Mozart as Piano-Writer
©本文選自《練習曲》雜誌1901年12月
莫扎特最為非凡的一點，乃是他似乎不費什麼氣力就高效掌握了作曲家所需的全部技能。只要他願意，他就能賦成一曲，要麼以自己的方式，要麼以先前任何一位大師的方式。
In order to understand the influence of Mozart in the world of music, and in the world of piano-music in particular, it is necessary, first of all, to take account of his personality and the nature of his musical endowment, because everything relating to his present influence in the world of music turns upon these two elements, reacted upon by the current of musical progress since Mozart’s time.-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.
莫扎特的個性十分迷人，極盡優雅，有著渾然天成的美和對音樂效果的敏銳直覺，但他並不深邃，處世不盡嚴肅。在我看來，作曲家莫扎特與畫家拉斐爾（Raphael，1483-1520）乃是同類。拉斐爾畫作的主要特點是構圖優雅，線條流暢，人物表情柔美，總體上折射出的是樂觀的人生態度。即使是他筆下的聖母，其憂傷固不可免，也展現了他一貫的思想。
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.
如果我們把拉斐爾的畫作與和他同一時代的偉大的米開朗基羅（Michael Angelo，1475-1564）兩相比較，則會震撼於後者觀念中的力量感。米開朗基羅筆下的人物無一不動作激烈，或者人物的線條中有跡象表明行動與苦難乃是他們的宿命。
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.
他的畫作中到處都是強力、武力、被壓抑的情感，以及動作。從外形上看，有大塊大塊的肌肉，有飽受痛苦侵蝕的面孔，凡此種種。簡言之，與拉斐爾作品中表達出的永恆的平和完全對立。
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.
莫扎特與貝多芬之間也有著類似的區別。貝多芬的作品中幾乎總是抗爭的故事與熱切的人生，即使是在以歌頌美為主的作品或片段中，依舊會有也幾乎總有「曾經（不美）」或「將要（不美）」的暗流湧動。希臘諸神明媚的和平已被緊張的呼吸所浸染。
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.
莫扎特的天賦是音樂藝術中最傑出的天賦之一，他生逢其時。偉大的巴赫在他出生前幾年便已故去，但是在莫扎特的孩提時代，他的老師海頓就引入了我們在巴赫作品中找不到的一些迷人的元素：對稱、抒情的旋律，而不是舞蹈。巴赫很可能是有史以來最偉大的音樂大師，他對這門藝術無所不通，只欠缺簡單的抒情能力。
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.
他有著深厚的感情與恣肆的音樂想像力，這想像力使其音樂觸及的一切都大放光彩。但是出身鄉村的海頓卻把民謠的元素帶進了音樂。無論是哪部作品，他總會在這兒那兒加上一點曲調，均衡的、有音樂性的，卻並不深邃的東西。
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.
他甚至發展了奏鳴曲這一音樂形式，能夠在充滿活力的樂章中引入抒情的成分。海頓的奏鳴曲在抒情的旋律之外進展有限，而莫扎特卻走得更遠，把它發揚光大。
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.
除了對深重情感的感知之外，莫扎特似乎囊括了音樂天賦中的一切。在抒情方面，他喜歡民謠的自然勻稱，曾寫下數百首此類作品，美到極致。比如《C大調幻想曲》（Fantasia in C）第二頁中的D大調旋律，再比如同一作品中奏鳴曲慢板樂章的降E大調旋律。
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.
這樣的旋律海頓是寫不出來的，海頓作品中唯一接近這樣甜美風格的，是他寫於莫扎特去世幾年後的《創世紀》（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.
這種抒情的才華是莫扎特天才的一面：優雅、甜美、迷人。它所欠缺的，抑或是本來也能具備的特質，我們可以在貝多芬的一些作品中看到，例如《悲愴奏鳴曲》（Sonate Pathètique）的「慢板」、《第二奏鳴曲》中的「廣板」，以及《第二交響曲》的「緩板」。從這些作品中我們可以聽到被強化和深化了的莫扎特風格的旋律。
- 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.
莫扎特最為非凡的一點，乃是他似乎不費什麼氣力就高效掌握了作曲家所需的全部技能。只要他願意，他就能賦成一曲，要麼以自己的方式，要麼以先前任何一位大師的方式。
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.
他能夠輕而易舉地模仿他們的對位、他們的風雅，甚至他們的癖好。當年博洛尼亞愛樂協會（Bologna Philharmonic Society）要吸納年僅十三歲的莫扎特為會員時，他通過了他們十分嚴苛的測試，所用時間比之前其他會員短得多。
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，如果莫扎特滿足於簡單的旋律，那絕不是因為他能力有限，而是因為這樣能更好地表達他對美的看法。莫扎特精湛的技藝、個性與天分，在他的歌劇和交響樂（而不是鋼琴作品）中表達得淋漓盡致。想要懂得莫扎特，我們應該聆聽和演奏《費加羅》（Figaro）或《魔笛》（The Magic Flute）的序曲，應該傾聽他的歌劇《費加羅》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.
我所知道的最能體現莫扎特技藝的是《費加羅的婚禮》第三幕的尾聲，四十分鐘左右的時間舞臺上發生了一連串的事件，演唱者從兩人到七人不等。在二人組合中，喝醉的園丁和領銜的女高音一樣不可或缺。
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.
看看他的管弦樂曲，其色彩之亮麗，變化之精妙，一如拉斐爾畫作中的色調，甚至像提香（Titian，約1490-1576）的畫作中的色調。只是偉大的威尼斯人（指提香）更有「靜物感」，紋理和色彩欣賞得當的話，會看到他的畫中人物有靜謐的感覺。莫扎特正像拉斐爾：拉斐爾筆下的人物靈動鮮活，動感十足，總帶著來自天國一般的光澤和暗影，散發著昭示勃勃生機的熠熠生輝的色彩，莫扎特的管弦樂亦如此。
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.
莫扎特是音樂的化身，他運用對位毫不費力，就像不知道自己還有對位這一技能一樣。他作曲只是不壓制自己的靈感而已，靈感時時都在，一個好的樂思連一秒鐘都不用等待。因此，在慕尼黑進行的莫扎特復興（譯者註：此文寫於1901年）不能說不是音樂界的希望。即使是認為華格納特別有啟發性的音樂家們也發現，二十世紀能從這位永遠年輕的大師身上學到很多。