florida state university college of music performance practice

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Table 1 Continued NBA no. Version 1 (1724) Version 2 (1725) 61 Version 3 (1728/30?) Part autograph (1739) Version 4 (1749) Schumann edition (1851) arr. Schumann* 24. Aria Deleted by Schumann because soloist could not 30. Alto In middle section viola da gamba doubles alto (octave lower) 32. Bass with Chorus 33. Evangelist Chorus possibly without strings Only 3 bars (possibly with quotes from gospel of St. Mark 34. Tenor Possibly without winds 7 bars (quotes from gospel of St. Matthew With 2 flutes, 2 oboe da caccia Nos. 33-35 replaced by now lost Sinfonia In middle section viola da gamba doubles continuo part Same as Version 2 Omitted With 2 flutes, 2 oboe da caccia Same as Version 2 With 2 flutes, 2 oboe da caccia or oboe d‟amore? master aria Solo viola (replaced viola da gamba) and first cello used as string accomp.. Also two trumpets are in middle section of aria Deleted for unknown reasons
Table 1 Continued NBA no. Version 1 (1724) 35. Soprano 40. Chorale Possibly without flutes, with 2 violas d‟amore? Version 2 (1725) With 1 flute, 1 oboe da caccia Replaced by movement 40, version 2 (Christe, du Lamm Gottes) (last piece of of BWV 23) 62 Version 3 (1728/30?) Part autograph (1739) Omitted With 2 flutes, 2 oboe da caccia Omitted (ends with no. 39) Same as version 1 Version 4 (1749) With 1 flute plus violins con sordino, 1 oboe da caccia Same as version 1 * Schumann made many alterations not only deleting several movements and replacing instruments he regarded as obsolete but also copiously adding dynamics and articulations. Schumann edition (1851) arr. Schumann* Deleted aria, Schumann had intended for basset horn to replace the oboe da caccia
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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
Page 23 and 24: century a segment of society had em
Page 25 and 26: practice. Publications from two pio
Page 27 and 28: movement occurred as a reaction to
Page 29 and 30: Furthermore, the conviction known a
Page 31 and 32: of these microfilms, as well as som
Page 33 and 34: a purpose of “documenting…the r
Page 35 and 36: how to master historical instrument
Page 37 and 38: concerning authenticity, believed c
Page 39 and 40: are of the opinion that the Early M
Page 41 and 42: Butt credits Taruskin as one of the
Page 43 and 44: CHAPTER 3 CURRENTS IN BACH INTERPRE
Page 45 and 46: professor at Leipzig University and
Page 47 and 48: It is no surprise, based on these b
Page 49 and 50: marked by the completion of Wolfgan
Page 51 and 52: Rifkin discounts this plausibility
Page 53 and 54: heroic, one-dimensional way, he fee
Page 55 and 56: portrayals of Bach, not only since
Page 57 and 58: that concretely sheds light on how
Page 59 and 60: 4 -/- The music is not expressive,
Page 61 and 62: polyphonically in various ways. In
Page 63 and 64: parts as the “B” parts in his K
Page 65 and 66: other principal church, the Nicolai
Page 67 and 68: chorale cantata was supposed to acc
Page 69 and 70: officials, as well as it cannot be
Page 71 and 72: Musik-Zeitung printed in May 24, 18
Page 73: Table 1 Continued NBA no. Version 1
Page 77 and 78: we still lack the important assuran
Page 79 and 80: and chorales as well as any soprano
Page 81 and 82: performance of the majority of the
Page 83 and 84: movements omitted, conducted by Jos
Page 85 and 86: Interestingly enough Wolle‟s cond
Page 87 and 88: the St. John Passion. While no one
Page 89 and 90: ecordings made of the St. John Pass
Page 91 and 92: CHAPTER 6 CASE STUDY As stated befo
Page 93 and 94: 14 12 10 8 6 4 2 0 Obtained recordi
Page 95 and 96: Carrington‟s 2006 live recording
Page 97 and 98: composers like Mattheson who experi
Page 99 and 100: nineteenth century and university c
Page 101 and 102: its intensity today. Both musicolog
Page 103 and 104: 34% 8% Instrumental forces for acqu
Page 105 and 106: Table 2 Keyboard Continuo Instrumen
Page 107 and 108: What are the attributes and differe
Page 109 and 110: His study suggests that there are p
Page 111 and 112: transition in attaca fashion. Most
Page 113 and 114: Dynamics Most scholars and performe
Page 115 and 116: Table 3 Pitch Standards Conductor Y
Page 117 and 118: that the trill initiates on the dis
Page 119 and 120: measures 58-69a and 78b-86a. The re
Page 121 and 122: fermata on “Himmelreich.” Yet m
Page 123 and 124: 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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Table 27 Lasset uns den nicht zerte
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9. Parrott 1990 10. Weyand 1990 11.
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Table 29 Mein teurer Heiland, laß
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9. Parrott 1990 10. Weyand 1990 11.
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Table 31 Ruht wohl, ihr heiligen Ge
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9. Parrott 1990 10. Weyand 1990 11.
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Table 33 O Mensch, bewein dein Sün
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Table 34 Christe, du Lamm Gottes (C
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APPENDIX K CONDUCTORS WITH MULTIPLE
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Duration Duration 10:48 9:36 8:24 7
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Table 36 Peter Schreier Herr, unser
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Table 37 Hermann Max Herr, unser He
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Table 38 Masaaki Suzuki Herr, unser
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Table 39 Philippe Herreweghe Jesum
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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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