古諾《十架七言》音樂分析與詮釋

Abstract

查理士・弗朗索瓦・古諾 (Charles François Gounod, 1818-1893) 為十九世紀重要作曲家，自幼學習作曲，並在求學期間獲得羅馬大獎 (Prix de Rome) 第一名至羅馬學習，回到法國後先是在教會致力於宗教曲目之推廣，而後歌劇《浮士德》(Faust) 的成功，將其推上法國歌劇作曲家之頂峰，其也影響後輩，包括比才 (Georges Bizet, 1838-1875)、馬斯內 (Jules Émile Frédéric Massenet, 1842-1912) 與聖桑斯 (Charles Camille Saint-Saëns, 1835-1921) 皆受古諾影響。《十架七言》(Les Sept Paroles de N.S. Jésus-Christ sur la Croix) 創作於1855年，1858年出版，受法國大主教委託，為了聖週五 (Good Friday) 之儀式所創作。歌詞採用由《約翰福音》、《路加福音》、《馬太福音》與《馬可福音》四本福音書，經過教會儀式綜合而來的「十架七言」文本，並在開頭增加了取自《路加福音》第二十三章28、33節的〈序言〉，編制使用女高音獨唱、女中音獨唱、男高音獨唱、男低音獨唱、混聲四部合唱團與混聲四部雙合唱團。全曲共分為八個樂章，旋律細膩的設計讓經文與音樂有深刻連結，和聲使用嚴謹，卻仍有揮灑之處，力度與速度的對比，為此曲增添了極大的戲劇張力，編制與織度的靈活改變，豐富了聽覺色彩，而以上元素加乘後使此曲畫面感十足，但在以古諾有意地克制與平衡下，整體仍呈現質樸的美感，讓此曲同時具有音樂欣賞性與宗教精神。本論文共四章：第一章「緒論」分為三節，討論研究動機、研究內容和研究文獻資料；第二章「背景探究」分為三節，討論古諾之生平概述、古諾之合唱作品和《十架七言》歌詞解析；第三章「《十架七言》之音樂分析與詮釋」分為八節，逐一討論各樂章之創作手法與詮釋；第四章為本研究之「結論」。Charles François Gounod (1818–1893) was a prominent composer of the 19th century. He began studying composition at an early age and was awarded the prestigious Prix de Rome during his studies, which enabled him to study in Rome. Upon returning to France, he first dedicated himself to the promotion of sacred music within the Church. The success of his opera Faust later brought him to the pinnacle of French operatic composition. Gounod also inspired several outstanding composers, including Georges Bizet (1838–1875), Jules Émile Frédéric Massenet (1842–1912) and Charles Camille Saint-Saëns (1835-1921), both of whom were profoundly influenced by him.Les Sept Paroles de N.S. Jésus-Christ sur la Croix (The Seven Last Words of Jesus Christ on the Cross) was composed in 1855 and published in 1858. It was commissioned by a French archbishop for the Good Friday liturgy. The text is drawn from the “Seven Last Words” of Christ, which are compiled from the four Gospels—John, Luke, Matthew, and Mark—according to liturgical tradition. A Prologue, based on Luke 23:28 and 33, precedes the seven sayings. The work is scored for soprano, mezzo-soprano, tenor, and bass soloists, a four-part mixed choir, and a double mixed choir. The music and scripture are intricately interwoven, with vivid text-painting, refined and lyrical melodies, and a balance of musicality and spiritual expression.The work is divided into eight movements, in which the refined melodic design forges a profound connection between the text and the music. The harmony is treated with rigor yet allows room for expressive freedom. Contrasts in dynamics and tempo imbue the piece with considerable dramatic tension, while the flexible use of instrumentation and texture enriches its sonic palette. These elements combine to create vivid musical imagery; yet, under Gounod’s deliberate restraint and sense of balance, the overall impression remains one of austere beauty, granting the work both artistic appeal and spiritual depth.This thesis is divided into four chapters: Chapter One, “Introduction,” contains three sections outlining the research motivation, scope, and literature review. Chapter Two, “Contextual Background,” includes a biography of Gounod, a survey of his choral works, and the analysis of the Seven Last Words text. Chapter Three, “Musical Analysis and Interpretation of The Seven Last Words,” is divided into eight sections, analyzing each movement’s compositional techniques and interpretative approaches. Chapter Four presents the “Conclusion” of the study.