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| 沃尔夫冈·阿玛多伊斯·莫扎特(Wolfgang Amadeus Mozart 1756－1791） | ||||||||||||||||||
【钢琴协奏曲】内田光子 - 莫扎特及贝多芬作品选集 |
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内田光子是一位公认擅于诠释莫扎特的艺术家， 此次演出的室内乐团为Camerata Salzburg。。 |
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音乐历史上的今天 1789年4月16日，莫扎特在德累斯顿焦躁地写信给妻子：“我请求你为了你我的名誉检点一下自己的行为举止，同时注意自己的容貌，请不要因为我的请求而生气。” 莫扎特千里迢迢写信告诫妻子康斯坦策，说明了什么？或是莫扎特在德累斯顿听说了妻子的什么传言？ 我们从许多封莫扎特给康斯坦策的卿卿我我的信中，我们看到了莫扎特是多么地热爱着康斯坦策。但仅仅这一封，让我们看到了莫扎特晚年真实的一面。
莫扎特死后200多年，围绕他的传记极多，可以说比任何音乐家的传记都多，
这是为什么？因为莫扎特的音乐至高无上，
他攀上了古典主义时代的艺术最高峰，达到了别人无法企及的地位，而且还因为莫扎特的死因扑朔迷离，让人们不断产生遐想。
很多年前收藏过一本许靖华先生所写的《莫扎特的爱与死》，这本书里许靖华先生提出了一个更
加大胆的设想，把莫扎特写成了因婚外恋自杀身亡，这在当时一个彻头彻尾的莫扎特的崇拜狂来说，难以经受如此的打击，我心中的偶像轰然倒塌，使我很难接受，久久难以释怀，
从那开始我也很少再碰这本书。但是莫扎特作为当今的一个永恒的主题，各种电影、戏剧、音乐剧，各种书籍都拿莫扎特说事，随着千奇百怪的莫扎特的传记层出不穷
。特别是今天看到了莫扎特在德累斯顿这篇焦躁的日记，让我一下子想到了许靖华的这本书，使我又有了拿起来此书的勇气。 |
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《莫扎特一家》的画像为画家约翰·内波穆克·德拉·克罗齐所作，大约作于1780年，即莫扎特从巴黎返回萨尔茨堡的次年。 画中正在弹琴的是莫扎特和他的姐姐玛丽亚·安娜（别名南内尔），当时莫扎特年方24岁，南内尔29岁。坐在琴旁手里拿着小提琴的，是他的父亲利奥波德。挂在墙上的母亲的肖像，大约是1775年洛伦佐尼或弗兰茨·约瑟夫·德格勒所画。画母亲的肖像的时候，是在莫扎特同母亲去巴黎的前两年，母亲是在1778年7月3日死于巴黎的，当德拉·克罗齐画《莫扎特一家》时，母亲已死了两年。据南内尔说，德拉·克罗齐这幅画画得特别像。 这幅画现藏于萨尔茨堡莫扎特博物馆。 |
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The portrait of
the Mozart family was painted by the painter johann nebomark DE la
croce, circa 1780, the year after Mozart returned to salzburg from
Paris. Mozart and his sister maria Anna (also known as nannerl) are playing the piano.Sitting by the instrument with the violin in his hand was his father Leopold.The portrait of the mother on the wall was painted circa 1775 by lorenzoni or Franz Joseph degler.The portrait of his mother was painted two years before Mozart had gone to Paris with his mother, who had died in Paris on July 3, 1778, and who had been dead for two years when DE la croce painted the Mozart family.According to nannerl, this painting by Della croce is particularly similar. The painting is in the Mozart museum in salzburg. |
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| 莫扎特的夫人康斯坦策 | ||||||||||||||||||
| Mozart's wife Constanze | ||||||||||||||||||
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早年生活 康斯坦策·韦伯出生于策尔伊姆维森塔尔，是弗里多林·韦伯和采齐利亚·韦伯的女儿。著名的音乐家卡尔·马利亚·冯·韦伯为弗里多林·韦伯的同父异母兄弟的儿子。康斯坦策还有两个姐姐和一个妹妹，四个姊妹从小被父亲培养为歌唱家。 康斯坦策家长期住在她母亲的家乡--曼海姆，曼海姆是当时重要的音乐中心。1777年，21岁的莫扎特和母亲来到曼海姆寻求工作的机会，与韦伯家关系甚密。21岁的莫扎特坠入爱河，爱上了康斯坦策·韦伯的二姐，其时的康斯坦策·韦伯只有15岁。 1779年康斯坦策·韦伯家搬去维也纳。一个月后，其父弗里多林去世。 康斯坦策·莫扎特 1781年，莫扎特到达维也纳。然而19岁的康斯坦策和莫扎特的关系发展并不顺利。1782年4月，发生的一段基于嫉妒的小插曲使得莫扎特和康斯坦策感情几乎破裂。同时，在婚姻的问题上，莫扎特面临着来自父亲方面的压力。 婚礼最终在充斥着批评的声浪中举行。1782年8月4日，康斯坦泽正式成为了沃尔夫冈·阿玛多伊斯·莫扎特的妻子。康斯坦泽为莫扎特生了6个孩子，其中4个在婴儿期都不幸夭折 。 莫扎特死后 1791年，莫扎特去世。留下的债务把康斯坦策·莫扎特推向了一个不同的处境。然而康斯坦策通过自己出色的经营技巧度过了难关。她还送两个儿子去布拉格接受教育。期间她还参与了第一部莫扎特的长篇传记的撰写工作。 1797年，遇见冯·尼森。1798年9月，与冯·尼森同居。1809年，两人结婚。1810年到1820年间，两人居住在哥本哈根，并在欧洲各地旅行，主要在德国和意大利。1824年，他们定居于萨尔兹堡。两人共同撰写莫扎特的传记。康斯坦泽最终在1828年完成了传记的出版，此时她的第二任丈夫去世已经两年。在康斯坦策生命的最后日子里，她的两个同为寡妇的姐妹陪伴着她。1842年，康斯坦策去世。 |
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Early life Konstanze Weber was born in Zielimwiesenthal, the daughter of Fridolin Weber and Cezilia Weber. The famous musician Karl Maria von Weber was the son of Fridolin Weber's half-brother. Constanze also had two older sisters and a younger sister, all of whom had been trained as singers by their father. Konstanzer's family lived for a long time in her mother's hometown, Mannheim, which was an important musical center at the time. In 1777, at the age of 21, Mozart and his mother came to Mannheim to seek work opportunities and became close to the Weber family. At the age of 21, Mozart fell in love with the second sister of Konstanze Weber, who was only 15 at the time. In 1779 Konstanzer Weber's family moved to Vienna. His father Fridolin died a month later. Constanze Mozart 1781 Mozart arrived in Vienna. However, the relationship between the 19-year-old Constanze and Mozart was not going well. In April 1782, an episode of jealousy caused the relationship between Mozart and Constanze to almost break down. At the same time, Mozart faced pressure from his father on the issue of marriage. The wedding took place amid a storm of criticism. On August 4, 1782, Constanze officially became the wife of Wolfgang Amadeus Mozart. Konstanze bore Mozart six children, four of whom died in infancy. After Mozart's death Mozart died in 1791. The debt left behind pushed Konstanze Mozart into a different situation. However, Konstanze has weathered the storm through his excellent business skills. She also sent her two sons to Prague for education. She also worked on the first full-length biography of Mozart. In 1797, he met von Nissen. In September 1798, he moved in with von Nissen. They married in 1809. Between 1810 and 1820, the couple lived in Copenhagen and traveled throughout Europe, mainly in Germany and Italy. In 1824 they settled in Salzburg. The two co-wrote a biography of Mozart. Konstanze finally published her biography in 1828, two years after the death of her second husband. In the last days of Konstanze's life, her two sisters, who were also widows, accompanied her. Constanze died in 1842. |
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| 许靖华先生所著《莫扎特的爱与死》封面 | ||||||||||||||||||
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《莫扎特的爱与死》
前 言 |
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目 录 一 《B小调柔板》——一见钟情 二 《艾西斯与佳拉特雅》——灾祸的种子 三 《钢琴变奏曲》——绕道而行 四 《D大调弦乐四重奏》——一厢情愿 五 《D大调钢琴奏鸣曲》——两个重聚的故事 六 “最亲爱的挚友”——给普赫伯格的信件 七 《瞬间的喜悦》——爱的折磨 八 《单簧管五重奏》——贿赂 九 《我亲爱的绝美偶像》——忆及过往种种 十 《女人皆如此》——自传 十一 《普鲁士四重奏》——幻灭 十二 《机械管风琴的慢板与快板》——奔波 十三 《降B大调钢琴协奏曲》——安息 十四 《以这纤柔双手》——清歌 十五 《魔笛》——赌气恋人的冲动 十六 《提图斯的仁慈》——变调的和解之歌 十七 《亲爱的，我们永别了，再会》——永别 十八 《安魂曲》——知之不悔 十九 家庭悲剧——谋杀与自杀 本书由生活·读书·新知三联书店2006年12月出版 责任编辑 刘雪枫 封扉设计 罗 洪 出版发行 生活·读书·新知三联书店 （北京东城区美术馆东街22号） |
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许靖华，1929年生于中国南京。毕业于南京国立中央大学地质学系。1953年获美国洛杉矶加州大学（UCLA）博士学位。毕业后在美国大学里任教，1967年移居瑞士，任职于苏黎世瑞士联邦理工大学（ETH），直到1994年退休。 许先生在他自己的学术领域里涉猎广泛。他同时还是一位杰出的作家，先后创作了超过四百余篇的科学论文和20部著作。他获得过许多重要奖项，包括地质学会（伦敦）授予的乌拉斯坦（Wollastan)勋章，地质之父莱伊尔（Lyell)、赫克斯里（Huxley）、达尔文等都获颁这一地质领域中最高奖项。他还被授予南京大学荣誉科学博士，并被推选为美国国家科学研究院外籍院士。 |
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Xu
jinghua was born in 1929 in nanjing, China.Graduated
from department of geology, nanjing national central
university.In 1953, he received his doctor's degree
from the university of California, Los Angeles
(UCLA).After graduation, he taught at American
universities. He moved to Switzerland in 1967 and
worked at the Swiss federal institute of technology
(ETH) in Zurich until his retirement in 1994. Mr. Xu dabbled widely in his own academic field.He is also an outstanding writer, has created more than 400 scientific papers and 20 books.He has received many important awards, including the order of Wollastan from the geological society (London). Lyell, Huxley and Darwin, the fathers of geology, were awarded the highest prizes in the field.He was also awarded an honorary doctor of science from nanjing university and elected a foreign academician of the us national academy of sciences. |
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| 内田光子(Mitsuko Uchida) | ||||||||||||||||||
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内田光子1948年出生于东京，1961年到68年师从豪瑟，1969年得到维也纳贝多芬钢琴大赛第一名后，曾经短暂跟随肯普夫与阿斯肯纳瑟学习。1970年得到华沙肖邦钢琴大赛首奖，1975年获得利兹国际钢琴大赛首奖，1972年起定居伦敦。内光田子于1982年在东京演出莫扎特钢琴奏曲全集，1984年首度与柏林爱乐合作，1985年第一次在纽约演出。1985年到86年乐季，内田光子自任指挥与独奏，与英国室内乐团合作莫扎特钢琴协奏曲全集，1994年到95年在伦敦、纽约、东京、阿姆斯特丹、维也维与萨尔兹堡等地的音乐会焦点则放在舒伯特与荀白克。1996年，内田光子在英国作曲家中担任独奏，由布列兹指挥洛杉爱乐。内田光子的音乐性深刻而又有明晰的理智，她以诠释莫扎特及舒舒伯特闻名，但是对于贝多芬、舒曼、贝尔格与梅湘的作品也同样拿手。 内田光子是日本籍的英国古典钢琴家。她的演奏吸引着听众想象，而钢琴可能是她个性的延伸。这个想法听起来很荒谬，因为我们知道钢琴家和一般表演艺术家“仅仅”将听众与音乐作品联系在一起。 然而，在内田的手下流淌的，单纯的演释不仅是最高级别的艺术性，而且是一种神秘的，甚至是超自然的转变，它给听众带来令人难忘的精神体验。例如，当内田演奏莫扎特时，即使是经验丰富（也许有点疲惫）的莫扎特 迷听到这位伟大作曲家熟悉的音乐，这是一种惊人的启示。只有一个强大的和原创的艺术个性才能将这个熟悉的作品的神奇转化变成一个辉煌的愿景。也许 更好的说法是——因为空间术语很难描述音乐的本质 - 钢琴完全由内田的个性所主宰。 作为一名表演者，内田被形容为沉默，谨慎，甚至保留。如果是这样，这是一个艺术家的沉默，一个艺术家谁知道最轻松的触摸，例如，在她的权威读物克劳德.德彪西的 作品中，可以揭示整个世界无尽的辉煌，最柔软的声音可以达到一个核心人的存在。尽管存在明显的矛盾，内田证明听音乐不是一种身体行为。事实上，正如亚历克斯·罗斯在纽约人中所说的，任何接受过适当训练的人都可以演奏正确的音符。 “另一件事是，”罗斯继续说道，“在音符中发挥思想，在他们周围发光，在他们背后的黑暗，在短语结尾处的沉默，这是激发敬畏的原因。”因此，最小的姿态，几乎察觉不到的短语转变或丝毫的犹豫表现出无法衡量的感觉，即任何智力都无法衡量或翻译成文字。事实上，内田从未缺乏勇气去面对音乐艺术的伟大工作中的神秘，甚至令人不安的思想，感觉，能量和灵感的无限。 |
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Severin Born in Tokyo
in 1948, he studied with hauser from 1961 to 68 and briefly
studied with kempf and askenasser after winning the first prize
in the Vienna Beethoven piano competition in 1969.He was awarded
the first prize in the Warsaw Chopin piano competition in 1970
and the first prize in the Leeds international piano competition
in 1975. He has lived in London since 1972.She performed in 1982
in Tokyo in the complete works of Mozart for piano, first with
the Berlin philharmonic in 1984, and first in New York in
1985.During the 1985-86 season, uchida acted as conductor and
soloist, collaborated with the British chamber orchestra on the
complete works of Mozart's piano concerto, and performed in
London, New York, Tokyo, Amsterdam, Vienna and salzburg in
1994-95, focusing on schubert and schoenberg.In 1996, uchida
played a solo role among British composers, with brez conducting
the Los Angeles philharmonic.Uchida is known for her profound
and lucid musical interpretation of Mozart and schubert, but she
is equally good at the works of Beethoven, schumann, berg and
mei-hsien. Mitsuko uchida is a Japanese British classical pianist.Her playing captured the audience's imagination, and the piano may be an extension of her personality.This idea sounds ridiculous, because we know that pianists and the average performing artist "only" connect the audience to the piece of music. Yet what flows under uchida's hands is not only the highest level of artistry, but also a mystical, even supernatural transformation that gives the audience an unforgettable spiritual experience.When uchida plays Mozart, for example, it is a startling revelation that even seasoned (and perhaps weary) Mozart fans can hear the great composer's familiar music.Only a strong and original artistic personality can transform the magic of this familiar work into a brilliant vision.Perhaps it is better to say -- because spatial terms are difficult to describe the nature of music -- that the piano is entirely dominated by uchida's personality. As a performer, uchida is described as silent, cautious, and even reserved.If so, it is the silence of an artist, an artist who knows the easiest touch, for example, in the works of her authoritative reading Claude Debussy, which can reveal the endless glam of the whole world, the softest sound can achieve a core human existence.Despite the apparent contradiction, uchida proves that listening to music is not a physical act.In fact, as alex Ross said in New York, anyone with the right training can play the right notes."The other thing," rose continues, "is to play the thoughts in the notes, to glow around them, to be dark behind them, to be silent at the end of the phrase, and that's what inspires awe."Thus, the smallest gesture, the barely perceptible turn of phrase or the slightest hesitation shows the immeasurable feeling that no amount of intelligence can be measured or translated into words.In fact, uchida never lacked the courage to face the mysterious, even disturbing thought, feeling, energy and inspiration of the great work of musical art. |
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【莫扎特】第二十d小调钢琴协奏曲 (K.466) - 指挥及钢琴：内田光子 |
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| Mozart Piano Concerto in 20 d Minor (K.466) -- Conductor and Piano: Mitsuko Uchida | ||||||||||||||||||
【总谱】莫扎特 D小调第二十钢琴协奏曲 K.466 |
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曲：Piano Concerto No. 20 in D minor,
K.466
作曲：Wolfgang Amadeus Mozart（沃尔夫冈·阿马德乌斯·莫扎特） 指挥：Igor Borisovitch Markevitch （伊戈尔·鲍里索维奇·马克维奇）独奏：Clara Haskil（克拉拉·哈斯基尔） 演奏：Orchestre Lamoureux（拉莫鲁乐团） I. Allegro (0:00) II. Romance (13:28) III. Allegro assai (23:02) |
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| 引深阅读之页 | ||||||||||||||||||
| 双峰并峙 两水同流－文化视野中的莫扎特与贝多芬/田润德 | ||||||||||||||||||
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