This dissertation investigates developments in the performance of Johann Sebastian Bach’s St. John Passion as evidenced in recordings of the work in the past quarter-of-a-century (1982-2007). These findings are contextualized within currents and trends found in and leading up to the movement known as the Historically Informed Performance (HIP), Bach reception and recently the premise of renewed liberalization of expressive elements often associated with “Romantic -style” performances.
This performance analysis explores available commercial recordings completed between the years 1982 to 2007. Recordings were analyzed to determine particular trends in performing forces, pitch, dynamics, ornamentation, articulation and rhythm. The recent augmentation in the discography of the St. John Passion allows for a large number of recordings to be compared and contrasted in hopes of discovering present and emerging trends in contemporary practice of performance. Several inferences can be made regarding the results. First, this study suggests that despite the calls of a return to Romantic inclinations of expression and slower tempos, no observable trend can be deduced from recordings of the St. John Passion regarding if performances are becoming faster or slower. Second, the assumption concerning certain nationalities being faster or slower in their interpretations than others could not be demonstrated in this study. Third, conductors fully embraced some aspects of historical practices while ignoring others. Fourth, the diverse representations that these recordings demonstrate suggest that the early music movement has indeed experienced a relaxation from the narrow quest of authenticity to a more liberal approach of being historically aware.
