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Table 32 Ach Herr, laß dein lieb Engelein (Chorale) Conductor Year Duration Harnoncourt 1985 1:52 63 Gardiner 1986 1:39 84 Herreweghe 1987 2:09 15 Kuijken 1987 2:09 78 Schreier 1988 1:47 88 Christophers 1989 1:39 06 Slowik 1989 1:58 13 Max 1990 1:23 00 Parrott 1990 1:58 21 Weyand 1990 2:15 15 Guttenberg 1991 1:54 41 Ericson 1993 1:53 25 Harnoncourt 1993 1:53 79 Koopman 1993 1:40 91 The Scholars Baroque 1993 2:01 04 Ensemble (no conductor) Corboz 1994 2:19 34 Cleobury 1996 1:35 69 Dombrecht 1996 1:49 81 Milnes 1996 1:51 03 Rilling 1996 2:03 69 Beringer 1997 2:52 97 Noll 1997 2:04 62 Fasolis 1998 1:47 66 Güttler 1998 1:42 57 Schulz 1998 1:59 87 Suzuki 1998 1:40 40 Daus 1999 2:47 56 Suzuki 2000 1:42 22 Leusink 2001 1:31 47 Schreier 2001 1:43 66 Higginbottom 2002 2:03 53 Hempfling 2004 1:34 03 Veldhoven 2004 1:47 88 Max 2006 1:56 69 289
Duration Duration 3:21 2:52 2:24 1:55 1:26 0:57 0:28 0:00 3:21 2:52 2:24 1:55 1:26 0:57 0:28 0:00 Ach Herr, laß dein lieb Engelein (Chorale) 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 Conductors 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 Conductors Figure 33. Temporal comparisions for Ach Herr, laß dein lieb Engelein. 1. Harnoncourt 1985 2. Gardiner 1986 3. Herreweghe 1987 4. Kuijken 1987 5. Schreier 1988 6. Christophers 1989 7. Slowik 1989 8. Max 1990 290 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:
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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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Page 251 and 252: Table 15 Ach großer König (Choral
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Page 255 and 256: Duration Duration 0:12 0:11 0:10 0:
Page 257 and 258: Table 17 Sei gegrüßet, lieber Jü
Page 263 and 264: Table 19 Wir haben ein Gesetz (Chor
Page 265 and 266: 10. Weyand 1990 11. Guttenberg 1991
Page 269 and 270: Table 21 Lässest du diesen los (Ch
Page 275 and 276: Table 23 Wir haben keinen König (C
Page 281 and 282: Table 25 Schreibe nicht: der Jüden
Page 283 and 284: 10. Weyand 1990 11. Guttenberg 1991
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
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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
Page 329 and 330: 1. Guttenberg 1991 0:11 Germany 2.
Page 331 and 332: 3. Beringer 1997 1:10 Germany Faste
Page 333 and 334: Fastest 21 f Wir haben ein Gesetz (
Page 335 and 336: Fastest 1. Noll 1997 0:28 Germany 2
Page 337 and 338: Fastest 39 Ruht wohl, ihr heiligen
Page 339 and 340: ---. “Harnoncourt - Never too ear
Page 341 and 342: ---. Playing with History: The Hist
Page 343 and 344: Dulak, Michelle. “Bringing Back B
Page 345 and 346: Harnoncourt, Nikolaus. The Musical
Page 347 and 348: ---. “One-to-a-part? Who then tur
Page 349 and 350: ---. “The Notes inégales Revisit
Page 351 and 352: 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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