"Sanctus" from Fauré's Requiem (Op. 48) 《聖哉》選自福雷的《安魂曲》（作品 48）
"Sanctus" from Fauré's Requiem (Op. 48)
《聖哉》選自福雷的《安魂曲》（作品 48）
22,996 views Apr 3, 2023
The Christ Chapel Choir performing the Sanctus movement from Faure's Requiem in the Hillsdale College Christ Chapel.
22,996 次觀看 2023年4月3日
基督禮拜堂合唱團在希爾斯代爾學院基督禮拜堂演奏福雷《安魂曲》中的「聖哉」樂章。
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth
Pleni sunt coeli et terra gloria tua
Hosanna in excelsis.
聖哉，聖哉，聖哉，萬軍之神，
天地充滿祢的榮耀。
和散那，在至高之處。
Holy, Holy, Holy Lord God of Sabaoth,
Heaven and earth are filled with thy glory.
Hosanna in the highest.
聖哉，聖哉，聖哉，萬軍之神，
天地充滿祢的榮耀。
和散那，在至高之處。
Composition: Requiem, Op. 48
Composer: Gabriel Fauré (1845 – 1924)
作曲：安魂曲，作品48
作曲家：加布里埃爾·福雷（1845-1924）
Gabriel Fauré was a major figure in late 19th century and early 20th century classical music in France. A student of the great Camille Saint-Saëns, he became an important teacher to many notable composers of the modern French school, including Maurice Ravel, George Enescu, and Nadia Boulanger. Born in the first half of the 19th century and living well into the 20th, Fauré represents a kind of bridge between the lush, rich harmonic idiom of the Romantics and the innovative styles of the modern era. Fauré was satisfied to gently expand the palette of harmonic convention, but never threw off the influence of his forbears. He was a longtime church musician and organist, and one can hear the echo of 19th century expressive gestures mingled with the supple lines of Gregorian chant in his distinctive style.
加布里埃爾·福雷是19世紀末20世紀初法國古典音樂的重要人物。福萊師從偉大的卡米爾·聖桑，並成為許多現代法國樂派著名作曲家的重要導師，包括莫里斯·拉威爾、喬治·埃內斯庫和娜迪亞·布朗熱。福萊生於19世紀上半葉，並活躍於20世紀，他彷彿架起了一座橋樑，將浪漫主義華麗豐富的和聲風格與現代的創新風格融為一體。福萊樂於稍微拓展和聲傳統的範圍，但從未擺脫前輩的影響。他是一位資深的教堂音樂家和管風琴演奏家，在其獨特的風格中，人們可以感受到19世紀富有表現力的風格與格里高利聖詠柔美旋律的交融。
The Requiem was a masterpiece long in the making. Fauré began the work in 1888, and gradually expanded it over the next decade, finally completing it in 1900. The Sanctus, featured here, was written during the first stage in 1888. Of the work, Fauré said, "It has been said that my Requiem does not express the fear of death, and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience." The Requiem was performed at Fauré's own funeral in 1924 but would not have its American debut until 1931 in a student performance in Philadelphia. Despite these modest beginnings, the work has become a staple of the choral repertoire that no choir can neglect performing.
《安魂曲》是一部醞釀已久的傑作。福雷於1888年開始創作這部作品，並在接下來的十年中逐漸擴展，最終於1900年完成。此處展出的《聖哉經》創作於1888年的第一階段。福雷評論這部作品時說：「有人說我的《安魂曲》並沒有表達對死亡的恐懼，有人稱它為死亡的搖籃曲。但我是這樣看待死亡的：它是一種幸福的解脫，是對更高層次幸福的渴望，而不是痛苦的經歷。但我是這樣看待死亡的：它是一種幸福的解脫，是對更高層次幸福的渴望，而非痛苦的經歷。」安魂曲於1924年在福雷自己的葬禮上演出，但直到費城的1931年儘管起步不甚起眼，這部作品已成為合唱曲目中不可或缺的曲目，任何合唱團都不能忽視它的表演。
Provided to YouTube by Hillsdale College
由希爾斯代爾學院提供給 YouTube