florida state university college of music performance practice

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K. TIMING TABLES OF CONDUCTORS WITH MULTIPLE RECORDINGS 296 L. TOP THREE FASTEST AND SLOWEST RECORDINGS FOR INDIVIDUAL MOVEMENTS 315 REFERENCES 325 BIOGRAPHICAL SKETCH 342 viii
LIST OF TABLES 1. A summary <strong>of</strong> the different versions <strong>of</strong> Bach‟s St. John Passion 59 2. Keyboard Continuo Instrument 92 3. Pitch Standards 102 4. Herr, unser Herrscher 205 5. Jesum von Nazareth (2b) 208 6. Jesum von Nazareth (2d) 211 7. O große Lieb 214 8. Dein Will gescheh, Herr Gott, zugleich 217 9. Wer hat dich so geschlagen 220 10. Bist du nicht seiner Jünger einer 223 11. Petrus, der nicht denkt zurück 226 12. Christus, der uns selig mach 229 13. Wäre dieser nicht ein Übeltäter 232 14. Wir dürfen niemand töten 235 15. Ach großer König 238 16. Nicht diesen, sondern Barrabam 241 17. Sei gegrüßet, lieber Jüdenkönig 244 18. Kreuzige, kreuzige 247 19. Wir haben ein Gesetz 250 20. Durch dein Gefängnis, Gottes Sohn 253 21. Lässest du diesen los 256 ix
Page 1 and 2: FLORIDA STATE UNIVERSITY COLLEGE OF
Page 3 and 4: Dedicated to my best friend and wif
Page 5 and 6: TABLE OF CONTENTS List of Tables ix
Page 7: Wir haben keinen König 120 Eilt, i
Page 11 and 12: LIST OF FIGURES 1. Available record
Page 13 and 14: ABSTRACT This dissertation investig
Page 15 and 16: Many broad questions have emerged a
Page 17 and 18: twentieth centuries, their value is
Page 19 and 20: performance. 24 However, since it h
Page 21 and 22: 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
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officials, as well as it cannot be
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Musik-Zeitung printed in May 24, 18
Page 73 and 74:
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
Page 83 and 84:
movements omitted, conducted by Jos
Page 85 and 86:
Interestingly enough Wolle‟s cond
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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
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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
Page 99 and 100:
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
Page 107 and 108:
What are the attributes and differe
Page 109 and 110:
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
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
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subsequent forte dynamic at “Jesu
Page 125 and 126:
its delivery. Interestingly enough,
Page 127 and 128:
Many conductors took advantage of t
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Weyand (1990) was documented as the
Page 131 and 132:
elongated the fermatas slightly lon
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Beringer (1997) held out the last n
Page 135 and 136:
used this idea expressively were Sc
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milde dich hast geblut‟ zu Tod!
Page 139 and 140:
expressiveness, conductors Milnes (
Page 141 and 142:
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
Page 149 and 150:
increasing amount of expressive qua
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Basiliensis located in Basel, Switz
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y the recording industry. With the
Page 155 and 156:
conductors of the Berliner Singakad
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is now regarded as one of the most
Page 159 and 160:
distinct styles formed within the g
Page 161 and 162:
Version 4, which is believed to hav
Page 163 and 164:
majority of the work. The performan
Page 165 and 166:
performance, conductors were at lib
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While issues of rhythm played a par
Page 169 and 170:
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
Page 183 and 184:
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
Page 195 and 196:
2 Violas 2 Cellos 1 Violoncello 1 V
Page 197 and 198:
15 Basses Orchestra 4 Violin 1 4 Vi
Page 199 and 200:
(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
Page 205 and 206:
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
Page 217 and 218:
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
Page 235 and 236:
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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Page 263 and 264:
Table 19 Wir haben ein Gesetz (Chor
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Table 21 Lässest du diesen los (Ch
Page 271 and 272:
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 285 and 286:
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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
Page 341 and 342:
---. 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
Page 353 and 354:
Translation by John Lambert, Paris:
Page 355:
BIOGRAPHICAL SKETCH Michael Troy Mu
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