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走进莫扎特的钢琴音乐 Mozart as Piano-Writer 上篇 ©本文选自《练习曲》杂志1901年12月 莫扎特最为非凡的一点，乃是他似乎不费什么气力就高效掌握了作曲家所需的全部技能。只要他愿意，他就能赋成一曲，要么以自己的方式，要么以先前任何一位大师的方式。 莫扎特的个性 -The personality of Mozart- The Mozart personality was a very charming one, full of grace, instinct for beauty, exquisite intuition for musical effects, out lacking in depth of temperament and the disposition to take a serious view of life. As a composer, he seems to me allied to Raphael as a painter, the prevailing characteristic of whose paintings is grace of composition, beauty of line and expression, and, on the whole, rather cheerful views of life; even the Madonnas, in which an element of sadness would not be inconceivable, illustrate this habit of his mind. 莫扎特的个性十分迷人，极尽优雅，有着浑然天成的美和对音乐效果的敏锐直觉，但他并不深邃，处世不尽严肃。在我看来，作曲家莫扎特与画家拉斐尔（Raphael，1483-1520）乃是同类。拉斐尔画作的主要特点是构图优雅，线条流畅，人物表情柔美，总体上折射出的是乐观的人生态度。即使是他笔下的圣母，其忧伤固不可免，也展现了他一贯的思想。 If we compare his work with that of his great contemporary, Michael Angelo, we are struck, in the latter, by the strength of the conception. All the figures are in violent action or carry in their lines evidence that action and suffering have been their portion. Everywhere is strength, force, repressed feeling, action. 如果我们把拉斐尔的画作与和他同一时代的伟大的米开朗基罗（Michael Angelo，1475-1564）两相比较，则会震撼于后者观念中的力量感。米开朗基罗笔下的人物无一不动作激烈，或者人物的线条中有迹象表明行动与苦难乃是他们的宿命。  Physically, there are great masses of muscle, faces much lined by mental history, and so on; in short, the exact opposite of the eternal peace which Raphael’s works seems to tell of. 他的画作中到处都是强力、武力、被压抑的情感，以及动作。从外形上看，有大块大块的肌肉，有饱受痛苦侵蚀的面孔，凡此种种。简言之，与拉斐尔作品中表达出的永恒的平和完全对立。 Between Mozart and Beethoven a similar difference exists. In Beethoven there is almost always the tale of struggle, life in earnest; and, even in those works or moments when the beautiful is the main thing, there is still, almost always, an under-current of “has been” or “will be.” The sunny peace of the Greek divinities has been invaded by this breath of the strenuous. 莫扎特与贝多芬之间也有着类似的区别。贝多芬的作品中几乎总是抗争的故事与热切的人生，即使是在以歌颂美为主的作品或片段中，依旧会有也几乎总有“曾经（不美）”或“将要（不美）”的暗流涌动。希腊诸神明媚的和平已被紧张的呼吸所浸染。 莫扎特的天赋 - The genius of Mozart - The genius of Mozart was one of the most remarkable which the art of music contains. He was born at just the right time for him. The great Bach had been dead but a few years when Mozart was born. Yet during the childhood of Mozart, his master, Haydn, had introduced that fascinating element for which we search in vain in the works of Bach: a symmetrical, lyric melody, other than a dance. Bach was probably the greatest master of music who has ever lived. He had the whole of the art, saving a capacity for the simply lyric. 莫扎特的天赋是音乐艺术中最杰出的天赋之一，他生逢其时。伟大的巴赫在他出生前几年便已故去，但是在莫扎特的孩提时代，他的老师海顿就引入了我们在巴赫作品中找不到的一些迷人的元素：对称、抒情的旋律，而不是舞蹈。巴赫很可能是有史以来最伟大的音乐大师，他对这门艺术无所不通，只欠缺简单的抒情能力。 He had deep feeling and an irrepressible musical fancy which adorned everything that it touched. But Haydn, of peasant stock, put into music something of the folk-song. Whatever his composition, he but rarely refrained from adding here and there a bit of a tune, symmetrical, musical, but with very little depth. 他有着深厚的感情与恣肆的音乐想象力，这想象力使其音乐触及的一切都大放光彩。但是出身乡村的海顿却把民谣的元素带进了音乐。无论是哪部作品，他总会在这儿那儿加上一点曲调，均衡的、有音乐性的，却并不深邃的东西。 He even developed a musical form permitting the introduction of a lyric repose into the very substance of a vigorous musical movement: the sonata-piece. In his sonatas Haydn advanced but a little way with his lyric melodies, but Mozart went farther and completed them fully. 他甚至发展了奏鸣曲这一音乐形式，能够在充满活力的乐章中引入抒情的成分。海顿的奏鸣曲在抒情的旋律之外进展有限，而莫扎特却走得更远，把它发扬光大。  Mozart seems to have had the whole compass of musical genius excepting the intuition of deep feeling. On the lyric side he enjoyed the spontaneous symmetry of the folk-song, and he wrote hundreds of melodies of this type which are idealized in a most beautiful manner. As a good example take the melody in D-major in the second page of the “Fantasia in C,” or the melody in E-flat, in the slow movement of the sonata in the same work. 除了对深重情感的感知之外，莫扎特似乎囊括了音乐天赋中的一切。在抒情方面，他喜欢民谣的自然匀称，曾写下数百首此类作品，美到极致。比如《C大调幻想曲》（Fantasia in C）第二页中的D大调旋律，再比如同一作品中奏鸣曲慢板乐章的降E大调旋律。 These melodies could not have been written by Haydn, and the only time when he approached their sweetness was in the third part of his “Creation,” which was written some years after Mozart died. 这样的旋律海顿是写不出来的，海顿作品中唯一接近这样甜美风格的，是他写于莫扎特去世几年后的《创世纪》（Creation）的第三部分。 This lyric talent was one side of the Mozart genius. It is graceful, sweet, beautiful; what it lacks, what it might also have had, we may see by playing Beethoven’s “Adagio” in the “Sonate Pathètique,” the “Largo” in the second sonata, the “Larghetto” in the second symphony. Here we have the Mozart type of melody indescribably strengthened and deepened. 这种抒情的才华是莫扎特天才的一面：优雅、甜美、迷人。它所欠缺的，抑或是本来也能具备的特质，我们可以在贝多芬的一些作品中看到，例如《悲怆奏鸣曲》（Sonate Pathètique）的“慢板”、《第二奏鸣曲》中的“广板”，以及《第二交响曲》的“缓板”。从这些作品中我们可以听到被强化和深化了的莫扎特风格的旋律。 莫扎特的创作 - Mozart's mastery of the composition - Most singular of all, Mozart seems to have had practically the whole technic of a composer, in a very high degree of potency, without ever having had to work for it. When he chose he could fugue it in his own manner or in the manner of any old master proposed as a pattern. 莫扎特最为非凡的一点，乃是他似乎不费什么气力就高效掌握了作曲家所需的全部技能。只要他愿意，他就能赋成一曲，要么以自己的方式，要么以先前任何一位大师的方式。 He could imitate their counterpoint, their graces, their mannerisms, without the slightest effort. When the Bologna Philharmonic Society proposed to elect to membership the boy of thirteen, Mozart completed their very trying test within a much shorter time than anyone ever before had been able. 他能够轻而易举地模仿他们的对位、他们的风雅，甚至他们的癖好。当年博洛尼亚爱乐协会（Bologna Philharmonic Society）要吸纳年仅十三岁的莫扎特为会员时，他通过了他们十分严苛的测试，所用时间比之前其他会员短得多。 Hence, when Mozart contents himself with simple melody it is not from lack of other powers, but because this expresses his idea of the beautiful better. This masterful workmanship, and the Mozart personality and genius, come to their real expression in his operas and symphonies, and not in his pianoforte works. To know Mozart one should hear and play the overture to “Figaro” or “The Magic Flute”; one should hear his opera “Figaro” or “Cosi Fan Tutti.” 因此，如果莫扎特满足于简单的旋律，那绝不是因为他能力有限，而是因为这样能更好地表达他对美的看法。莫扎特精湛的技艺、个性与天分，在他的歌剧和交响乐（而不是钢琴作品）中表达得淋漓尽致。想要懂得莫扎特，我们应该聆听和演奏《费加罗》（Figaro）或《魔笛》（The Magic Flute）的序曲，应该倾听他的歌剧《费加罗》或《女人心》（Cosi Fan Tutti）。  One of the best examples of Mozart’s mastery I know of is the finale of the third act of the “Marriage of Figaro,” where for forty minutes or so a succession of incidents keep the stage in motion, the participants ranging in numbers from two to seven, and the smallest part of all, that of the drunken gardener, is as indispensable as that of the leading soprano. 我所知道的最能体现莫扎特技艺的是《费加罗的婚礼》第三幕的尾声，四十分钟左右的时间舞台上发生了一连串的事件，演唱者从两人到七人不等。在二人组合中，喝醉的园丁和领衔的女高音一样不可或缺。 Take his orchestration. It is colored as brightly and changes as delicately as do the hues in a Raphael painting—or even in one by Titian—though the great Venetian has more of what we call still-life; he requires repose in his figures if the textures and tints are to be properly seen. Mozart is like Raphael; the figures live, move, are full of action, yet always with truly celestial tints, shadings, and suggestions of living, glowing color. It is the same in his symphonies. 看看他的管弦乐曲，其色彩之亮丽，变化之精妙，一如拉斐尔画作中的色调，甚至像提香（Titian，约1490-1576）的画作中的色调。只是伟大的威尼斯人（指提香）更有“静物感”，纹理和色彩欣赏得当的话，会看到他的画中人物有静谧的感觉。莫扎特正像拉斐尔：拉斐尔笔下的人物灵动鲜活，动感十足，总带着来自天国一般的光泽和暗影，散发着昭示勃勃生机的熠熠生辉的色彩，莫扎特的管弦乐亦如此。 Mozart was full of music. His counterpoint was so easy that he hardly knew that he had any; yet it is irrepressible; something is always doing, and he never has to wait even a second for a suitable idea. Therefore it is not without hope for the musical world that in Munich they are having a Mozart revival, and even the musicians who think that Wagner was specially inspired discover that the twentieth century can learn from this ever-young master. 莫扎特是音乐的化身，他运用对位毫不费力，就像不知道自己还有对位这一技能一样。他作曲只是不压制自己的灵感而已，灵感时时都在，一个好的乐思连一秒钟都不用等待。因此，在慕尼黑进行的莫扎特复兴（译者注：此文写于1901年）不能说不是音乐界的希望。即使是认为瓦格纳特别有启发性的音乐家们也发现，二十世纪能从这位永远年轻的大师身上学到很多。 |
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