Mozart and the Nineteenth-Century Parisian Press: The Musicography of Henri Blaze de Bury, 1834-1882

人们经常说莫扎特是21世纪初古典音乐的象征，在他诞辰250周年之际（2006年1月27日），这一点再正确不过了。很少有人问为什么会这样。参考过去四分之一千年中对作曲家的态度的变化，可以提供一系列重要的答案；这些可能表现在表演、编排、对世界的影响和批评欣赏方面。19世纪的法国，几乎总是指19世纪的巴黎，拥有欧洲最复杂的音乐文化，由最精致的音乐出版社和戏剧评论所支持，这是值得注意的，因为它的音乐知识得到了完善。也许最著名的批评家赫克托耳·柏辽兹（Hector Berlioz）是最有争议的评论家之一，但只有两位记者得到了现代编辑的仔细关注，他们是柏辽兹本人和他的亲密支持者约瑟夫·德·奥尔提格（Joseph d’ortigue）。因此，对任何19世纪音乐现象的现代观点，包括莫扎特，都被这两位作者强有力地表达的观点所影响。《莫扎特和19世纪的巴黎新闻界：1834-1882年亨利·布雷兹·德·伯里的音乐学》试图从另一个角度来理解莫扎特是如何被19世纪最重要的欧洲音乐中心所接受的，以及巴黎音乐新闻业的更普遍的世界，通过研究半个世纪以来对莫扎特不断变化的看法，安吉-亨利·布雷兹(dit Blaze de Bury；1813-1888)为《世界双人舞》（Revue des deux mondes, 1834-1882）写乐评。该项目建立了一个完整的机器可读电子语料库，收录了Blaze de Bury关于音乐的作品，以便详尽地了解他对莫扎特的看法，以及他的批评发表期间这些看法的变化。这项研究代表了两个主要学科领域的重要贡献：莫扎特接受的学科和当前对19世纪巴黎新闻界的热情。它第一次在一个评论家的手中提供了一个连贯的作曲家观点，并且在它的机器可读语料库（大约70万字）的呈现中，一个远离前卫的评论家提供了一个重要的补充，现有的研究要么是完整的（如在d'Ortigue的情况下），要么是正在进行的（如在柏辽兹的情况下）。该项目的成果将以论文的形式出现在伦敦的一个国际会议上，该会议的报告，一篇评审期刊上的文章，以及一个开放访问的网站，在这个网站上，Blaze de Bury的所有音乐作品都可以免费查阅和搜索。

It is frequently stated that Mozart stands as a symbol for classical music at the beginning of the 21st century, and this is never more true than in the 250th anniversary of his birth (27 January 2006). Less frequently is it asked why this is so. An important range of answers may be offered by reference to the changing attitudes to the composer during the course of the last quarter millennium; these may be expressed in terms of performance, arrangement, impact on the world of belles lettres and critical appreciation.Nineteenth-century France, which almost always means nineteenth-century Paris, boasted the most sophisticated musical culture in Europe supported by the most elaborate music press and by theatrical criticism that was noteworthy for the refinement of its musical knowledge. Perhaps the best known critic, Hector Berlioz, was one of the most controversial, but the only two journalists to receive careful modern editorial attention have been Berlioz himself and his close supporter, Joseph d'Ortigue. Modern views of any nineteenth-century musical phenomena, including Mozart, are therefore coloured by the powerfully expressed views of these two authors.'Mozart and the 19th-Century Parisian Press: The Musicography of Henri Blaze de Bury, 1834-1882' attempts to give an alternative perspective both to our understanding of how Mozart was received by the most important European musical centre in the nineteenth century and to the more general world of Parisian musical journalism by examining the changing views on Mozart during the half century that Ange-Henri Blaze (dit Blaze de Bury; 1813-1888) wrote music criticism for the Revue des deux mondes (1834-1882). The project puts in place a complete machine-readable electronic corpus of Blaze de Bury's writings on music in order to permit an exhaustive account of not just what his views on Mozart were but how they changed over the course of the period during which his criticism was published.The research represents an important contribution to two major subject areas: the discipline of Mozart-reception and the current enthusiasm for the nineteenth-century Parisian press. It provides an coherent view of the composer in the hands of a single critic for the first time, and in its presentation of a machine readable corpus (of around 700,000 words) of a critic distanced from the avant garde provides an important complement to existing studies either complete (as in the case of d'Ortigue) or ongoing (as in the case of Berlioz).The results of the project will appear as a paper at a international conference in London, the report of that conference, an article in a refereed journal and as a open-access website where the entire writings on music by Blaze de Bury will be freely available for consultation and search.