florida state university college of music performance practice

Massachusetts shows an open-mindedness that has developed within the early music
community for diverse interpretations.
These are several conspicuous examples of how conductors elected to
demonstrate individual choices and expressions in performing the St. John Passion.
Many more examples will be pointed out when analyzing individual movements within
the St. John Passion. How does one reconcile statements as Alan Blyth‟s, who believes
that recordings are timid and indifferent in seeking fresh interpretations and instead seek
the simplified approach of imitating? First, for many years the complex history and
multiple versions of the St. John Passion is one major reason it stood in the shadows of
other works. However, on the positive side, its various versions provide license for a
myriad of performance possibilities that serve as a catalyst for creativity and different
interpretations. Furthermore, since the work is not ensconced in tradition, like many other
works in the canon of Western Art music, it has enjoyed a freedom that has allowed it to
be performed in many ways. Lastly, as discussed before, there has been a mitigating of
purist attitudes concerning performance practice. Just as the change of rhetoric from
“authentic” performances to “historically informed performances” has transpired, so too
have the actualization of performances that feature a variety of performance options.
Performing Forces
Conductors examined in this dissertation made a variety of choices regarding the
structure of choirs for performing the St. John Passion. While many conductors chose
mixed choirs, seven recordings (Harnoncourt 1985, Weyand 1990, Harnoncourt 1993,
Cleobury 1996, Beringer 1997, Leusink 2001 and Higginbottom 2002) used all-male
choirs with one recording (Harnoncourt 1985) featuring not only an all male-choir but
also all-male soloists. Many conductors, in the pursuit of historical correctness, sought
out boys‟ choirs and male falsettists to perform Bach‟s works. However, this proved
difficult due to the decline in the number of boys‟ choirs, outside of England, and
additionally in many cases, the music of Bach proved too difficult due to its inherent
intricacy and complexity. In response, several scholars sought out to unearth evidence
that would support the use of mixed choirs. 342 While proof of isolated cases did surface,
342 Fabian, Bach Performance Practice, 1945-1975,” 74.
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