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Cecil
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Posted -
2006/7/17 下午 04:10:39
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原來這是用拉丁文唱的!
最近買了一隻北京發行的德國正牌DVD(35圓港幣 - 可見其他出品的食水何等之深 - 比較為已故教宗所製作的那一隻, 配以Andrea Bocelli的歌唱, HMV超過200, HKR 168), 適2000年7月28日巴赫逝世250周年的盛大'做忌'演出, 在萊比錫的聖多默教堂演出, 巴赫本人在這教堂任主任樂師27年, 死前在沒有委託人的情況下自發作成此曲, 也明知不可能在宗教儀式上正式使用 (因為是拉丁文的).
問題是 - 為何巴赫如此作? 新教不會用, 教廷也不會用.
此曲卻無疑是聖樂作品, 因為沒有委託人, 完全出於作曲家自發.
問題之二 - 那彌撒的內容和梵二後的公教彌撒差不多完全一樣, 今天它的公教位置是啥? 可否在咱們的禮儀中唱出?
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靚仔
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Posted -
2006/7/17 下午 04:30:16
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施施:
它們不在彌撒中使用不是因為是拉丁文,當時的禮儀正是用拉丁文的.
那其實是當時音樂界的習慣,雖然稱為彌撒曲,但實際上卻不是為彌撒當中使用的,基本上是純粹的音樂創作.
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Cecil
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Posted -
2006/7/17 下午 05:23:21
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靓兄的答覆直接就直接了, 還可以看一看以下仁兄採取的角度, 頗為發人深省 : 原來裂教是'雙方'的事, 不只是單方的事!
"The Lutheran Church never abolished the Ordinary of the Mass and the Latin version of the Ordinary. On many places it was customary to sing the Ordinary in Latin. Except for the Credo all of them were always or occasionally sung in Latin. The same practice was observed in Leipzig, where it was customary to sing the Kyrie and Gloria in Latin, sometimes also the Sanctus. The combination of Kyrie and Gloria was sometimes called a Missa Brevis, as opposed to the Missa Tota, consisting of all 5 parts of the Ordinary. As to the text, the only thing that would have been really different was that a Lutheran Church probably would leave out the 'Filioque' in the Nicene Creed, for the rest there is absolutely no difference at all. Of all 5 parts of the B-minor Mass, only the Kyrie and Gloria were presented to August the Strong to obtain the title of court composer. Presenting it a to a roman-catholic monarch doesn't make the work catholic, while catholic just means common, and AFAIK all Protestant Churches (who according to the bishop of Rome can't be called a church) consider themselves as belonging to the catholic church as opposed to the roman
catholic church. In the form it was presented to August the Strong, it was a Missa Brevis and it could have been performed in any Leipzig church service without problem and absolutely no one would have objected. Anyone who is saying Bach wrote a catholic mass (where he is actually he is saying 'Bach wrote a Roman Catholic mass') fails to acknowledge the essence of Lutheran liturgy, and the history of Lutheranism. Luther didn't want a schism, he wanted reforms. Instead he was excommunicated by Rome, and banned. With this in mind it also clear Luther and his followers never abolished Mass."
咱們公教徒, 特別中國教徒, 怎可不加以警惕!?!
他們的彌撒程序和今天咱們用的何其相似!
巴赫並非當作SECULAR 音樂來處理這作品: 他對任何作品都不當作SECULAR, 意即說, 他凡作品都加上SOLA DEO GLORIA的註腳, 這點和莫札特相似. 古人的個人意識沒有今日的人那麼重; 宗教意識相應比今人要強烈的多千百倍!
彌撒曲的各部分分佈如下:-
I. Kyrie
Kyrie eleison (1st)
5-part chorus (Soprano I, II, Alto, Tenor, Bass) in B minor, marked Adagio, Largo C (4/4)* time
Christe eleison
Duet (soprano I,II) in D major with obbligato violins, marked Andante C time
Kyrie eleison (2nd)
4-part chorus (Soprano, Alto, Tenor, Bass) in F# minor, marked Allegro moderato 2/2 time "alla breve" (split C in BGA)
II. Gloria
Gloria in excelsis
5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Vivace 3/8 time. The music was reused as the opening chorus of Bach's Cantata BWV 191.
Et in terra pax
5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Andante C time. Again the music was reused as the opening chorus of BWV 191.
Laudamus te
Aria (soprano II) in A major with violin obbligato, marked Andante C time
Gratias agimus tibi
4-part chorus (Soprano, Alto, Tenor, Bass) in D major, marked Allegro moderato split C time alla breve. The music is a reworking of the second movement of Bach's Ratwechsel Cantata BWV 29.
Domine Deus
Duet (soprano I, tenor) in G major, marked Andante C time. The music is reused as the duet from Cantata BWV 191.
Qui tollis peccata mundi
4-part chorus (Soprano II, Alto, Tenor, Bass) in B minor, marked Lento 3/4 time. The chorus is a reworking of the first half of Cantata BWV 46.
Qui sedes ad dexteram Patris
Aria (alto) in B minor with oboe d'amore obbligato, marked Andante commodo 6/8 time
Quoniam tu solus sanctus
Aria (bass) in D major with corno da caccia obbligato, marked Andante lento 3/4 time
Cum Sancto Spiritu
5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Vivace 3/4 time. The music is reused as the closing chorus of BWV 191.
III. Symbolum Nicenum, or Credo
Credo in unum Deum
5-part chorus (Soprano I, II, Alto, Tenor, Bass) in A mixolydian, marked Moderato cut time alla breve
Patrem omnipotentem
4-part chorus (Soprano, Alto, Tenor, Bass) in D major, marked Allegro split C time. The music is a reworking of the opening chorus of Cantata BWV 171.
Et in unum Dominum
Duet (soprano I, alto) in G major, marked Andante C time
Et incarnatus est
5-part chorus (Soprano I, II, Alto, Tenor, Bass) in B minor, marked Andante maestoso 3/4 time
Crucifixus
4-part chorus (Soprano II, Alto, Tenor, Bass) in E minor, marked Grave 3/2 time. The music is a reworking of the opening chorus of Cantata BWV 12.
Et resurrexit
5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Allegro 3/4 time
Et in Spriritum Sanctum
Aria (bass) in A major with oboi d'amore obbligati, marked Andantino 6/8 time
Confiteor
5-part chorus (Soprano I, II, Alto, Tenor, Bass) in F# minor, marked Moderato, Adagio split C time
Et expecto
5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Vivace ed allegro split C time. The music is a reworking of the second movement (chorus) of Bach's Ratwechsel cantata BWV 120.
IV. Sanctus, Hosanna, Benedictus, and Agnus Dei
Sanctus
6-part chorus (Soprano I, II, Alto I, II, Tenor, Bass) in D major, marked Largo C time, Vivace 3/8 time. Derived from an earlier, now lost, 3 soprano, 1 alto work written in 1724.
Hosanna
8-part (double) chorus (Soprano I, II, Alto I, II, Tenor I, II, Bass I, II) in D major, marked Allegro 3/8 time. A reworking of the opening chorus of BWV 215- although they may share a common lost model themselves.
Benedictus
Aria for tenor in B minor with flute obbligato, marked Andante 3/4 time
Hosanna (da capo)
8-part (double) chorus in D major, marked Allegro 3/8 time.
Agnus Dei
Aria for alto in G minor with violin obbligato, marked Adagio 4/4 time. Derives from an aria of a lost wedding cantata (1725) which Bach also re-used as the alto aria of his Ascension Oratorio (BWV 11) but as the two different surviving versions are markedly different, it is thought they share a common model.
Dona nobis pacem
4-part chorus in D major, marked Moderato cut time alla breve music is same as Gratias agimus tibi from Gloria
(Sola Deo Gloria)
在我看到的那次演出, 還加上了INTROIT的聖詠演唱作序, 和咱們的格式更加接近到不得了.
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靚仔
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Posted -
2006/7/18 上午 09:43:49
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我學禮儀最差就是聖樂一科.
多謝施施姐的分享.
路德的"german mass"和天主教的彌撒很類似是毫無疑問的.
另外可以一提的,"及子"的問題在當時並不是天主教和路德會之間爭論的問題,所以沒有所謂credo不同的問題.
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靚仔
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Posted -
2006/7/18 上午 09:54:28
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創作層面有很多不同的動機.
主題是宗教性的,就已不是世俗音樂的範疇.
但為得到"宮廷樂師"的名銜也可以是其動機.
但也可以是超越宗派性的,只為創作讚美天主的樂曲.
但有些樂曲其實並不適合在禮儀中詠唱,因為使會眾成為旁觀者,減低他們的參與.他們來是朝拜天主,不是來聽樂團演出.
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Cecil
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Posted -
2006/7/18 下午 03:15:47
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這讓我想起卡拉揚在'80年代在梵諦岡聖伯多祿廣場那次和若望保祿二世一起'合作'的莫札特Coronation Mass.
若果我是那次的會眾, 我會覺得很奇怪 - 那麼大個樂隊, 那樣的陣仗, 哪裡像是禮儀?
前述巴赫的音樂, 遠比莫札特的合適禮儀中採用, 因為本身樂曲都是用對位分聲部法來寫作, 即現今教廷准用和推荐的音樂風格.
我看到的那場演出, 除了沒有主祭(光榮頌由指揮比勒自己來INTONE), 禮儀氣氛尚算濃厚, 在歌詠團角樓演出, 有不少教堂聖像的鏡頭烘托音樂的演出, 而主唱和演奏的都很認真和很投入, 是非常感人的演出.
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Cecil
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Posted -
2006/7/18 下午 03:50:37
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可以分享一篇史丹福大學的短文:-
Medieval music sounds nothing like modern music. For the uninitiated, medieval music is not just Gregorian chant like that made popular by the Benedectine Monks of Santo Domingo de Silos. Chant does exhibit an almost trance-like quality, but it's the nature of the genre to only use about a half dozen notes and about as many different rhythmic patterns. Add to this the fact that there is no harmony, and you have a genre of music where every piece sounds almost exactly the same.
So I'm more interested in instrumental music and medieval polyphony like organum. This music creates an amazing, transcendental atmosphere. I suppose part of the reason I like medieval music is because I'm absolutely fascinated with the medieval era; this naturally includes the music from this time period. I find that most people, even musicians and composers, have little or no interest in experiencing medieval music. So I suppose this is my attempt to win some converts, a sort of low-level overview of the music from a time that seems so far, yet is so deeply engrained in Western culture.
Basically, all early music can be divided into two general categories: sacred and secular. Christianity was a dominant part of medieval culture, so an entire musical style developed just to support it. Sacred music was therefore set to the text of the Bible or at least inspired by it. This meant it was necessary for composers of sacred music to have some sort of education, a rare commodity in those days. For those who did not have the musical training and Biblical literacy needing for composing sacred music, there was the less-sophisticated (but equally important) realm of secular music.
The goals of sacred and secular early medieval composers were originally different. The sacred composers sought to set the Bible to music and to bring a more "heavenly" aspect to church than could be obtained by simply reading the Bible. Sacred music was originally composed to pay homage to God. Secular music, on the other hand, was composed solely for its entertainment value, whether for dance or to express love. At least in the early medieval times, sacred composers were formally trained in music and secular composers were usually not, as mentioned above. So not only did the two forms of music serve different purposes, the also represented a musical separation in society between the formally trained and the untrained, or even better, the rich and the poor.
Even to this day, this type of division still exists between those formally trained in music and those who are not. Today, however, those formally trained do not usually write sacred music, but rather what is now called "classical," or more appropriately, "art" music. The "commoners" of today listen to folk, rock, country, or some other type of relatively "simple" form of music, i.e., pop music. In essence, though music has evolved from the medieval times, it is still split into those who are formally trained and those who are not. The difference is that today the division between the trained and untrained is not delineated by religion, but usually by access to a university or other formal musical education program.
Medieval secular music was usually passed along orally and very rarely written down, so little has survived. In fact, this is true of most folk music until the last century. Further, medieval musicians and composers didn't feel the need to stamp what works they did write down with their name, as would be unthinkable for any modern artist. So part of what secular music has survived from the middle ages is often anonymous. Often, at best, music scholars have pinned down the style of a piece to several composers and to within a decade or two.
For those who do know a bit about medieval music, they usually think of the troubadors, trouveres, and minnesingers when they think of secular music. All were different names for essentially the same type of musician found in the late medieval period throughout Europe -- troubadors were found in southern France and northern Italy, trouveres in central and northern France, and minnesingers in Germany. Troubadors, trouveres, minnesangers were usually poets first, and the music was most likely originally used just as accompaniment. An estampie, instrumental music which was most likely used for dance, is another common form of secular medieval music. Further, their were also medieval dramas, predecessors of the opera. Again, the primary focus of the medieval drama was not the music, but the acting. As secular music's purpose was for entertainment, there was little drive to push its style to the edges during the early medieval times. Therefore, it was from sacred music, where the inspiration to please God was present, that medieval music truly evolved.
With the birth of Christianity came the mass. At first, it was customary to simply read excerpts from the Bible. However, in the tradition of the Jewish culture, many parts of the mass were chanted. It seems like a natural progression: a large group of people in an acoustically resonant structure (like an order of monks in a large church or cathedral) is reciting a prayer or a passage from the Bible, and then they start to hold their voices over some syllables. Maybe they let the tone of their voice rise or fall over that syllable for added effect. Regardless, it is easy to see that this was how plainchant, or Gregorian chant, came into existence. Since plainchant was a logical extension of having a group of people recite text, there were very few pitches and rhythmic variations used. This explains why plainchant has such an unusual and musically monotonous sound; it was simply one note at a time being sung by one person, e.g. a priest during mass, or a group of persons, e.g. a choir of monks. It is key to recognize that plainchant has only one note being sung at a time, and is therefore completely melodic (with a very simple melody and rhythm at that) with absolutely no harmony.
However, around the 12th century, particularly at the Cathedral of Notre Dame in Paris, sacred composers became restless with plainchant and started experimenting. They started by adding the same note an octave higher or lower to notes of the plainchant. This doesn't really change the harmony, but it adds a richer texture to it. Then, they started adding this additional voice to the plainchant at the interval of a perfect fifth or fourth instead of just at the octave. Hence, the birth of organum, the first form of polyphony. Once the concept of adding other notes to a plainchant was realized, there was no stopping the possibilities that the newly discovered concept of harmony would allow. From this evolution, the major scared forms of medieval music were created: the medieval motet and pieces composed for the various parts of the ordinary and proper mass.
The idea of harmony quickly spread to secular music, erasing the line between the musically trained and untrained that religion usually drew. Many composers starting composing both sacred and secular works. With the primitive harmony of the late medieval ages, medieval secular music consisted of the three form fixees (ballade, virelai, and rondeau), caccia, ballata, and the medieval madrigal.
討論的是中世紀時代宗教音樂和俗世音樂的源革.
當然, 最值得禮儀人類們參考的, 是教宗的權威性論點:-
http://www.ceciliaschola.org/notes/benedictonmusic.html
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