最高相似度示例 · 非人工确认结果
目标片段如果你对莫扎特在歌剧史或者是古典音乐史总体的位置相对位置感兴趣的话，你得去听之前那两期书里歌剧史和古典音乐史的播客，我们今天只讲莫扎特一个人，还是争取只讲大白话。我对于莫扎特的喜爱，在我个人层面，你会发现真正影响我个人风格。站在我背后的这个男人，与其说是某个具体的哲学家或者思想家在风格上，其实还不如说莫扎特对我的影响更大，其中尤为重要的一点是，他粗俗的屎尿屁幽默感，莫扎特的幽默贯穿他的所有音乐写作和戏剧，这是怎样的幽默感，
来源片段So in that biography, you have a quote here which says, more than any other composer of his level, Mozart viewed human life and behavior almost as a novelist would. But in his case, his insight finally emerged as music, not just in opera but in all music, founded on a fascination with the world and the people in it. So can you go a little bit deeper into that? Like, what does it mean for Mozart to view human life as a novelist would? Well, I first noticed it when he was writing letters home in his travels, when he sort of broke away from dad and was traveling on his own. He would go to a party and then write his father descriptions of the people at the party. And there's some of them really quite marvelous. They're very physical or how people talk or how people move.
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And he was not—Bethoven had to find a sort of higher, more ethical theme. And he finally found that in the operas of Carabini that became his model rather than Mozart. So Mozart was just a guy who was totally involved with life and people. And I call him Mr. Joie de Vivre. And Beethoven was not Mr. Joie de Vivre at all. Yeah, yeah, yeah. Let's compare these two a little bit more. I'm wondering if Mozart would have lived to be 70, let's say. And so him and Beethoven were actually contemporaries. Would Mozart have followed Beethoven into the Romantic era? And the second part of this would be, would Beethoven have entered his heroic phase if Mozart was still alive? Like, what do you think would have happened?
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我本人也确实无法摆脱莫扎特幽默中随促可见的粗笔，更何况在他身上，这种粗俗和高雅是共存的。在系统的讨论。莫扎特是谁？之前我还想说，第二点，莫扎特对我影响很大的地方，也是为什么我在莫扎特、贝多芬和巴赫这三个作曲家之中，莫扎特总是让我感觉到最为亲切。这种亲切来自于一个特质，这个特质能够最准确的用一个法语词概括，那就是他身上的Juai de vivre对于生命的喜悦，他从生命中获得的那种由衷的乐趣和喜悦。
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But it's like the late string quartets and the Ninth and the late sonatas are really where he was like clearly achieving something that was. . . no one taught him to do that. He was really on broken ground. So like, would he be who he was without the late pieces and just the heroic phase? For us, he wouldn't. The question I'm not. . . I'm thinking about is how much did the 19th century and the romantics relate to his late music as opposed to his middle period music? And remember that most of the pieces of his middle period, we call it the heroic period sometimes, but less than half the pieces he wrote, probably less than a third of the pieces he wrote in the middle period are really in the heroic vein. But things like the Fifth Symphony and the and the Razumovsky string quartets in the middle, the Sixth Symphony, Seventh Symphony very much, these influenced the romantics tremendously.
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我们可以说后来的瓦格纳那种连续剧场一般的音乐早在1786年，莫扎特就已经为这种音乐拉开了前奏。在音乐连贯性上，没有任何一位作曲家能够像莫扎特在《非加罗婚礼》第二幕结尾，那20分钟一样，做得如此纯熟自如。这一幕是一整个《非加罗婚礼》最不可思议的高潮。我们可以说这种音乐的过度辉煌，在当时甚至被视为一种毛病。大家说你写了太多音符了，莫扎特连约瑟夫皇帝都对他说，你写了太多音符了，但是这不是浮夸，因为他的思想总是想多一点，
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Whereas Mozart had his father, who was a skilled composer, by the way, and reasonably. He quit composing when he saw his job, Leopold's job became his son at a certain point.
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与此同时，李奥波德一直对于音乐家的地位，心怀不甘，表面恭敬，内心却有更多的野心。他爹有福了，有福了，摊上一个天才儿子莫扎特两岁就会弹旋律。
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He played in the opera orchestra. He accompanied opera rehearsals. So we heard, and they played all the latest stuff. So we heard all the new Mozarts, you know, within a year of their being premiered, probably. He heard everything and he played in the orchestra and he played at court and he got paid for this. It was not a, you couldn't make an international reputation in Bonn. You had to leave for that. And he did, but it was a fantastic place to grow up as a musician. But there were other places like that, you know, in Vienna and Berlin and there were places all over Germany. Monheim was another place like that. Monheim had probably the greatest orchestra in the world for a while when Mozart was young.
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然后当时我回复到莫扎特作为音乐天才在欧洲，让所有人臣服站稳脚跟的方式需要他作为一个来自萨尔兹堡德语区的德国佬，竟然能够跑到意大利去巡演创作，并且获得意大利听众的认可。征服意大利代表在当时代表他征服了全世界品位最高雅最耳雕的听众，所以说他才是真正当之无愧的世界瑰宝、欧洲瑰宝。当时的歌剧大本营，意大利是看不上意大利之外的其他人的音乐品位的什么德语曲？德语曲的不懂音乐，一直到莫扎特写出摩迪之前，你问一下你自己德语中有多少伟大的歌剧，对吧？