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La Vision du Christ, l'Un de la Trinité, et du Dieu trinitaire chez Jean-Sébastien Bach

Abstract : A first part, after the introduction, is devoted to the two passions of Johann Sebastian Bach, music and theology-to the European heritage of the composer, from a musical as well as a theological. The second part sticks to the analysis of works of Bach. The Cantata BWV4 Christ lag in Todesbanden has an essential place in the Protestant liturgy. The composer takes up again the verses of the canticle of the same name written by Luther. The attachment of the Reformer to the mystery of Redemption and its instrument the Cross is deep-rooted. Johann Sebastian Bach feels the same worship for Christ executed, but he strongly insists on the luminous aspect of the other mystery of Christ, the Resurrection. The Cantata BWV21 Ich hatte viel Bekümmernis introduces the dialogue between the heart and Jesus which gives a feeling of the future divine consolations reserved for the soul wondering about God's abandonment. An atmosphere of overflowing joy in the finale of the work with a play of trumpets asserts confidence in God. Saint Matthew's Passion certainly ends with the serene rest of Christ in the sepulchre, but the Passacaglia in C minor, and the Mass Organ part of Clavierübung III underline homage to Christ triumphing over Death, in harmony with the other two persons of the Holy Trinity. A third part shows that some profane works have a religious character. One finds the symbolism of Christ and the triune God in Fugues from the Well-Tempered Clavier. Luther’s theology of the Cross is followed by the theology of Glory in the work of Bach, as with the Scholastic theologians
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Submitted on : Thursday, March 29, 2018 - 12:58:15 PM
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  • HAL Id : tel-01750917, version 1


Ginette Montaigu - Dreyer. La Vision du Christ, l'Un de la Trinité, et du Dieu trinitaire chez Jean-Sébastien Bach. Religions. Université de Lorraine, 2013. Français. ⟨NNT : 2013LORR0324⟩. ⟨tel-01750917⟩



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