florida state university college of music performance practice

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REFERENCES Adorno, Theodor Wesendunk . “Bach defended against his devotees” Prisms trans. Samuel and Shierry Weber. Cambridge, Mass: MIT Press. Agent, Mark. “Masaaki Suzuki.” Goldberg 34 (June – August 2005): 2 August 2007 http://www.goldbergweb.com. Aldrich, P. “The „Authentic‟ Performance of Baroque Music,” Essays on music in honour of Archibald Thompson Davison. Cambridge, Mass.: HUP, 1957. Althouse, Paul L. Review of St. John Passion, conducted by Edward Higginbottom, American Record Guide 67.3 (May/June 2004): 75-76. ---. Review of St. John Passion, conducted by Philippe Herreweghe, American Record Guide 65.3 (May/June 2002): 69-70. ---. Review of St. John Passion, conducted by Craig Smith, American Record Guide 64.5 (September/October 2001): 82-83. ---. Review of St. John Passion, conducted by Diego Fasolis, American Record Guide 62.5 (September/October1999): 94-95. ---. Review of St. John Passion, conductor Karl-Friedrich Beringer, American Record Guide 61.6 (November/December1998): 88-89. ---. Review of St. John Passion, conducted by Eric Milnes, American Record Guide 60.2 (March/April1997): 80-81. ---. Review of St John Passion, conducted by Frans Brüggen, American Record Guide 56.6 (November/December 1993): 77-78. ---. Review of St. John Passion, conducted by Fritz Werner and Harry Christophers, American Record Guide 53.5 September/October 1990): 44-45. ---. Review of St. John Passion, conducted by Philippe Herreweghe and Hermann Scherchen, American Record Guide 51.6 (November/December 1988): 10-11. ---. Review for the St. John Passion, conducted by John Eliot Gardiner, American Record Guide 50.4 & 5 (Fall 1987): 3-4. Anderson, Nicholas. “A Passion to be different: review of St. John Passion, conducted by Philippe Herreweghe.” BBC Music Magazine (January 2002): 80. ---. “Review of St. John Passion, conducted by Peter Neumann.” BBC Music Magazine (August 2000): 80. 325
---. “Harnoncourt – Never too early.” BBC Music Magazine (March 1994): 48-49. Andrés, Ramón. “Johann Sebastian Bach: Readings and the Spirit.” Goldberg 34 (June – August 2005). http://www.goldbergweb.com (accessed August 2, 2007.) Auslander, Philip. “Sound and Vision: Record of the Past or Performance in the Present?” (Proceedings of the First Symposium of the Centre for the History and Analysis of Recorded Music CHARM April 14-16, 2005: Session Five). http://www.charm.rhul.ac.uk (accessed July 30, 2007.) Bach, Johann Sebastian. Johann Sebastian Bach: Johannes – Passion. Edited by Arthur Mendel. Neue Ausgabe Sämtlicher Werke. Serie II, Band 4.Basel:Bärenreiter Kassel, 1973. Bach, Johann Sebastian. The Passion According to St. John. Edited by Arthur Mendel. Bach – Gesellschaft. Bach Cantatas Website, Aryeh Oron. http://www.bach-cantatas.com/ (accessed May 18, 2007). Barker, John W. Review of St. John Passion, conducted by Jos van Veldhoven, American Record Guide 68.4 (July/August 2005): 61-63. ---. Review of St. John Passion, conducted by Stephen Cleobury, American Record Guide 61.2 (March/April 1998): 74. ---. “Overview: J S Bach: Orchestral and Choral Masterpieces.” American Record Guide 60.6 (November/December 1997): 65-83. ---. Review of St. John Passion, conducted by Ton Koopman, American Record Guide 57.5 (September/October1994): 96. Bartel, Dietrich. “Rhetoric in German Baroque Music: Ethical Gestures.” The Musical Times 144.1885 (2003): 15-19. ---. Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. Lincoln, NE: University of Nebraska Press, 1997. Barr, Raymond A. Barr “Fasch, Carl Friedrich Christian.” Grove Music Online (Accessed 11 December 2007) Baumgartner, Nicholas. “European Bach Interpretation at the Turn of the Millennium.” Bach: Journal of the Riemenschneider Bach Institute 33.1 (2002): 1-56. 326
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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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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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Page 287 and 288: Table 27 Lasset uns den nicht zerte
Page 289 and 290: 9. Parrott 1990 10. Weyand 1990 11.
Page 291 and 292: Duration Duration 1:40 1:26 1:12 0:
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 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: Fastest 39 Ruht wohl, ihr heiligen
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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