Three kinds of Bach's choral music
找到了Emma Kirkby演唱的BWV4的专辑小册子，里面介绍了巴赫音乐中的三种合唱，分别对应他从歌剧中借鉴来的独唱形式。最近确实发现在诸多材料中看到的chor，choral，coro之类的词，中文都会翻译成“合唱”，但好像又有很大差别，还挺困惑的，所以仔细读了下，尽管还是一知半解，还是整理了一下，3好理解，就是比较朴素的众赞歌，主要是分不太清1和2。感觉在244马太受难曲里面应该能找到更好的对应的例子。
- The naturalistic outburst of the turba, or crowd —— present action —— recitative
- The larger-scaled polyphonic chorus —— simultaneously action and reflection on it —— arioso
- The originally congregational chorales —— meditations outside the historically ancient context —— arias
原文如下：
The three operatic elements that Bach adapted to his church music are recitative, arioso, and aria in the music for solo voices: roughly paralleled by the relationship amongthe three kinds of choral music he employed. Just as recitative evokes the immediacy of the personal life (people speaking, here andnow), so naturalistic outbursts of the turba, or crowd, represent the public life in action: music of the people, in more than one sense ‘common’ in being unredeemed. The larger-scaled polyphonic choruses, on the otherhand, present the experience of mankindrather than of specific men and women, seen sub specie aeternitatis as well as, or rather than, in given historical moments. Although these choruses start from physical gestures that are topical and local, they become acts of transcendence, impersonal in their polyphonic unfolding. The turba choruses are present action; the polyphonic choruses are simultaneously action and reflection on it; while the third type of chorus – the originally congregational chorales – remains outside the historically ancient context, being meditations indulged in as one sits prayerfully in the church. The function of the last type complements, in communal terms, that of the personalised arias; in the chorales you and I, as representative Faustian men and women, express our awareness of the story’s relevance to us unredeemed, though not unredeemable, creatures.
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