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Table 24 Eilt, ihr angefochtnen Seelen (Aria &Chorus) Conductor Year Duration Harnoncourt 1985 4:05 69 Gardiner 1986 3:51 18 Herreweghe 1987 4:05 19 Kuijken 1987 4:22 22 Schreier 1988 4:05 90 Christophers 1989 4:07 90 Slowik 1989 3:55 12 Max 1990 3:54 85 Parrott 1990 3:33 19 Weyand 1990 4:17 43 Guttenberg 1991 4:24 21 Ericson 1993 3:49 71 Harnoncourt 1993 4:01 94 Koopman 1993 4:03 41 The Scholars Baroque 1993 3:38 75 Ensemble (no conductor) Corboz 1994 4:05 03 Cleobury 1996 3:59 50 Dombrecht 1996 3:33 38 Milnes 1996 3:47 57 Rilling 1996 3:41 41 Beringer 1997 4:24 28 Noll 1997 3:48 18 Fasolis 1998 3:51 34 Güttler 1998 3:52 97 Schulz 1998 4:22 79 Suzuki 1998 3:49 00 Daus 1999 4:09 16 Neumann 1999 3:46 25 Smith 1999 4:08 72 Suzuki 2000 3:39 28 Herreweghe 2001 4:05 28 Leusink 2001 4:03 40 Schreier 2001 4:07 56 Higginbottom 2002 4:09 16 Hempfling 2004 4:01 78 Veldhoven 2004 3:51 53 Carrington 2006 3:57 81 Max 2006 3:58 03 265
Duration Duration 4:48 4:19 3:50 3:21 2:52 2:24 1:55 1:26 0:57 0:28 0:00 4:48 4:19 3:50 3:21 2:52 2:24 1:55 1:26 0:57 0:28 0:00 Eilt, ihr angefochtnen Seelen (Aria &Chorus) 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 Conductors 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 Conductors Figure 25. Temporal comparisions for Eilt, ihr angefochtnen Seelen. 1. Harnoncourt 1985 2. Gardiner 1986 3. Herreweghe 1987 4. Kuijken 1987 5. Schreier 1988 6. Christophers 1989 7. Slowik 1989 8. Max 1990 266 Series1 Series1
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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
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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:
Page 227 and 228: Table 7 O große Lieb (Chorale) Con
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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
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
Page 257 and 258: Table 17 Sei gegrüßet, lieber Jü
Page 263 and 264: Table 19 Wir haben ein Gesetz (Chor
Page 269 and 270: Table 21 Lässest du diesen los (Ch
Page 275 and 276: Table 23 Wir haben keinen König (C
Page 277: 9. Parrott 1990 10. Weyand 1990 11.
Page 281 and 282: Table 25 Schreibe nicht: der Jüden
Page 287 and 288: Table 27 Lasset uns den nicht zerte
Page 293 and 294: Table 29 Mein teurer Heiland, laß
Page 299 and 300: Table 31 Ruht wohl, ihr heiligen Ge
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 317 and 318: Table 37 Hermann Max Herr, unser He
Page 321 and 322: Table 38 Masaaki Suzuki Herr, unser
Page 325 and 326: Table 39 Philippe Herreweghe Jesum
Page 327 and 328: 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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