J. S. Bach's St. Matthew Passion: Vocal and Instrument Forces at its Birth and Resurrections

Liew, Su-hwei (2008). J. S. Bach's St. Matthew Passion: Vocal and Instrument Forces at its Birth and Resurrections MPhil Thesis, School of Music, The University of Queensland.

Attached Files (Some files may be inaccessible until you login with your UQ eSpace credentials)
Name Description MIMEType Size Downloads
S40165026_MPhil_totalthesis.pdf Thesis application/pdf 2.17MB 15
Author Liew, Su-hwei
Thesis Title J. S. Bach's St. Matthew Passion: Vocal and Instrument Forces at its Birth and Resurrections
School, Centre or Institute School of Music
Institution The University of Queensland
Publication date 2008-10
Thesis type MPhil Thesis
Supervisor Samantha K Owens
Simon Perry
Total pages 42
Total black and white pages 42
Subjects 19 Studies in Creative Arts and Writing
Abstract/Summary In the centuries that have passed since the premiere of Johann Sebastian Bach’s St. Matthew Passion in Leipzig’s St. Thomas’s Church at the Good Friday service in 1727, the work has had a remarkable performance history. Despite the fact that it received a number of repeat performances during Bach’s own lifetime (in revised versions), the St. Matthew Passion was largely forgotten after the composer’s passing until Felix Mendelssohn “resurrected” it in Berlin in 1829 with the localSing-Akademie and the Philharmonische Gesellschaft. The latter performance created such a level of excitement and interest in musical circles that two repeat performances followed soon after, despite Mendelssohn’s absence from Berlin. In 1970, Nikolaus Harnoncourt’s groundbreaking Telefunken LP of the St. Matthew Passion with the period instrument band Concentus Musicus Wien was released, a recording that, above all, stood in stark contrast to the consistent growth in the size of choirs performing this work that had occurred over centuries since Bach’s first performance in 1727. As with Mendelssohn’s performance, Harnoncourt’s interpretation generated great interest in scholarly circles and among the listening public. This critical commentary examines the size and constitution of the vocal and instrumental forces of all three performances of the St. Matthew Passion, as well as the extent to which those of 1829 and 1970 adhered to what is known of Bach’s own practices. In addition to investigating the choices made by the respective musical directors in this respect, the reception of Mendelssohn’s and Harnoncourt’s performances will also be considered.
Keyword St. Matthew passion
Historical Performance Practice
Johann Sebastian Bach

Citation counts: Google Scholar Search Google Scholar
Created: Mon, 05 Oct 2009, 19:34:58 EST by Ms Su-hwei Liew on behalf of Library - Information Access Service