florida state university college of music performance practice

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Duration Duration 9:36 8:24 7:12 6:00 4:48 3:36 2:24 1:12 0:00 9:36 8:24 7:12 6:00 4:48 3:36 2:24 1:12 0:00 Philippe Herreweghe 1 3 5 7 9 11 13 15 17 19 21 23 25 27 Selected Movements 1 3 5 7 9 11 13 15 17 19 21 23 25 27 Selected Movements 1. Jesum von Nazareth (2b) 2. Jesum von Nazareth (2d) 3. O große Lieb 4. Dein Will gescheh, Herr Gott, zugleich 5. Wer hat dich so geschlagen 6. Bist du nicht seiner Jünger einer 7. Petrus, der nicht denkt zurück 8. Christus, der uns selig macht 9. Wäre dieser nicht ein Übeltäter 10. Wir dürfen niemand töten 11. Ach großer König 12. Nicht diesen, sondern Barrabam 13. Sei gegrüßet, dieser Jüdenkönig 313 Herreweghe 1987 Herreweghe 2001 Herreweghe 1987 Herreweghe 2001
14. Kreuzige, kreuzige 15. Wir haben ein Gesetz 16. Durch dein Gefängnis, Gottes Sohn 17. Lässet du diesen los 18. Weg, weg mit dem 19. Wir haben keinen König 20. Eilt, ihr angefochtnen Seelen 21. Schreibe nicht: der Jüden König 22. In meines Herzens Grunde 23. Lasset uns den nicht zerteilen 24. Er nahm alles wohl in acht 25. Mein teurer Heiland, laß dich fragen 26. O hilf, Christe, Gottes Sohn 27. Ruht wohl, ihr heiligen Gebeine 314
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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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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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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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Page 275 and 276: Table 23 Wir haben keinen König (C
Page 277 and 278: 9. Parrott 1990 10. Weyand 1990 11.
Page 279 and 280: Duration Duration 4:48 4:19 3:50 3:
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
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: Table 39 Philippe Herreweghe Jesum
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
Page 353 and 354: Translation by John Lambert, Paris:
Page 355: BIOGRAPHICAL SKETCH Michael Troy Mu
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