巴赫：第一百四十清唱劇「醒來吧！」
J.S. Bach: Cantata No.140, Wachet auf

Cantata (清唱劇)一字來自意大利文 cantare (歌唱)，指演唱的樂曲，與 sonata (演奏的樂曲) 相對。清唱劇是一種聲樂套曲，風格和歌劇相似，帶有宣敍調(recitative)和詠嘆調(aria)，亦分獨唱(solo)、重唱(ensemble)、合唱(chorus)等，亦由樂隊伴奏，但只供宗教儀式或音樂會演出使用，沒有佈景、服裝和動作。它和神劇(oratorio)亦很相似，但篇幅較短。

清唱劇的分類有多種。
一：教堂清唱劇(church cantata)為內容和聖經有關的清唱劇。
二：世俗清唱劇(secular cantata)為內容和聖經無關的清唱劇。
三：獨唱清唱劇(solo cantata)為只運用了獨唱者和樂隊的清唱劇。
四：合唱清唱劇(choral cantata)為運用了合唱團的清唱劇。
五：眾讚歌清唱劇(chorale cantata)為運用了眾讚歌的清唱劇(眾讚歌為路德教派的一種讚美詩歌，類似現在的聖詩)。巴赫第一百四十清唱劇「醒來吧！」既是教堂清唱劇，亦是合唱和眾讚歌清唱劇。

此清唱劇作於1731年，用於三一節後第27個禮拜日演唱。這一天的福音書(馬太福音第25章第1-13節)講述十個童女拿著燈去迎接新郎，五個聰明的帶備燈油，五個愚蠢的卻沒有。愚蠢的童女後來去買油，這時新郎來了，和準備好了的童女一同參加婚筵。待愚蠢的童女到來時門已關上。

這首作品共分七個樂章，全曲結構工整平衡：
第一、四、七樂章運用了尼古拉(Philip Nicholai)一首眾讚歌(圖例)，由合唱團演出。
第二、三樂章組成一組，
第五、六樂章又組成一組，兩組皆為宣敍調加詠嘆調的組合。

Cantata

• Cantata originally meant a piece to be sung, as distinct from a sonata, which was to be played.
• It is a new genre in the Baroque period, consists of several movements including recitatives[1], arias[2], and ensemble numbers.
• It is a work for solo vocalists, chorus, and instrumentalists based on a lyric or dramatic poem.
• Unlike oratorios, it can be sacred (religious) or secular (non-religious).
• Church cantatas are designed for the Lutheran church service in Germany in the early 1700s. The cantata text was related to them. Every Sunday of church year required its own cantata. With extra works for holidays and special occasions, an annual cycle came to about 60 cantatas.
• They are written for the church congregation but not intended for public concert.

[1] A type of vocal writing, which follows the natural rhythms and accentuation of speech and its pitch contours. It is a vehicle for dialogue and a connecting link between arias.

[2] A term for a song either independent or part of a larger work. It had a central place in early opera, cantata and oratorio.

J.S. Bach (1685-1750)

• Bach composed over 1000 works. From 1946 to 1950, Dr. Wolfgang Schmieder compiled a numerical listing of Bach’s opus in BWV number[3] (Bach Werk Verzeichnis) according to genres.
• He worked as court organist and concertmaster in Weimar from 1708 to 1717, music director at court of a prince in Cothen from 1717 to 1723 and Cantor of St. Thomas’s School, and music director in Leipzig from 1723 to 1750.

Bach’s Cantatas

• Bach wrote more than 300 cantatas during his life, most were composed in his early years in Leipzig. Between 1723 and 1729, Bach composed 4 complete annual cycles of cantatas (totally about 195 church cantatas). He also composed the 5^th cycle, but many do not survive.
• Much of his cantata production is connected to the duties of church office or to the preparation of career steps in Leipzig, as churches required a lot of cantatas for Lutheran church services. He also wrote a few secular cantatas.
• Typically, a Bach cantata opens with a chorus based on a chorale melody (Lutheran hymns of the 16^th or 17^th century written by Martin Lurther), followed by some movements of recitatives, arias, and duets. It ends with a simple or embellished version of the same chorale.

第一樂章內容敍述看守的人喚醒信徒，迎接基督的來臨。這樂章運用了全樂隊和合唱團的所有聲部，以覆奏樂節曲式(ritornello form)寫成(即是一段樂隊引子不斷在樂章中重現)。這個覆奏樂節曲式運用了附點節奏，具有進行曲色彩，表示信徒迎接基督的來臨。在合唱部份，女高音以眾讚歌為固定主題(cantus firmus)，其他聲部以節奏較快的音樂進行。

第二樂章為一首獨唱男高音的宣敍調。由於它只用了通奏低音(basso continuo)來伴奏，所以是一首「清宣敍調」(recitativo secco)。歌詞內容為宣佈新郎的即將來臨。這套清唱劇將信徒接受耶穌基督比喻為一個婚禮，因此新郎為耶穌基督，新娘為接受耶穌的靈魂。

第三樂章為一首二重唱的詠嘆調，由獨唱女高音和男低音唱出。人類的靈魂(女高音)表達對耶穌渴望之情，而耶穌(男低音)則表現慰藉之情。這樂章由高章小提琴奏出充滿裝飾的旋律。

第四樂章再次運用了尼古拉的眾讚歌。這樂章分三個聲部進行：合唱團的男高音、小提琴及中提琴齊奏的高音聲部、以及通奏低音(basso continuo)奏出的低音聲部。樂章首先由小提琴及中提琴奏出一個非常優美的新旋律，然後合唱團的男高音伴隨著這個旋律唱出眾讚歌，歌詞內容為基督的到來。

第五樂章是一首由獨唱男低音唱出的宣敍調，歌詞內容為基督對新娘的接納。這樂章除了通奏低音(basso continuo)外，還運用了樂隊(第一、第二小提琴和中提琴)伴奏，因此是一首「有伴奏宣敍調」(recitativo accompagnato)。

第六樂章又是一首二重唱的詠嘆調更獨唱女高音和男低音唱出。伴奏的樂器除了通奏低音(basso continuo)外，還運用了一支獨奏的雙簧管。這樂章歌詞的內容為結合的福氣。兩個獨唱時而以較短的樂句交替，時而在長的句子中結合，表達一種歡樂和滿足的情緒。這樂章的曲式為「返始詠嘆調」(da capo aria)，意思即詠嘆調的第一部份在第二部份後重現，形成ABA的曲式。

第七樂章將眾讚歌以最簡單的四部和聲出現，由全樂隊及全合唱團演出，內容為感恩。

修訂自《音樂教室》頁63-64

Cantata BWV 140, Wachet auf, ruft uns die Stimme (1731)

(Wake up, Cries the Watchmen Voice)

概論 Introduction

• Cantata: written for the 27^th Sunday after Trinity (one of the cantata cycles), actual performance at 25^th 1731. (Because this Sunday only occurred in the church year when Easter was very early, the cantata was rarely performed.)
• Central theme: The Parable of the Wise and Foolish Virgins, and turns later to a description of heavenly Zion.
• Written at Leipzig in 1731.
• Instrumentation:
  French horn, oboes I & II, oboe da caccia or taille [old style of cor anglais],
  violino piccolo, violins I & II, viola, basso continuo, and 4-part (SATB)
  Chorus with soprano, tenor and bass soloists.

• Librettists: Philipp Nicolai (Movements 1, 4 & 7), Anon. (Movements 2, 3, 5 & 6), based on the parable of the ten virgins in Matthew 25:1-13.

[新約聖經《馬太福音》廿五章1 – 13節 – 十個童女的比喻]

¹「那時，天國好比十個童女拿著燈出去迎接新郎。

²其中有五個是愚拙的，五個是聰明的。

³愚拙的拿著燈，卻不預備油；

⁴聰明的拿著燈，又預備油在器皿裡。

⁵新郎遲延的時候，他們都打盹，睡著了。

⁶半夜有人喊著說：『新郎來了，你們出來迎接他！』

⁷那些童女就都起來收拾燈。

⁸愚拙的對聰明的說：『請分點油給我們，因為我們的燈要滅了。』

⁹聰明的回答說：『恐怕不夠你我用的；不如你們自己到賣油的那裡去買吧。』

¹⁰他們去買的時候，新郎到了。那預備好了的，同他進去坐席，門就關了。

¹¹其餘的童女隨後也來了，說：『主啊，主啊，給我們開門！』

¹²他卻回答說：『我實在告訴你們，我不認識你們。』

¹³所以，你們要警醒；因為那日子，那時辰，你們不知道。」

• Melody: based on the chorale of the same name by Philipp Nicolai

結構 Structure

		Movements	Performers	Accompaniment	Key	Meter	Content of Text
I	Chorale: Wachet auf, ruft uns die Stimme (Wake up, the voice calls to us)		Chorus	Full Orchestra	Eb	3/4	Virgins awakened by watchmen announcing the coming of the bridegroom.
II	(Secco) Recitative: Er kommt (He comes)		Tenor	Basso Continuo	Cm	4/4	The bridegroom is coming.
III	Aria (duet): Wann kommst du, mein Heil? (When will you come, my salvation?)		Soprano Bass	Violino Piccolo Basso Continuo	Cm	6/8	Dialogue between a longing soul (soprano) and Jesus (bass)
IV	Chorale: Zion hört die Wächter singen (Zion hears the watchmen singing)		Chorus (Tenors only)	Strings (unison) Basso Continuo	Eb	4/4	Zion (Christian believers) rejoices at the arrival of Lord Jesus, God’s son.
V	(Accompagnato) Recitative: So geh herein zu mir (So come in with me)		Bass	Strings Basso Continuo	(Bb)	4/4	Jesus lovingly greets the bride.
VI	Aria (duet): Mein Freund ist mein! (My friend is mine!)		Soprano Bass	Oboe solo Basso Continuo	Bb	4/4	Joyous union between Christ (bass) and Christian (soprano).
VII	Chorale: Gloria sei dir gesungen (May “Gloria” be sung to you)		Chorus	Full Orchestra (doubling the voices)	Eb	4/4	Christians praise God and rejoice in union with Him.

清唱劇的分析 Analysis of the cantata

Chorale Tune “Wachet auf”

First Movement:        Chorale Fantasia, Ritornello form

• The movements opens with an orchestral ritornello that may have been intended to suggest a procession. (Indicated with dotted rhythms, a rising figure with syncopation and a series of rising scales)
• Sopranos sing the chorale tune and the other three voices sing in an imitative dialogue based on a new motive.
• There are three layers of sound:
    1. The chorale tune (sopranos)                              Long notes
    2. The imitative dialogue (other voices)           Shorter notes
    3. Busy accompaniment (orchestra)                   Motives from the ritornello

Second Movement:    Recitative (Tenor solo)

Third Movement:      Aria (Soprano and Bass), Da capo aria

Fourth Movement:    Tenor Chorale, Ritornello form

• This is one of the most popular movement in Bach’s cantatas. Bach rearranged it as a chorale prelude for organ solo known as the first of six Schübler Chorale Preludes, BWV 645 – 650.
• Two contrasting melodies play against each other: The warm, flowing melody which is played by the strings union and the stable, slower chorale tune which is sung by the tenors.

Fifth Movement:        Recitative (Bass solo)

Sixth Movement:       Aria (Soprano and Bass), Da capo aria

Seventh Movement:   Tenor Chorale, Ritornello form

• Here the chorale is set in a relatively simple, homophonic texture for four voices, with the instruments simply doubling them.
• No doubt the congregation joined in the singing of the final chorale, which so firmly expressed their ubity and belief.