Harnoncourt, On Mozart

　　当我们录制并演出莫扎特最早期的交响曲时, 我们着实大惊失色, 瞠目结舌。它们真的是一个八到十二岁的小孩子写的吗?! 于是我们也就不难理解, 莫扎特的父亲列奥泼德为什么放弃了自己作曲, 转而面对才华横溢、技巧娴熟的莫扎特这令人难以置信的奇迹了。 仅仅最初的几个作品, 就已使同时代的人和作曲家对充满创意和想象力的年轻的莫扎特望其项背了。 我们听到一个充满机智的玩笑, 好像我们已经能设身处地地切身感受到莫扎特的生活体验了。

When we recorded Mozart's earliest symphonies (and then performed them in concert), we were simply astounded – flabbergasted, in fact. Are these really the works of a child aged between 8 and 12?! It is certainly not hard to understand that Mozart's father Leopold soon abandoned composition himself, faced with this incredible level of inspiration and technical mastery. In these first works, the young Mozart already towers head and shoulders above nearly every contemporary in terms of originality and imagination. We hear a joke coupled with `wisdom´, as if he were already in a position to draw on his own experience of life.

Mozart already surprises the listener with his harmonic audacity in Symphony no.1, K.16, where the motif later to assume such importance in the finale of the Jupiter Symphony makes a brief first appearance in the second movement. And in the realm of rhythm, too, the child genius is already beginning to build up and test his vocabulary, stacking triplets, double figures, after-notes, dottings and legato phrases on top of one another. He seems to take particular delight in the hunting finales in 3/8 and 6/8 time, and the listener in turn cannot help but enjoy following his imaginative pictures of the showy chase, the frightened prey on the run, the huntsman's triumph and goodness knows what else. In these works, some of which were written while the Mozart children were `on tour´, the dramatic and graphic sides of the composer's imagination are already in evidence. The way he strings together the many themes and motifs is almost like the appearance of many different characters on stage, whom Mozart sets in conflict with one another and describes in music — often to droll effect, like miniature operas without words. A typical example of his `listing´ technique is the first movement of the F major Symphony, K.19a. An energetic motif (triumphant husband) is followed in bar 8 by a lyrical motif full of dalliance (perhaps his young wife or daughter), and this in turn is succeeded in bar 14 by a confusing motif (new person or looming conflict); in bar 19, a dialogue or argument begins, and everything is finally resolved in a kind of coda starting at bar 29. In the second part, these motifs are thrown into chaos, varied almost in the manner of a development section, and the listener is called on to form his own opinion, as it were.

We find such mini-operas ...

The Symphony K.22 ...

Otherwise, Mozart finds colours wild and romantic in the G major of K.45a: ...

More interesting from one work to the next, the minuets ...

　　莫扎特年伊始, 也跟着纪念一把, 先译一段。 行文粗糙, 羞愧难当。