摘要
在1980年版《新格罗夫音乐及音乐家辞典》的“霍洛维茨”词条中,美国著名乐评人迈克尔·斯坦伯格用一种对于辞典而言极不恰当的讽刺口吻,批评这位钢琴家技巧高超却对音乐缺乏理解。同样的言论也出现在蒂姆·佩奇、约瑟夫·霍洛维茨等人的评论中。塔鲁斯金文章从对一个具体演绎的分析(舒曼《梦幻曲》)开始,将这种批评与源自斯特拉文斯基的“文本字面主义审美观”联系起来,称其为现代的偏见。文章以同样犀利的语言讽刺这种偏见出自“屈尊”于巨人的侏儒;并预示了新世纪一种从文本向表演转移的学术视角。
This article focuses on the works of Vladimir Horowitz and analyses the nature of critical hostility towards his work.It refers to the article written by Michael Steinberg in the New Grove Dictionary of Music and Musicians,in which he criticizes how"Horowitz illustrates that an astounding instrumental gifts carries no guarantee about musical understanding".Similar comments can be found in Tim Page and Joseph Horowitz’s reviews.Taruskin starts from a specific example,Schumann’s"Tr?umerei",to argue that this critic shows our contemporary aesthetic of textural literalism to be a modern prejudice.Taruskin satirises this prejudice as coming from a dwarf who"stoops"to the giants;and foreshadows a new scholarly perspective that moves from"text"to"performance".
作者
洪丁(译)
Richard Taruskin;Hong Ding
出处
《音乐文化研究》
2022年第1期76-80,M0003,M0004,共7页
Music Culture Studies
