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ウィキペディア英語版での「vigil」の意味
Vigil
出典:『Wikipedia』 (2011/07/12 21:12 UTC 版)
英語による解説
ウィキペディア英語版からの引用
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A vigil (from the Latin vigilia, meaning wakefulness) is a period of purposeful sleeplessness, an occasion for devotional watching, or an observance. The Italian word vigilia has become generalized in this sense and means "eve" (as in on the eve of the war).
Quatre motets pour un temps de pénitence - Wikipedia
Quatre motets pour un temps de pénitence (Four Penitential Motets), FP 97, are four sacred motets composed by Francis Poulenc in 1938–39. He wrote them on Latin texts for penitence, scored for four unaccompanied voices.[1][2]
Structure and texts
The four motets are:[1]
Timor et tremor
Vinea mea electa
Tenebrae factae sunt
Tristis est anima mea
The text for the first motet, Timor et tremor (Great fear and trembling),[1] combines verses from psalms 54 and 30, which Orlando de Lassus had also set as a motet.[3] The other three motets are based on three responsories for the Holy Week:[3] "Vinea mea electa" (Vine that I loved as my own), a responsory for the matins of Good Friday, "Tenebrae factae sunt" (Darkness fell upon the Earth), a responsory for the matins of Holy Saturday, and "Tristis est anima mea" (Sad is my soul and sorrowful), a responsory for the matins of Maundy Thursday.[1]
A performance of the work will last for approximately 13 minutes.[4]
History
Poulenc returned to sacred music first in 1937 when he composed the missa brevis Messe en sol majeur (Mass in G). He then wrote the four motets,[5] at different times. He wrote "Timor et tremor" last, in Noizay in January 1939, and dedicated it to Monsieur l'Abbé Maillet. He composed "Vinea mea electa" there in December 1938 and dedicated it to Yvonne Gouverné. "Tenebrae factae sunt" was the first of the four motets, written there in July, dedicated to Nadia Boulanger. Poulenc composed "Tristis est anima mea" in Paris in November 1938 and dedicated it to Ernest Bourmauck.[1] The motets are written for a mixed choir a cappella, at times further divided.[6]
The first performance was sung in February 1939, probably in Paris, by Les Petits Chanteurs à la Croix de Bois, repeated in several churches in Paris during the Holy Week, according to a review by Claude Chamfray.[7]
Selected recordings
Recordings were made by the chamber choir Polyphony, conducted by Stephen Layton, by the Westminster Cathedral Choir, conducted by James O'Donnell, and by The Cambridge Singers, conducted by John Rutter, among others.[2] The Norwegian chamber choir Grex Vocalis, conducted by Carl Høgset, recorded the motets along with the Messe en sol majeur.[5]
References
Schmidt 1995, p. 288.
Bowen 2008.
Schulz 2016.
Quatre motets pour un temps de pénitence at AllMusic. Retrieved 2022-01-03.
Lace 2000.
Schmidt 1995, p. 289.
Schmidt 1995, p. 292.
Bibliography
Bowen, Meurig (2008). "Francis Poulenc (1899–1963): Quatre motets pour un temps de pénitence (1938–39)". Hyperion Records. Retrieved 28 December 2016.
Lace, Ian (2000). "Francis Poulenc (1899–1963) / Libertè – Francis Poulenc a cappella". musicweb-international.com. Retrieved 4 January 2016.
Schmidt, Carl B. (1995). The Music of Francis Poulenc (1899–1963): A Catalogue. Oxford: Clarendon Press. ISBN 978-0-19-816336-7.
Schulz, Ingo (2016). "Francis Poulenc (1899–1963): Quatre motets pour un temps de pénitence (1938–39)" (in German). emmaus.de. Retrieved 28 December 2016.
External links
4 Motets pour un temps de pénitence, FP 97: Scores at the International Music Score Library Project
Poulenc: Quatre Motets pour un Temps de Pénitence BBC
Quatre motets pour un temps de pénitence at AllMusic
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Francis Poulenc
Categories: Compositions by Francis PoulencMotetsTenebrae
Tristis est anima mea (responsory) - Wikipedia
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Agony in the Garden by Duccio di Buoninsegna (early 14th century)
Tristis est anima mea is the second responsory of the Tenebrae for Maundy Thursday. The Latin text refers to Christ's Agony in the Garden of Gethsemane, a part of his Passion.
Text
The theme of the text of the second responsory for Maundy Thursday is Jesus in the garden Gethsemane, addressing his disciples.
The first two lines of the responsory are Matthew 26:38.[1] In the King James Version, the beginning of the Latin text, told in the first person, is translated as "My soul is exceeding sorrowful".[2]
While the first two lines are quoted from the bible, the last two lines of are free anonymous poetry, predicting they will see a crowd, they will flee, and Jesus will go to be sacrificed for them.[1]
Responsorium:[3]
Tristis est anima mea usque ad mortem :
sustinete hic, et vigilate mecum :
nunc videbitis turbam, quæ circumdabit me.
Vos fugam capietis, et ego vadam immolari pro vobis.
Versus:
Ecce appropinquat hora, et Filius hominis tradetur in manus peccatorum.
Vos fugam capietis, et ego vadam immolari pro vobis.
Translations are offered by the Episcopal Church[4] and the Roman Catholic Church:[3]
Responsorium:
My soul is sorrowful even unto death ;
stay you here, and watch with me.
Now ye shall see a multitude, that will surround me.
Ye shall run away, and I will go to be sacrificed for you.
Versus:
Behold the hour is at hand, and the Son of Man shall be betrayed into the hands of sinners.
Ye shall run away, and I will go to be sacrificed for you.
Settings
First notes sung by soprano and (first) alto of Lassus' Tristis est anima mea, No. 1 in Drexel 4302
Extract of Gesualdo's setting of Tristis est anima mea (1611)
Motets and other musical settings based on the responsory:
A motet by Orlande de Lassus, for instance included as No. 1 in the Drexel 4302 manuscript
A motet by Pomponio Nenna included in Sacrae Hebdomadae Responsoria (posthumously published in 1622)
Méditation №3 in "Méditations pour le Carême, H.380-389" by Marc-Antoine Charpentier
A setting included in Officium Hebdomadae Sanctae (1585) by Tomás Luis de Victoria
A 1611 responsory by Carlo Gesualdo: "... begins with desolate, drooping figures that conjure Jesus’ prayer in Gethsemane ... It then accelerates into frenzied motion, suggesting the fury of the mob and the flight of Jesus’ disciples. There follows music of profound loneliness, radiant chords punctured by aching dissonances, as Jesus says, “I will go to be sacrificed for you.”"[5]
A setting by Pedro de Cristo
TriC 26ad, a responsory by Giuseppe Corsi da Celano
A setting by Pierre Robert
A SSATB motet attributed to Johann Kuhnau
A responsory in F major (Seibel 104) by Johann David Heinichen
No. 2 of Responsoria pro hebdomada sancta, ZWV 55, by Jan Dismas Zelenka
A motet by Lorenzo Perosi
Fourth of Quatre motets pour un temps de pénitence by Francis Poulenc
The opening movement of Part III (eleventh movement overall) of Franz Liszt's oratorio Christus
An a capella choir piece (SATB) by Henk Badings Latin text
References
Melamed, Daniel R. (1995). J.S. Bach and the German Motet. Cambridge University Press. pp. 148–149. ISBN 0-52-141864-X.
Matthew 26:38 in The King James Bible
Catholic Church The Complete Office of Holy Week According to the Roman Missal and Breviary, in Latin and English, p. 200 Benziger brothers, 1875
Church Publishing The Book of Occasional Services • 2003, pp. 77–78. New York, 2004. ISBN 089869664X ISBN 9780898696646
Alex Ross. "Gesualdo: 'The Prince of Darkness'" in The New Yorker. December 19 and 26, 2011.
External links
Free scores and text (Latin, translations) of "Tristis est anima mea" in the Choral Public Domain Library (ChoralWiki)
Category: Tenebrae
Tenebrae responsories - Wikipedia
Tenebrae responsories
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Title page of Carlo Gesualdo's Tenebrae Responsoria (1611)
Tenebrae responsories are the responsories sung following the lessons of Tenebrae, the Matins services of the last three days of Holy Week: Maundy Thursday, Good Friday and Holy Saturday. Polyphonic settings to replace plainchant have been published under a various titles, including Responsoria pro hebdomada sancta (Responsories for Holy Week ).
In most places, Matins as well as Lauds of these days were normally anticipated on the evening of the preceding day and were celebrated on Wednesday, Maundy Thursday and Good Friday, respectively. The 1955 reform of the Holy Week ceremonies by Pope Pius XII, redefining Triduum Sacrum to include Easter Sunday and take in only the close of Maundy Thursday, moved them to Thursday, Friday and Saturday evenings. Tenebrae as such was not included in the 1970 Liturgy of the Hours, vanishing altogether around 1977. Summorum Pontificum (2007) now permits clerics bound to recitation of the Divine Office to use the 1961 Roman Breviary.[1][2]
Composers who produced polyphonic settings include Carlo Gesualdo (Responsoria et alia ad Officium Hebdomadae Sanctae spectantia, 1611, Jean L'Héritier, Marc-Antoine Charpentier, 19 settings (H.111 -119, H.126 - 134 and H.144), Joseph Haydn (Hob XXIIb), Jan Dismas Zelenka (ZWV 55), Max Reger, Francis Poulenc, and Pierre Boulez[citation needed].
The responsories
Within the liturgy, each responsory followed a reading. Each day's matins was divided into three nocturns. The first nocturn had three readings from Jeremiah's Book of Lamentations, and the second nocturn three readings from one or other of Saint Augustine's commentaries on the Psalms. The three readings of the third nocturn were from the First Epistle to the Corinthians on Maundy Thursday, from the Epistle to the Hebrews on the other two days.[3]
Over the three days, therefore, the responsories, like the readings, came to a total of 27. Since the polyphonic Lamentations were an important musical genre in their own right, many collections (such as Victoria's Officium Hebdomadae sanctae 1585) include only the 18 Responsories of the second and third nocturns. Gesualdo, who set all 27, also includes a Miserere and Benedictus for Lauds, and a few composers (Fabrizio Dentice and Tiburtio Massaino) set these last three times each, one setting for each day.
Maundy Thursday responsories
Maundy Thursday is called in Latin Feria V/Quinta in Cena Domini (an older spelling has Coena instead of Cena), meaning Thursday (fifth day of the week) of the Lord's Supper. Compositions for its nine responsories can therefore appear under such titles as Feria V – In Coena Domini. They can also be named by the day on which they were actually sung, as Charpentier's Les neuf répons du mercredi saint ("The nine responsories of Holy Wednesday").
Responsories of the first nocturn of Maundy Thursday
The three readings of the first nocturn of Maundy Thursday are Lamentations 1:1–5, 1:6–9 and 1:10–14.
In monte Oliveti
The first Maundy Thursday responsory refers to the Agony of Christ in Gethsemane at the foot of the Mount of Olives. Marc-Antoine Charpentier, Premier répons après la première leçon du premier nocturne, H.111, for 3 voices and continuo (1680).
Free scores and text (Latin, translations) of "In monte Oliveti" in the Choral Public Domain Library (ChoralWiki)
Tristis est anima mea
Further information: Tristis est anima mea (responsory)
The second responsory represents Jesus speaking to his disciples in the garden of Gethsemane. The first two lines of the responsory are Matthew 26:38. The last two lines of are more freely based on different Gospel passages, including Mark 14:50 and Luke 24:7.[4]
Settings of this responsory include a motet by Orlande de Lassus, appearing as No. 1 in the Drexel 4302 manuscript, a SSATB motet attributed to Johann Kuhnau, Marc-Antoine Charpentier, 2 settings: Second répons après la seconde leçon du premier nocturne, H.112 (1680), for 2 voices and continuo and Second répons après la seconde leçon du premier nocturne du Mercredi Saint, H.126 (1690), for 2 voices and continuo and a setting as part of Francis Poulenc's Quatre motets pour un temps de pénitence.
Free scores and text (Latin, translations) of "Tristis est anima mea" in the Choral Public Domain Library (ChoralWiki)
Ecce, vidimus eum
Free scores and text (Latin, translations) of "Ecce vidimus eum" in the Choral Public Domain Library (ChoralWiki)
Responsories of the second nocturn of Maundy Thursday
The readings of the second nocturn of Maundy Thursday are from Saint Augustine's commentary on Psalm 54/55
Amicus meus
Troisième répons après la troisième leçon du premier nocturne, H.113 (1680), for 1 voice and continuo
Marc-Antoine Charpentier, Premier répons après la première leçon du second nocturne du Mercredi Saint, H.127 (1690), for 1 voice , 2 flutes and continuo
Audio: "Amicus meus" by Tomás Luis de Victoriaⓘ
Free scores and text (Latin, translations) of "Amicus meus osculi" in the Choral Public Domain Library (ChoralWiki)
Judas mercator pessimus
Second of Poulenc's Sept répons des ténèbres.
Free scores and text (Latin, translations) of "Judas mercator pessimus" in the Choral Public Domain Library (ChoralWiki)
Unus ex discipulis meis
Marc-Antoine Charpentier, Quatrième répons après la première leçon du second nocturne, H.114 (1680), for 2 voices and continuo
Marc-Antoine Charpentier, Troisième répons après la troisième leçon du second nocturne du Mercredi Saint, H.132 (1690), for 1 voice, 2 violins and continuo
Audio: "Unus ex discipulis meis" by Tomás Luis de Victoriaⓘ
Free scores and text (Latin, translations) of "Unus ex discipulis" in the Choral Public Domain Library (ChoralWiki)
Responsories of the third nocturn of Maundy Thursday
The readings of the third nocturn of Maundy Thursday are 1 Corinthians 11:17−22, 11:23−26, 11:27−34
Eram quasi agnus innocens
Marc-Antoine Charpentier, Cinquième répons après la seconde leçon du second nocturne, H.115 (1680), for 1 voice and continuo
Free scores and text (Latin, translations) of "Eram quasi agnus innocens" in the Choral Public Domain Library (ChoralWiki)
Una hora
Marc-Antoine Charpentier, Sixième répons après la troisième leçon du second nocturne, H.116 (1680), for 3 voices and continuo
First of Poulenc's Sept répons des ténèbres.
Free scores and text (Latin, translations) of "Una hora" in the Choral Public Domain Library (ChoralWiki)
Seniores populi
Marc-Antoine Charpentier, Septième répons après la première leçon du troisième nocturne, H.117 (1680), for 1 voice and continuo
Free scores and text (Latin, translations) of "Seniores populi" in the Choral Public Domain Library (ChoralWiki)
Responsories of Good Friday
Good Friday, Feria VI/Sexta in Parasceve, meaning Friday (sixth day of the week) of the Day of Preparation (from Greek Παρασκευή). Thus this second set of nine responsories can appear under such titles as Feria VI – In Parasceve.
Responsories of the first nocturn of Good Friday
The readings of the first nocturn of Good Friday are Lamentations 2:8–11, 2:12–15 and 3:1–9.
Omnes amici mei
Marc-Antoine Charpentier, Répons après la première leçon de ténèbres du Jeudi Saint, H.144 (mid1690), for 1 voice, 2 flutes and continuo
Free scores and text (Latin, translations) of "Omnes amici mei" in the Choral Public Domain Library (ChoralWiki)
Velum templi scissum est
Marc-Antoine Charpentier, Second répons après la seconde leçon du premier nocturne du Jeudi Saint, H.128, for soloists, chorus, flutes, strings and continuo (1690)
Free scores and text (Latin, translations) of "Velum templi" in the Choral Public Domain Library (ChoralWiki)
Vinea mea electa
Second of Poulenc's Quatre motets pour un temps de pénitence.
Free scores and text (Latin, translations) of "Vinea mea electa" in the Choral Public Domain Library (ChoralWiki)
Responsories of the second nocturn of Good Friday
The readings of the second nocturn of Good Friday are from Saint Augustine's commentary on Psalm 63/64
Tamquam ad latronem existis
Marc-Antoine Charpentier, Premier répons après la première leçon du second nocturne du Jeudi Saint, H.133 (1690), for 1 voice, 2 flutes,, 2 violins and continuo
Free scores and text (Latin, translations) of "Tamquam ad latronem" in the Choral Public Domain Library (ChoralWiki)
Tenebrae factae sunt
This responsory is included on p. 269 of the Lutheran Neu Leipziger Gesangbuch (1682). Marc-Antoine Charpentier, Second répons après la seconde leçon du second nocturne du Jeudi Saint, for 1 voice, flutes, strings and continuo, H.129 (1690).Third of Poulenc's Quatre motets pour un temps de pénitence, and fifth of his Sept répons des ténèbres
Free scores and text (Latin, translations) of "Tenebrae factae sunt" in the Choral Public Domain Library (ChoralWiki)
Animam meam dilectam
Free scores and text (Latin, translations) of "Animam meam dilectam" in the Choral Public Domain Library (ChoralWiki)
Responsories of the third nocturn of Good Friday
The readings of the third nocturn of Holy Saturday are taken from Hebrews 4:11 – 5:10.
Tradiderunt me
Free scores and text (Latin, translations) of "Tradiderunt me" in the Choral Public Domain Library (ChoralWiki)
Jesum tradidit impius
Third of Poulenc's Sept répons des ténèbres
Free scores and text (Latin, translations) of "Jesum tradidit impius" in the Choral Public Domain Library (ChoralWiki)
Caligaverunt oculi mei
Fourth of Poulenc's Sept répons des ténèbres
Audio: "Caligaverunt oculi mei" by Tomás Luis de Victoriaⓘ
Free scores and text (Latin, translations) of "Caligaverunt oculi mei" in the Choral Public Domain Library (ChoralWiki)
Responsories of Holy Saturday
Holy Saturday, Sabbato Sancto in Latin. Responsories for this day can appear under such titles as Sabbato Sancto.
Responsories of the first nocturn of Holy Saturday
The readings of the first nocturn of Holy Saturday are from Lamentations, 3:22–30, 4:1–6 and 5:1–11.
Sicut ovis
Responsorium:
Sicut ovis ad occisionem ductus est,
Et dum male tractaretur, non aperuit os suum :
Traditus est ad mortem ut vivificaret populum suum.
Versus:
Tradidit in mortem animam suam,
Et inter sceleratos reputatus est.
Free scores and text (Latin, translations) of "Sicut ovis ad occisionem" in the Choral Public Domain Library (ChoralWiki)
Jerusalem surge
Marc-Antoine Charpentier, Second répons après la seconde leçon du premier nocturne de Vendredi Saint, H.130 (1690), for 2 voices, 2 flutes and continuo
Free scores and text (Latin, translations) of "Jerusalem surge et exue" in the Choral Public Domain Library (ChoralWiki)
Plange quasi virgo
This responsory has some parallels with the Book of Joel, e.g. "plange quasi virgo" ("Lament like a girl", 1:8), "accingite vos et plangite sacerdotes ululate ministri altaris" ("Put on sackcloth and mourn, you priests; Wail, you ministers of the altar", 1:13) and "magnus enim dies Domini et terribilis valde" ("for the day of Yahweh is great and very awesome", 2:11).
Responsorium:
Plange quasi virgo, plebs mea.
Ululate pastores, in cinere et cilicio,
Quia veniet Dies Domini Magna
Et amara valde.
Versus:
Accingite vos, sacerdotes, et plangite,
Ministri altaris, aspergite vos cinere.
Free scores and text (Latin, translations) of "Plange quasi virgo" in the Choral Public Domain Library (ChoralWiki)
Responsories of the second nocturn of Holy Saturday
The readings of the second nocturn of Holy Saturday are from Saint Augustine's commentary on Psalm 63/64.
Recessit pastor noster
Free scores and text (Latin, translations) of "Recessit Pastor noster" in the Choral Public Domain Library (ChoralWiki)
O vos omnes
Further information: O vos omnes
The text is adapted from the Latin Vulgate translation of Lamentations 1:12. Some of the most famous settings of the text are by Tomás Luis de Victoria (two settings for four voices: 1572 and 1585), Carlo Gesualdo (five voices: 1603; six voices: 1611), Marc-Antoine Charpentier, Second répons après la 1ère leçon du second nocturne du Vendredi saint, H.134, for 1 voice, flutes and continuo (1690) and Pablo Casals (mixed choir: 1932).
Audio: "O vos omnes" by Tomás Luis de Victoria (1585) performed by The Tudor Consortⓘ
Free scores and text (Latin, translations) of "O vos omnes" in the Choral Public Domain Library (ChoralWiki)
Ecce quomodo moritur justus
Main article: The righteous perishes § Responsory "Ecce quomodo moritur justus"
Based on Isaiah 57:1–2. A german version of the text of this responsory is set as Der Gerechte kömmt um. Poulenc set it as the seventh of his Sept répons des ténèbres.
Marc-Antoine Charpentier, Troisième répons après la troisième leçon du second nocturne du Vendredi Saint, H.131 (1690), for 1 voice, muted strings and continuo
Free scores and text (Latin, translations) of "Ecce quomodo moritur" in the Choral Public Domain Library (ChoralWiki)
Responsories of the third nocturn of Holy Saturday
The three readings of the third nocturn of Holy Saturday are Hebrews 9:11–14, 9:15–18 and 9:19–22.
Astiterunt reges terrae
Free scores and text (Latin, translations) of "Astiterunt reges terrae" in the Choral Public Domain Library (ChoralWiki)
Aestimatus sum
Free scores and text (Latin, translations) of "Aestimatus sum" in the Choral Public Domain Library (ChoralWiki) [5]
Sepulto Domino
Sixth of Poulenc's Sept répons des ténèbres
Free scores and text (Latin, translations) of "Sepulto Domino" in the Choral Public Domain Library (ChoralWiki)
References
Frederick Aquilina, Benigno Zerafa (1726-1804) and the Neapolitan Galant Style (Boydell & Brewer, 2016), p. 74
Thomas Pope, Holy Week in the Vatican (Dublin 1874), p. 70
"Liber Usualis 1961, pp. 631−773" (PDF). Archived from the original (PDF) on 2020-02-17. Retrieved 2019-02-12.
Melamed, Daniel R. (1995). J.S. Bach and the German Motet. Cambridge University Press. pp. 148–149. ISBN 0-52-141864-X.
Algemesí (17 Feb 2019). "Aestimatus sum" (Podcast). Gregorian Chant Summit. Retrieved 7 May 2019.
External links
Free scores of Tenebrae Responsories in the Choral Public Domain Library (ChoralWiki)
Category: Tenebrae
This page was last edited on 6 August 2023, at 21:59 (UTC).
テネブレの7つの応唱 - Wikipedia
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ウィキポータル クラシック音楽
ポータル クラシック音楽
『テネブレの7つの応唱』（Sept répons des ténèbres） FP 181は、フランシス・プーランクが1961年に作曲した宗教音楽。曲はテネブレ（英語版）のレスポンソリウム（応唱）から採られたラテン語のテクストを用いた7曲から成り、ソプラノ独唱、合唱と管弦楽のために書かれている。ニューヨーク・フィルハーモニックの委嘱作品であり、初演は作曲者の死後の1963年4月にニューヨークのリンカーン・センターで行われた。
概要
プーランクは1936年に初めて宗教音楽へ意識を戻して『黒い聖母像への連禱』 FP 82を作曲、翌1937年には続けてミサ曲 ト長調などの複数の宗教的作品を書き上げた。また1956年のオペラ『カルメル会修道女の対話』ではフランス革命の最中、修道女たちに襲い掛かる宿命が扱われた[1]。
本作はリンカーン・センター内に新たに誕生したコンサート・ホールのこけら落としのためとして、レナード・バーンスタインとニューヨーク・フィルハーモニックからの委嘱を受けて1961年に作曲された。同ホールは当時フィルハーモニック・ホールと呼ばれていたが、その後エイヴリー・フィッシャー・ホールという名前が定着することになる[1][2]。プーランクはまず1961年にピアノ伴奏合唱曲とした版を書き上げ、1962年にこれにオーケストレーションを施した。初演は作曲者没後の1963年4月11日に行われ、指揮はトーマス・シッパーズ、ニューヨーク・フィルハーモニックの合唱と管弦楽が演奏した[3]。フランス初演は1963年12月10日にパリのシャンゼリゼ劇場において、ジョルジュ・プレートルの指揮、フランス国立管弦楽団とサント＝クロワ少年合唱団[注 1]、フランス国営放送合唱団によって行われた[4]。
楽曲構成
曲はテネブレ（英語版）のレスポンソリウム（応唱）からのラテン語のテクストに基づいている[5]。7つの楽曲は以下のようになっている[5]。
ひとときすらも （Una hora non potuistis vigilare mecum）
極悪なる商人ユダは （Judas, mercator pessimus）
不敬の者はイエズスを （Jesum tradidit）
私の眼は曇った （Caligaverunt oculi mei）
地上は暗闇となった （Tenebrae factae sunt）
主は埋められぬ （Sepulto Domino）
見よ、正しき者の最後を （Ecce quomodo moritur justus）
第1曲は聖木曜日の3番目の早課への応唱である「Una hora non potuistis vigilare mecum」に描かれる、ゲッセマネのイエスに関するものである。第2曲は聖木曜日の2番目の早課への応唱である「Judas, mercator pessimus」に描かれるイスカリオテのユダに焦点を当てている。第3曲と第4曲は聖金曜日の3番目の早課への応唱である「Jesum tradidit impius」と「Caligaverunt oculi mei」から採られたものである。第5曲は聖金曜日の2番目の応唱である「Tenebrae factae sunt」、第6曲は聖土曜日の3番目の応唱である「Sepulto Domino」、終曲は聖土曜日の2番目の応唱である「Ecce quomodo moritur justus」となっている[5]。
曲は少年合唱とソプラノ独唱、管弦楽のために書かれている。後の演奏では独唱パートと合唱部に女声が加えられている[2]。
脚注
注釈
^ Les Petits chanteurs de la Sainte-Croix
出典
^ a b Cookson 2014.
^ a b Bossert 2014.
^ BNF 2017.
^ gloriamusica 2017.
^ a b c Schmidt 1995.
参考文献
Bossert, Dorothea (2014年3月25日). “Bestechende Präzision und Klangkultur” (ドイツ語). Südwestrundfunk. 2017年1月30日閲覧。
Cookson, Michael (2014年). “Francis Poulenc (1899–1963) / Stabat Mater (1950) / Sept Répons des Ténèbres (1961/62)”. musicweb-international.com. 2017年1月30日閲覧。
Schmidt, Carl B. (1995). The Music of Francis Poulenc (1899–1963): A Catalogue. Oxford: Clarendon Press. ISBN 978-0-19-816336-7
(French) Sept répons des ténèbres . FP 181 / liturgie. BNF. (2017) 2017年1月30日閲覧。
“Sept Répons des ténèbres de Francis Poulenc” (French). gloriamusica.fr (2017年). 2017年1月30日閲覧。
関連文献
Brandenstein, W.W. (2002). Francis Poulenc's Sept Répons Des Ténèbres: An Introduction and Analysis for Conductors. University of Southern California 642 pages. (Paid subscription required要購読契約)
外部リンク
テネブレの7つの応唱の楽譜 - 国際楽譜ライブラリープロジェクト
テネブレの7つの応唱 - オールミュージック
カテゴリ: プーランクの楽曲1963年の楽曲合唱曲
最終更新 2022年2月27日 (日) 13:34 （日時は個人設定で未設定ならばUTC）。