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No. 2 «Å±Ô½Õ¡]°¨¤Ó26¡G1-2¡^

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No. 3 ¸t¸Ö[23] Herliebster Jesu, was hast Du verbrochen (¤ß·Rªº­C¿q¡A祢¥Ç¦ó¸o³º³Q¼f§P¡H)[24]¡C

No. 4 °®¬\«Å±Ô½Õ (°¨¤Ó26¡G3-4)

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No. 5¦X°Û

Bach¥Îµu¤p«o¤Q¤À¨ë¿Eªº½ü°Û Ja nicht auf das Fest¡m¤£­n¦b¸`´Á°Ê¤â(°¨¤Ó26¡G5)¡n¡C

No. 6«Å±Ô½Õ(°¨¤Ó26¡G6-8a)

ºÖ­µ®Ñ§@ªÌ¡G­C¿q¦b§B¤j¥§¨º±w·òºÆ¯fªº¦èªù®aùØ¡F¦³¤@­Ó¤k¤H±a¨Ó¤@°¦¥É²~¡A²±º¡¤F¬Ã¶Qªº­»ªo»I¡C­C¿q¦b¦Y¶ºªº®É­Ô¡A¨º¤k¤H§â­»ªo»I­Ë¦b­C¿qÀY¤W¡Cªù®{¬Ý¨£³o¨Æ¡A«Ü¤£°ª¿³¡C

No. 7¦X°Û¡G¡u¬°¬Æ»ò³o¼Ë®ö¶O¡H³o­»ªo»I¥i¥H½æ¤£¤Ö¿ú¨Ó±ÏÀÙ½a¤H©O¡I(°¨¤Ó26¡G8b-9)¡v¡C

No. 8«Å±Ô½Õ(°¨¤Ó26¡G10-13)

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No. 9 ¦ñ«µ«Å±Ô½Õ Du lieber Heiland Du (¿Ë·Rªº±Ï¥D°Ú¡I)

No. 10 ¤k¤¤­µ¤Ï©lµú¼Û½Õ (Da capo aria)[26]

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No. 11«Å±Ô½Õ(°¨¤Ó26¡G14-16)

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No. 12¤k°ª­µµú¼Û½Õ¡m¿Ë·Rªº¥Dªº¯Ý½£¡A¬y¥XÂA¦å¡n¡]Blute nur, du liebes Herz¡^

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¿Ë·Rªº¥Dªº¯Ý½£¡A¬y¥XÂA¦å¡C¨º±q§A¯Ý¤¤¶¼§m¨Å¥Äªø¤jªº«Ä¤l¡A·Q­n±þ®`¨º¾i¨|¥Lªº¤H¡A¯u¦p³DÃȯë´c¬r¡C

No. 13«Å±Ô½Õ(°¨¤Ó26¡G10-17)

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No. 15«Å±Ô½Õ(°¨¤Ó26¡G18-22)

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ºÖ­µ®Ñ§@ªÌ¡Gªù®{´N¨Ì·Ó­C¿qªº§h©J¥h¦w±Æ¹O¶V¸`ªº±ßÀ\¡C³Ä±ß¡A­C¿q»P¤Q¤G¨Ï®{§¤®u¡C¥Î¶ºªº®É­Ô¡A
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No. 16 ¸t¸Ö Ich bin¡¦s¡A ich sollte buben¡m¬Oªº¡A¸Ó³QÃg»@ªº¬O§Ú¡n¡A³o¸t¸ÖNo.44ÁÙ·|¥X²{[29]¡C
No. 17ºÖ­µ®Ñ§@ªÌ¡G­C¿q¦^µª¡C

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ºÖ­µ®Ñ§@ªÌ¡G¥X½æ­C¿qªºµS¤j¤]¶}¤f°Ý¡G

µS¤j¡G¡u¦Ñ®v¡A¤£¬O§Ú§a¡H¡v

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No. 18 ¤k°ª­µ«Å±Ô½Õ Wiewohl mein Herz in Traenen schwimmt¡m§Úªº¤ß®ûÀã¦b²´²\¸Ì¡n¡C

No. 19 ¤k°ª­µµú¼Û½Õ Ich will dir mein Herze schenken¡m§Ú­n§â¤ßÄmµ¹§A¡n¡C

§Ú­n§â¤ßÄmµ¹§A¡A¨I®û¦bùØ­±¡A§Úªº¬@±ÏªÌ°Ú¡C§Ú­n§â¦Û¤v¨I³´¨ì§A¨ºùØ¡A¹ï§A¨Ó»¡¡A³o¥@¬É¦ü¥G¤Ó¤p¡A¦ý§A¹ï©ó§Ú«o¤ñ¤Ñ¤W¤H¶¡¬Û¥[ÁÙ­n¤j¡C

No. 20«Å±Ô½Õ(°¨¤Ó26¡G30-32)

ºÖ­µ®Ñ§@ªÌ¡G¥L­Ì°Û¤F¤@­º¸Ö¡A´N¥X¨Ó¡A¨ì¾ñÆV¤s¥h¡C«á¨Ó¡A­C¿q¹ïªù®{»¡¡G

­C¿q¡G¡u¤µ¤Ñ±ß¤W¡A§A­Ì³£­n¬°§Úªº½t¬GÂ÷±ó§Ú¡F¦]¬°¸t¸g»¡¡G¡y¤W«Ò­nÀ»±þªª¤H¡A¦Ï¸s´N¤À´²¤F¡C[31]¡z¦ý¬O§Ú´_¬¡¥H«á¡A­n¤ñ§A­Ì¥ý¨ì¥[§Q§Q¥h¡C¡v

No. 21¸t¸ÖErkenne mich¡m½Ð©Ó»{§Ú¡n[32]¬OE¤j½Õ

No. 22«Å±Ô½Õ(°¨¤Ó26¡G33-35)

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ºÖ­µ®Ñ§@ªÌ¡G­C¿q¹ï©¼±o»¡¡G

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No. 23¸t¸Ö¡m§A§Ú¦P¦b¡n¡]Ich will hier bei Dir stehen¡^¡A¬ONo.21ªº²¾½Õ¡A­°E¤j½Õ¡A³o¼Ëªº²¾½Õ¦bBach®É¥N¤Ö¨£¡A§Æ±æ³q¹L³o¤â¬q§ó¥[´d±­ªº®ÄªG¡C

No. 24«Å±Ô½Õ(°¨¤Ó26¡G36-38)

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ºÖ­µ®Ñ§@ªÌ¡G©ó¬O¥L±aµÛ©¼±o©M¦è§È¤Óªº¨â­Ó¨à¤l¤@°_¥h¡C¥L¶}©l¼~·TÃø¹L¡A¹ï¥L­Ì»¡¡G

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No. 25 ¨k°ª­µ«Å±Ô½Õ

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±µµÛ¸t¸Ö Was ist die Ursach¡¦ solcher Plagen¡m¦p¦¹¨üÃø¨s³º¬°¦ó¡n[33]¶i¨Ó¡CBach¨Ï¥ÎÂù®ºÞ°t¦Xªø²Ãºt«µ¥X´d¤Áªº±Û«ß¨Ó¬°¨k°ª­µ¦ñ«µ¡A¦P®É¸t¸Ö¤]¥[¤J¨ì­I´º¤§¤¤¡A®i²{¤Fªù®{­Ìªº¤Ï¬Ù[34]¡C

No.26 ¨k°ª­µµú¼Û½Õ

Ich will bei meinem Jesu wachen¡m§Ú­Ì­n¦P­C¿q¤@¦Pĵ¿ô¡n¡AÁöµM±¡ºü¤W¨ÌµM¦³¨Ç´d¤Á¡A¦ý¥i¥HÅ¥¥X¨k°ª­µÅã±o¤Q¤À°í©w¡A³æ®ºÞ¥Î²Y¬üªº±Û«ß¤Þ¥X§ç±¡ªº¨k°ª­µºt°Û¡A¦X°Û«h¥Î¥­ÀRªº¦±½Õ¬°¨k°ª­µ¦ñ°Û[35]¡C

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No. 27«Å±Ô½Õ(°¨¤Ó26¡G39) ºÖ­µ®Ñ§@ªÌ¡G¥Lµy©¹«e¨«¡A­Á¥ñ¦b¦a¤W¡Aë§i»¡¡G

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No. 28¨k§C­µ«Å±Ô½Õ

Der Heiland fallt vor seinem Vater nieder¡]±Ï¥D«m°Ë¦b¤Ñ¤÷­±«e¡^¡C¨k§C­µ¦PºÞ©¶¼Ö¤Ï´_ªº¤W¤U¦æ¤À¸Ñ©M²Í¤À¸Ñ©M²Í¬Û©IÀ³[36]¡C

No. 29µú¼Û½Õ Gerne will ich mich bequemen¡]§Ú·Q¨Ï¦Û¤v«e¦æ¡^¡C¤p´£µ^¡B¼Æ¦r§C­µ©M¨k§C­µ¿W°Û¼Ò¥é¤T­«°Ûªº§Î¦¡[37]¡C

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No. 30«Å±Ô½Õ(°¨¤Ó26¡G40-42)

ºÖ­µ®Ñ§@ªÌ¡G¥L¦^¨ì¨º¤T­Óªù®{¨ºùØ¡Aµo²{¥L­Ì³£ºÎµÛ¤F¡A´N¹ï©¼±o»¡¡G¡u§A­Ì¤£¯à¸ò§Ú¤@°_ĵ¿ô¤@­ÓÄÁÀY¶Ü¡H­nĵ¿ôë§i¡A§K±o³´¤J»¤´b¡C§A­Ì¤ßÆF©TµMÄ@·N¡A¦×Åé«o¬O³n®zªº¡C¡v²Ä¤G¦¸­C¿q¦A¥hë§i»¡¡G

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No. 31¸t¸ÖWas mein Gott will¡]¯«ªº¦®·N©w­n¦¨¥þ¡^[38]¡C

No. 32«Å±Ô½Õ(°¨¤Ó26¡G43-50)

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°_¨Ó¡A§Ú­Ì¨«§a¡I¬Ý­þ¡A¨º¥X½æ§Úªº¤H¨Ó¤F¡I¡v
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No. 33 ¤k°ª­µ¡B¤k¤¤­µ¤G­«°Û

So ist mein Jesus nun gefangen¡m§Ú­Ìªº­C¿q³Q®·¤F¡n¡Aªø²Ã»PÂù®ºÞºt«µ¥X´d¼@©Êªº¥DÃD¡A¤Á¤À­µ¸`«µªº©¶¼Ö§@¬°­I´º¡A­«°Ûªº«á¥b¬q°Û¨ì¡§°{¹q°Ú¡A¹p»ï°Ú¡¨¤@¥y®É¡A­ì¥»¦æªOªº¸`«µÅܦ¨¤F«æªO¡A¦X°Û¹Î¬ðµMÃzµo¥X±Æ¤s­Ë®üªº¤O¶q¡A®ðª^±q´d¤ÁÅܦ¨¤FµL¤ñªº¼««ã[39]¡C½Ðª`·N¥ð¤î²Å¦³­«­nªº¾_¾Ù®ÄªG¡C

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No. 34«Å±Ô½Õ(°¨¤Ó26¡G51-56)

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No. 35²Ä¤@³¡¤Àªº²×¦±¸t¸Ö¤Û·Q¦±¡]chorale fantasia¡^¨â­Ó¦X°Û¹Î¥[¤Wµ£Án¡]soprano in ripieno¡^¤j¦X°Û¡]O Mensch, bewein¡¦ dein. Suender gross¡^¡A¡m°Ú¡A¤H­Ì¡A´d¹Ä§Aªº¸o¦ó¨ä¤j¡n[41]¡C³o­º¦±¤l¨ú¦Û¤Ú«¢1725¦~¬ù¿«¨üÃø¦±ªº²Ä¤@­º¤j¦X°Û[42]¡CBach­ì¥»·Q¥Î¤@­ºÂ²³æªº¸t¸Ö¨Ó°µµ²§À¡A¦ý¤£¤[¥L´N§ïÅܤF¥D·N¡A¥L¨Ï¥Î¤F¤@ºØ«á¨ÓºÙ¬°¡§¸t¸Ö¤Û·Q¦±¡¨ªº¦X°Û§Î¦¡¡Cµ²ºc¤W¤Q¤À¦Û¥Ñ¡A¦ý±¡ºü¤S¦^¨ì¤F­ì¥ýªº´dºE¤§¤¤¡C

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No. 36 ¤k¤¤­µµú¼Û½Õ

      Ach¡A nun ist mein Jesus hin¡m°Ú¡A §Úªº­C¿q³Q±a¨«¤F¡n¡A¥|Án³¡½á®æWo ist denn dein Freund hingegangen¡m§AªºªB¤Í­þ¸Ì¥h¤F¡H¡n

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No. 37 «Å±Ô½Õ(°¨¤Ó26¡G57-59)

ºÖ­µ®Ñ§@ªÌ¡G¨º¨Ç§ì¤F­C¿qªº¤H§â­C¿q±a¨ì¤j²½¥q¸Ó¨Èªkªº©²ªó¥h¡C¦b¨ºùØ¡A¸g¾Ç±Ð®v©Mªø¦Ñ¥¿¦b»E·|¡C©¼±o»·»·¦a¸òµÛ­C¿q¡A¨ì¤F¤j²½¥qªº°|¤l¡C©¼±o¶i°|¤l¥h¡A¸òĵ½Ã§¤¦b¤@°_¡A­n¬Ý³o¨Æ«ç¼Ë¤Fµ²¡C²½¥qªø©M¥þij·|³]ªk§ä°²ÃÒ¾Ú±±§i­C¿q¡A­n¸m¥L©ó¦º¦a¡C

No. 38¸t¸Ö¦X°ÛMir hat die Welt truglich gerich¡m¤H¥@´ÛÄF¤F§Ú¡nª½ºI¤F·í¦aµû»ù¤F³o³õ¾x¼@¡C

No. 39«Å±Ô½Õ(°¨¤Ó26¡G39)

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ÃÒ¤H¡G¡u³o­Ó¤H»¡¹L¡G¡y§Ú¯à°÷©î·´¤W«Òªº¸t·µ¡A¤T¤Ñ¤º¤S§â¥¦­««Ø°_¨Ó¡C¡z¡v
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No. 40¨k°ª­µ«Å±Ô½Õ Mein Jesus schweigt zu falschen Luegen stille ¡m§Úªº­C¿q¹ï°°ÃÒ«O«ù¨HÀq¡n¡C

No. 41¨k°ª­µµú¼Û½Õ

Geduld, Geduld, wenn mich falsche Zungen stechen¡m§Ô­@¡A§Ô­@¡A§Y¨Ï¬O¼»ÁÀªº¦ÞÀY¨ë¶Ë¤F§Ú¡n¡A¦b¼Æ¦ì§C­µ«ùÄò¦a¶i¦æ¤¤¡A¨k°ª­µ¥Î°í©wªº»y®ðªí²{¤F­C¿q­±¹ïÁÀ¨¥ªººA«×¡C
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No. 42«Å±Ô½Õ(°¨¤Ó26¡G63-66)

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No. 43«Å±Ô½Õ(°¨¤Ó26¡G67-68) ºÖ­µ®Ñ§@ªÌ¡G¥L­Ì¦R¤f¤ô¦b¥LÁy¤W¡A¤S¥Î®±ÀY¥´¥L¡C¨º¨Ç¥´¥L¦Õ¥úªº¤H»¡¡G

¸s²³¡G¡u°ò·þ°Ú¡A§A¬O­Ó¥ýª¾¡I»¡»¡¬Ý¡A¬O½Ö¥´§A¡]26¡G68¡^¡H¡v

No. 44¸t¸ÖWer hat dich so geschlagen¡m¬O½Ö±N§A­«¶Ë¡H¡n[44]¡C

No. 45«Å±Ô½Õ(°¨¤Ó26¡G69-73)

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ºÖ­µ®Ñ§@ªÌ¡G©¼±o¦b¤j®a­±«e§_»{¤F¡C¥L»¡¡G

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No. 46«Å±Ô½Õ(°¨¤Ó26¡G74-75)

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No. 47 ¤k¤¤­µµú¼Û½Õ

Erbarme Dich¡A mein Gott¡m§Úªº¯«¡A¥Ñ©ó§Ú©Ò¬yªº²´²\¡A½Ð««¼¦§Ú¡n¡A³o­ºµú¼Û½Õªº¶}ÀY»P©¼±o»¡ªº¨º¥y¡G¡§§Ú®Ú¥»¤£»{ÃѨº­Ó¤H¡¨¬Û¥é¡A¦¹«á¦b¿W«µ¤p´£µ^ªº¦ñ«µ¤U¤k¤¤­µ°Û¥X¤F°ãª_µh­úªº±¡¹Ò¡C
§Úªº¯«¡A¥Ñ©ó§Ú©Ò¬yªº²´²\¡A½Ð««¼¦§Ú¡A½Ð­Áµø§Ú¡C½Ð¬Ý¬Ý¡A³oÁû¤ß©M³oÂù²´·ú¡A¦b§A­±«e´d¤Á¦a­úª_¡A½Ð««¼¦§Ú¡I

No. 48¸t¸ÖBin gleich von Dir gewichen¡m§ÚÁöµMÂ÷¶}¹L祢¡n[45]¡C

No. 49 «Å±Ô½Õ(°¨¤Ó27¡G1-4)

ºÖ­µ®Ñ§@ªÌ¡G¨ì¤F¦­±á¡A²³²½¥qªø©M¥Á¶¡ªºªø¦Ñ¤j®a°Óij­nªv¦º­C¿q¡A´N§â¥L®¹¸j¡A¸Ñ¥h¡A¥æµ¹¨µ¼¾©¼©Ô¦h¡C³o®É­Ô¡A½æ­C¿qªºµS¤j¬Ý¨£­C¿q¤w¸g©w¤F¸o¡A´N«á®¬¡A§â¨º¤T¤Q¶ô¿ú®³¦^¨Óµ¹²½¥qªø©Mªø¦Ñ¡A»¡¡G

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No. 50 «Å±Ô½Õ(°¨¤Ó27¡G5-6)

ºÖ­µ®Ñ§@ªÌ¡GµS¤j´N§â¨º»È¿ú¥á¦b·µùØ¡A¥X¥h¦Q¦º¤F¡C²½¥qªø¬B°_»È¿ú¨Ó¡A»¡¡G

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No. 51¨k§C­µµú¼Û½Õ

Gebt mir meinen Jesum wieder¡m§â§Úªº­C¿qÁÙµ¹§Ú¡n¡C¤p´£µ^¤j´T«×·nÂ\¤£©wªº±Û«ß¡A¦n¹³ªí¥Ü­úª_µÛ§Ú­Ì¥é¦ò¥i¥H¬Ý¨ìÂYÁÙ¤T¤Q¶ô¿úªºµS¤j[46]¡C

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No. 52 «Å±Ô½Õ(°¨¤Ó27¡G7-14)

ºÖ­µ®Ñ§@ªÌ¡G¥L­Ì°Óij¡A´N¥Î¨º»È¿ú¶R¤F½`¤áªº¤@¶ô¥Ð¡A¬°­n®I¸®¥~¶m¤H¡C©Ò¥H¨º¶ô¥Ðª½¨ì¤µ¤éÁÙ¥s°µ¡u¦å¥Ð¡v¡C³o´NÀ³¤F¥ýª¾­C§Q¦Ìªº¸Ü¡A»¡¡G¡u¥L­Ì¥Î¨º¤T¤Q¶ô¿ú¡A´N¬O³Q¦ô©w¤§¤Hªº»ù¿ú¡A¬O¥H¦â¦C¤H¤¤©Ò¦ô©wªº¡A¶R¤F½`¤áªº¤@¶ô¥Ð¡F³o¬O·ÓµÛ¥D©Ò§h©J§Úªº¡C¡v­C¿q¯¸¦b¨µ¼¾­±«e¡F¨µ¼¾°Ý¥L»¡¡G

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No. 53¸t¸ÖBefiehl du deine Wege¡m§â§Aªº¹D¸ô¡n[47]¡C

No. 54«Å±Ô½Õ(°¨¤Ó27¡G15-22 )

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No. 55 ¸t¸ÖWie wnderbalich ist doch diese strafe¡m³o¬O¦óµ¥¤£¥i«äijªºÃg»@¡n[49]¡C

No. 56«Å±Ô½Õ(°¨¤Ó27¡G23)

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No. 57 ¤k°ª­µ«Å±Ô½Õ

Er hat uns allen wohlgetan¡m¥L¥s§Ú­Ì¦æµ½¨Æ¡n¥¢©úªº¬Ý¨£¡A¶_¸}ªº¦æ¨«¡A¦ÕŤªºÅ¥¨£(11:5)¡C¥L§i¶D§Ú­Ì¤Ñ¤÷ªº¸Ü¡A¬°§Ú­ÌÅX¨«Å]°­¡C¬°´d¶ËªÌ¥´®ð¡A±µ¯Ç»P¼e®¤¸o¤H¡C§Ú­Ìªº­C¿q¡A°£¦¹¤§¥~¤°»ò¤]¨S°µ¡C

No. 58¤k°ª­µµú¼Û½Õ

Aus Liebe will mein Heiland sterben¡m§Úªº±Ï¥@¥D¬°·R¦Ó¨ü¦º¡n¡C§Úªº±Ï¥@¥D¬°·R¦Ó¨ü¦º¡A¥D¤£ª¾¦³©Ò¿×ªº¸o¡A¨º¬O¬°¤F¨Ï¥Ã«íªº¯}·À¡B¼f§PªºÃg»@¡Aµ·²@¤£¦s¯d¦b§Ú­Ì¤ß¤W¡C[50]

No. 59«Å±Ô½Õ(°¨¤Ó27¡G23-26)

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No. 60¤k§C­µ«Å±Ô½Õ

 Erbam¡¦es Gott ½Ð««¼¦¡A¯«°Ú¡I¦b³o¸Ì±Ï¥D³Q¸j¡A³QÃ@¥´¡A³Q¼Þ¥´¡A®@¡A¨º¶Ë¤f¡I¦D¦O­Ì®@¡A½Ð¦í¤â¡I§A­Ì¤£³Q¥L¤º¤ßªºµh­W¡B­W´oªºªí±¡¦Ó¤ß°Ê¶Ü¡H¦n¡A§A­Ì¦pªGÁÙ¦³¤@Áû¤ß¡A¨º»ò¥L´N¹³«þ¥´´Î¡A¤£¡A¤@©w¤ñ³o§ó§N»Åªº¤ß¡C½Ð¥i¼¦¥L¡A°±¤î§a¡I

No. 61¤k¤¤­µµú¼Û½Õ Konnen Tranen meiner Wangen¡m¦pªG¬y¸¨ÁyÀUªº²´²\¡n¡C

No. 62«Å±Ô½Õ(°¨¤Ó27¡G27-29)

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No. 63¾ã³¡³ÌÀu¨qªº¸t¸Ö O Haupt voll blut und Wunden¡m°Ú¡A¨ü¶Ë¬y¦åºÉ¨ü¼J§ËªºÀYÆ`¡n[51]¡C

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No. 64«Å±Ô½Õ(°¨¤Ó27¡G31-32)

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No. 65«Å±Ô½Õ

Ja! Freilich will in uns das Fleisch und Blut ¬Oªº¡I§Ú­Ì¨­¤Wªº¦×©M¦å¡A§Æ±æ³Q°v¦b¤Q¦r¬[¤W¡C¦pªG§ÚªºÆF»î¶V¬O³o¼Ë¬ß±æ¡A¦¹¨Æ´N¶V²øÄY¡C

No. 66¨k§C­µµú¼Û½Õ

Komm, suesses Kreuz, so will ich sagen¡m¨Ó§a¡I²¢»eªº¤Q¦r¬[¡n¡C

No. 67«Å±Ô½Õ(°¨¤Ó27¡G33-43)

ºÖ­µ®Ñ§@ªÌ¡G¥L­Ì¨Ó¨ì¤@­Ó¦a¤è¡A¥s¦U¦U¥L¡A·N«ä´N¬O¡uÅêÅ\©£¡v¡C¥L­Ì®³¤FÄeµÛ­WÁxªº°sµ¹­C¿q³Ü¡F­C¿q¹Á¤F¡A«o¤£ªÖ³Ü¡C©ó¬O¡A¥L­Ì§â­C¿q°v¦b¤Q¦r¬[¤W¡A¤S©âÅÒ¤À¤F¥Lªº¦çªA¡AµM«á§¤¦b¨ºùجݦu¥L¡C¥L­Ì¦b¥LÀY¤W¤è¦w¤F¤@­±¸oª¬µP¡AµP¤W¼gµÛ¡G¡u³o¬O­C¿q¡AµS¤Ó¤Hªº¤ý¡C¡v¥L­Ì¤S§â¨â­Ó¼É®{¦P°v¦b¤Q¦r¬[¤W¡A¤@­Ó¦b¥L¥kÃä¡A¤@­Ó¦b¥L¥ªÃä¡C±q¨ºùظg¹Lªº¤H«V°d­C¿q¡A·nµÛÀY¡A»¡¡G

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No. 68«Å±Ô½Õ(°¨¤Ó27¡G44)

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No. 69 «Å±Ô½Õ

Ach, Golgatha, unsel¡¦ges Golgatha¡m°Ú¡A¦U¦U¥L¡A³Q¶A©Gªº¦U¦U¥L¡n[52]¥­ÀR¦w¸Ôªº®ðª^«o»P¤§§Î¦¨·¥¤jªº¤Ï®t¡A³y¦¨ÂA©úªº­IÂ÷®ÄªG¡A³o­Ó¬q¸¨¤]¬O®æ³Ò¯S»{©wªº²Ä¤G­Ó§®³B¡C

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No. 70¤k§C­µµú¼Û½Õ©M¦X°Û Sehet, Jesus hat die Hand¡m§A¡A­C¿q¬°¤F¾Ö©ê§Ú­Ì¡A¦ù¥X¥Lªº¤â¡n¡C

No. 71«Å±Ô½Õ(°¨¤Ó27¡G45-50)

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No. 72¸t¸ÖWenn ich einmal soll scheiden¡m¬Y¤é·í§Ú¥²¶·Â÷¥h®É¡n±Ä¥Î¤F¥þ¦±¨Ï¥Î¦h¦¸ªº¥D¾É¥DÃD¡A³o¤]¬O³Ì«á¤@¦¸¡]21, 23, 53,63,72¡^¡C
No. 73«Å±Ô½Õ(°¨¤Ó27¡G51-58)

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No. 74«Å±Ô½Õ

Am Abend, da es kiehle war·í²D²nªº¶À©ü¨Ó¨ì¡A¨È·íªº¸o´N©úÅã¤F¡C¦b³o¶À©ü¡A¥D§â¥Lªº¸oÅ«¥h¤F¡C¦b³o¶À©ü¡AÂF¤l­¸¦^¨Ó¡A¼L¸Ì»ÎµÛ¤@ªK¾ñÆV¾ð¸­¡C®@¡A¬üÄRªº®É±á¡A®@¡A¶À©ü¡I²{¦b©M¯«½lµ²¤F©M¥­ªº«´¬ù¡A³o¬O¥Ñ©ó­C¿q©Ó¾á¤F¤Q¦r¬[¡C­C¿qªº¿òÅé¦w®§¤F¡A°Ú¡A·RªºÆF»î¨þ¡A§Ú­Ì¨Ì¾a§A¡C¨«§a¡A¥h¤Þ±µ­C¿qªº¿òÅé¡C®@¡A³o¬O¦óµ¥¯«¸t¡A´L¶Qªº¬ö©À¡I

No. 75¨k§C­µµú¼Û½Õ

Mache dich, mein Herze, rein§Úªº¤ß¨þ¡I¦Û¦æ¼ä²b§a¡I¦]¬°§Ú­n¿Ë¦Û§â­C¿q®I¸®¡C­C¿q±q³o®É­Ô°_¡A§â§Ú¥Ã»·¦w¸m¦b²¢»eªº¦w®§¤§©Ò¡C¥@¤H¨þ¡A§A¸Ó¥~¥X¡A¨Ï­C¿q¶i¨Ó¡C

No. 76«Å±Ô½Õ(°¨¤Ó27¡G59-66)

ºÖ­µ®Ñ§@ªÌ¡G¬ù·æ§â¨­Åé»â¤F¥h¡A¥Î°®²bªº³Â¯½¥]»q°_¨Ó¡A¦w©ñ¦b¥L¦Û¤vªº¹Ó¥ÞùØ¡F³o¹Ó¥Þ¬O¥L³Ìªñ¤~±qÅÉ¥ÛÆw¦¨ªº¡C¥L¤S§â¤@¶ô¤j¥ÛÀYºu¹L¨Ó¡A°ô¦í¹Óªù¡AµM«áÂ÷¶}¡C©Ù¤j©Ôªº°¨§Q¨È©M¥t¤@­Ó°¨§Q¨È­±¹ïµÛ¼X¹Ó§¤µÛ¡A¦u¦b¨ºùØ¡C²Ä¤G¤Ñ¡A´N¬O¹w³Æ¤éªº«á¤@¤Ñ¡A²½¥qªø©Mªk§QÁɤH¤@°_¥h¨£©¼©Ô¦h¡A»¡¡G

²½¥qªø­Ì¡G¡u¤j¤H¡A§Ú­Ì°O±o¨º­ÓÄF¤lÁÙ¬¡µÛªº®É­Ô´¿¸g»¡¹L¡G¡y¤T¤Ñ«á§Ú­n´_¬¡¡C¡z©Ò¥H¡A½Ð§A¤U¥OÄY±K¦uÅ@¼X¹Ó¡A¤@ª½¨ì²Ä¤T¤Ñ¡A¥Lªºªù®{´N¤£¯à§â¥L°½¨«¡AµM«á¥h§i¶D¤H®a¡y¥L±q¦ºùØ´_¬¡¤F¡z¡A³o¼ËªºÁÀ¨¥­n¤ñ¥ý«eªº§óÁV¡I¡v

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No. 77 «Å±Ô½Õ©M¦X°ÛNun ist der Herr zur Ruh¡¦ gebracht ¡m¦Ó¤µ¥D¦w¯v¤F¡n¡C

No. 78  ³Ì«áªº¤@­º¦X°ÛWir setzen uns mit Tranen nieder¡m§Ú­Ì¸¨²\¡A¤U¸÷¡n[53]¡C

§Ú­Ì¸¨²\¡B¤U¸÷¡A©I³ê¹Ó¥Þ¤¤ªº§A¡A»´»´¦a¦wºÎ§a¡I¯h­Âªº¸tÅé¡A¦wºÎ§a¡A»´»´¦a¦wºÎ§a¡I§Aªº¹Ó¥Þ»P¹Ó¥Û¡A¦¨¬°¤£¸q¤§¤ßªº¿È¹Ô¡A¦¨¬°ÆF»îªº¦w®§¤§©Ò¡C¨ºùØ¡A¥i¥HÀò±oµL¤ñªºº¡¨¬¡A§Ú­Ì±o¥H¦w¯v¡C

¤T¡BThe CD edition of St. Matthew Passion (BWV 245) of Lim sekiong arranged by duration.

1) Geza Oberfrank/ Hungarian State SO (Highlight--NAXOS)       75:13

2) Christoph Spering/ Das Neue O (Mendelssohn arr¡¦d. in 1841)    132.25

3) John Gardiner/ The English Baroque Soloists+The Monteverdi Choir(Archiv) 157:24

4) Stephen Cleobury/ The Brandenburg(Brillant)                 161:02

5) Philippe Herreweghe/Collegium Vocale(HMC)                161:22

6) Jos Van Veldhoven/Netherland Bach Society(Channel Classics)   165:55

7) Nikolaus Harnoncourt/Concentus Musicus(Teldec)             174:28

8) Helmuth Rilling/ Bach Collegium (Haenssler)                 174:51

9) Peter Schreier/ Staatskapelle Dresden(Philips)                 176:36

10) David Willcocks/ The Bach Choir (English ed.--ASV)           188:37

11) Wolfgang Goennenwen/ Consortium Musicum(EMI)           196:33

12) Karl Muenchinger/ Stutgarter Kammerorchester (London)       196:43

13) Karl Richter/ Muenchener Bach-Orchester(Archiv)             202:34<¤µ¤ÑªY½àª©¥»>

14) Herbert von Karajan/ Berliner Philharmoniker (DGG)           204:22

¥|¡B­«­n®Ñ¥Ø¡G

1. Blume, Friedrich, ¡§J. S. Bach¡¦s Passion¡¨, pp. 302-308 in Protestant Church Music: A History, New York: Norton, 1975.

2. Brainard, Paul, ¡§Bach¡¦s Parody Procedure and the St. Matthew Passion¡¨, JAMS, v. 22(1969), pp. 241-260.

Chafe, E., ¡§Key Structure and Tonal Allegory in the Passion of J.S. Bach:An Introduction, Current Musicology, no. 31 (1981), pp. 31-54.

Chafe, E., ¡§J. S. Bach¡¦s St. Matthew Passion: Aspects of Planning, Structure, and Chronology¡¨in Journal of the American Musicological Society, v.35(1982), pp. 49-114.

Chafe, E., Tonal Allegory in the vocal Music of J. S. Bach, Berkeley: UC Berkeley Press, 1991.

Devrient, Eduard, ¡§Mendelssohn Revives The St. Matthew Passion, BWV244¡¨ in The New Bach Reader, edited by Hans T. David, Arthur Mendel, revised and Enlarged by Christoph Wolff, (1945, 1966, 1972), pp. 376-386, (1996), pp. 508-519.

Herz, Gerhard, ¡§J. S. Bach and the Church Music of the Age of Rationalism: A Style Critical Comparison of Bach¡¦s St. Matthew and C. H. Graun¡¦s Tod Jesu, pp. 51-65¡¨,  pp. 51-65, in Essays on J. S. Bach, Ann Arbor: UMI Research, 1985.

Leaver, Robin A., ¡§The Mature Vocal Works and Their Theological and Liturgical Context¡¨ in J. Butt, ed., The Cambridge Bach Companion, Cambridge: Cambridge University Press, 1997.

Leaver, Robin A., ¡§St. Matthew Passion¡¨in Oxford Composer Companions J. S. Bach., edited by Malcolm Boyd., pp. 430-434. Oxford: Oxford University, 1999.

Leisinger, Ulrich, ¡§Forms and Functions of the Choral Movements in J. S. Bach¡¦s St. Matthew Passion¡¨in Bach Studies 2, edited by Daniel R. Melamed, Cambrdige: Cambridge University, 1995.

Melamed, Daniel R., Hearing Bach¡¦s Passions. Oxford: Oxford University, 2005.

Mendel, A., ¡§Traces of the Pre-History of Bach¡¦s St. John and St. Matthew Passions¡¦Festschrift Otto Erich Deutsch, ed. W. Gerstenberg, J. LaRue and W. Rehm. Pp. 31-48, Kassel,; New Yor: Bärenreiter, 1963.

Minear, Paul S. ¡§Bach St. Matthew Passion¡¨ in Death Set to Music: Masterworks by Bach, Brahms, Penderecki, Bernstein. Atlanta: John Knox, 1983

Reeves, John, The St. Matthew Passion: A Text for Voices. Grand Rapids: Eerdmans, 2001.

Pelikan, Jaroslav, Bach Among the Theologians. Philadelphia: Fortress, 1986.

Rifkin, J., ¡§The Chronology of Bach¡¦s Saint Matthew Passion¡¨, in Musical Quarterly, v. 61 (1975), pp. 360-387.

Rilling, Hulmuth, Johann Sebastian Bach St. Matthew Passion. Frankfurt: Henry Litolff's Verlag, c1975

Smallman, Basil, The Background of Passion Music: J. S. Bach and His Predeccessors, London; New York: SCM, 1970.

Stapert, Calvin, Liturgical and Theological Traditions in Bach¡¦s St. Matthew Passion, Perspectives, v.8, (April, 1993), pp. 17-20..

Steinitz, Paul, Bach¡¦s Passion. New York: Charles Scribner¡¦s, 1978.

Stiller, Gunther, edited by R. A. Leaver., Bach and Liturgical Life in Leipzig, St. Louis: Concordia, 1984.

Terry, Charles Sanford,  Bach: The Passions, v. 2, 1725-1731, Oxford: Oxford University Press, 1926.

Wolff, Christoph, ¡§Musical Forms and Dramatic Structure in Bach¡¦s St. Matthew Passion, Bach Journal, v. 19, no.1 (1988), pp. 6-20.

Young, W. Murray, ¡§St. Matthew Passion¡¨in  The Sacred Dramas of J. S. Bach: A Referemce and Textual Interpretation, pp. 43-67. Jefferson, N.C.: McFarland, 1993..

³¢¤D±¬¡A¤Ú«¢°¨¤Ó¨üÃø¦±¡A¥x¥_¡Gºñ¬w¡A2000¡C

­µ¼Ö¤§¤ÍªÀ½s¡A¡¨°¨¤Ó¨üÃø¦±¡¨J. S. BACH¡App. 343-359¡A¥x¥_¡G¬ü¼Ö¡A2000¡C

ªò¸q±j¡A¡¨¤Ú«¢°¨¤Ó¨üÃø¦±¡¨¡A©v±Ð­µ¼ÖºëµØ¡APP. 41-97¡A¥x¥_¡G¤Ñ¦P¡A1984¡C

ªþ¿ý¡GThe BG(1900) edition of St. Matthew Passion ¤À¦¨78­º¡ANBA(1954-    ) °¨¤Ó¨üÃø¦±¹O1972¦~¥Xª©¡A¤À 68 ­º¡C

BG   1, 2, 3, 4,    5,  6,   7,   8,  9,  10, 11, 12, 13, 14, 15,       16, 17, 18, 19, 20,

NBA 1, 2, 3, 4a,  4b, 4c,  4d, 4e,  5,   6,  7,   8, 9a, 9b, 9cde,  10, 11, 12, 13, 14,

BG    21,  22,  23,  24, 25,  26,  27,  28, 29, 30,  31, 32,  33,  34,  35, 36,

NBA  15,  16,  17,  18,  19,  20, 21,  22, 23, 24,  25,  26,  27,  28, 29, 30,  

BG    37, 38,  39, 40, 41, 42,     43,    44,   45,    46,    47,  48,  49,     50,   51,  52,

NBA 31, 32,  33, 34, 35, 36ab, 36cd, 37,  38ab, 38c,  39,  40,  41ab,  41c, 42,  43,

BG    53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 64, 65, 66,  67,         68,   69,  70, 71,

NBA  44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 55, 56, 57, 58abcd,  58e, 59,  60, 61,

BG     72, 73, 74, 75, 76, 77, 78

NBA  62, 63, 64, 65, 66, 67, 68

ÂÅ©÷ªQ±ÀÂË¡G §õ§Æ¯S( Richter)ªº²Ä¤T­Ó¥|«a¤ý¡A»P¤§«e¬Û¦Pªº¬O¦³¹p¯Î«¢¯S¡]Leonhardlt)©M¸ë²Ä¯Ç(Gardiner)¨â¤H¦b«áª½°l¤£©ñ¡A94¦~®É¡A¦³¤@­Ó¤Ö¨£ªº©Ç²{¶H¡A§õ§Æ¯S±o19¤À¡A4¤H§ë²¼¡A¦Ó¹p¯Î«¢¯S±o13¤À¡A©~µM¤­¤H¥þ³¡§ëµ¹¥L¤À¼Æ¡A¥Ñ©ó¥­§¡¤À¼Æ¤£¨¬¡A©Ò¥H¹p¯Î«¢¯Sª©¥H¤»¤À©~¦¸¡A¨ì¤F96¦~¡A§õ§Æ¯Sª©ªº«l¼Ä¸ë²Ä¯Ç¦A«×¯B²{¡A¨â¤H¤À§OÀò±o¥|¦ì¥Dµ§ªº»{¦P¡Aµ¹¤©39©M34¤À¡A¦Ó¥B¦³¤T¦ì¥Dµ§»{¬°³o¨â­Óª©¥»¬O¥²ÂæW½L¡A¤×¨ä¬O¦ö¦ö¤ì¦æºõ¡Aµ¹³o¨â­Óª©¦U10¤Àªºº¡¤À¡A¦Ó¤Ó¥Ðª½¾ð«h¦³©Ò«O¯dªº¦Uµ¹9¤À¡A¬Ý¨Ó³o¨â±i¤ù¦b¤U­Ó¥@¬ö·|¦³¤j¹ï¨M®@¡I98¦~6¤ëªº°Û¤ùÃÀ³N¯S¶°¤¤¿ï¥Xªº³Ì¨Î¡m°¨¤Ó¡n´N¬O§õ§Æ¯Sªºª©¥»¡C


[1].¯«¼@·½©ó¤Q¤C¥@¬öªì¡A­ì¥ý©Mºq¼@¤@¼Ë¨ã¦³À¸¼@®ÄªG¡A«á¨Ó¥Ñ©ó±Ð·|ªº¤Ï¹ï¦Ó¨ú®ø»R¥x¤§ªíºt¡C¤Úù§J®É´Áªº§@¦±®a¦³¥@«U¯«¼@¥H§Æþ¯«¸Üµ¥¬°ÃD§÷¡A¦p¡GHandel¦³§Æþ¯«¸ÜÃþ¡G®ü§J§Q´µ (Hercules) µ¥¡C´J·N¦¡²M°Û¯«¼@ (Concert or Cantata)¡G¸t¦è¦è²ú¨È¹| (Ode to St. Cecilia)µ¥¡C®öº©¬£¤§«á«Ü¦h§@¦±®a¥H©v±ÐÃD§÷¼g§@ºq¼@¡A¦p¡GRossiniªºMoses¡AVerdi ªºNabucco¡ASchoenberg ªºMoses and Aaronµ¥¡C

 [2]. ®Ú¾Ú¤Ú«¢¦¸¤l¥dº¸ (Carl Philipp Emanuel Bach, 1714-1788) ©M¤Ú«¢ªº¾Ç¥Íªü®æ§Q¬_©Ô (Johann Friedrich Agricola, 1720-1774) ªº­r»D (Obituary, 1750.7.28©ó1754¦~¥Xª©)¡A¤Ú«¢¦@¼g¤F¤­­º¨üÃø¦± (The New Bach Reader, p. 304¡F³o¤­­º½Ð°Ñ¦ÒCharles Sanford Terry, Bach: The Passions, 1925)¡C²{¦s°£¤F°¨¤Ó¨üÃø¦±»P¬ù¿«¨üÃø¦±¥~¡A©|¦³°¨¥i¨üÃø¦±¡B¸ô¥[¨üÃø¦±¡B¥Ö·F¹F¨üÃø¦± (Picander Passion¡A1725)¨â­º¿ò¥¢¡C°¨¥i¨üÃø¦±¡]BWV247¡^ªº¼@¥»©|¦s¦b¡A­µ¼Ö¼Ò¥Î¥é§Þ¥© (parody technique)¥Ñ©Ò¥H¦U®aªºª©¥»´N³£¤£¦P¡A¥Ñ©ó¤K­ººqµü¤¤¦³¤­­º©M²M°Û¦±198¸¹¬Û¦P¡C¦]¬°²M°Û¦±198¸¹¬O­ì¦³ªº¸ê®Æ¡A©Ò¥H¤j®a³£·|¥Î¨ì³o´X­º¦±¤l¡C¤â¤¤ªº¸ê®ÆÅã¥Ü¤£¦P½s¦±ªÌªº11ºØ¤£¦Pª©¥»¡C¸ô¥[¨üÃø¦±¥HÃÒ¹ê«D¤Ú«¢©Ò¼g¡AThe New Grove Dictionary of Music and Musicians (1980) §â¥¦©ñ¦b¤Ú«¢¥Ø¿ýBWV246¡A¦ýThe New Grove Dictionary of Music and Musicians (2nd. Ed. 2001)¡A§â¥¦±q¤Ú«¢¥Ø¿ý¤¤¥h°£¡C¤­­º¨üÃø¦±¨£­^°ê­µ¼Ö¾ÇªÌCharles Sanford Terry, Bach: The Passions, v.1 1723-25, v. 2. 1729- 31(Oxford, 1926)¡C

[3]. Bach ¤§§Ì¤lJohann Adolph Scheibe (1708-1776) ¬O·í®É³ÌµÛ¦Wªº­µ¼Ö²z½×®a©MµÛ§@®a¤§¤@¡C¥LºÙBach ªº­µ¼Ö¬O³Ù¼Mªº©M²V¶Ãªº¡C¥Lªº§åµû¥X²{¦bÁ§Bªº­µ¼Ö§åµû¡]Der Critischer Musikus¡^Âø»x¡C¨£The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, ed. By Hans T. David And Arthur Mendel (1945, 1966, 1972¡A²ºÙBR), p. 238¡Frev. ed. By Christopher Wolff (1998), (²ºÙNBR), pp. 337-353¡C¤Ú«¢ªº¥t¤@­Ó¾Ç¥ÍJohann Friedrich Doles (1715-1797)¡A¤]¬O¥L¨Ó¤ñ¿ü¼Öªø¤§«áÄ~ªÌ¡A¦b¥ô´Á¶¡¬°1755-1797¡CScheibe§åµû¤Ú«¢ªº¹ï¦ìªk¬O¦Ñ¥j¸³¸ò¤£¤W®É¥Nªº±Ð·|­µ¼Ö¡]St. Matthew Passion, in Oxford Composer Companions, J. S. Bach, p. 43¡AGrout, Jay, A History of Western Music(1996), p. 422¡^¡C

[4]. ¤ñ°_Handel¥L¦º«á¬O¤£¨üÅwªï¡C¦ý¤]¤£³£¨S¦³¤ÏÀ³¡C¤ñ¤è¡G¥­§¡«ß³Ì¦­¥X²{©ó1801-02¦~C. F. G. Schwenke½s Simrock¥Xª©¡BH. G. Naegeli¦Û¤v¥Xª©¡B²Ä¤@¥»Bach¶Ç°O§@ªÌN. J. Forkel ¥ÑHoffmeister & Kuennel¥Xª©¥t¥~¦³1862¦~C. F. Peters ªºµû½×¥»©M1866¦~¤Ú«¢¥þ¶°¥»¡CMozart±qBaron van Swieten±oª¾48­º¥­§¡«ß¡C¤Ú«¢ªº¾Ç¥Í«Ü¦h¡A±Mªù¾ÇºÞ­·µ^©M®ü¹y¦P¦~¥X¥Í»P¥h¥@ªºJohann Christian Kittel (1732-1809) ¬O¥Î¤Ú«¢ªº¤pºÞ­·µ^¦±¶°¡]Orgelbuechelein, BWV599-644¡^±Ð¾Ç¥Í¡]Stinson, Russell, Orgelbuechlein, p. 145¡^¡C¥t¥~¦³Great Leipzig 18 chorales (BWV651-668)

¤â¤¤¦³§Û¥»ªº¦³¤Ú«¢ªººÞ­·µ^¾Ç¥Í¡A¦p¡GJohann Christian Kittel, Johann Tobias Krebs (1690-1762), Heinrich Nicolaus Gerber (1702-1775), Johann Caspar Vogler (1696-1763)µ¥¡C¥L³Ì³Ç¥XªººÞ­·µ^¾Ç¥ÍJohann Ludwig Kreb (1713-1780)¨ä¤¤¨â­º§@«~¬O¼Ò¥é18Great Chorales(Stinson, Russell, Great Eighteen Organ Chorales, pp. 108-113)¡CB¤p½ÕÀ±¼»¡]BWV232¡^¥Ñ·ç¤h¥Xª©®a©M§@¦±®aHans Johann Georg Naegali¡]1773-1836¡A¸t¸Ö265¡B342­º§@¦±ªÌ¡^¦¬ÁÊ¡C¥L¨Ã»¡¤Ú«¢B¤p½ÕÀ±¼»¬O¦³¥v¥H¨Ó¥þ¤HÃþ³Ì°¶¤jªº­µ¼Ö¡]Stauffer, Goerge B., The Mass in B Minor, p. ix¡^¡C¤§¥~NBR, (1998), Part iv, Bach as Viewed by His Contemporaries, Part v, Bach in the Second Half of the Eighteenth Century, pp. 311- 413¡C

[5]. ¦³Ãö¦¹¨Æ¥ó¤§©l¥½¨£BR (1966), pp. 376-386¡ANBR, pp. 508-519¡C¤¤¤å¥i¨£¥þ­µ­µ¼Ö¤åºK 67´Á (1984¦~ 7¤ë)±¸¤º­×¡A°¨¤Ó¨üÃø¦±ªº´_¬¡¡G¼vÅT«á¥@²`»·ªº¨Æ¥ó¡App.110-114¡C©s¼wº¸¹|¤£¦ý§â°¨¤Ó¨üÃø¦±­«¨£¤Ñ¤é¡A¥L¤]§â¥¦§ï½s©ó1841¦~¦b¸t¦h°¨¤j±Ð°óºt¥X¡C¥«­±©|¥i¶R¨ì©s¼wº¸¹|§ï½sªº°¨¤Ó¨üÃø¦±ªºCD¡A¥ÑOp111, ops 30-72 & 73¨â±i¡C 

[6]. Grout¬O¬ü°ê­µ¼Ö¨t¤Î¬ã¨s©Ò¦è¤è­µ¼Ö¥vªº±Ð¬ì®Ñ¡A¦Û±q1960¥Xª©¥H¨Ó¨ì²{¦b¤w¥X¨ì²Ä¤Cª© ¡]1960¡B1973¡B1980¡B1988¡B1996¡B2001¡B2006¡^¡A¤â¤¤³Ì·sª©¬°1996¦~¤­ª©¡Ap. 421¡C

[7]. ¨£¡¨Passion¡¨ in The New Grove Dictionary of Music and Musicians, 2nd ed. (2001), v. 19, p. 200¡A¤ÎSchalk, Carl ed., Key Words in Church Music, p. 300¡C ¦ý¤º®eµy¦³¤£¦P¡AGrove «ü¥X¨üÃø¦±¬O©v±Ð»ö¦¡©ó´Â¸t«ÈEgeria¶i­C¸ô¼»§N¤§®É­º¦¸ºt¥X¡A¦è¤è±Ð·|«h¦³¶ø¥j´µ¤Bªº¨üÃø¬G¨Æ¡]Solemniter legitur passio¡^¡CSchalk¥u¦³¶ø¥j´µ¤Bªº¨üÃø¬G¨Æ¡C

[8].¤Úù§J®É´Áªº¨üÃø¦±¤j­P¥i¤À¬°¥|¤jÃþ¡G

1. ¸g¤å¨üÃø¦± (motet passion)¡G¬O¤@ºØµL¦ñ«µªº¨üÃø¦±¡A¤Q¤C¥@¬öªì´Á¥H«á´N¤w¸g¤£¦A¦³§@¦±®a³Ð§@³oÃþ§@«~¡C¥H Christoph Demantius (1567-1643) ªº§@«~¬°¥Nªí¡C

2. À¸¼@¨üÃø¦±(dramatic passion)¡G³oºØ¨üÃø¦±¥]¬A¯Àºq©ÎÃþ¦ü¯Àºq¤§§@«~¡A¤£¦P¤Hª«¥Ñ¤£¦PÁn³¡ºt°Û¡A¥H Christoph Schultze (1606-83) ©M Heinrich Schuetz (1585 -1672) ªº¤T³¡¨üÃø¦±¬°³ÌµÛ¦W¡C17¥@¬ö¤¤´Á´N¤£¦A¦³¤H³Ð§@¡C

3. ¯«¼@¨üÃø¦±(oratorio passion)¡G³oÃþ§@«~ªº­º³ÐªÌ¬°1643¦~ Thomas Selle of Hamburg¡C¤Ú«¢ªº¬ù¿«¨üÃø¦±©M°¨¤Ó¨üÃø¦±ÄÝ©ó³oÃþ«¬ªºÅq®p¤§§@«~¡C

4.¨üÃø¦±¯«¼@(passion oratorio)¡GÄÝ©óºq¼@©Ê½èªº¨üÃø¦±¡C¨ä¤¤¥H¼@§@®a Brockes ªº¨üÃø¦±³Ì¬°¦³¦W¡A¦Ó¥B¥¦­Ìªººt¥X³£»Ý­n°Ê¥ÎºÞ©¶¼Ö¹Î¡C°£¦¹¤§¥~¡A¯«¼@¨üÃø¦±¤¤¤]¦³§Ç¦±¡B¿W°Û(«ÅÄò½Õ©Mµú¹Ä½Õ)¡B­«°Û¡B¦X°Ûµ¥´X­Ó³¡¥÷¡]¸Ô¨£Smallman, Basil, The Background of Passion Music, pp. 10-11¡AThe New Oxford History of Music, v. 5, pp. 620-653¡^¡C

[9]. ¤Ú«¢ªº²M°Û¦±«Ü¦h¬O¥Î¸t¸Ö¬°¥DÅé¦Óµo®i¦Ó¦¨¡A¦p¡GCantata no. 4, Christ lag in Todesbanden¡ACantata no. 80, Ein Feste Burg ist unser Gottµ¥¡C

[10]. °¨¤ÓºÖ­µ¤¤«Ü¦h¤Hª«¥X²{¦b¼@¤¤¡A¦p¡GNo. 1¡A¤@¸s¤h§L¡A¿ü¦wªº©h®Q­Ì¡A¤@¸s²§±Ð®{¡A No. 15 ªù®{°Ý¡G¥D°Ú¡A¤£¬O§Ú§a¡H±A¤k°Ý©¼±o¡A¦Ê¤ÒªøÆg¬üµ¥¡]Albert Schweitzer, J. S. Bach, v. 2, p. 214¡^¡C¤Ú«¢±`·|¥Î®Ç¥Õ´£°ÝÃD¡AµM«á¦Û¤vµùÄÀ¡A³Ì«á¥Î¬èëµ²§ô¡C¤ñ¦p¡GNo.4e, 5, and No. 6¡FNo. 11, No. 12,  and No. 13¡FNo. 21, 22, and No. 23(St. Matthew Passion, in Oxford Composer Companions, J. S. Bach, p. 432¡^¡C

[11]. Terry, Charles Sanford,  Bach: The Passions, v. 2(1729-31), pp. 16-17 ¡C

[12]. ¼Æ¦r§C­µ (figured bass, basso continuo) ¤SºÙ«ùÄò§C­µ (thorough bass)¬O¤Ú¬¥§J®É¥N¤@ºØ¬°Áä½L¼Ö¾¹¥Îªº¦hÁn³¡­µ¼Öªº¬Ù²¤°OÃЪk¡C¥u¥Î¤@­Ó§C­µÁn³¡¡A¦b¦U­µ¤U¤è¼Ð¥X¼Æ¦r¡A¥Î¥H´£¥Ü¤W¤èÁn³¡¦U­µ¡Aºt«µªÌ¾Ú¦¹¼u«µ©MÁn¡C¼Æ¦r§C­µ³e¦ê©ó¾ã­º¼Ö¦±¡A¬G¤S¦W¡§³q«µ§C­µ¡¨¡C¥¦³Ìªì¥Î©ó16¥@¬ö¥½ºÞ­·µ^¼Ö®v¼u«µªº½Æ½ÕÁn¼Ö¦±ªº¦ñ«µ³¡¤À¡C±q1600¦~ºq¼@½Ï¥Í«áÀ³¥Î©ó®Ô»w½ÕªºÁä½L¼Ö¾¹¦ñ«µ³¡¤À¡C¼Ú¬wªº¾¹¼Ö¦±¡BÁn¼Ö¦±¡B²M°Û¼@¡Bºq¼@¤¤Áä½L¼Ö¾¹³¡´¶¹MÀ³¥Î¡A¨ì18¥@¬ö¤¤¸­¬ÒºÙ¬°¼Æ¦r§C­µ®É´Á¡CÁä½L¼Ö¾¹¥]¬A¡GºÞ­·µ^¡B¤j´£µ^©M¤jÁäµ^¡C¤Ú«¢»¡¡G¡u¬O­µ¼Ö³Ì§¹¬üªº°ò¦¡A­Y¥HÂù¤âºt«µ®É¡A¥ª¤â¼u«µµÛ¼ÖÃФWªº­µ²Å¡A¥k¤â«h²K¥[¿Ó©M­µ©M¤£¿Ó©M­µ¡A¥Î¦p¦¹¬ü§®ªº©MÁn¨Ó¹üÅã¤W«ÒªººaÄ£¡A¼Æ¦r§C­µ¤]¹³¨ä¥L­µ¼Ö¤@¼Ë¥Î¨Ó¹üÅã¤W«ÒªººaÄ£©M½Õ¾Aºë¯«¥~¡A§OµL¨ä¥L¡C¡v

[13]. ªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 41¡C

[14]. ªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 46¡C³o¤£¬OBach­º³Ð«Â¥§´µªº¸t°¨¥i±Ð°ó¡]St. Marco¡^¦b¤ñ¤Ú«¢¦­¬ù150¦~«e´N¨Ï¥Î³oºØ¤è¦¡¡C

[15]. ¦­¦~­µ¼Ö¾ÇªÌ»{¬°°¨¤Ó¨üÃø¦±©ó1729¦~§¹¦¨¡A©Ò¥HMendelssohn ©ó1829¦~¦A¦¸ºt¥X¬O­ººt«á100¦~¡C1975¦~¤§«á¤§¬ã¨sµo²{¦³1727¦~4¤ë11¤é¨üÃø¤éºt¥Xªºª©¥»¡]St. Matthew Passion, in Oxford Composer Companions, J. S. Bach, p. 430¡^¡C¦ý¬O®Ú¾Ú¸ê®ÆÅã¥Ü¡A¨Ó¤ñ¿üLeipzig St. Thomaskirche¦Û1721¦~¶}©lºt¥Xªº¨üÃø¦±¦p¤U¡G

1721-2 Johann Kunnau(1660-1722)¡ASt. Mark passion

1723 J.S. Bach, St. Luke

1724.4.07 J.S.Bach, St. John (1st. ed.) ¦bSt. Nicolaikirche­ººt¡C

1725.3.30 J.S.Bach, St. John (2nd. ed)

1726.4.19 Reinhard Keiser, St. Mark

1727.4.11 J.S. Bach, St. Matthew

1728.3.26 J.S. Bach, St. John (3nd. ed.) <¤@»¡1732¨£MendelªºNBA·s¤Ú«¢¥þ¶°ªº§åµû³ø§iKB=Kritischer Bericht>

1729.4.15 J. S. Bach, St. Matthew(2nd. ed.)

1730.4.07 Anonymous, St. Luke(BWV 246)

1731.3.23 J.S. Bach, St. Mark

1732.4.11 J. S. Bach, St. John (3rd. ed.)

1733 No performance

1734, 1737-38, 40-41, 43-47, 50 No information

1735.4.08 Annoymous, St. Luke¡H (BWV 246)

1736.3.29 J. S. Bach, St. Matthew(3rd. ed.)

1739.3.27 J. S. Bach, St. John ¡H(3 rd. ed.)

1742 3.23 J. S. Bach, St. Matthew (4th. Ed.¤Ú«¢¤@¥Í°¨¤Ó¨üÃø¦±Á`¦@ºt¥X¥|¦¸)¡C

1748.4.03 Handel/Keiser, Pasticcio¡H

1749.3.27 J. S. Bach, St. John(4th. ed.)¡]NBR, pp. 115-116¡^¡C

 [16]. ÁöµM¤Ú«¢¥þ¶°¡]BG¡^ªº½s¿èJulius Rietz, (1812-1877)¦b§Ç¨¥¤¤«ü¥X¼Ö¾¹°t³Æ»Ý­n¨â¥xºÞ­·µ^¡A¨ä¹ê¤Ú«¢¦b1727¦~©M1729¦~ºt¥X®É¨Ã¨S¦³¥Î¨â¥xºÞ­·µ^¡A¦]¬°¸t¦h°¨±Ð°ó­n¨ì1740¦~±Ð°ó¤~¦³¨â¥xºÞ­·µ^ªº³]³Æ¡]Terry, Charles Sanford,  Bach: The Passions, v. 2(1729-31), p. 14¡^¡C

[17]. ­ì¦WChristian Friedrich Henrici (1700-1764)¬O¤Ú«¢³Ì­«­n¼@¥»§@®a¡A°¨¤Ó¨üÃø¦±¥~¡A°¨¥i¨üÃø¦±¬O¥Lªº§@«~¡A°£¦¹¤§¥~ÁÙ¦³³\¦h²M°Û¼@¡C¥L¥Xª©¤­¥U¼@¥»Ernstsche schertzhaffte und satyrischte Gedichte©ó1727-1751 ¦~¶¡Leipzig¥Xª©¡A¸Ì­±°£°¨¤Ó¨üÃø¦±¥~¡A¦b²Ä¤T¥U¡]1732¡^§Ç¨¥¤¤»¡¡G¤Ú«¢©ó1729¦~§@¤@¾ã¦~ªº²M°Û¼@¡A¦ý²{¦s¥u¦³¤­­º¡A¾ÇªÌ°²³]¥L¦³¼g¡A¨ä¤¤­µ¼Ö¤w¸g¿ò§H¡]«ö¡G¤Ú«¢¼g¤­¾ã¦~ªº²M°Û¼@¡A­Y¥þ³¡¯d¦sÀ³¦³260­º¡A¥[¤W¨ä¥L«D§«ô¤Ñªº¦ô­p¤j·§300­º¡A²{¦s¤£¨ì200­º¡^¡C

[18]. The New Oxford History of Music, v. 5, p. 654¡A«ü¥X¥¦¬O¥bºq¼@¦¡«Å±Ô½Õ¡C

[19]. Áú¼wº¸ªº¯«¼@³q±`¥H§Ç¦±¶}³õ¡C¤Ú«¢ªº¤j«¬±Ð·|­µ¼Ö·í¤¤³£¥H¤j¦X°Û¶}©l¡C1724¦~ª©ªº¬ù¿«¨üÃø¦±¥H¤j¦X°ÛHerr, unser Herrscher, dessen Ruhm¶}©l¡A¸t½Ï¯«¼@¥H¤j¦X°ÛJauchzet, frohlocket, auf preiset die Tage¶}©l¡C

[20]. ºqÃеù°O¬°soprano in ripieno¡A²{¦b©Ò¥Xª©ªºCD¬Ò¥Ñ¨kµ£°Û¥X¡C¦b²Ä 1 ©M 35¬qÁÙ­n¦³Soprano in ripieno¡]¦X«µ¤k°ª­µ¡^¡Cºt¥X¶Ç²Î¤WÁÙ·|¦³¨àµ£¦X°Û¹Î(§@¬°¨â­Ó¦X°Û¹Î¤¤¤kÁnªº¹ï·Ó¡A³oÁÙ©M¤Ú«¢·í®Éªº±¡ªp¦³Ãö¡A·í®É¦b±Ð°ó¥u¯à°Ê¥Îµ£Án¤k°ª­µ¡A´N¬O¨k©Ê°²Án°Û¤k°ª­µ¡]Contratenor¡^©M¤k¤¤­µ(Contralto)¡C

[21]. ¨f­×¤h (Nikolaus Decius, c1485 - 1541¡H)¤j¬ù1485¦~¥X¥Í©ó¤Ú¥ï§Q¨È (Bavaria)¶P¤Ò(Hof)¡C1506¦~¨ú±oµÜ¤ñ¿ü¤j¾Çªº¤å¾Ç¾Ç¤h¡AµM«á¶i¤J¦ì©ó¶P¤Òªº¤@­Ó¤èÀÙ·|ªº­×¹D°|¡C1523¦~¶i¤J«Âµn³ù¤j¾Ç¸òÀH°¨¤B¸ô¼w¬ã¨s·s±Ð¯«¾Ç¨ÃÀò±o¤å¾ÇºÓ¤hªº¾Ç¦ì¡C³o­º¸t¸Ö¤é«á³o­º¸t¸Ö³Q©ñ¦b¼w¤åÀ±¼»ªº¡u¯Ì¦Ï¸g¡v(Agnus Dei)·í¤¤(Terry, Charles Sanford, Bach Chorales, v.1, The Hymns and Hymn Melodies of the Passions and Oratorios, pp. 1-4¡^¡C

[22]. Bernstein, The Joy of Music, p. 216, ¤¤¤åª©¡App. 238¡C

[23]. ¦³Ãö°¨¤Ó¨üÃø¦±ªº¸t¸Ö¤¶²Ð¥H Steinitz, Paul, Bach¡¦s Passion (1978), pp. 123-125³Ì¬°Â²¼ä¡C

[24]. ³o­º¸t¸Ö¬OµÛ¦Wªº¨üÃø¸t¸Ö¡A¥ÑJohann Crueger (1598-1662)§@¦±¡AJohann Heermann (1585-1647)§@µü¡C¦¹¦±¦bno. 25¡B55¦U¦A¥X²{¤@¦¸¡A¦¹¥~¬ù¿«¨üÃø¦±¤]¥X²{¦bno. 4 & 15(Terry, Charles Sanford, Bach Chorales, v.1, The Hymns and Hymn Melodies of the Passions and Oratorios, pp. 3-4¡^¡C

[25]. 4d ªù®{¥Í®ð¡A4e­C¿q©M®ð¡F¦¨¬°±j¯Pªº¹ï¤ñ¡C

[26]. Da capo´N¬O±qÀY¶}©l¡]from the head)¡A´N¬O ABAªº§Î¦¡¡C­µ¼Ö±qÀY°Û¨ì³Ì«á¡A¦b¼ÖÃЦ³..ªº°O¸¹¡Aªð¦^«e­±¡A°Û¨ìFine¬°¤î¡CÁöµM¦bClaudio Monteverdi (1567-1643)1603¦~ªºªªºq¡]Si ch¡¦io vorrei morire¡^¤¤¶}©l¨Ï¥Î¡A¤§«á¦b¥Lªººq¼@Orfeo (1607) ªº²Ä¤@¹õ©M²Ä¤G¹õªºµú¼Û½Õ³£¦A¨Ï¥Î¡C¦ý¯u¥¿¬y¦æ©óAlexandra Scarlatti (1660-1725) ªº®³©Yùؼ֬£¡A¤j¬ù©ó1720¦~«e«á¡AÁú¼wº¸©M¤Ú«¢À³¥Î¦b¯«¼@¡B¨üÃø¦±¡B²M°Û¦±·í¤¤¡C¤§«á¦b¾¹¼Ö¤¤¥ç³Q¨Ï¥Î¡A¦p¡GBach¤p´£µ^¨ó«µ¦±E ¤j½Õ©M³¢¼w³ùÅÜ«µ¦±¥ç¦³¡C®öº©¼Ö¬£§@«~¥ç¦³¡A¨©¦hªâ­^¶¯¥æÅT¦±²Ä¤G¼Ö³¹§Y¬O¡]Da capo in, The New Grove Dictionary of Music and Musicians, 2nd. ed., v. 6, p. 829¡FGrout, Jay, A History of Western Music(1996), p. 328¡^¡C

[27]. No. 9¡B10¡B12¨Ï¥Îªø²Ã¤U¦æ±Û«ß´y­z¤k¤H¤§²´²\¡AAlbert SchweitzerºÙ¬°²\¤ô°Ê¾÷(tear drops)©Î¡]sighing motive¡^¹Ä®§°Ê¾÷¡]Albert Schweitzer, J. S. Bach, v. 2, pp. 217-219¡^¡C

[28]. Bach¥H½á®æªº§Î¦¡¶È¶È¥Î¤F¤­¤p¸`¡Aªù®{Å宣¦a±µ³s¦V¦Ñ®vµo°Ý11¦¸ªº³õ­±¡A¤Ä°Ç¥X¦p¦¹½ÆÂøªº³õ­±¡]Bernstein, The Joy of Music, pp. 249-250, ¤¤¤åª©¡App. 225-227¡^¡FGeiringer, Karl, Johann Sebastian Bach¡F The Culmination of an Era (1966), p. 201¡C

[29]. ¦±½Õ "INNSBRUCK" ¥Ñ¥H¼» (Heinrich Issak, c1450 -c 1527)§@¦±¡A­ì¨Ó¬O¤@­º¥@«Uºq¦±¡u¦]´µ¥¬¾|§J¡A§Ú²{¦b¥²»ÝÂ÷¶}§A¡v(Innsbruck, ich muss dich lassen)¡C³o­º¸t¸Ö¬O¸¯«¢¯S (Paul Gerhardt, 1607 - 1676) ©Ò¼g¡C¥L¬O¸ô¼w¤§«á³Ì¥X¦Wªº¸t¸Ö§@ªÌ¡C¬ù¿«¨üÃø¦±No.8¤]¥Î¦¹±Û«ß(ªLÞÕ¶§¡A¤Ú«¢»P¸t¸Ö¡A pp.47-49 )¡C

[30]. §A­Ì³Ü§a¡A³o¬O§Úªº¦å¡]Trinket alle daraus¡^¤Q¤À°Ê¤H¡AÁöµM±Û«ß²³æ«o¨ã¦³¾_¾Ù¤H¤ßªº¤O¶q¡C

[31]. ·í°Û¨ì¡m¦Ï¸s´N¤À´²¤F¡n°t¥H©¶¼Ö©M¼Æ¦r§C­µ¤@°_ªº¤À¸Ñ©M²Í¦V¤W¤UÂX´²ªº¦ñ«µ¡A«ü¥Ü¬°¬Æ§ÖªO¡]Vivace¡^¡CBernstein, The Joy of Music, pp. 252-3, ¤¤¤åª©¡App. 228-229¡Cªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 57¡C

[32]. ¦¹¸t¸Ö¥X²{¤­¦¸¡A¤À§O¬°No.21¡B23¡B53¡B63¡B72¡C¸Ö¤H¸t§B¯Ç (St. Bernard of Clairvaux, 1091 - 1153)¥X¥Í©ó²{¦bªk°ê¾aªñ¨f®eªþªñ¤§¤è¥Ð (Pontainesles, Dijon)¡C¦±½ÕºÙ¬°¨üÃø¸t¸Ö¡]Passion Chorale¡^©ÎºÙ¬°¤Q¦r¬[¸t¸Ö (Crucifix Hymns)¡A¥Ñ«¢´µ°Ç (Hans Leo Hassler, 1564-1621)§@¡A­ì¥»¬O¥@«Uºq¡A§Ú¤ß¬°¼Ð½o¤Ö¤k©Ò·Ð (Mein Gmuet ist Mir Verwirret)¡A¨ú§÷¦Û1601¦~ªººq¥»·s¼w°êºq¤§Åw¼Ö¶é (Lustgarten  neuer Outscher Gesaeng)¡A1613¦~¿Õº¸ (Christoph  Knoll)©Ò½sªººq¥»¤¤¦¬¦³¦¹¦±¤l¡A¦ýºqµü§ï¬°-§Ú¤ß¥Rº¡´÷±æ (Herziich Tut Mich Verlangen)¡A1647¦~¥XCruger¤ÎGerhardt¦X§@§¹¦¨¸t¥DÀYÃB¤µ¨ü¶Ë¡]O Haupt Voll Blut Und Wunden¡^³o­º¦±¤l©Ò¥H¯à¦¨¬°·s±Ð³Ì­«­n¤§¸t¸Ö¡AÀ³Âk¥\©ó¤Ú«¢ªº§V¤O¡C¤Ú«¢±N³o­º¦±¤l¤Þ¥Î©Î§ï½s¦Ü¤Ö¤Q¤C¦¸(ªLÞÕ¶§¡A¤Ú«¢»P¸t¸Ö¡A pp. 19- 21 )¡C

[33]. ¦±½Õ©MNo. 3¬Û¦P¡C

[34]. ªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 62¡C

[35]. ªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 62¡C

[36]. ªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 63¡C

[37]. ªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 63¡C

[38]. ³o­º¸t¸Ö­ì¥»¬O¤@­ºªk°êªº­»¹|¡]chanson¡^¡A¦±½Õ­º¦¸¥X²{¦b1529¦~¥ÑPierre Attaignant¥Xª©ªºTrente et quatre chansons musicales¸Öºq¶°¤¤¡C1540¦~¦b¤ñ§Q®É¦w¯S½Ã´¶(Antwerp)°t¥H¸Ö½g140½g¬°ºqµü¡C¼w°êªºJoachim Magdeburg (c1525-c1583?) ©ó1572¦~©ó¦ãºÖ¡]Erfurt¡^¥Xª©ªº¸t¸Ö¶°¡]Christliche und Troestliche Tischgesenge, mit Vier Stimmen¡^¤¤¥HWas mein Gott will ¬°ºqµü¡Cºqµü¥Ñ¥¬Äõµn³ù¤j¤½Albrecht©Ò¼g¡]Terry, Charles Sanford, Bach Chorales, v.1, The Hymns and Hymn Melodies of the Passions and Oratorios, pp. 11- 14¡^¡C

[39]. ªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 66¡C

[40]. ³o¬OµS¤j½æ­C¿q¤§«á¡A¥Ñ¤Q¤@¦ì¾Ç¥Íµo¥X«ã§q¡A­n¨D©ñ±¼­C¿q¡C¦X°Û°Û¥X¡G§â¥D©ñ±¼¡A¨î¤î§a¡A§O¸j¥L¡IÁ`¦@¤T¦¸¨C¥y¤T¤H¡]3X3¡^¬°¤E¤H¥[¤W¤G­«°Û¦@¤Q¤@¤H(Geiringer, Karl, Johann Sebastian Bach¡F The Culmination of an Era (1966), p. 201)¡C

[41]. O Mensch, Bewein Dein Sunde Gross ¬O¸¯¹p¯S (Matthaus Greiter, ©Î Greitter, c1500-1552)§@¦±¡A¥L¥X¥Í¦b¼w°ê¤Ú¥ï§Q¨Èªº¦ã¥[¶P (Aichach)¡A(Freiburg University²¦·~«á¾á¥ô´µ¯S©Ô´µ³ù (Strasbourg) ¤j±Ð°óªº¸tºq¶¤«ü´§¡A1524¦~¥L¦¨¬°¸ô¼w±Ð·|«H®{¡A¨Ã¦b´µ¯S©Ô´µ³ùªº¸ô¼w±Ð·|¨Æ©^¡C«á¨Ó¦b¸ô¼w·|¤Î¥«Ä³·|ªº¼Ä·N¤Ï¹ï¤§¤U©ó1550 ¦~Ã㾡C¨ä«á¥L¦^¨ì¤Ñ¥D±Ð·|¨Ã¦¨¬°´µ¯S©Ô´µ³ù¥D±Ð®y°óªº¸tºq¶¤¶¤ªø¡A1552 ¦~¦]½E¬Ì¦Ó¯f¦º©ó´µ¯S©Ô´µ³ù¡A¨É¦~52·³¡C

³o­º©v±Ð§ï­²¦­´Áªº¸t¸Ö¡A³Ì¥ý¥X²{©ó1525¦~¥Xª©ªº¡u´µ¯S©Ô´µ³ù±Ð·|ªº¦P¤u¸Ö¶°¡v(Strassbourger Kirchenampt)¡Aºqµü¤Þ¥Î¸Ö½g119½g¡A­ì¤å­º¦æ¬°Es sind doch selig alle¡A¼w¤å¸t¸Ö½¦¨O Mensch, Bewein Dein Sunde Gross¥X¦Û1525¦~¥Xª©®ü¹y (Sebald Heyden) ªº¨üÃø¦±¡A°t¤WO Mensch, Bewein Dein Sunde Grossªººqµü¡A«á¨Ó³Q¥Î°µ®¬§ï¸Ö¡C¥[º¸¤å©M²ö¬¥¯S (Clement Marot, 1497 -1544)©Ò½ĶªºÃý¤å¸Ö½g (Metrical Psalter) ¥H¸Ö½g36½g°t¤W¦¹¦±½Õ¡A1562¦~¥Xª©ªº¤é¤º¥Ë¸Ö½g (Genevan Psalter)¡A¨ä¤¤¸Ö½g36½g¤Î¸Ö½g68½g¥Î¦¹¦±½Õ¡C1560¦~¥Xª©ªº¦w®æ¾|¤é¤º¥Ë¸Ö½g (Anglo-Genevan Psalter) ªº¸Ö½g113½g¥ç¥Î¦¹¦±½Õ(ªLÞÕ¶§¡A¤Ú«¢»P¸t¸Ö¡A pp. 93-94 )¡C 

[42]. 1724¦~ª©ªº¬ù¿«¨üÃø¦±¥H¤j¦X°ÛHerr, unser Herrscher, dessen Ruhm¶}©l¡F1725¦~ª©ªº¬ù¿«¨üÃø¦±§Ç¦±¨Ï¥Î«á¨Ó¥Î©ó°¨¤Ó¨üÃø¦±²Ä35­º(SSS42) ¥ÑMatthaeus Greiter(c.1500-20)§@¦±ªº<¥@¤H­n´d¹Ä¸o´c²`­«>¥N´À­ì¦³ªº¦±¤lGeiringer, Karl, Johann Sebastian Bach¡GThe Culmination of an Era (1966), p. 202¡C¥«­±¤W¤j¦h¬O1724¦~ª©¡A¦ý1725¦~ª©¦³MDG332-0983(St. John Passion, version II, 1725)¡FSmithsonian Collection of Recording ND0381 (St. John Passion, including two choruses and three arias from the 1725 version)¡C

[43]. Geiringer, Karl, Johann Sebastian Bach¡GThe Culmination of an Era (1966), p. 201¡Fªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 70¡C

[44]. ±Û«ß©MNo. 16¬Û¦P¡C

[45]. ¸t¸Ö±Û«ß¬OJohann Schop(?-c1665)¼g¡Aºqµü¬°Johann Rist¡]1607-1667¡^¤§§@«~¡C¡]Terry, Charles Sanford, Bach Chorales, v.1, The Hymns and Hymn Melodies of the Passions and Oratorios, pp. 19-20¡^¡C

[46]. ªò¸q±j¡A©v±Ð­µ¼ÖºëµØ¡Ap. 76¡C

[47]. ¦PNo. 21 ¡®23¡C

[48]. Bach¥Î³Ì±j­µ³Û¥X¡G¤Ú©Ô¤Ú¡C¬°¤Fªí²{¥¢¥h²z´¼ªº¶°Åé¼É¤O¡ABach¨Ï¥Î¤T¥þ­µ¡A¥Øªº¬O¬°¤Fªí²{¤H­Ìªº¨¸´c¡C

[49]. ±Û«ß¦PNo. 3 ¡® 25¡C

[50]. Groutºë¿ï°¨¤Ó¨üÃø¦±¦³¤»­º¿ï¦±¡A°£¤FNo. 1¡A¨ä¦¸´N¬ONo.58¤k°ª­µµú¼Û½Õ ¡AµM«á¨Ì¦¸¬° No. 69¡ANo. 72©M²×¦±No. 78 (Grout, Jay, A History of Western Music(1988), pp. 517-518)¡C

[51]. ³o¬OÄ~ÄòNo. 21¡B23¡B53¤§«á²Ä¥|¦¸¨Ï¥Î¦P¤@¦±½Õ¡A¦³¨Ç¾ÇªÌ»{¬°³o¬O«á¨ÓHector Berlioz (1803- 1869)ªº©T©w¼Ö«ä(idée fixe)©MRichard Wagner¡]1813-1883¡^ªº¥D¾É°Ê¾÷¡]leitmotiv¡^¤§«e¨­¡Cºq¼@¤¤ªí¹F¬Y¤@³õ­±©Î¼@¤¤¤Hª«¦³Ãöªº­µ¼Ö¤ù¬q¡CRay Robinson ½s Choral Music: A Norton Historical Anthology¿ï¤@¦Ê¤@¤Q¤@­º¦X°Û­µ¼Ö¡A¤Ú«¢ªº³o­º¨üÃø¸t¸Ö³Q¦¬¿ý¦b¨ä¤¤¡C

[52]. ¦¹¦±³QGroutºë¿ï°¨¤Ó¨üÃø¦±¦³¤»­º¿ï¦±¤§¥~¡AParish, Carl & John F. Ohl, edited, Masterpieces of Music Before 1750: An Anthology of Musical Examples from Gregorian Chant to J. S. Bach¡A¦@¿ï50­º¦±¤l¡A¨ä¤¤¤Ú«¢¿ï¤¤¤­­º¡A°¨¤Ó¨üÃø¦±³Q¿ï¤Wªº´N¬ONo. 69¡C

[53]. Groutºë¿ï°¨¤Ó¨üÃø¦±¦³¤»­º¿ï¦±¡A²×¦±No. 78¬O³Ì«á¤@­º (Grout, Jay, A History of Western Music(1988), pp. 517-518)¡C

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