鋼琴奏者
Dinu Lipatti (19 March 1917 – 2 December 1950) was a Romanian classical pianist and composer whose career was cut short by his death from Hodgkin’s disease at age 33
歌詞
Jesu, joy of man’s desiring,
Holy wisdom, love most bright;
Drawn by Thee, our souls aspiring
Soar to uncreated light.
Word of God, our flesh that fashioned,
With the fire of life impassioned,
Striving still to truth unknown,
Soaring, dying round Thy throne.
Through the way where hope is guiding,
Hark, what peaceful music rings;
Where the flock, in Thee confiding,
Drink of joy from deathless springs.
Theirs is beauty’s fairest pleasure;
Theirs is wisdom’s holiest treasure.
Thou dost ever lead Thine own
In the love of joys unknown.
The original German verses[6] were written by Martin Jahn[7]. The lyrics express a close, friendly, and familiar friendship with Jesus, who gives life to the poet.
Wohl mir, daß ich Jesum habe,
o wie feste halt’ ich ihn,
daß er mir mein Herze labe,
wenn ich krank und traurig bin.
Jesum hab’ ich, der mich liebet
und sich mir zu eigen giebet,
ach drum laß’ ich Jesum nicht,
wenn mir gleich mein Herze bricht.
—from BWV 147, Chorale movement no. 6
Jesus bleibet meine Freude,
meines Herzens Trost und Saft,
Jesus wehret allem Leide,
er ist meines Lebens Kraft,
meiner Augen Lust und Sonne,
meiner Seele Schatz und Wonne;
darum laß’ ich Jesum nicht
aus dem Herzen und Gesicht.
—from BWV 147, Chorale movement no. 10
原著歷史
Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life), BWV 147, is a cantata by Johann Sebastian Bach. It was written originally in Weimar in 1716 (BWV 147a) for Advent and expanded in 1723 for the feast of the Visitation in Leipzig, where it was first performed on 2 July 1723.[1]
MusicThe opening chorus renders the complete words in three section, the third one a reprise of the first one and even the middle section not different in character. An instrumental sinfonia is heard in the beginning and in the end as well as, slightly changed, in all three sections with the choir woven into it. In great contrast all three sections conclude with a part accompanied only by basso continuo. Sections one and three begin with a fugue with colla parte instruments. The fugue subject stresses the word Leben (life) by a melisma extended over three measures. The soprano starts the theme, the alto enters just one measure later, tenor after two more measures, bass one measure later, the fast succession resulting in a lively music as a good image of life. In section three the pattern of entrances is the same, but building from the lowest voice to the highest.
The three recitatives are scored differently, the first accompanied by chords of the strings, the second by continuo, the third as an accompagnato of two oboes da caccia which add a continuos expressive motive, interrupted only when the child’s leaping in the womb (in German: Hüpfen) is mentioned which they illustrate.
The three arias of the original cantata are scored for voice and solo instruments (3., 5.) or only continuo, whereas the last aria, speaking of the miracles of Jesus, is accompanied by the full orchestra.
The chorale movements 6 and 10, ending the two parts of the cantata, are the same music based on a melody by Johann Schop, Werde munter, mein Gemüthe, a melody which Bach also used in his St Matthew Passion on the words Bin ich gleich von dir gewichen (#40). The simple four-part choral part is embedded in a setting of the full orchestra dominated by a motive in pastoral triplets derived from the first line of the chorale melody.[1]
Jesu, Joy of Man’s Desiring
The music of the chorale movements is now best known for the piano transcription by Dame Myra Hess of Hugh P. Allen’s choral version of Bach’s arrangement, and is notable under the title Jesu, Joy of Man’s Desiring which approximately relates to “Jesus bleibet meine Freude”, more closely translated as “Jesus shall remain my gladness”.[2]
(In the opera, Delilah is responding to Samson’s words “Dalila! Dalila! Je t’aime!” (Delilah! Delilah! I love you!) which he repeats between the first and second verses of her aria; these interjections are omitted in recital performances or sometimes sung to the changed words “Samson! Samson! Je t’aime!”; Samson’s part in the final 22 bars of the stage aria where he joins Delilah in a duet is also omitted in a recital, although some performers, notably Marilyn Horne, have sung Samson’s final words – changed as above, rising to a high B-flat. A performance takes between 5 1/2 and 6 1/2 minutes.)
Lyrics
My heart at thy dear voice
Wakes with joy, like the flow’r
At the sun’s bright returning!
But O, my dearest one,
That grief may lose its pow’r,
Say ’tis mine, thy heart’s yearning!
Oh, bide here at my side!
Promise ne’er thou’lt depart!
Once more those vows so loving
Let me hear from thy heart!
Breathe that mine still thou art!
|: Ah! respond to Love’s caresses,
Join in all my soul expresses! :|
Samson! Samson! I love you!
As winds o’er golden grain
Softly sigh roving by,
Till ’tis swaying like the ocean,
So sways my burning heart
With rapture when tou’re nigh!
And thy voice speaks thy devotion!
The dart is not so swift,
Bearing fear in its flight,
As I speed to be held
In thine arms of delight!
|: Ah! respond to Love’s caresses,
Join in all my soul expresses! :|
Samson! Samson! I love you!
My song is love unknown, my Savior’s love to me,
love to the loveless shown, that they might lovely be.
But who am I that for my sake
my Lord should take frail flesh and die?
He came from heaven’s throne, salvation to bestow;
but they refused and none the longed-for Christ would know.
This is my friend, my friend indeed,
who at my need his life did spend.
Sometimes they crowd his way and his sweet praises sing,
resounding all the day hosannas to their king.
Then “crucify” is all their breath,
and for his death they thirst and cry.
With angry shouts they have my dear Lord done away;
a murderer they save, the Prince of Life they slay!
Yet willingly he bears the shame
that through his name all might be free.
Why, what has my Lord done to cause such rage and spite?
He made the lame to run and gave the blind their sight.
What injuries! Yet these are why
the Lord most high so cruelly dies.
Here might I stay and sing of him my soul adores.
Never was love, dear King, never was grief like yours!
This is my friend in whose sweet praise
I all my days could gladly spend.
Text: Afro-American spiritual (Acts 2:42)
都恆心遵守使徒的教訓,彼此交接,擘餅,祈禱。(徒2:42)
Music: Afro-American spiritual; adapt. and arr. by William Farley Smith, 1986
1. Let us break bread together on our knees, (on our knees)
let us break bread together on our knees. (on our knees)
When I fall on my knees with my face to the rising sun,
O Lord, have mercy on me. (on me)
2. Let us drink wine together on our knees, (on our knees)
let us drink wine together on our knees. (on our knees)
When I fall on my knees with my face to the rising sun,
O Lord, have mercy on me. (on me)
3. Let us praise God together on our knees, (on our knees)
let us praise God together on our knees. (on our knees)
When I fall on my knees with my face to the rising sun,
O Lord, have mercy on me. (on me)
4. Let us praise God together on our knees, (on our knees)
let us praise God together on our knees. (on our knees)
When I fall on my knees with my face to the rising sun,
O Lord, have mercy if you please. (if you please)
This was recorded by PR jnr. in 1955 when Robeson was banned from commercial studios, in Helen and Sam Rosen’s apartment in NY. Judith Rosen is the accompaniest An informal session.
Lord, make me an instrument of your peace.
主耶穌啊,助我為祢和平之器皿,
Where there is hatred, let me sow your love;
在憎恨之處彰顯祢的愛;
where there is injury, your pardon Lord;
在傷痕之處彰顯祢寬恕;
where there is doubt, true faith in you;
在懷疑之處彰顯對祢的真正信心。
O Divine Master, grant that I may never seek
哦,主啊使我少為自己求,
so much to be consoled as to console;
少求受安慰,但求安慰人;
to be understood as to understand;
少求被瞭解,但求瞭解人;
to be loved as to love with all my soul.
少求愛,但求全心付出愛。
Lord, make me an instrument of your peace.
主耶穌啊,助我為祢和平之器皿,
where there is despair in life let me bring hope;
在絕望之處彰顯祢盼望;
where there is darkness only Your light;
在幽暗之處彰顯祢光明;
and where there is sadness ever joy.
在憂愁之處彰顯喜樂。
O Divine Master, grant that I may never seek
哦,主啊使我少為自己求,
so much to be consoled as to console;
少求受安慰,但求安慰人;
to be understood as to understand;
少求被瞭解,但求瞭解人;
to be loved as to love with all my soul.
少求愛,但求全心付出愛。
Lord, make me an instrument of your peace.
主耶穌啊,助我為祢和平之器皿,
For it is in giving that we receive;
在捨去時我們便有所得;
it is in pardoning that we are pardoned;
在赦免時我們便蒙赦免;
and it is in dying that we are born to eternal life. Amen
在老我死亡之際,我們進入永生。阿們。