許陳 明正
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]
(Wikipedia)
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