., dir. St. John Passion, by J.S. Bach. Trinity Cathedral Choir and Orchestra. Pro Gloria Musicae. March 1996. Noll, Christoph Anselm, dir. Johannespassion, by J.S. Bach. Florilegium musicum and Capella pura. Cantabile. March 1997. Rilling, Helmuth, dir. Edition Bachakademie Johannes-Passion, by J.S. Bach. Bach- Collegium Stuttgart and Gächinger Kantorei Stuttgart. Hänssler. March 1996. Schreier, Peter, dir. Johannes-Passion, by J.S. Bach. Staatskapelle Dresden and Rundfunkchor Leipzig. Philips. February 1988. Schulz, Ingo, dir. Johannes – Passion, by J.S. Bach. Instrumental Ensemble and Ölberg Chor. Music Art. March 1998. Slowik, Kenneth, dir. St. John Passion, by J.S. Bach. Smithsonian Chamber Players and Chorus. Smithsonian. March 1989. (plus 3 arias from 1725 version) Suzuki, Masaaki, dir. St. John Passion, by J.S. Bach. Bach Collegium Japan. TDK. July 2000. The Scholars Baroque Ensemble (no conductor), St. John Passion, by J.S. Bach. The Scholars Baroque Ensemble. Naxos. April 1993. Weyand, Eckhard, dir. St. John Passion, by J.S. Bach. Stuttgarter Hymnus-Chorknaben. Hänssler. April – May 1990. 193
APPENDIX F MODERN VERSUS PERIOD INSTRUMENTS Modern Instruments* Max, Hermann, dir. Johannes-Passion, by J.S. Bach, arr. Robert Schumann. Das Kleine Konzert and Rheinische Kantorei. Classic Produktion Osnabrück. September 2006. * While Schumann‟s version of the St. John Passion demonstrates instruments considered modern or very close to the modern equivalent of today, it could be argued that Schumann‟s version and performance was a period interpretation of the nineteenth century. Period Instruments Beringer, Karl – Friedrich, dir. Johannes – Passion, by J.S. Bach. Münchener Kammerorchester and Windsbacher Knabenchor. Bayer Records. August 1997. Carrington, Simon, dir. St. John Passion, by J.S. Bach, 1725 Version. Yale Schola Cantorum and Yale Collegium Players. April 2006. Christophers, Harry, dir. Johannes-Passion, by J.S. Bach. The Sixteen Choir and Orchestra. Chandos. March 1989. Cleobury, Stephen, dir. St. John Passion, by J.S. Bach. The Brandenburg Consort and King‟s College Choir Cambridge. Brilliant Classics. March 1996. Corboz, Michel, dir. Johannes-Passion, by J.S. Bach. Ensemble Vocal de Lausanne and Instrumental Ensemble. Cascavelle Records. February 1994. Daus, Joshard, dir. Johannes – Passion, by J.S. Bach. Orchester und Chor Bach – Ensemble and EuropaChor Akademie. Arte Nova. March 1999. Dombrecht, Paul, dir. Passio secundum Johannem, by J.S. Bach. Il Fondamento Vocal and Instrumental. Dutch Vanguard. April 1996. Ericson, Eric, dir. St. John Passion, by J.S. Bach. Drottningholm Baroque Ensemble and the Eric Ericson Chamber Choir. Vanguard Classics/Proprius. April 1993. Fasolis, Diego, dir. Johannes – Passion, by J.S. Bach. Ensemble Vanitas and Coro della Radio Svizzera. Arts. June 1998. 194
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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
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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
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: Version 5 (1851) Max, Hermann, dir.
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 233 and 234: Table 9 Wer hat dich so geschlagen
Page 235 and 236: 11. Guttenberg 1991 12. Ericson 199
Page 239 and 240: Table 11 Petrus, der nicht denkt zu
Page 241 and 242: 10. Weyand 1990 11. Guttenberg 1991
Page 245 and 246: Table 13 Wäre dieser nicht ein Üb
Page 251 and 252: Table 15 Ach großer König (Choral
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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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Duration Duration 1:04 0:57 0:50 0:
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Table 19 Wir haben ein Gesetz (Chor
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10. Weyand 1990 11. Guttenberg 1991
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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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10. Weyand 1990 11. Guttenberg 1991
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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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