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音乐传记是音乐史的重要组成部分,是音乐研究者与音乐爱好者深入了解某位音乐家的重要途径。笔者曾阅读过的不少音乐家传记,发现不同时代的著者对同一传主的认识不尽相同,相同传主的传记也在注重文学性与真实性方面各自有所侧重。作为西方音乐史上最耀眼的天才,莫扎特在离开我们两百多年后,仍然是不同时代传记作家们的热衷选题。这部分因为对某个历史人物的认识总是会随时代的不同而改变,更重要的原因在于,莫扎特一生虽然短暂,但他却是西方音乐史上被误解得最深的大作曲家之一。直到20世纪中叶,莫扎特在他数量众多的传记中的形象虽不尽相同,但都不同程度地经过了人为的处理。直到20世纪后半叶,人们才通过对历史文献的重新解读,试图去还原一个真实而生动的莫扎特形象。希尔德斯海姆所著的《莫扎特论》就是在这样的学术背景下完成的一部具有里程碑意义的著作。
Music biographies are an important part of music history and an important way for music researchers and music lovers to gain insight into a musician. I have read many musicians’ biographies and found that different generations of writers have different understanding of the same Lord. The biographies of the same Lord also focus on both literary and authenticity. As the most brilliant genius in the history of Western music, Mozart remains a keen choice for biographers from different generations after he left us for more than 200 years. This is partly due to the fact that understanding of a historical figure will always change from one era to another. The more important reason is that Mozart, though short lived, has been one of the most misunderstood major composers in Western music history. It was not until the mid-20th century that Mozart’s images in his numerous biographies varied, but were somewhat manipulated to varying degrees. It was not until the second half of the 20th century that people tried to restore a real and vivid image of Mozart through reinterpretation of historical documents. Hildersheim’s “Mozart Theory” is a landmark work done in this academic context.