Chapter 10 7(2)

Compared with the situation in France thirty years ago, the music atmosphere in Britain is much more common.Of course, general does not necessarily mean high level, but quality starts with quantity after all.As soon as France leaves Paris, it seems closed and empty; unlike many second-class cities in the UK, there are many cultural and artistic activities.But this is from the surface; in fact, the level of the masses, how to respond, you have to ask the people you contact on the ground.Please let me know by letter. ——You have lived in Western Europe for a year, and you have also traveled for a year. I also want to know how you feel about the music scene in various countries.It's the playing field, so let's talk about it briefly.For example, the Festiva I Hall [Festival Hall]①, which is famous for its sound effects, what are the characteristics and so on.

Combining the requirements of the audience and your own learning, what aspects do you plan to develop in your program in the future? ① Festival Hall refers to the Festival Hall in London, England. 173JU think that neither Schubert nor Mozart has received due attention at present, and you have special experience, so you focus on performing them?Neither your Prokofiev ① nor Shostakovich ②'s Shonada have been released yet. Is it true that the general British audience does not like to listen to modern works?What is the first Bartok concerto you practiced earlier?I heard that No. 3 of his concerto is the most popular.You have practiced Beethoven first, do you still want to practice third?Have you changed your perception of the Romantics after playing one of Brahms' major works?Has there been some renewed affection for Schumann and Franck? ——Of course, people who have been engaged in music all their lives may have to change their attitudes to those masters many times in their lives; I just want to know your views at this stage with these questions.

Recently, I casually read some music books.Some of the articles are solidly written and objective.A British writer said about Liszt, there is such a paragraph: "We are not willing to believe that a girl who is painted and a little vulgar is as good as a sister who is plain and not beautiful; similarly, we are not easy to admit that Liszt The special brilliant piano Schoner is as wonderful as the brown and gray Schoner of Schumann or Brahms." (See The Heritage of Music-2d series ], p. 196) he goes on to assert that it was the Puritan spirit of the English.He also said that the Liszt that everyone often plays is his early works showing off his skills, which gives people a conditioned reflex. Hearing Liszt's name makes people feel vulgar; in fact, his Sauna is pure gold [pure gold] , and some of the later works are even more severe to the extreme. ——I think these words are quite reasonable.It is easy for a writer to be distorted by popular customs and buried by decades or even hundreds of years of prejudice.I have three episodes of the Heritage of Music, which are worth reading. The one on Chopin is also good, and the one on Pi Cai is even more exciting. Martin Cooper [Martin? The Daily Telegraph has written articles criticizing you.

The characters in "ji" are of different shades, so you need to read carefully, look through the dictionary more, and pay attention to the syntax. Several people who commented on your playing mentioned that you were physically thin.This shows you how to maintain your body and get enough rest.Be sure to take a period this summer to go to summer vacation!I understand the reason why the letter said that the performances cannot be reduced, but unless it is forced by life, the contract for the next contract must be reduced by a reasonable number of performances compared to this one.If you want to conquer the world, you can't be in a hurry, you have to look at the long-term.It is more effective to recharge your batteries and fight decisive battles with full energy than sporadic battles.What's more, you have to study, supplement the program, and pay attention to other aspects of self-cultivation; in addition, you must have sufficient rest! !

You don't rely on any political and economic background, but rely solely on art to gain a foothold. This is also your minimum and primary responsibility to yourself, others, and the motherland!Of course it is excellent, but I hope you will persevere forever. I believe you will persevere, but the day to test you has not yet come.You have not encountered adversity so far.It really takes a poor and humble life to truly show that "poverty and humbleness cannot be moved"!Be prepared for danger in times of peace, exercise your will more. The program list and so on will be sent at any time.Are there any comments from France and Belgium?Is your Steinway ① seven feet long?Nine feet?In the past few weeks, I have been sick and busier, and I have suffered from severe colds and gastroenteritis for several days, so I am unable to write more.Be careful, take care of everything!

On the night of February 1, 1960 *Dear Cong, we sent the letter on January 11, how many days have we traveled on the road?Did the record company ever ship your records?How's the performance going?Which countries have you been to?How is your body?All are thinking.Dad's work came to an end at the end of last month, and it coincides with the Spring Festival. I copied some music notes for your reference, which may be helpful to you.The original text is in French, and in some places it is convenient to directly translate it into English.Based on your original understanding and reference, you must have some thoughts, so you might as well write to discuss.

① Prokofiev (Sergey Prokofiev, 1891-1953), Soviet composer. ② Shostakovich (DimitryShostakovich, 1906-1957), the most important composer in the modern Soviet Union. ① Steinway, the world famous American piano brand. We know that you have a strong spirit of self-criticism, but your personal world is limited after all, and people’s praise of you can only serve as an encouragement; different opinions can make you progress and broaden your horizons: I hope to think with a calm and open-minded attitude.No matter which critic represents a part of the masses, considering what the critics say is also considering the opinions of the masses.You must have a lot of impressions after hearing other people's performances, and you also hope to tell us.Dad said that in addition to studying your major, you must spare time to read books in other fields to enrich your thoughts and cultivate knowledge in all aspects. ——Father also hopes that you read the books and newspapers of the motherland. If you need any books, please write to us and we can send them to you.

[Attachment] Music notes about Mozart French music critic (female) Helene Jourdan-Morhange [Helanna? Jordan-Mo Anqi]: "Thats why it is so difficult to interpret Mozart's musiC, which is extraordinary simple in itSmelodic purity. This simplicity is beyond our reach, as the simplicity of Fontaine's Fables is beyond Children's understanding." The unattainable, just like La Fontaine's fable, its clarity is also incomprehensible to children. This is why Mozart's music is difficult to interpret.] To find this natural state, we must put our senses ( sensations) to the extent of immaterial [non-material]: this is extremely difficult, because the simplicity of the barely made is obvious at a glance, just like the original painting in the original painting. When expressing happiness, the performer is often too 'posture' , so as to distort Mozart's style. For example, staccato (staccato) is not necessarily equal to laughter, sometimes it may express hesitation, and sometimes it may express regret; The nuance [level] is particularly protruding) to express the phrase as gay (gay), there are too many such examples. The pianist uses the mechanical running [力赛], and the speed is flying, and the arabesque [decorative phrase The grace [elegance] or joy [joy] contained in ] is completely forgotten.” (French "Europa" magazine Mozart special issue in 1956) Regarding contemporary artists who express Mozart, it is universally recognized that the best conductor of Mozart is Bruno Walter [Bruno Walter] ①, followed by Thomas Beecham [Thomas Beecham] ②; in addition, Fricsay [Fricsay] ③ also received good reviews. ――Krips [Krips] ④ is famous for Viennese Classicism [Viennese Classical School], and Scherchen [览尔萨恩] ⑤ is famous for romantic ardour [romantic enthusiasm].

Lili Kraus [Lily? Kraus] or surprising. " In the 1936s, Schnabel played Mozart, which French critics believe has never been surpassed. ① Bruno Walter (1876-1962), a famous German conductor. ② Thomas Beecham (1879-1961), a famous British conductor. ③Frixe (1914-1963), Hungarian conductor. ③'s solo is far inferior to the duet [duet], the record critic said: "The solo of this Mozart expert is disappointing, ④ Krips (1902-1974), Austrian conductor. ⑤ Scherchern (1891-1966), German conductor. ① Schnabel (1882-1951), Austrian pianist and composer. He also highly respects Fischer [Fischer]. ②——K.310 [Work No. 310] No. 8, Canada, and Ciccolini [Chicolini] ④ instilled by Lipatti [Lipatti] ③ in the younger generation are considered very successful, and there are Haskil[ Haskil] ⑤.

The violinist mentioned Willi Boskovsky [Willie Boskovsky] ⑥. The critical text of '56 makes no mention of Isaac Stern [Isaac.Stern] ⑦ Mozart. Goldberg [Goldberg] ⑧ o also did not mention, 55 to 56 record catalog is no longer on his and Lili Kraus [Lily? Krauss] cooperation record; is he dead? The era of Mozart’s appearance and its historical significance (the original title Mozart le classique [Classical Master Mozart Knife]) Everything and the notes in brackets are added by me. "At that time in Italy, art songs were still at the highest level, and in Germany, natural spontaneous songs (spontaneous songs) were showing the possibility of becoming art songs. At that time, the feeling for the human voice was still very strong (the sensitivity to human voice was still vif), but the sensitivity to instrumental sound was already awakened (but the sensitivity to instrumental sound was already awakened). At that time, it was just like the national language} {that is, the language of each country had grown up, not Then Latin is the official language.} Just as a culture has been formed, music also has national branches, but these different national music languages ​​can coexist peacefully. It was a rare spiritual balance in that era. The era? Mozart appeared in that era.” {The above is the author’s quotation of Paul Bekker (Paul? Beck) ①. } "The passage of the critic PauI Bekker [Paul?

The era in which Mozart was born was the era in which 'past' and 'future' coexisted in the lyrical field, and Mozart had a special performance in this field.In his German drama {note: the masterpiece of his German opera is "The Magic Flute"}, starting from the popular Lied [song] and innocent stories {fables and fairy tales} of the eighteenth century, he constituted a general outline for German opera, The arrival of Fidelio ["Fidelio"] ② and Freischotz ["Free Shooter"] ③ is announced.On the other hand, Mozart's Italian plays {by: His Italian operas are more written than German operas} synthesized the clues of comic operas, and pushed the theme of comic operas to the stage of undeveloped large-scale entertainment in music {Note: The so-called Grand Comedy [large comedy] is related to The opera bouffon [funny opera] of the eighteenth century is the opposite, a further development}, thus secretly invading the field of pure opera (opera seria), and even pure opera with a fatal blow.Operas in the eighteenth century used castrated male voices {Note: This method was prevalent in early Italy, castrated boys so that they could sing female voices until they grew up} to sing, without gender at all, and naturally became an abstract voice, It is impossible to develop a dramatic dialectic. ② Fisher (1886-1960), Swiss pianist and conductor. ③ Liebati (1917-1950), Romanian pianist and composer. ④ Chicolini (1925-), a French-Italian pianist. ⑤ Haskell (1895-1960), Romanian pianist. ⑥ Willy Boschowski (1909―), Austrian violinist and conductor. ⑦ Isaac Stern (1920-1), Russian-American violinist. ⑧ Goldberg (1909-1), Polish-American violinist and conductor. ① Paul Baker (1882-1937), German music critic and writer. ② "Fidelio", also known as "Conjugal Love", a three-act opera written by Beethoven. ③ "Free Shooter", a translation of "Magic Bullet Shooter", a three-act opera written by the German composer Feng Bo (1786-1862). On the contrary, in "Don Sulph" and "The Wedding of Fierro", all the different voices are clearly the incarnation of certain characters (all voices, heard as the typical incarnation ofdefinite characters), and from Realistic from the psychological and social point of view, the singing voice does play a role in a real dramatic role; It is determined by the mutual dramatic relationship between the sounds.Therefore, Mozart's achievements in Italian opera are of international significance, that is to say, he supplies the hases of l9th century'S vO-ca1 personality to the characters in operas of the nineteenth century.His completion of this career is from Paisiello [白萨罗, Pai Sailuo] (1740-1816), Guglielmi [Guglielmi] (1728-1804), Anfossi [Anfossi] (1727-97), Cimarosa [prayer Marosa] (1749-1801) {Note: the above are all Italian opera writers} and so on began with the funny style (stvle bouffon), but it did not damage the face effect of bel canto [bel canto] at all, and at the same time obviously It is the purest eighteenth-century tone. "This kind of duality {note: this refers to the duality that belongs to his time and at the same time exceeds his time} is also seen in Mozart's symphony and chamber music. In this field, Mozart gradually absorbed all His style expresses the most subtle nuance[layers], and even retains the eccentricities of the style; when he traveled all over Europe from childhood, he could familiarize himself with any environment after staying only three or four days, and he could write Therefore, his instrumental works are the sum of half a century of music, especially Italian music. {note: the word sum can also be translated as "summary"} but his There are other factors in his instrumental music: the reason why he can absorb it so thoroughly is not only because he can concentrate on all kinds of experiments, and there is no gap between him and reality, but also because he uses a method that exceeds All those experiments were treated from the point of view of his time. This point of view lies mainly in the sense of construction, in the sense of architecture, and this organization and this architecture are already Beethovenian, belonging to Romantic. This consciousness is not only manifested in the forms that Mozart has used to control the entire nineteenth century, but also in his strong idea of ​​maintaining the unity of rhetoric regardless of the style adopted. speech), but also because he subordinates every detail to the whole, and presents it in a brilliant [excellent] and organic way. This cannot be found in the predecessor writers who inspired him. It is Haydn, who is sophomore than Mozart At the age of fourteen, he lived eighteen years longer than him. It was not until middle age that he could fully control the rhetoric (master th, speech), and it was under the influence of Mozart. Everything was brewed in the eighteenth century, and finally reached the Schola Daqu The discovery of the body, and more broadly, the discovery of a variety of themes (mmtiple themes), and the discovery of a true symphonic music body; during the gestation period, there were countless sporadic incidents [events] and mumh-tions (revelation), and then blossomed: But among Mozart's predecessors, including the most fantasy and vitality (fantasy and vital) Italian composers, it is rare to encounter such a smooth and incomparable expression as Mozart: this is the first characteristic in Mozart, And it is the factor that constitutes his power. His infallible sense of smell never fails to write a minor embellishment without first being heard in the whole; He can easily use any "studying" factor without losing his serenity and naturalness. Therefore, when he tries new and complex harmony, he always maintains the normal tone of general conversation; on the contrary, when encountering his rhythm and harmony When the sound is extremely pure, the use of "just right" makes The effect is indistinguishable from the work of painstaking efforts. "It follows that Mozart, on the one hand, expresses the styles of his time, and on the other hand surpasses them, arranges them according to principles ahead of his time, which were the ambitions of later Beethoven and of the Romantics: that is To achieve the absolute coherence of the language, proceed at an ingenious pace, even if a purely formal theme (forma1 theme) is adopted, it will not make people feel it. "The whole of Mozart's work is based on the simultaneous confrontation of the eighteenth and nineteenth centuries. The meaning of this sentence does not only refer to that transitional stage in general history and cultural history (from monarchy to revolution, from mysticism to romanticism) ), and especially the transitional stages in the history of music. Mozart is a constituent factor in the history of music, and the transitions in the music world listed above are no less important than the transitions in the history of culture in general. "Our knowledge of literature and poetry stretches back almost three thousand years, and in the plastic arts the architrave sculptures of the Parthenon already represent a high point; but the expressiveness and structural complexity of music have not been Possibly; therefore the history of music has the peculiar rhythm of the history of music." "Almost until the dawn of the Renaissance {approximately the thirteenth century}, the possibilities of music were extremely naive and amounted to only a narrow, extremely short monody; Polyphonic music {referring to English and French in the fourteenth and fifteenth centuries, and polyphonic music in Flanders}, within the scope of maintaining the ancient mode, can neither engage in independent {that is, its own set of laws} Even large structures cannot get rid of the expression method that is basically impersonal {impersonal means abstraction}. It was not until the end of the sixteenth century that music began to acquire the ability to make sentences comparable to other arts; but two centuries later It is music that proposes more ambitious subjects; it evolves into symphony. Mozart's status is different from that of the general great writers, painters, and sculptors in modern times: Mozart can be said to be Donatello without Phidias behind him. {Note: Tao Nadanluo is the predecessor of Miguel Angelo, 1386-1466, he is equal to the person who started the school of sculpture; but he was cultivated from ancient art, and there are thousands of people who are his mentors. Phidias more than 600 years ago, and Phidias was already a sculptor at the pinnacle, but Mozart never had such a giant composer in the history of music. }In Mozart's field, Mozart is at the greatest turning point in history.He is not 'one' classical writer, but a classical writer who established a school. (He is not a classk, but the classic {Note: This sentence means that there were no classical writers before him, so I translate it as a classical writer who established a school.} "His classical atmosphere made him in some The aspect represents that kind of duality {the one mentioned above}: For example, the fundamental polarities of music { According to: fundamental polarities of??, literally: the polarities of music as we understand it today; But the real meaning I don't understand}; for example, under the single tone with accompaniment (m0ndywith scatter accompaniment), there are thousands of variations (thousands inflections) with contrapuntal nature, which occupy an important place in Mozart's pen; for example asymphonismextreme1y nourished but prodigious1y transParent resound8und6t thedeli-berate vocalism in his lvrical worksThere is a more important point: all his music can be read as spontaneous melody (spontaneous melo-dy), as apure springing of natural song ; Can also be regarded as completely 'artistic' expression (a complete1y 'artistic' expression). "...his greatest works are both pure play and emotive and spiritual depths, as if two inseparable faces of the same reality." ――Italian music critic Fedeled'Amico [Fedelé Damico]'s original work was published in "Europa" magazine in April 1956. What is classical? The word classic [classical] in the writings of ancient grammarians refers to the first poet, etymologically speaking, it is derived from c1ass [grade]. ]; in modern grammarians, it refers to writers or works that can be used as models, so ancient Greek and Latin literature is called c1assic [classical].We translate it as "classical", which actually includes the two meanings of "ancient" and "model".However, since the Renaissance, the content and meaning of the so-called classical spirit and classical works are far broader and more specific than the original meaning.Let me first quote a passage from CeciI Grav [Cecil? Gray] ① criticizing Brahms:—— "It is difficult to name a composer whose thoughts and feelings are farther from the classical spirit than Brahms. Brahms held a completely wrong view of the essence of the classical spirit, and of course it is also true of how to obtain the classical spirit." The view is wrong. Classical art is not rigid (or severe, the original text is au3, erJ; the spirit of classical art is mainly to attach importance to the senses {the word sensual is difficult to translate, and my translation as "emphasis on the senses" is also inappropriate}. Appearance takes an attitude of enjoying. Mozart is perhaps the only true classicist in the entire history of music. He is the opposite of the ascetic. No composer cares about sound for sound like he does. That is to say, the pursuit of the beauty of pure sound. But all the great classical art is like this. Many people who claim to worship the "Greek spirit" now assume that they can see the true face of the Parthenon Temple, the statues dyed with gorgeous colors (Note: At that time, Greek buildings and statues were painted in color, just like Buddhist temple characters and statues), giants inlaid with ivory and gold; Or if you are in Athens during the Dionysian celebration, you will definitely turn away. However, in Brahms's symphonies, we keep hearing the so-called "true" classical seriousness, and "for simplicity 8en3uJ bu au. The contempt of v[sensual beauty]'. Although his works have these advantages (or characteristics, the original text is qualities), these advantages run counter to the classical spirit. Refers to Brahms in the Fourth Symphony as a classicist , is tantamount to calling the hermits living in the wilderness admirers of the Greek spirit. Some of Brahms's particularly rigid and strict moods are often reminiscent of Anatoole France's famous book "Taisse" ( The monk in Tha1s): The monk struggled heroically against the temptation of the flesh, thinking he was fighting the devil; but he did not know that God gave him the temptation of the flesh, just hoping that he would return to a more reasonable state of mind and live a life. A more natural life. On the contrary, the monk thought that the behavior of pious penance, such as sitting on the top of the pillar for several days and nights, was an absurd thing that the devil tempted him to do. Brahms always tried to suppress himself and not let himself flow. He reveals the beauty that stimulates the senses, but he does not know that what he suppresses is definitely not magic, but just the classical spirit." (HeritageOFMusic) ["The Heritage of Music"], p.185-186) This mainly involves the word "sensual" Modern people and ancient people {especially the Greeks} have very different views on the realm referred to by this term. The ancient Greeks {and the people of the modern Italian Renaissance} thought it was legitimate and healthy to please the sense palace, so Everyone needs it. Appreciate a picture of beauty ① Cecil Gray (1895-1951), a British critic and composer. A beautiful picture, a beautiful statue or building, to them, just like facing the mountains and the sea, spring flowers and autumn moon, breathing fresh air, blowing the pure sea breeze, they are as comfortable physically and mentally, as intoxicated, as happy.For two thousand years, since Christian asceticism took root, everything that pleases the senses has been considered dangerous, with brief exceptions. (Buddhism emphasizes that form is emptiness, and it also gives people the same warning, but the method is more gentle and wise. Although we Chinese have been bound by etiquette for thousands of years, etiquette is different from religion after all, so the consequences are not as serious as in the West. In fact, the real danger It lies in the deformity of the physical and mental development of modern people {it started in the Middle Ages, but in modern times it has changed its direction.}, not in the 5en8ua1 [sensual] itself: first there are abnormal, vulgar, and even dangerous The "psychological requirements" that stimulate the senses will produce such sense-stimulating {i.e., abnormal, vulgar, dangerous} things. In other words, everything that is pleasing to the eye or ear may be low-level or even dangerous; It is noble and beneficial to the body and mind. The key is to maintain a person's balance, neither let the flesh overwhelm the spirit and become animalistic, nor let the spirit overwhelm the flesh and always tend to be in a trance, or even regard the flesh as a wart, which is not a good idea. This kind of bias can only lead to sickness but not sanctification. A person with a huge brain and shrunken limbs is just as strange as a person who only knows how to drink wine and eat meat, indulge in sex, and have no cultural life. , is also harmful to the collective. It was the ideal of the ancient Greeks to avoid excessive development of either body or soul, and they were at a balanced stage in the history of human development, as evidenced by all the arts of the heyday of Greece. That stage lasted Very short, so the art of the Greek Golden Age is limited to the fifth century BC to the fourth century BC. Perhaps when the new social system is fully consolidated, a new relationship between people emerges, thinking is completely changed, and when people truly enjoy the life of "happy life", a new and higher spiritual balance will appear again in history. Just because the pursuit of Greek art is to achieve sound sensory enjoyment, so the whole Greek spirit contains optimism, and what it likes is health, nature, liveliness, leisure, tranquility, clarity, elegance, moderation, orderliness, order, Including all the attributes of Confucius's so-called pleasure without lewdness, sorrow without complaint, and the pursuit of classical sentiment by later generations; the most successful art {such as Raphael, and also such as Mozart} has achieved. That is these boundaries.People who misunderstand the classical spirit as old-fashioned, strict, and purely rational are actually poisoned by religion and etiquette, asceticism and pessimism, which invisibly turn classicism into a kind of Christianism, or pedanticism. Pedagogy, that is, the so-called academic school.The true classical spirit is full of vigor, joy, innocence, and life, as free as flowing clouds and flowing water, and as fresh as clear air; but the academic school is dry, stiff, artificial, empty, and stagnant. , purely formalistic, lifeless, closed.If you can't tell this difference, you will go astray in understanding and appreciating any art, let alone expressing or creating. Artists who do not discern the reality of the classical spirit and think they are following the classical path are likely to become pedantic academics.Without discerning what the word "sensual" means in the minds of the Greeks, artists will fall into another trap: in a small way, it is sweet and vulgar and mediocre; further, it is decadent. A part of French literature and painting in the eighteenth century , British contemporary literature and art are all examples of this.From this it can be seen that: Artists should beware of two aspects: one is rigid academicism, and the other is vulgar taste that stimulates the senses. In order to prevent the first danger, it is necessary to broaden the spiritual horizon and keep a fresh sense of things; in order to prevent the second danger, it is necessary to continuously cultivate, update and improve the taste, and both of them need to rely on various aspects of self-cultivation and Constant vigilance.And only a truly pure heart can guarantee the purity of art.Because I forgot to mention above, purity is also one of the ideals of the classical spirit. On Schubert ――A Comparative Study of Shu Boshi and Beethoven―― [France] Paul Langtaurmi To understand Schubert, you can't take his plain appearance as the criterion.Under the charming veil, there is often a very deep brand wrapped.That childlike mind harbored horrific contents, horrific and monstrous visions, boundless sorrows, heart-breaking anguish. We must go deep into the heart of this great romantic writer, and experience for himself the dream that he could not conceive for a moment.In his dreams, so many gloomy phantoms mixed with gentle and lovely images. * * * Schubert is first and foremost a happy, refined, sentimental Viennese. --but not only that. Although Schubert is gentle and kind, he is very timid and not easy to tell the truth.In the midst of his gaiety and wit there always remained a part of his mind, the dream he was constantly pursuing, and he was not willing to tell anyone, except in music.Deep in his heart there were thoughts of depression, sadness, despair, and even a tragic element.This noble, pure, ideal soul cannot be satisfied with the happiness of this world; for this reason, he has a melancholy (nosta1gy) longing for "other worlds", which gives all his emotions a special color. His detached attitude towards human happiness is indeed tragic, but not Beethovenian. Beethoven first pursued happiness in the world, and only happiness.He believes that as long as the world is one family, happiness will be realized in the world.On the contrary, Schubert first had a premonition of another world, this mystical phantasm that immediately made him disbelieve that his deep desire could be found in this life Another life against the life in front of you. } satisfy.He is just a traveler: he knows not to take everything he encounters on his journey very seriously. —— Because of this, Schubert did not have strong enthusiasm in his life. This is where he differs from Beethoven again.Because Beethoven longed to enrich his life with all the happiness of the world, and because he really loved several women and felt severe pain for not being loved by them, he had enough in his inner life. Nourishment cultivates his inspiration.He does not need to rely on other people's poetry to write.The psychological content of his Sonatas and symphonies is in him.Schubert's real life was too empty to give him often the opportunity to arouse musical emotions.He must borrow irnages from the poet to give a more definite form to his constant dreaming needs.Schubert was not born for pure music (pure rnusic), but for songwriting (1ied). ——He wrote more than 600 pieces in total. Schubert is as powerful and great as Beethoven in his songs, but there is a difference. Schubert's mind is more delicate, because he is more poetic, or better at capturing the poet's thoughts.Beethoven mainly expresses the dominant sentiment of a poem.This is the basic condition for expressing poetry correctly and completely.In addition to meeting this condition, Schubert also combined various impressions and central emotions.His more flexible mind pays more attention to details, and can bring out the effect of each artistic conception. (value0feveryimage) On the other hand, Beethoven couldn’t write a work unless he worked hard. He repeatedly revised, deleted, and restarted when necessary.On the contrary, Schubert is best at improvisation, he almost never revises.Some improvisations are truly flawless feats.This one talent sealed his fate: a piece as short as a "song" would have been best suited to improvisation.But you can't improvise a Sonata or a symphony.When Schubert wrote chamber music or symphony, he often wrote it out of the pen and finished it in one breath.because So even if those works are good, they are still protracted, full of repetition and nonsense.Boring passages coexist with brilliant ones.There are also two or three wonderful masterpieces that are impeccable, and that is an exception. ——So to know Schubert, you must first know his songs. Beethoven's life is a constant renewal effort, he has completed a work, he is anxious to get rid of it, lest he be bound by it.He doesn't want to repeat: once he has overcome a method, he doesn't want to be limited by that method, he can't let habit control him.He is always exploring new paths, delving into new skills, and realizing new ideals. --In Schubert there is absolutely no renewal, no evolution. Schubert was Schubert from day one, dying the same as when he was seventeen (the time Margaret Spinning was written).Nor does it feel in his final work that he experienced longer-term pain. But what pain has been revealed in "Margaret"! In his short life he had not time to divulge the fullest of the rich treasures which he poured out; and we do not tire of him even if he is always the same.He is vigorously engaged in song production is to use his strengths.舒伯特单单取材于自己内心的音乐，表情不免单调；以诗歌为蓝本，诗人供给的材料使他能避免那种单调。 * * *舒伯特的浪漫气息不减于贝多芬，但不完全相同。贝多芬的浪漫气息，从感情出发的远过于从想像出发的。在舒伯特的心灵中，形象（image）占的地位不亚于感情。因此，舒伯特的画家成分千百倍于贝多芬。当然谁都会提到田园交响乐，但未必能举出更多的例子。 贝多芬有对大自然的感情，否则也不成其为真正的浪漫派了。但他的爱田野特别是为了能够孤独，也为了在田野中他觉得有一种生理方面的快感； 他觉得自由自在， 呼吸通畅。他对万物之爱是有一些空泛的（ alitilevague），他并不能辨别每个地方的特殊的美。舒伯特的感受却更细致。 海洋，河流，山丘，在他作品中有不同的表现，不但如此，还表现出是平静的海还是汹涌的海，是波涛澎湃的大江还是喁喁细语的个溪，是雄伟的高山还是妩媚的岗峦。在他歌曲的旋律之下，有生动如画的伴奏作为一个框子或者散布一股微妙的气氛。 贝多芬并不超越自然界：浩瀚的天地对他已经足够。可是舒伯特还嫌狭小。他要逃到一些光怪陆离的领域（fantastic regions）中去：他具有最高度的超囱然的感觉（he possesses in highest degree the supernatura1ense）。 贝多芬留下一支Erl-king（歌）的草稿，我们用来和舒伯特的Erl-king①作比较极有意思。贝多芬只关心其中的戏剧成分（dramatic elements），而且表现得极动人；但歌德描绘幻象的全部诗意，贝多芬都不曾感觉到。舒伯特的戏剧成分不减贝多芬，还更着重原诗所描写的细节：马的奔驰，树林中的风声，狂风暴雨，一切背景与一切行动在他的音乐中都有表现。此外，他的歌的口吻（vocalaccent）与伴奏的音色还有一种神秘意味，有他世界的暗示，在贝多芬的作品中那是完全没有的。舒伯特的音乐的确把我们送进一个鬼出现的世界，其中有仙女，有恶煞，就像那个病中的儿童在恶梦里所见到的幻象一样。贝多芬的艺术不论如何动人，对这一类的境界是完全无缘的。 * * *① 译者注：Erl-k1ng 在日耳曼传说中是个狡猾的妖怪，矮鬼之王，常在黑森林中诱拐人，尤其是儿童。歌德以此为题村写过一首诗。舒伯特又以歌德的诗谱为歌曲。（黑森林是德国有名的大森林，在莱茵河以东。）倘使只从音乐着眼，只从技术着眼，贝多芬与舒伯特虽有许多相似之处，也有极大的差别！同样的有力，同样的激动人心，同样的悲壮，但用的是不同的方法，有时竟近于相反的方法。 贝多芬的不同几响与独一无二的特点在于动的力曼（dynamic power）和节奏。旋律本身往往不大吸引人；和声往往贫弱，或者说贝多芬不认为和声有其独特的表现价值（expressive value）。在他手中，和声只用以支持旋律，从主调音到第五度音（from tonic to dominant）的不断来回主要是为了节奏。 在舒伯特的作品中，节奏往往疲软无力，旋律却极其丰富、丰美，和声具有特殊的表情，预告舒曼，李斯特，华葛耐与法朗克的音乐。他为了和弦而追求和弦，―― 还不是像特皮西那样为了和弦的风味，――而是为了和弦在旋律之外另有一种动人的内容。此外，舒伯特的转调又何等大胆！已经有多么强烈的不协和音（弦）！多么强烈的明暗的对比！ 在贝多芬身上我们还只发见古典作家的浪漫气息。――纯粹的浪漫气息是从舒伯特开始的，比如渴求梦境，逃避现实世界，遁入另一个能安慰我们拯救我们的天地：这种种需要是一切伟大的浪漫派所共有的，可不是贝多芬的。贝多芬根牢固实的置身于现实中，决不走出现实。他在现实中受尽他的一切苦楚，建造他的一切欢乐。但贝多芬永远不会写《流浪者》那样的曲子。 我们不妨重复说一遍：贝多芬缺少某种诗意，某种烦恼，某种惆怅。一切情感方面的伟大，贝多芬应有尽有，但另有一种想像方面的伟大，或者说一种幻想的特质（a quality of fantasy），使舒伯特超过贝多芬。 * * *在舒伯特身上，所谓领悟（intelligence）几乎纯是想像（imagination）。 贝多芬虽非哲学家，却有思想家气质。他喜欢观念（ideas）。他有坚决的主张，肯定的信念。他常常独自考虑道德与政治问题。他相信共和是最纯洁的政治体制，能保证人类幸福。他相信德行。便是形而上学的问题也引起他的兴趣。他对待那些问题固然是头脑简单了一些，但只要有人帮助，他不难了解，可惜当时没有那样的人。舒伯特比他更有修养，却不及他胸襟阔大。他不像贝多芬对事物取批判态度。他不喜欢作抽象的思考。他对诗人的作品表达得更好，但纯用情感与想像去表达。纯粹的观念（pure ideas）使他害怕。 世界的和平，人类的幸福，与他有什么相于呢？政治与他有什么相干呢？对于德行，他也难得关心。在他心日中，人生只是一连串情绪的波动（ a seriesofemotions），一连串的形象（images），他只希望那些情绪那些形象尽可能的愉快。他的全部优点在于他的温厚，在于他有一颗亲切的，能爱人的心，也在于他有丰富的幻想。 在贝多芬身上充沛无比而为舒伯特所绝无的，是意志。贝多芬既是英雄精神的显赫的歌手，在他与命运的斗争中自己也就是一个英雄。舒伯特的天性中可绝无英雄气息。他主要是女性性格。他缺乏刚强，浑身都是情感。他不知道深思熟虑，样样只凭本能。他的成功是出于偶然。{按：这句话未免过分，舒伯特其实是很用功的。}他并不主动支配自己的行为，只是被支配。 {就是说随波逐流，在人生中处处被动。}他的音乐很少显出思想，或者只发表一些低级的思想，就是情感与想像。在生活中像在艺术中一样，他不作主张，不论对待快乐还是对待痛苦，都是如此，――他只忍受痛苦，而非控制痛苦，克服痛苦。命运对他不公平的时候，你不能希望他挺身而起，在幸福 的废墟之上凭着高于一切的意志自己造出一种极乐的境界来。但他忍受痛苦的能耐其大无比。对一切痛苦，他都能领会，都能分担。他从极年轻的时候起已经体验到那些痛苦，例如那支精彩的歌《玛葛丽德纺纱》。他尽情流露，他对一切都寄与同情，对一切都椎心置腹。他无穷无尽的需要宣泄感情。他的心隐隐约约的与一切心灵密切相连。他不能缺少人与人间的交接。这一点正与贝多芬相反：贝多芬是个伟大的孤独者，只看着自己的内心，绝对不愿受社会约束，他要摆脱肉体的连系，摆脱痛苦，摆脱个人，以便上升到思考中去，到宇宙中去，进入无挂无碍的自由境界。舒伯特却不断的向自然{按： 这里的自然包括整个客观世界，连自己肉体与性格在内。}屈服，而不会建造“观念”（原文是大写的的ldea）来拯救自己。他的牺牲自有一种动人肺腑的肉的伟大，而非予人以信仰与勇气的灵的伟大，那是贫穷的伟大，宽恕的伟大，怜悯的伟大。他是堕入浩劫的可怜的阿特拉斯（Atlas）①。阿特拉斯背着一个世界，痛苦的世界。阿特拉斯是战败者，只能哀哭而不会反抗的战败者，丢不掉肩上的重负的战败者，忍受刑罚的战败者，而那刑罚正是罚他的软弱。我们尽可责备他不够坚强，责备他只有背负世界的力量而没有把世界老远丢开去的力量。可是我们仍不能不同情他的苦难，不能不佩服他浪费于无用之地的巨大的力量。 不幸的舒伯特就是这样。我们因为看到自己的肉体与精神的软弱而同情他，我们和他一同洒着辛酸之泪，因为他堕入了人间苦难的深渊而没有爬起来。 《罗萨蒙德》间奏曲第二号（Rosamunde－Intermezzo No.2）《即兴曲》第三首（lmpromptu No.3）（全文完）① 译者注：阿特拉斯是古希腊传说中的国王，因为与巨人一同反抗宙斯，宙斯罚他永远作一个擎天之柱。 雕塑把他表现为肩负大球（象征天体〕的大力士。