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

我认为，在他晚期的一些小调器乐作品中，莫扎特加入了他同时代的文学作品，培养了对超自然的恐惧。我将探讨如何音乐的概念，如光谱，怪诞和神秘，这是符合哥特式小说和墓地诗歌的时期，是嵌入在莫扎特自己的作品。最近的文学和文化研究文献探讨了启蒙运动对恐怖的培养作为一种美学效果。这种“恐怖主义”集中体现在柯林的《恐惧颂》（1746）、18世纪40年代加里克在德鲁里巷（Drury Lane）描写的恐惧中的哈姆雷特的令人毛骨悚然的形象、令人毛骨悚然的哥特式浪漫小说（始于沃波尔1764年的《奥特朗托城堡》）、奶妈超自然的民间故事、日常迷信以及世纪末遍布欧洲的上演的幻影。恐怖作为一种美学效果和社会善，在伯克的《论崇高与美丽》（1757年）一书中被提出。在安全的距离下，恐怖会带来愉悦，但它会给商业社会带来短暂的强烈冲击。然而，正如Clery所指出的，可怕本身就是一种商业化的体验。 审美恐怖的一个主要焦点是超自然的：“理性时代”一次又一次地回到了幽灵、幽灵、恶魔的恐怖，以及对“另一面”意识的无形入侵。Castle，The Female Thermometer（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，心灵无意中被超自然化了，好像拥有自己的幻影。因此，信仰与不信仰、真实的与想象的、过去与现在、有生命的与无生命的、世俗的与超凡脱俗的之间的紧张关系是意识本身特有的，这些紧张关系在克莱里所说的“恐怖工业”中被直接处理和外在化。 在这些背景下，声音和音乐的作用在文献中几乎没有得到承认。但是，墓地诗人，以及后来的哥特小说家，通过声音，并作为声音，唤起了世俗和精神领域中超自然的存在。在文学表现中，器乐被光谱化。就像来自另一个世界的一种放射物，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，又是想象的，既是人的，又是非实体的，就像一种语言，但没有语义上的指涉性，因此同时暗示着在场和不在场。在雷德克里夫1794年的《乌迪内斯》中，音乐/从艾米丽窗户下一个看不见的、可能是想象中的源头发出/是鬼魂的语言，艾米丽怀着“迷信的敬畏”听着，直到“紧张的声音”。沉到很远的地方“他们变得越来越弱，直到他们陷入沉默。 我认为，器乐中的超自然主题不仅涉及和声和风格的惯例，而且还涉及音乐听起来奇怪和不熟悉的技术，迷失方向，令人困惑，并暗示鬼魂，幽灵，骷髅和未死的视觉世界。关于表达，我认为莫扎特利用了明显没有情感的写作的寒蝉效应来创造一种“冷酷”，“不人道”，因此是威胁性的印象。这一阶段的研究将在莫扎特的音乐密码学的讨论中达到高潮，这是一组音乐符号，相当于进入地穴、闹鬼的地牢或地下通道的文学和绘画话语。 关于莫扎特的幻想曲在C小调（K。475)D minor（K. 397），我将探讨幻想曲如何为超自然的恐怖提供一个理想的背景，不仅仅是因为这种体裁的相对“自由”的调制，主题工作和米，但因为这种体裁的难以捉摸和模棱两可与超自然本身的话语产生共鸣。

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.