Mozart Cryptology: Gothic Horror and Musical Meaning in the Late Enlightenment

在莫扎特晚期的一些次要乐器作品中，我会说，莫扎特加入了他的文学同龄人的行列，培养了超自然的恐怖。我将探讨在那个时期的哥特式小说和墓地诗歌中遇到的音乐是如何被嵌入到莫扎特自己的作品中的，即幽灵、诡异和诡异的概念。最近的文学和文化研究文献探索了启蒙运动对恐怖的培养作为一种审美效果。科林的《恐惧颂》(1746)、18世纪40年代加里克的《德鲁里巷的哈姆雷特》令人毛骨悚然的印象、令人毛骨悚然的哥特式浪漫故事(从沃尔波尔1764年的奥特兰托城堡开始)、奶妈超自然的民间故事、日常迷信，以及世纪末整个欧洲上演的幻影，都是这种恐怖主义的缩影。伯克在他的《论崇高与美丽》(1757)一书中，将恐怖作为一种审美效果和社会公益进行了深刻的理论阐述。安全距离让人感到愉悦，恐怖给商业社会带来了短暂的剧烈冲击。然而，正如克莱里指出的那样，可怕的经历本身就是一种商业化的体验。审美恐惧的一个主要焦点是超自然的：“理性时代”一次又一次地回到幽灵、幽灵、恶魔的恐怖，以及对“另一面”意识的无实体入侵。《女性温度计》(OUP，1995)探讨了超自然主义和理性之间的冲突，认为正是因为启蒙运动将超自然解释为心灵的产物，心灵在不经意间被超自然/好像拥有了自己的幻影。因此，信仰和不相信、真实和想象、过去和现在、有生命和无生命、世俗和超凡脱俗之间的紧张关系是意识本身的特有现象，这种紧张关系直接被解决，并被外化，被克莱里称为“恐怖工业”。在这些背景下，声音和音乐的作用在文学中几乎没有得到承认。但墓地诗人，以及后来的哥特式小说家，通过声音唤起了世俗和精神领域中超自然的存在。在文学表现上，器乐被幽灵般的表现。就像从另一边散发出来的东西，它似乎既是这个世界的一部分，又不是这个世界的一部分，既是真实的又是虚构的，既是人又是无实体的，就像一种语言，但没有语义指涉，因此暗示着同时存在和缺席。在拉德克利夫的《乌多尔弗之谜》(1794年)中，音乐/来自艾米丽窗户下看不见的、可能是想象中的源头/是鬼魂的语言，艾米丽带着迷信的敬畏倾听着，直到……沉入很远的距离……变得越来越微弱，直到它们变得柔和到沉默。我认为，器乐中的超自然主题不仅涉及和声和风格的传统，而且还涉及使音乐听起来奇怪和陌生的技术，使人迷惑、困惑和暗示鬼魂、幽灵、骷髅和不死的视觉世界。在表达方面，我认为莫扎特利用了明显冷酷无情的写作带来的令人不寒而栗的效果，创造了一种“冷酷”、“不人道”的、因此具有威胁性的印象。这一阶段的研究将在讨论莫扎特的音乐密码学时达到高潮，密码学是一组音乐符号，相当于进入地窖、闹鬼的地牢或地下通道的文学和图像话语。参考莫扎特的C小调幻想曲(K.475)和D小调幻想曲(K.397)，我将探索幻想曲如何为超自然的恐怖提供了一个理想的背景，不仅仅是因为该流派在调制、主题工作和节拍方面的相对自由，而且因为该流派的难以捉摸和模棱两可与超自然本身的话语产生了共鸣。

In some of his late minor-key instrumental works, I will argue, Mozart joined his literary contemporaries in cultivating the terrors of the supernatural. I will explore how the notion of music as spectral, eerie and uncanny, which is met in Gothic novels and Graveyard poetry of the period, are embedded in Mozart's own works. Recent literature in literary and cultural studies has explored the Enlightenment's cultivation of terror as an aesthetic effect. Such 'terrorism' is epitomised by Collin's 'Ode to Fear' (1746), the flesh-creeping impression of Garrick's fear-struck Hamlet in Drury Lane in the 1740s, hair-raising Gothic romances (beginning with Walpole's The Castle of Otranto in 1764), wet-nurses supernatural folktales, everyday superstitions, and the staged phantasmagoria across Europe at the end of the century. Terror as an aesthetic effect and social good was influentially theorised by Burke in his treatise on the Sublime and the Beautiful (1757). Rendered pleasurable by a safe distance, terror gives commercial society a short sharp shock. However, as Clery notes, the terrible was itself a commercialised experience. A major focus for aesthetic terror was the supernatural: the 'Age of Reason' returned again and again to the horrors of the spectral, the ghostly, the demonic, and the disembodied intrusion into consciousness of 'the other side'. Castle, The Female Thermometer (OUP, 1995) explores the conflicts between supernaturalism and rationality, arguing that precisely because the Enlightenment explained the supernatural as a product of the mind, the mind was inadvertently supernaturalized / as if hosting its own phantasmagoria. Thus tensions between belief and disbelief, the real and the imaginary, the past and present, the animate and inanimate, the worldly and the otherworldly were endemic to consciousness itself / tensions that were addressed directly, and externalised, in what Clery calls the 'terror industry'. The role of sound and music in these contexts is barely acknowledged in the literature. But the graveyard poets, and later the Gothic novelists, evoked the presence of the supernatural in the mundane, and mental, realms through, and as, sound. In literary representation, instrumental music was spectralized. Like an emanation from the other side, it seemed at once part of, and not part of this world, at once real and imaginary, human and disembodied, like a language but without semantic referentiality, hence suggesting presence and absence simultaneously. In Radcliffe's The Mysteries of Udolpho (1794) music / emanating from an invisible, possibly imaginary source beneath Emily's window / is the language of ghosts to which Emily listened with 'superstitious awe' until 'the strains ... sunk to a great distance ... became fainter and fainter, till they softened into silence'. The supernatural topic in instrumental music, I suggest, involves not just conventions of harmony and style, but techniques of through which the music is made to sound strange and unfamiliar, disorienting, confusing, and suggestive of the visual world of ghosts, spectres, skeletons and the un-dead. With regard to expression, I will argue that Mozart exploits the chilling effect of apparently emotionless writing to create a 'cold', 'inhuman' and hence menacing impression. This phase of the study will culminate in a discussion of Mozart's musical cryptology, a set of musical signs equivalent to the literary and pictorial discourse of descent into the crypt, haunted dungeon or underground passageway. With reference to Mozart's Fantasias in C minor (K. 475) and D minor (K. 397), I will explore how the fantasia provided an ideal context for the terror's of the supernatural, not simply because of the genre's relative 'freedoms' of modulation, thematic working and meter, but because the elusiveness and ambiguities of the genre resonated with the discourse of the supernatural itself.