florida state university college of music performance practice

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when many of today‟s listeners are not fluent in the German language, much less the dated poetic symbolism. Perhaps what is meant is the expressive performance is one that captures the essence of the passion narrative. 77
CHAPTER 6 CASE STUDY As stated before, the intention of this dissertation is to investigate available recordings to determine trends in performance practice of Bach‟s St. John Passion. During the course of writing this dissertation document, thirty-eight out of seventy-nine known commercial recordings were obtained for study. This total number far exceeds previous and similar studies like Fabian‟s 2003 study that examined 15 out of 26 recordings of the St. John Passion recorded on or before 1976. 337 Similarly, Golomb‟s 2004 dissertation examined 17 out of 70 recordings of the Mass in B minor. 338 The percentage of available recordings to those secured are: 48% of commercial recordings were obtained for this study whereas Fabian (2003) secured 58% and Golomb (2004) 24%. 337 Fabian, Bach Performance Practice, 1945-1975, 275. 338 Golomb, “Expression and Meaning in Bach‟s Performance and Reception,” 29. 78
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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
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 and 74: Table 1 Continued NBA no. Version 1
Page 75 and 76: 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: ecordings made of the St. John Pass
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
Page 125 and 126: its delivery. Interestingly enough,
Page 127 and 128: Many conductors took advantage of t
Page 129 and 130: Weyand (1990) was documented as the
Page 131 and 132: elongated the fermatas slightly lon
Page 133 and 134: Beringer (1997) held out the last n
Page 135 and 136: used this idea expressively were Sc
Page 137 and 138: milde dich hast geblut‟ zu Tod!
Page 139 and 140: 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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