노트르담 악파의 모테투스 이래 다성의 종교 합창곡으로 발전해 온 모테트를 바흐는 모두 7곡 (BWV·225~231) 남겼습니다. 이 중 제3번에 해당되는 ‘예수는 나의 기쁨’이 가장 규모가 크고 내용적으로도 충실합니다. '예수 나의 기쁨'이라는 제목을 가졌으나 약20분의 긴 연주시간동안 기쁨은 별로 찾아볼 수 없고, 고안된 엄숙한 음계로 합창의 묘미를 대놓고 과시합니다.
5성부 합창으로 연주되는 이 작품은 요한 프랑크의 코랄 6개의 절을 바탕으로 한 모두 11곡으로 구성되어 있습니다. 1723년 7월 요한나 마리아 키에스(Johanna Maria Kees)의 장례식을 위해 작곡되었고, 가사와 곡의 주제는 요한 프랑크의 1650년 찬송에서 다섯 절을 인용했으며, 각절 사이마다 로마서 8장의 말씀을 (1절, 2절, 9절, 10절, 11절) 사용했습니다.
바흐는 이 곡을 통해 대가답게 가사에 들어있는 여러 감정, 즉 슬픔, 갈망, 확신, 초월, 회개, 소망, 평안, 기쁨들을 음악으로 훌륭하게 표현해 냅니다. 전반적으로 가사 내용 중, 성경 구절은 그리스도께서 우리를 죄와 죽음에서 구속하시는 소망을 말하고 있고, 코랄의 가사는 믿는 이들이 예수 그리스도를 선물로 주신 하느님께 대한 사랑의 고백과 예수께서 주실 영혼의 평안을 갈망하는 내용을 담고 있습니다.
예수 나의 기쁨, 참 기쁨의 근원, 참된 내 친구 갈급한 내 마음 주를 사모하여 목이 탑니다. 흠이 없는 어린 양 그 품 안에 괴롬 없어 더 바랄 것 없도다. 주의 품에 안겨 편히 쉬는 나를 누가 해치랴 땅이 흔들리고 모두 떨지라도 겁낼 것 없도다.
죄와 지옥 물결이 우리를 덮쳐도 주는 피난처라 기쁨의 주 예수 우리 함께하니 슬픔 없어라 하나님의 자녀 폭풍 속에서도 평화로워라. 아무 일을 만나도 주 안에는 기쁨 있어 주는 나의 보배
Jesu, meine Freude, Meines Herzens Weide, Jesu, meine Zier, Ach wie lang, ach lange Ist dem Herzen bange Und verlangt nach dir! Gottes Lamm, mein Bräutigam, Außer dir soll mir auf Erden Nichts sonst Liebers werden. Es ist nun nichts Verdammliches an denen, die in Christo Jesu sind, die nicht nach dem Fleische wandeln, sondern nach dem Geist.1
Unter deinem Schirmen Bin ich vor den Stürmen Aller Feinde frei. Laß den Satan wittern, Laß den Feind erbittern, Mir steht Jesus bei. Ob es itzt gleich kracht und blitzt, Ob gleich Sünd und Hölle schrecken: Jesus will mich decken.
Denn das Gesetz des Geistes, der da lebendig machet in Christo Jesu, hat mich frei gemacht von dem Gesetz der Sünde und des Todes.2
Trotz dem alten Drachen, Trotz des Todes Rachen, Trotz der Furcht darzu! Tobe, Welt, und springe, Ich steh hier und singe In gar sichrer Ruh. Gottes Macht hält mich in acht; Erd und Abgrund muß verstummen, Ob sie noch so brummen.
Ihr aber seid nicht fleischlich, sondern geistlich, so anders Gottes Geist in euch wohnet. Wer aber Christi Geist nicht hat, der ist nicht sein.3
Weg mit allen Schätzen! Du bist mein Ergötzen, Jesu, meine Lust! Weg ihr eitlen Ehren, Ich mag euch nicht hören, Bleibt mir unbewußt! Elend, Not, Kreuz, Schmach und Tod Soll mich, ob ich viel muß leiden, Nicht von Jesu scheiden. So aber Christus in euch ist, so ist der Leib zwar tot um der Sünde willen; der Geist aber ist das Leben um der Gerechtigkeit willen.4
Gute Nacht, o Wesen, Das die Welt erlesen, Mir gefällst du nicht. Gute Nacht, ihr Sünden, Bleibet weit dahinten, Kommt nicht mehr ans Licht! Gute Nacht, du Stolz und Pracht! Dir sei ganz, du Lasterleben, Gute Nacht gegeben.
So nun der Geist des, der Jesum von den Toten auferwecket hat, in euch wohnet, so wird auch derselbige, der Christum von den Toten auferwecket hat, eure sterbliche Leiber lebendig machen um des willen, daß sein Geist in euch wohnet.5
Weicht, ihr Trauergeister, Denn mein Freudenmeister, Jesus, tritt herein. Denen, die Gott lieben, Muß auch ihr Betrüben Lauter Zucker sein. Duld ich schon hier Spott und Hohn, Dennoch bleibst du auch im Leide, Jesu, meine Freude.
Kombination der 6 Strophen von »Jesu, meine Freude« (Johann Franck, 1650) mit 5 Versen aus Römer 8:
1 Röm. 8,1 2 Röm. 8,2 3 Röm. 8,9 4 Röm. 8,10 5 Röm. 8,11.
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Jesus, my salvation, And my heart’s possession, Jesu, all my joy, With what great desiring With what deep despairing, I have longed after thee! Lamb of God, o wellbelov’d, Here on earth no joy allures me; Nothing less can please me. There can be no ungodliness in those who truly are in Jesus Christ, those who follow not their passions, but the Spirit.1
Lord, thou dost defend me From the storms around me And the enemy. Let the devil taunt me; Let the world affront me; Jesus is with me. Though storms crash, though lightnings flash, And though sin and hell afflict me, Jesus will protect me.
For the new law of Spirit, the law that wakes to life all that are in Jesus, has delivered me from all the law of sin and of destruction.2
Yes, though Satan hates me, Yes, though death awaits me, Yes, though I may fear! Rage then, world, with cursing! I stand here rejoicing, For my help is sure. For God’s power holds me secure; Earth and hellfire must keep silence, Though they raged with violence.
You are not of the body, but the Spirit, if you possess God’s Spirit within you; but he who does not dwell in Christ, he is not Christ’s.3
Go from me, all treasure! Thou art all my pleasure, Jesu, my desire. Go, all vain pretenses! You offend my senses, And I will not hear. Sorrow, pain, cross, death, and scorn, Though here they may overcome me. Shall not take thee from me. Now then, if Christ abides in you, for you the flesh is dead to all transgression, the Spirit, however, is living, since there is righteousness in you.4
So good night, affections, All the world’s attractions, For you give no joy. And good night, transgression, Sins of my commission, Come no more to me. So good night, all pride and might. And, o life of vain endeavor, Now good night forever.
Now if the will of him who raised up Lord Jesus Christ from the dead dwell within you, then the same allgracious Lord, whose mighty power raised up Lord Jesus from the dead, shall raise your mortal bodies to life eternal, through the working of his Christ that is in you.5
Leave me now, O sadness, For the Lord of gladness, Jesus, comes to me. Those who love the Master Find all their disaster Turned to hope and joy. Though I earn abuse and scorn, Thou must also suffer passion, Jesu, my salvation.
Combination of 6 verses of »Jesu, meine Freude« (Johann Franck, 1650) and 5 verses from Romans 8:
1Romans 8, 1 2Romans 8, 2 3Romans 8, 9 4Romans 8, 10 5Romans 8, 11 |
Jesu, meine Freude« BWV 227
While the preceding motet was exeptionally not based on a biblical text, ‘Jesu, meine Freude’ is also derived from a chorale. Bach set all six strophes and interspersed them so masterfully with verses from Romans 8 – he himself most likely devised this system of organization – that it practically feels as if Johann Franck might have written his verses as a kind of antithesis to the Apostle Paul. The symme-trical form which Bach invented here is no less brilliant: rejecting the tenor part of the five-part piece, he also insists on the idea of salvation: those ‘who do not follow the way of the flesh’ (‘nicht nach dem Fleische wandeln’) – depicted with long series of notes running through all parts and registers – ‘but that of the spirit’(‘sondern nach dem Geist’) – they, as the chorus unanimously and homophonically proclaims, will be saved.
The words of the following chorale challenge the word painter Bach with concepts like ‘Stürmen’ (storm), ‘Satan’, ‘Kracht und blitzt’ (thunder and lightning); only Jesus – in the last line – is simple, artless. The ‘Gesetz des Geistes’ (the law of the spirit) then asserts its prerogative in the three upper parts: it is detached from the earthly ‘law of sin and death’ (‘Gesetz der Sünde und des Todes’), which unites all the parts on one note, despite the contrapuntal profusion that has brought them there. At this point, the chorale urges defiance; with the help of dynamic accents prescribed by Bach, the chorus builds itself up to monophonic intensity of defy the laws of 3/4 time. The turbulence of the world is depicted against the background of the steadfast singer, ‘secure in peace’ (‘in gar sichrer Ruh’). Rests silence the ‘earth and abyss’ (‘Erd und Abgrund’). The linear principle used to illustrate this chorale line by line conjures up its own motet ‘enminiature’.
After having derived the antithesis ‘worldly-spiritual’from the text, Bach casts it in a light, playful double fugue, which is interwoven with the sinuous melismas of the spirit. The end of this fugue is simultaneously the center of the entire motet. At the following words ‘Wer aber Christi Geist nicht hat, der ist nicht sein’, Bach expressly calls for an ‘Adagio’ pace – a sign of the momentousness of a message that is chiefly homophonic, performed three times, and repeated at the close.
After reaching its pivotal point, the structure begins to shift away from the center. The chorale verse is illustrated with the usual ‘affects’ symbolizing misery, need and suffering ( a surly rejection of ‘eitler Ehren’ – shallow honors – and ‘aller Schätze’ – all treasures). This is followed by a three-part piece which allows the three lower voices to report about the dead before they ascend to dizzy heights, toward the light, with the help of the spirit. Then comes a large choral setting which expresses the transition from the dusk of the world to the transcendence of light by having the highest parts sing without continuo. Bach, however, did not pass up the chance to carve out the word ‘Lasterleben’ (life of vice) with a fugato and rhythmic tightening.
The penultimate movement appositely echoes the music of the second movement. The hesitancy and contemplativeness of the message in the second movement gives way here to the security and steadfastness of faith in the spirit, which has awakened Jesus from the dead (‘Jesus von den Toten auferweckt’). The closing verse, the music of which is identical with that of the opening chorale, thus represents a logical consequence: the spirit of sorrow has lost and must yield. The unification of the tenor and soprano at the beginning of the penultimate bar, on ‘Jesu, meine Freude’, might symbolize Bach’s personal view on this subject, which he has otherwise exhaustively worked out in the music.
If Bach – as is occasionally assumed – composed this motet, his lengthiest, for the funeral of Frau Kees, the wife of the postmaster, on 18 July 1723, thus shortly after he took office in Leipzig, then this would indeed have been an amazing preamble to his tenure. But if we consider that Bach had to become acquainted with the liturgical customs and practices of Leipzig at first, a later date of composition might appear more plausible: prior to 1735, at all events, whereby Bach might have drawn upon earlier compositions (Trio in G major BWV 1038) and certainly based himself on pre-existing models (e.g.Buxtehude). |
첫댓글 좋은음악 감사...함께 나누려 모셔 갑니다~~^