Vanitas vanitatum, omnia vanitas.

The first thing you hear is a soft, descending octave in the first violins, the simplest of musical ideas, and a stepwise progression up the first four steps of the A major scale – along with a little chromatic agitation - over some serenely, almost ecclesiastically sonorous polyphony in the lower strings. This theme is then repeated, loudly, and with the addition of a canon: two beats later, the violas and cellos have the same theme as the violins, but at the third and fifth of the chord rather than the tonic - which means there's a greater harmonic and contrapuntal richness than when we first heard the melody. In the space of 30 seconds or so, Mozart has used an enormous arsenal of sophisticated compositional techniques to create a miniature symphonic drama.

And that's just the first theme. What's wonderful about this symphony is how much Mozart is clearly enjoying himself, in the extra melody he composes at the end of the first section of the first movement, a joyous little tune that symbolises the sheer invention of this symphony; in the contrapuntal conversation between the violas and the cellos and basses in the movement's central section; and in the cheekily inventive coda, with its chromaticism and, again, its counterpoint, this time in an outrageously fulsome four parts.

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好羡慕会写乐评的人啊。同样是听Bruno Walter和Columbia录的29,我听来听去也只会泛泛而谈些“优雅与活力间的完美平衡”、“能把人数这么少的乐团配置发挥到这个程度真是天才”之类的。感觉自己不仅写作能力为零,而且对语言文字以外的东西的分析解读力也基本为零,出了文字的世界就只有赞叹的份了。

上个月去听了CSO的25回来后又loop了几十次25,感觉25已经快要把29挤掉,上升到莫扎特交响里我心中的第二位了。这两天又开始复习29,想想还是觉得29≥25(。

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