Hermann Abert's W.A. Mozart

我建议的研究包括对赫尔曼·阿伯特(1919-1921)的经典莫扎特传记进行注释和解释。这些注释将阿伯特带到了最新的时代：自他那个时代以来，关于莫扎特作品的真实性和年代的研究已经有了相当多的新研究，其中一些对他的结论有重要的影响。但阿伯特的作品并不是简单的生活和作品(尽管每部作品都可能是同类作品中最好的)。它也是一份历史文献，是对莫扎特作为作曲家的最后一次伟大尝试，他的作品不仅贴切地反映了他的生活事实，而且反映了他是谁，以及他作为一名创造性人格所代表的东西。因此，它隐含着一种关于传记和音乐史之间、我们如何写音乐和音乐家以及我们如何理解他们和他们的作品之间的关系的理论。后来的传记使莫扎特脱离了他的音乐--他的长笛是对事实的承认，他的音乐是一连串的分析观察。在很大程度上，这种趋势源于不愿将传记视为建立社会价值观和分析方法的基础，而这些价值观和分析方法是叙事和分析的实际基础。因此，我建议研究传记作为音乐史建构的作用，并形成传记和音乐史之间的关系的理论--特别是关于莫扎特、古典时期和古典风格的理论。艾伯特在很多地方都有这个想法！作为这一项目的载体，既适合学者，也适合普通读者：最终结果将是一篇深入的介绍，探讨传记理论及其与学术和艺术欣赏的关系；一本与音乐和传记问题密切相关的详细文本；以及一本极具可读性的作曲家传记，这是一本复兴的经典作品，即使是现在也是同类作品中最好的一部。

The research that I propose involves annotating and explicating the classic Mozart biography by Hermann Abert (Leipzig, 1919-21). The annotations bring Abert up-to-date: since his time there has been considerable new research on the authenticity and dating of Mozart's works, some of which has significant implications for his conclusions. But Abert's is not simply a life and works (albeit probably the finest of its sort every written). It is also a historical document, the last great attempt to come to grips with Mozart as a composer whose works intimately reflect not just the facts of his life, but who he was, and what he represented, as a creative personality. As such it implicitly represents a theory of the relationship between biography and music history, between how we write about music and musicians and how we are to understand them and their works. Subsequent biographies have divorced Mozart from his music- his fife is aSuccession of facts, his music a succession of analytical observations. In no small part, this trend derives from a reluctance to consider biography as fundamental in establishing the social values and analytical methodological that are the actual bases for both narrative and analysis. What I propose, then, is to investigate the role of biography as a musical-historical construct and to formulate a theory of the relationship between biography and music historyspecifically with respect to Mozart, the 'classical period' and the 'classical style'. Abert is in many \Nays the idea! Vehicle for this project, suitable to academics and the general reader alike: the end result will Be an extended introduction that explores biographical theory and its relationship to scholarship and the appreciation of art; an explicated text germane to problems of music and biography; and an eminently readable biography of the composer, a rejuvenated classic that even now represents one the very best works of its kind.