未来的同时代人

novich 评论 古斯塔夫·马勒 5 2006-05-19 21:37:41
丝管
丝管 (Hör‘ ich nur diese Weise?) 2006-05-19 21:52:53

是不是伯恩斯坦说的:“二十世纪是死亡的时代,马勒是我们的精神先知”?

novich
novich 2006-05-19 22:31:25

搜了一下,这里有个证据,可惜是中国人写的:
www.gmw.cn/01shsb/1998-06/29/GB/660%5ESH7-2914.htm
上面短评是几年前看完随手记的。
现在我想问的是,为什么马勒会是一个强有力的先知?他的预言能力为什么如此令人生畏?
现在我给出的答案是,他既是一个边缘人(精神的流浪者,自我身份的怀疑与不确定),又是一个中心人物(音乐圈的聚焦点,权力掌控者)。这两者的内在紧张和冲突,也可对应现代人的心态——失去家园和关注自我。
这个答案也可以回答为什么同性恋中艺术家和大师较多,绝对不是生理原因,而是缘于他们的“边缘意识”,被放逐的感觉。也许犹太人中出天才,也是这个原因。

丝管
丝管 (Hör‘ ich nur diese Weise?) 2006-05-20 07:38:40

我也搜索了一下,证据还是挺多的,就是较比散碎。比如这段:

Gustav Mahler completed his Ninth Symphony in 1909, and for the past 90 years it's hovered over this century like a very bad dream, anticipating the horrors of two world wars, the Holocaust, nuclear weapons, and the death of God -- not to mention that Mahler knew he was dying as he wrote it. Leonard Bernstein in the fifth of his 1973 Charles Eliot Norton lectures finds answers in the Ninth: "And the most startling answer, the most important one -- because it illuminates our whole century from then to now -- is this: that ours is the century of death, and that Mahler is its musical prophet." Lewis Thomas in his essay "Late Night Thoughts on Listening to Mahler's Ninth Symphony" agonizes, "I cannot listen to the last movement of the Mahler Ninth without the door-smashing intrusion of a huge new thought: death everywhere, the dying of everything, the death of humanity." In his Mahler: A Musical Physiognomy, Theodor Adorno concludes of the symphony's eternal-farewell last page, "The long gaze is fastened on the condemned."

原文在此: http://weeklywire.com/ww/09-08-98/boston_music_5.html

伯恩斯坦的 Charles Eliot Norton lectures,书和录像网上都有卖的,读/看原始证据应该不难。


对你最后一个自然段持保留意见。边缘意识存在但不一定广泛存在于、或适用于每一个个体,尤其是在开明的社会环境中。所以它有可能是原因之一,但是不太可能是主要原因(你的陈述方式给人这种错觉)。教育、环境、个人的对美和艺术的敏感程度等等,应该都占很大(或更大)比例,当然这个无须赘言,我相信扩展讨论的话,兄台的见解一定会比我更广博深刻。

novich
novich 2006-05-21 07:24:13

哀,高帽子就不回送丝兄了...

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[已注销] 2009-05-20 00:50:20

他是卓别林似的全才