Immortal Person and Music

Author: Xin Fengnian
Publisher:
Publishing Date: 2000-01-01
Features: In the post-Wang Shuo era, when the word "love" became synonymous with "shit" and, we found solace and gratitude in discovering that there was still a figure like Hugo's in reality—Xin Fengnian. He possessed a profound sense of compassion for the suffering of humanity and a rich emotional life. Xin Fengnian was neither a musician nor a music critic, yet he wrote many music notes that musicians or critics could never have written. Decades later, these notes became treasured possessions. This book consists of over 30 of the author's music notes (essays), discussing Beethoven, Mozart, Schubert, Berlioz, Wagner, and Debussy—all based on his deep personal experiences and insights. The author's decades of understanding of music and life are condensed in his words. His writings on music are rarely seen to possess a sense of feeling, color, and enlightenment. This book is a rare collection of such works. If you doubt it, read the following article, "Cheering for the Genius and the Ordinary!" Excerpt: "Cheering for the Genius and the Ordinary—Revisiting Mozart" There has long been a "Mozart enigma" surrounding Mozart, a mystery in his extraordinary talent and the seemingly simple yet magically profound nature of his music. Now, on the occasion of the 200th anniversary of his death, a "Mozart mania" has emerged. Since the 19th century, Mozart has become the "sun in the hearts" of many musicians. Some of his praise borders on adoration. Contemporary conductor Solti once said that he believes in God for two reasons: one is the existence of such a genius as Mozart. He also claimed that every note of Mozart's music is beautiful. I, too, am a Mozart enthusiast, though I have not become a believer because of him, nor am I qualified to agree or disagree with the notion that "every note is beautiful." Of his over 600 works, I have only heard a small portion, and understanding them is still a challenge. Whether I am a Mozart enthusiast or a "Mozart maniac," it is interesting to consider the fluctuations in the public's perception of this great genius over the past two centuries. Thus, I dug out some writings by Shaw from a century ago, written for his centenary tribute (collected in the University of California edition of "Shaw's Music Criticism"). When Shaw wrote these pieces, he was still relatively unknown. It was another year before (1892) he published his first play, "The Widower," but he had already been writing music reviews for over a decade and had been the chief music critic for a magazine for two years—though he used the odd pseudonym "Cornodi Bassetto." It was a type of low bassoon-like instrument that had long since "retired" from orchestras. Mozart had not only written duets for it and the bassoon but also used it in "The Magic Flute" and "Requiem." From these writings by Shaw from a century ago, we can see that while Britain was once a flourishing center of musical culture, Mozart's works had shifted from being widely popular to being somewhat neglected. By the time of the centenary, they had gradually regained some commercial value. Shaw described the neglected state with a touch of humor: "When the symphony orchestra played the allegro movement of Mozart's symphony, the audience grew restless. They yawned and endured the adagio movement. Then, in the third movement of the minuet, they suddenly woke up, realizing that the 'middle section' (traditionally the middle part of the minuet) was quite pleasant, and they insisted on finishing the last movement, as it was almost over." At that time, apart from a few true connoisseurs, the ordinary people had already forgotten this once-favored favorite of a century ago. By the centenary, however, newspapers that usually ignored him suddenly brought him back into the spotlight. The music world had no choice but to make a show of support. The Crystal Palace put on "The Jupiter Symphony" and "Requiem," while the Albert Hall presented "Requiem" and "The Jupiter Symphony." Shaw believed that the neglect was due to the previous overindulgence in popularity, but he also blamed the mediocre performances that had tarnished the author's reputation. Some conductors thought Mozart's works were easy to handle, unaware that a brilliant performance required true skill. It was only under the direction of a true understanding of Mozart's music, like Richard Strauss, that the British audience rediscovered Mozart, surpassing the popularity of newer works. Shaw's "new works" were not the works of unknown talents but the great works of Liszt, Wagner, and others, which were particularly appealing at the time. In fact, Shaw himself was a proponent of Wagner's music. Yet, he hated the fad of the masses chasing trends, with some people only loving novelty and excitement. Works like "The Flight of the Valkyries" and "Tannh?user" were not without value but had lost their freshness due to excessive repetition. Once, Shaw attended a concert that included Mozart's works and was pleased to go, but he arrived late to avoid the trendy programs. Having grown up listening to a well-worn "Don Giovanni," Shaw had his own insights into Mozart. For example, while Guillaume-André Gounod considered this opera perfect, Shaw refused to agree. Born a playwright, Shaw naturally advocated for the dramatic nature of music. He believed that all musical works were programmatic and often disapproved of pure music that did not rely on literary content. He attributed Mozart's lack of programmatic works to the narrow teaching methods of his father. The father had instilled in his son the idea that "a symphony in sonata form, as long as it sounds beautiful, balanced, sincere, and interesting, does not require or allow for anything more." Therefore, Shaw said, if young Mozart had not undergone this training, he might have come to the conclusion that music without poetic or dramatic content was a waste. Shaw also believed that Mozart sometimes expressed poetic content in his instrumental works, but he wasted his genius by conforming to musical forms and failing to break free from their constraints. Thus, these works remained poems for those who did not understand musical forms, while music scholars, insensitive to poetry and drama, taught them as models of classical works. Shaw deeply regretted that Mozart could not break free from the of his upbringing and turned all his instrumental works into pure music. This was truly something his father, who had dedicated himself to nurturing his genius, could never have imagined or accepted! To raise his son, he took on the roles of father, teacher (not only music but also culture), secretary, librettist, promoter, and even tour organizer, sometimes even acting as his son's assistant! He saw the cultivation of his godson as a divine mission. Later generations have criticized him for exploiting his son, with some of his advertisements for his son being utterly vulgar. We should still accept the common view that Mozart's genius was a joint creation of fate and his father. While we can blame him for exhausting his son's energy by constantly moving him around, without traveling extensively and immersing himself in the musical centers of Europe, meeting the great masters like Gluck, Haydn, and J.C. Bach, there might not have been the Mozart who drew from such a vast pool of inspiration and was not limited by the traditions of any single nation. As for whether music is beautiful because of its purity or lack thereof, Shaw himself was also uncertain. He admired both Beethoven and Mozart, and in comparing these two towering figures, he made observations that could inspire us to reflect on the endless waves of music history. Shaw argued that although people a century ago often saw Mozart as a revolutionary, he was actually a culmination of an era in music, much like Raphael in painting or Molière and Shakespeare in drama. Haydn, who saw clearly (Haydn once told Mozart that his son was the greatest composer of the day), knew that while he himself could not compose works like "The Symphony in E-flat Major," he had contributed to them. Mozart stood on the shoulders of giants, as Haydn himself had done. However, Haydn could not have believed that he could also compose a movement like the "Heroic Symphony." For such music, he would have shaken his head. This was not meant to diminish one in favor of the other. Shaw's view: the greatest challenge in artistic creation is to synthesize the achievements of predecessors. Anyone can start, but it is difficult to sum up and create a legacy that future generations will find hard to follow. Although Shaw once praised Beethoven's rebellious spirit by saying that in comparison, Mozart was just a "well-dressed servant," he placed greater importance on Mozart in terms of artistry. Especially when he criticized Beethoven's imitators for being "purposelessly pretentious," "boasting," and "creating endless climaxes that always left people disappointed," he grew even more fond of Mozart, who "could master both music and his own emotions, always retaining his elegance." Summarizing the greatness of a genius helps to demystify it. Without the cultural environment of 17th- and 18th-century Europe waiting for someone to sum up, and without his father's devoted and tailored education, this extraordinary child might have become ordinary, leaving behind no musical legacy. It is hard to know whether the adulation and frenzy of the masses helped or nearly crushed this genius! Looking at the program of a concert when he was 14, one can imagine the manipulation and torment he endured. Six of the six programs were improvisations. One of them was an aria, where he composed and sang it on the spot, playing his own accompaniment. Baron Grimm, who had connections with the "Encyclopedists," wrote: "The musicians put forward the most difficult tests imaginable." Even the British king personally tested the boy. The Archbishop of Salzburg kept him under house arrest for a week to test whether he could compose. After passing through all these trials, he created a sensation, and he also learned to deal with the masses. Give the customer what they want. For such a sensitive and precocious child, this naturally helped him understand the taste of life. Today, international competitions often remind us that the trials of child prodigies seem to continue. Sometimes, it seems that the ones being tormented are not just the children on stage. The judges are forced to listen to Mendelssohn's concertos over and over again, often dozens of times, spoiling their appetite for a work that requires freshness. Unfortunately, we cannot ask Shaw to return and deliver more of his sharp and insightful writings. He was deeply about the uncivilized treatment of culture and art. Yet, his attacks on the mediocre behavior of the masses were also tied to his advocacy for social reform. While he mocked the trend of chasing novelty, he also pointed out: "Boring and tedious daily life has led everyone to seek stimulation. As long as this culture of boredom continues, Mozart will remain ignored. It is this culture-deprived generation that suffers, and what harm does it do to the author of 'Don Giovanni'?" Shaw's writings also inspire people to listen to Mozart with their own ears. Since he wrote these essays in praise of Mozart, a century has passed. The number of people who appreciate Mozart has clearly increased. Like me, who is not quite a connoisseur, I initially found his music plain, gradually discovered its depth, and finally marveled at it as the pinnacle of musical beauty. Reading Shaw's articles only deepened this appreciation and confirmed Schumann's words: "As time passes, our expectations only grow higher. The circle of those we love becomes smaller and smaller. Even the shining peak of Mozart's music remains unreachable for the young." ("Schumann on Music and Musicians"). Many legends about Mozart have been very effective in promoting his posthumous fame. Today, many of these stories have been debunked and are no longer worth mentioning. This is a disappointment for those who enjoy the "mystery" and "mania" surrounding him. For example, the story of Salieri poisoning Mozart is baseless (Salieri later even became his son's teacher), and the idea that the writing of the "Requiem" was a great mental stimulus for him is also untrue. In his final days, he was not as depressed as some believed. Although he died young, he was already recognized as equal to Haydn. Many biographies have been written about him, with his sister and wife providing information. Around his centenary, academic biographies were published. What is particularly fortunate is that scholar K?chel did a meticulous cataloging of his works. Thus, every piece of his music is marked with a "K" representing K?chel. Shaw's words, filled with sorrow and indignation, stated: "Mozart's last 14 years were those of a great man living in a very small world." The Viennese court was both trying to keep him under control and only asking him to write dances. Some works were left unfinished, with no buyers, becoming mere sketches. In today's Mozart mania, the applause of connoisseurs may still be overshadowed by the enthusiasm of the masses. Some people may even be "eating" Mozart. In this case, the articles from a century ago still feel fresh and relevant. It is a pity that Shaw cannot return to write another piece, for it would surely be another enlightening masterpiece!