florida state university college of music performance practice

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Fastest 18 b Nicht diesen, sondern Barrabam (Chorus) 1. Max 1990 0:08 Germany 2. Koopman 1993 0:08 Holland 3. Dombrecht 1996 0:08 Belgium Slowest 1. Schulz 1998 0:11 Germany 2. Guttenberg 1991 0:11 Germany 3. Corboz 1994 0:10 Switzerland Fastest 21 b Sei gegrüßet, lieber Jüdenkönig (Chorus) 1. Max 1990 0:28 Germany 2. Hempfling 2004 0:30 Germany 3. Güttler 1998 0:30 Germany Slowest 1. Weyand 1990 0:37 Germany 2. Dombrecht 1996 0:35 Germany 3. Leusink 2001 0:35 Holland Fastest 21 d Kreuzige, kreuzige (Chorus) 1. Max 1990 0:46 Germany 2. Milnes 1996 0:46 United States of America 3. Hempfling 2004 0:46 Germany Slowest 1. Rilling 1996 0:58 Germany 2. Weyand 1990 0:57 Germany 3. Gardiner 1986 0:56 England 319
Fastest 21 f Wir haben ein Gesetz (Chorus) 1. Max 1990 1:06 Germany 2. Koopman 1993 1:09 Holland 3. Noll 1997 1:09 Germany Slowest 1. Guttenberg 1991 2:08 Germany 2. Weyand 1990 1:32 Germany 3. Beringer 1997 1:27 Germany Fastest 22 Durch dein Gefängnis, Gottes Sohn (Chorale) 1. Hempfling 2004 0:37 Germany 2. Max 1990 0:43 Germany 3. Schreier 2001 0:45 Germany Slowest 1. Daus 1999 1:15 Germany 2. Weyand 1990 1:04 Germany 3. Slowik 1989 1:01 United States of America Fastest 23 b Lässest du diesen los (Chorus) 1. Milnes 1996 1:06 United States of America 2. Koopman 1993 1:06 Holland 3. Gardiner 1986 1:07 England Slowest 1. Weyand 1990 1:20 Germany 2. Smith 1999 1:18 United States of America 3. Kuijken 1987 1:17 Belgium 320
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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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Table 23 Wir haben keinen König (C
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9. Parrott 1990 10. Weyand 1990 11.
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Page 281 and 282: Table 25 Schreibe nicht: der Jüden
Page 283 and 284: 10. Weyand 1990 11. Guttenberg 1991
Page 285 and 286: Duration Duration 1:26 1:12 0:57 0:
Page 287 and 288: Table 27 Lasset uns den nicht zerte
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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
Page 329 and 330: 1. Guttenberg 1991 0:11 Germany 2.
Page 331: 3. Beringer 1997 1:10 Germany Faste
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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