正統路德宗與敬虔主義爭端下的J. S. Bach Mühlhausen Kantaten作品探討

The Research of J. S. Bach's Mühlhausen Cantata in the Controversies between Lutheran Orthodoxy and Pietism

盧文雅(Wen-Yea Lu)

《藝術評論》 20期 (2010/12) Pp. 65-96

摘要

十六世紀馬丁路德(Martin Luther, 1483-1546)宗教改革後，路德的基督教教義被路德的追隨者系統式地整理成紮實的教義理論。在德國的高等學府中出現了「路德宗新經院哲學(Lutheran scholasticism)路線，將這套教義理論做更晉升的神學思辯。十七、十八世紀的基督教路德宗，堅守教義理論的傳承，而有「正統路德宗」(Orthodoxie Luthertum)之稱。但是在1670年，路德宗教會中出現了一個名稱爲「敬虔小會」(Collegia Pietatis)的小團體，創立人Philipp Jacob Spener (1635-1705)反對當時教會只注重教義的爭辯討論，對信仰只停留在理性的認知，而提倡個人靈修以及對神的經驗，「敬虔主義」(Pietismus)運動，於焉產生。 1707年Johann Sebastian Bach (1685-1750)工作於Mühlhausen 的St. Blasius教堂，一年後他便遞出辭職信，轉往威瑪工作。歷史學者們多數相信Bach捲入當地兩個教堂牧師Johann Adolf Frohne〈St. Blasius教堂〉與Georg Christian Eilmar（St. Marien教堂）不同的神學理念爭議中。屬於敬虔主義神學理念的Frohne，與屬於正統路德宗的Eilmar，他們對教會儀式音樂的不同看法，成了Bach在Mühlhausen工作時的阻礙。 Bach爲Mühlhausen所做的兩部Kantaten：BWV 71《主是我王》(Gott ist mein König)以及BWV131《從至深之處我向主，祢高喊》(Aus der Tiefen rufe ich, Herr, zu dir)，這兩部作品的作曲手法反映出Bach的宗教音樂路線，他以自己的方式來「表達對神的敬崇」，這方式也成爲他往後繼續創作近兩百首Kantaten的基本模式。

關鍵字

正統路德宗 ； 敬虔主義 ； 路德宗新經院哲學 ； 巴赫 ； 清唱劇

並列摘要

After the Reformation of Martin Luther (1483-1546) in 16th century, the Lutheran theology was systematically arranged by Luther's followers. In the meantime, the scholars in Germany whom were named as ”Lutheran scholasticism” had made further discussion and more comprehensive development for Luther's theology. During 17th and 18th century, as the Lutheran stuck to the doctrines of Lutheran theology they were called ”orthodox Lutheran”. However, in 1670, a small group ”Collegia Pietatis” was formed within the Lutheran churches by its founder, Philipp Jacob Spener (1635-1705). He stood against that churches put too much efforts on doctrine debate of which kept Christian faith only in rational recognition. On the other side, He provoked for personal devotion and spiritual experience of God. There ”pietism” movement was born.
In 1707, Johann Sebastian Bach (1685-1750) was hired by Mühlhausen St. Blasius church. He submitted his resignation letter one year later and was transferred to Weimar. Most of historical scholars believe that Bach got involved in the depute of two different theological concepts held by pastor Johann Adolf Frohne (St. Blasius church) and Georg Christian Eilmar (St. Marien Church). The difference views on liturgy music between the pietism Frohne and the orthodox Lutheran Eilmar has become a hindrance of Bach's work in Mühlhausen.
Bach has made two Cantata for Mühlhausen, respectively, BWV 71 ”Gott ist mein König” and BWV 131 ”Aus der Tiefen rufe ich, Herr, zu dir.” These two works reflected the compositional techniques of Bach's religious music. With the techniques, Bach made his own way to ”honor God” and later developed his unique way to compose his 200 more Cantata.

並列關鍵字

Orthodox Lutheran ； Pietism ； Lutheran scholasticism ； Johann Sebastian Bach ； Cantata

參考文獻

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