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大家好。
Hello, everyone.
希望你们度过了一个美好的圣诞节，今天和周四我们将为大家带来两份节日特别礼物。
I hope you had a wonderful Christmas, and, we have two festive treats coming up for you today and on Thursday.
这两部分是我们于10月18日在皇家阿尔伯特音乐厅录制的完整合唱团和完整管弦乐团的演出内容。
These are two halves of a show that we recorded at the Royal Albert Hall on the October 18 with a full choir, a full orchestra.
因此，除了我演唱过的那些不朽剧集之外，这是《历史其余部分》首次配有音乐伴奏的剧集。
So this is going to be, aside from, of course, those immortal episodes in which I sang, the first Rest is History episodes with musical accompaniment.
今天的首期节目主题是莫扎特。
The first episode, today's episode, is on Mozart.
周四的节目将聚焦贝多芬。
Thursday's episode will be on Beethoven.
请享受。
Enjoy.
晚上好，欢迎收听《历史其余部分》。
Good evening, and welcome to The Rest is History.
多米尼克，各位，我相信你们也会觉得刚才那场表演相当精彩。
And Dominic, ladies and gentlemen, I think you'll agree that was quite something.
我们在《历史其余部分》节目中已经有过许多精彩的音乐时刻。
We've had many great musical moments on The Rest is History.
人们会想起我演唱的《钻石是女孩最好的朋友》。
One one thinks of Diamonds Are a Girl's Best Friend sung by me.
而更近一些的，是我演唱的《别为我哭泣阿根廷》。
And more recently, Don't Cry For Me Argentina which was also sung by me.
但我觉得，呃，那场表演其实也不赖。
But I think, I mean that wasn't bad.
那场表演可以说相当出色，不是吗？
That was kind of up there, wasn't it?
各位，千万别纵容他。
Ladies and gentlemen, please do not indulge him.
那根本不在一个档次上，汤姆。
That was not in that league at all Tom.
我想我们可以都同意这一点。
Think it is I think we can all agree on that.
这是莫扎特的第25号交响曲。
That was Mozart Symphony number 25.
它由我身后这支杰出的乐团——圣马丁学院乐团演奏。
It was played by the brilliant orchestra that I have behind me, the Academy of Saint Martin in the fields.
我们还有菲爾哈蒙尼合唱團。
We have the Philharmonia Chorus.
最重要的是今晚站在舞台上的那个人，这个晚上的构想者，让这一切成为可能的人，那就是我们宏伟的指挥家奥利弗·泽夫曼。
And above all, the most important person who's on the stage tonight, the person whose idea for this evening this was, the person who has made it possible, and that is our majestic conductor, Oliver Zefman.
从一开始我就被禁止参加这个播客了。
I've been banned from the podcast since the beginning.
实际上，过去我曾获得过历史学本科学位，但现在已经不是了。
Actually, in the past life, I have a history undergraduate degree, but, you know, not anymore.
我得提一下多米尼克，因为古典音乐中确实有太多有趣而激动人心的故事。
I got to touch on Dominic because actually there are so many interesting, exciting stories in classical music.
人们多少懂一点音乐，但如果你不去音乐会，也没有太多接触，该怎么入门呢？
People know music a little bit, but actually, if you don't go to concerts or you you don't have much exposure to it, how would you get into it?
所以这真是个绝佳的机会，来聊聊两位有史以来最重要的作曲家，或许也是最重要的文化人物之一，他们的生平恰好交汇在历史的一个有趣节点上，我指的就是他们。
And so this was a perfect opportunity to talk about two of the the most important composers ever, probably two of most important cultural things ever, And their lives also found a very interesting point in history, I'm talk about.
我很高兴。
So I'm glad.
而今天我们在这里。
And we're here today.
谢谢。
So thanks.
感谢各位的到来。
Thanks for coming.
实际上，你们刚才听到的这段作品，可能在《莫扎特传》电影的开场中听过。
Actually, piece you just heard now, you might recognize from the opening of Amadeus film.
而且事实上，我们此刻也站在舞台上。
And actually, we're also here on stage.
我认为舞台上的一些演奏者参与了那场录音。
I think some of the players on stage were in that recording.
所以
So
谢谢你，奥利弗。
Thank you, Oliver.
谢谢。
Thank you.
现在，那些看过电影《莫扎特传》的人会知道，它讲述的是一位才华横溢的人被平庸的对手逼至死亡的故事。
Now those of you who have seen the film Amadeus will know that it is the story of a brilliantly talented man who is hounded to his death by a mediocre rival.
是的。
Yep.
汤姆，这就是这部电影的主题。
Tom That's what it's about.
在Goal Hanger播客中，是不是这样？
Dynamic at Goal Hanger Podcasts, is it not?
不，我的意思是，这种动态在历史的其他部分并不需要我们担心，对吧？
No, I mean this is not a dynamic that we have to worry about on the rest of history, is it?
是的，所以我们想以向《莫扎特传》致敬的方式开场，因为我们现在身处皇家阿尔伯特音乐厅，这是全世界最重要的音乐节中心之一。
Yes, so we wanted to open with a kind of a tipping of the hat to Amadeus Because here we are in the Royal Albert Hall, one of the great music festival centres in the whole world.
因此，我们认为莫扎特和贝多芬是绝对理想的主题，因为他们可能是整个音乐史上最具盛名、最具标志性的作曲家。
And so we thought that Mozart and Beethoven would be absolutely ideal themes because they are probably the most celebrated, the most iconic composers in the whole history of music.
但我认为，正如奥利弗暗示的那样，他们不仅仅是标志性的。
But I think, as Oliver hinted, they're not just iconic.
他们也是文化史上某个特定时刻的化身。
They are also the embodiments of a particular moment in cultural history.
所以《莫扎特传》的关键在于，观众在观看这部电影时，都知道莫扎特是个天才。
So the key thing about Amadeus is that people sitting down to watch this film, they know that Mozart is a genius.
如果他们不知道这一点，这部电影就无法成立。
If they don't know that, then the film doesn't work.
而莫扎特和贝多芬一生所跨越的历史进程，见证了法国大革命的爆发、拿破仑战争的兴起以及浪漫主义运动的崛起。
And the sweep of history that is covered by the lives first of Mozart and then of Beethoven, it witnesses the onset of the French Revolution, the Napoleonic wars, the rise of the romantic movement.
多米尼克，这个时期正是确立了艺术家可以成为天才这一观念的时期，不是吗？
And Dominic, this is the period that kind of enshrines the idea that an artist can be a genius, isn't it?
一个大写的‘天才’。
A genius with a capital G.
没错。
Absolutely.
这就是为什么莫扎特和贝多芬的人生为我们提供了一个绝佳的窗口，去了解18世纪末和19世纪初的世界。
And that's why the lives of Mozart and Beethoven are a brilliant window onto the world of the late eighteenth and early nineteenth centuries.
在本节目中，我们将探讨‘天才’这一概念的兴起，以及‘艺术’（大写的A）这一观念的形成，以及它们如何反映政治与社会变革，甚至坦率地说，人们如何赚钱。
We'll be exploring in this show the emergence of the idea of the genius and the idea of art with a capital A and the way in which that reflects political and social change and also frankly the way that people make money.
因此，今晚我们将为大家呈现一个连贯的故事，但我们会将其分为两部分讲述。
So it's a continuous story that we've got for you tonight, but we're going to tell it in two halves.
我们将在第二部分来到贝多芬的部分。
We will be coming to Beethoven in the second half.
不过我想问一下，这里有没有‘历史其余部分’俱乐部的成员？
Now can I just ask, are there any members here of the rest is history club?
非常好。
Very good.
所以你们可以马上听第二部分。
So you can listen to that second half right away.
多米尼克，我想我们应该说明，这个笑话是我们深受喜爱的制作人西奥编的。
And Dominic, I think we should say that that joke is made up by our beloved producer Theo.
没错。
It is.
这是西奥的笑话。
That is Theo's joke.
如果有人讲这个笑话却不提西奥的名字，他会很生气的。
Theo is very cross if people tell that joke and they don't give him the credit.
西奥，干得好。
So well done Theo.
在某种程度上，他也是一个天才。
In his own way he is a genius.
所以目前，在上半部分，我们将讲述莫扎特的故事，由霍兰先生为您讲述。
So for now, in the first half, it is the story of Mozart and that will be told to you by Mr.
汤姆·霍兰。
Tom Holland.
汤姆，开始吧。
Tom, take it away.
好的。
Right.
那么，莫扎特。
So Mozart.
他于1756年出生在奥地利的萨尔茨堡，当时属于神圣罗马帝国，我想他们应该是节目的朋友吧？
He is born in 1756 in Salzburg, Austria which is part of the Holy Roman Empire ruled by I guess they are friends of the show, aren't they?
哈布斯堡家族？
The Habsburgs?
绝对是朋友
Definitely friends of
节目。
the show.
确实如此。
Very much so.
他出生在一个越来越痴迷于音乐的欧洲。
And so he's born into a Europe that is becoming ever more obsessed by music.
但这是一个热爱并重视音乐的时代，却未必热爱和尊重音乐家。
But if it's an era that loves and values music, it's not a period that necessarily loves and values musicians.
如果你想到另一位能与莫扎特齐名的十八世纪伟大作曲家，约翰·塞巴斯蒂安·巴赫，他一生都是雇员。
And if you think of the one other great eighteenth century composer who can stand on the podium beside Mozart, Johann Sebastian Bach, He spends his whole life as an employee.
他不是天才。
He's not a genius.
他本质上是一种领薪的仆人。
He's essentially a kind of salaried servant.
事实上，当他试图离开魏玛公爵的雇佣时，公爵的反应是把他关进了监狱。
And in fact, when he tried to leave the employ of one of his masters, the Duke of Weimar, the Duke responded by locking him up in prison.
所以在十八世纪上半叶，根本没有空间让‘天才’这一角色发挥作用。
So there is no room for playing the genius in the first half of the eighteenth century.
然而，通过自己的努力赚钱的机会正在增加。
There are, however, growing opportunities to perhaps make money under your own steam.
而体现这一点的是巴赫的一位德国同胞。
And the person who exemplifies this is a fellow German of Bach's.
但与巴赫留在德国不同，这位名叫亨德尔的人来到了欧洲最富有、文化意义最重大的城市，音乐的黄金国。
But rather than staying in Germany as Bach did, this guy, Handel, comes to the richest, the most culturally significant city in Europe, the great El Dorado of music.
而这座城市的名称，我引以为豪地说，就是伦敦。
And that city, I'm proud to say, is London.
万岁。
Hurrah.
于是亨德尔来到伦敦，并取得了巨大成功，最终变得极其富有，甚至在威斯敏斯特教堂拥有一座墓穴。
So Handel comes to London, and he makes such a success of it that he ends up fabulously rich, and he even has a tomb in Westminster Abbey.
因此，这里呈现出一种张力：音乐家作为仆人与音乐家作为企业家之间的对立。
So there you have a kind of tension between the musician as servant and the musician as entrepreneur.
莫扎特的父亲利奥波德将在我们的故事中扮演关键角色，他可以说是脚踩两只船。
And the father of Mozart, Leopold, will play a key role in our story, he kind of has feet in both camps.
一方面，他是萨尔茨堡大主教的宫廷小提琴手。
So on the one hand, he is a violinist in the service of the archbishop of Salzburg.
他的地位基本上只比仆人高一级。
He's essentially kind of one rung up from a footman.
但与此同时，他对贵族乃至大主教雇主抱有一种隐秘的鄙视。
But at the same time, he has a kind of secret brooding contempt for aristocratic and indeed archepiscopal employers.
正如后来所显示的，他未来将成为一位杰出的音乐经纪人。
And as time will show, he has a brilliant, brilliant future as an impresario.
原因在于他的儿子沃尔夫冈·阿马德乌斯是一位天才。
And the reason for that is that his son Wolfgang Amadeus turns out to be a genius.
多米尼克，我觉得你的儿子桑布鲁克 junior 今晚也在场。
And Dominic, I think your son, Sandbrook Junior is here tonight.
是
Is
是的，他是。
it Yes, he is.
我是不是记得你跟我说过，他凭借《轻骑兵冲锋》赢得了一场地区诗歌朗诵比赛？
And am I not right in thinking you mentioned to me that he won a regional poetry reading competition with the charge of the light brigade?
他确实赢了。
He did.
他确实赢了。
He did.
人们会笑，但他们不该笑，因为那是一场卓越的表演。
And people laugh and they shouldn't laugh because it's a sublime performance.
如果你能展现出一点点利奥波德·莫扎特那样的创业精神，带着亚瑟走遍全国各个诗歌比赛，你早就赚得盆满钵满了。
So if you had shown a fraction of the entrepreneurial zeal of Leopold Mozart, you could have made an absolute packet by taking Arthur around poetry competitions across the length and breadth of the city of of of the country.
我不知道亚瑟什么时候开始朗诵丁尼生的作品，但年轻的莫扎特，据说他的音乐生涯从非常非常小的时候就开始了。
Now, I don't know when Arthur started reciting Tennyson, but young Mozart, his musical career supposedly begins very, very young.
据说他在两岁时就能在键盘上弹出旋律。
So it is said that at the age of two, he's picking tunes out on a keyboard.
四岁时，他创作了第一首协奏曲。
The age of four he composes his first concerto.
六岁时，他前往维也纳的皇宫，会见了哈布斯堡王室。
And at the age of six he goes to the imperial court in Vienna where he meets the Habsburg royal family.
哦，我们在法国大革命系列中已经讨论过这个了。
Oh, and we've talked about that in the French Revolution series.
所以那时他遇见了玛丽·安托瓦内特。
So that's when he meets Marie Antoinette.
她当时非常年轻，
She's very young,
是吧？
isn't she?
是的，她那时只是个小女孩。
Yeah, she's just a little girl at this point.
小婴儿莫扎特爬上了玛丽·安托瓦内特的母亲——女皇玛丽亚·特蕾莎的膝盖上。
And little baby Mozart, he climbs up onto the lap of Marie Antoinette's mother, the empress Maria Theresa.
给她一个大大的拥抱。
Gives her a big hug.
给她一个轻轻的吻。
Gives her a little kiss.
真是太可爱了。
It's absolutely adorable.
利奥波德在一旁看着，心里想：叮——钱来了。
And Leopold is watching this and he goes, ka ching.
我们这儿挖到金矿了。
We have got a gold mine here.
于是他获得了雇主——大主教的许可，开始巡回演出。
And so he gets permission from his employer, the archbishop, to go on tour.
他们走遍了神圣罗马帝国的所有城市。
And they go to all the cities of the Holy Roman Empire.
他们去了巴黎。
They go to Paris.
他们去了伦敦。
They go to London.
他们去了凡尔赛。
They go to Versailles.
当然，他们最终回到了伦敦。
And of course, they end up in London.
在这里，他们度过了非常愉快的时光，我很高兴地说。
And they have a brilliant time here, I'm happy to say.
他们见到了国王和王后。
They meet the king and queen.
他们在苏活区闲逛。
They hang out in Soho.
利奥波德变得如此适应伦敦的生活，以至于他染上了一种非常英式的疾病，并在日记中记录了下来。
Leopold becomes so kind of habituated to London life that he catches a very British ailment which he notes in his journal.
英国人称之为感冒。
The English call a cold.
所以他得了重感冒，但这简直太棒了。
So he has a terrible cold And it's absolutely brilliant.
他们赚得盆满钵满。
They make absolute packet.
他们通常不是用现金支付的，虽然偶尔也会给一点现金。
And they're not actually generally paid in cash, although there is a bit of cash.
通常是一些小玩意儿和纪念品。
It's generally kind of knick knacks and gigors.
比如无尽的鼻烟盒、银表之类的。
So endless snuff box, silver watches, that kind of thing.
莱奥波尔多表现得有多成功的一个标志是，他连着吃了四只烤鸡后，居然还能抱怨自己还是饿。
And one of the markers of how well Leopold is doing is that he can actually complain, having eaten four roast chickens on the trot, that he is still hungry.
这简直就像北安普敦郡地区诗歌比赛现场的场景。
So this is very like the scenes at the Northamptonshire regional poetry competition fight.
对。
Right.
那你本该早点想到的。
Well, you should have thought.
如果你像莱奥波德那样把亚瑟推到前面，你这一生想吃多少烤鸡都可以。
If taken Arthur and pushed him in the way that Leopold did, could have as much roast chicken as you wanted for the rest of your life.
小莫扎特之所以能为莱奥波德赚大钱，完全是因为整个欧洲都认为他是个完全非凡的天才。
So the whole reason that the young Mozart makes Leopold such money is the fact that he is seen by the whole of Europe as being something completely exceptional.
因此，作为全欧洲热议的话题，大陆各地的人都在问：这到底是怎么回事？
And so because he is the talk of Europe, people across the continent are saying, what's going on here?
这个非凡的神童天赋是从哪里来的？
Where has this extraordinary precocious talent come from?
有各种各样的理论，而且它们并不互相矛盾。
And there are various theories and they're not mutually contradictory.
但我猜，这是一个非常虔诚的宗教时代。
But I guess this is a very devout religious age.
最流行的理论——也是莱奥波德本人坚信的——就是莫扎特是上帝赐予的礼物。
Probably the most popular theory, it's the one that Leopold himself cleaves to, is the notion that Mozart is a gift from God.
这当然也是他告诉大主教的话。
And this is certainly what he tells the archbishop.
他去说，看啊，这是上帝赐予我的奇迹。
He goes and says, look, I've been given this miracle by God.
我应该带他出去赚大钱，因为这正是耶稣希望看到的。
I should basically take him out and make loads of money because it's what Jesus would have wanted.
然而，也有人稍微将上帝排除在外，认为他是个天生的神童。
There are others, however, who slightly cut God out of the equation and say that he's a prodigy of nature.
这是一个认为人类独立于文明之外的时代。
And this is a period where the idea that humanity separate from civilization.
因此，一个孩子拥有非凡天赋的想法至关重要。
So the idea of a child being possessed of great quality.
这非常重要。
It's very, very important.
所以卢梭认为，孩子的纯真和
So Rousseau, the innocence of child and
没错。
Exactly.
因此，莫扎特成为了这一理念的象征。
All that So Mozart becomes a icon for this idea.
当然，这同时也是启蒙时代。
It's also the enlightenment, of course.
但也有一些怀疑者。
And there are skeptics.
有些人认为利奥波德是替年幼的莫扎特创作了这些协奏曲。
There are people who think that Leopold is writing the young Mozart's concertos for him.
于是，一些学者把小男孩关在房间里，让他写点东西，他真的写出来了。
And so some of these savants take the little boy and lock him up in a room and tell him to write something, and he does.
他们对此感到满意。
And they're satisfied.
事实上，证明莫扎特天才的终极证据是，他在伦敦接受了一位皇家学会成员的检验，对方也给予了他完全的认可。
And actually the ultimate proof of Mozart's genius is that he is inspected by a member of the Royal Society here in London, and he gives Mozart a clean bill of health as well.
因此，很明显他并不是骗子。
So it becomes apparent that he is not a fraud.
他确实是天生的神童，是上帝的馈赠，无论你怎么称呼他。
He really is an absolute prodigy of nature, a gift of God, whatever you want to call him.
但当然，前方正有一个问题等着利奥波德。
But there is of course a problem coming down the road towards Leopold.
他得养活自己、他培养的神童，还有他的鼻烟盒。
He's got to keep himself and his raised chicken and his snuff boxes.
而神童的问题在于，看一个六岁孩子拉小提琴令人惊叹，但看一个青少年拉小提琴就没那么震撼了。
And the problem with The Prodigy is that while it's amazing to watch a six year old play the violin, it's slightly less amazing to watch a teenager play the violin.
因此，当年轻的莫扎特即将进入青春期时，利奥波德决定不再强调他作为音乐家、乐器演奏者的早熟天赋——这正是他之前一直强调的——而是转而聚焦于年轻莫扎特作为作曲家的能力。
And so what Leopold decides as the young Mozart is approaching his teenage years, is that rather than emphasizing his precocity as a musician, as a player of instruments, which is what he had previously been doing, he's going to focus on the young Mozart's ability as a composer.
为此，他展开了最为奢华、最为大胆的一次巡演。
And to that end, he goes on the most extravagant, the boldest tour of all.
这简直就像披头士第一次去美国一样。
It's kind of the equivalent of the Beatles the first time they go to America.
莫扎特前往音乐之都意大利。
Mozart goes to Italy, the home of music.
在那个时代，意大利人认为一个德语使用者能具备音乐才能简直可笑。
This is an age when Italians would regard the idea that a German speaker could be musically able as kind of comical.
但莫扎特成功做到了。
But Mozart pulls it off.
他让所有人惊叹不已。
He dazzles everybody.
不仅收到了更多鼻烟盒，还有许多意大利音乐大师惊叹：这人太了不起了。
Lots more snuff boxes but also lots of Italian maestros going, wow, this guy is incredible.
意大利给予的最高认可，来自米兰歌剧院向莫扎特发出的委约。
And the ultimate imprimatur of quality, the stamp of approval from Italy comes when Mozart is given a commission from the opera house in Milan.
那是整个欧洲最著名的歌剧院之一。
So one of the most famous opera houses in the whole of Europe.
他们对他说：您愿意为我们写一部歌剧吗？
And he is told, would you like to write us an opera?
当多米尼克收到这份委托时，莫扎特年仅14岁。
And, Dominic, when he is given this commission, Mozart is 14 years old.
所以，如果你一直想听14岁孩子的音乐，现在就是机会。
So if you ever wanted to hear a 14 year old's music, this is your chance.
我们为您带来沃尔夫冈·阿马德乌斯·莫扎特的《米雷达蒂·雷·迪·蓬托》。
We have for you Mitredati Re Di Ponto by Wolfgang Amadeus Mozart.
我们还有《内尔·格拉韦·托尔门托》，我认为意思是‘在深重的痛苦中’。
We have Nel Grave Tormento, which I believe means in a very grave torment.
它将由纳尔达斯·威廉姆斯为我们演唱。
And it's going to be sung for us by Nardas Williams.
哇哦。
Wow.
谢谢，诺迪斯克。
Thank you, Nordisk.
这太精彩了。
That was amazing.
谢谢您，莫扎特。
And thank you, Mozart.
所以请记住，莫扎特写这首曲子时才14岁。
So remember, Mozart was just 14 years old when he wrote that piece.
是的。
Yeah.
太惊人了。
Amazing.
年轻的莫扎特一切都进行得非常顺利。
So everything is going brilliantly for young Mozart.
他拿到了音乐的GCSE证书。
He's got his GCSE in music.
凭借《Mitredati Re Di Ponto》，他获得了大量新委托。
He's got loads of new commissions on the back of Mitra Darte.
而在萨尔茨堡，所有人都为他感到无比自豪。
And back in Salzburg, everyone's unbelievably proud of him.
大主教简直赞不绝口。
The archbishop absolutely purring.
一切看起来都完美无瑕。
It all looks superb.
但与此同时，关于莫扎特项目的阴云正在聚集。
Except that there are gathering clouds hanging over project Mozart.
首先，利奥波德真正希望为儿子争取的是什么。
Now the first of these is what Leopold really wants for his son.
他希望为儿子争取长期的保障。
He wants to get him long term security.
而他认为最有效的方式，是为儿子谋得一个宫廷乐长的职位，也就是宫廷音乐总监。
And the way he thinks he can best do that is to find his son a post as a kapplemeister which effectively is the head of music at a court.
于是他带着儿子走访了多个宫廷，拜访了各位公爵、伯爵等人，他们都印象深刻。
And so he takes him round various courts and all the dukes counts and so on, they're impressed.
他们认可莫扎特的才华。
They recognize that Mozart is quality.
但他们一直说，他太年轻了。
But they keep saying, he's too young.
他太年轻了。
He's too young.
十年后再来吧。
Come back in ten years time.
这对利奥波德来说非常令人失望。
So this is very disappointing for Leopold.
但更令人失望的是，维也纳的帝国宫廷似乎对莫扎特毫无兴趣。
But even more disappointing is the fact that there seems to be no interest in Mozart whatsoever from the imperial court in Vienna.
他对此感到困惑，因为六岁时的小莫扎特曾拥抱过皇后。
And he's puzzled by this because of course as a six year old, little Mozart had hugged the empress.
但残酷的真相是，皇后实际上觉得他们有点粗俗。
But the awful truth is, is that the empress actually thinks they're a bit vulgar.
她说，他们像乞丐一样在欧洲四处游荡。
She says, they've been going around Europe like beggars.
这非常不体面。
It's very, very undignified.
因此她对此毫无兴趣。
And so she is not interested.
而最沉重的打击是，萨尔茨堡的大主教，这位曾经如此宽容的赞助人。
And then the worst blow of all, the archbishop of Salzburg who'd been such an indulgent patron.
他去世了，被一位性格截然不同的新大主教取代。
He dies and he gets replaced by a new archbishop who's a very different character.
他有一个华丽的名字——科洛雷多伯爵。
And he rejoices in the splendid name of Count Hieronymus Collaredo.
科洛雷多伯爵，这位新任大主教，已经受够了莫扎特一家在欧洲四处游荡。
And Count Hieronymus Collaredo, the new archbishop, he's had enough of the Mozarts gathering around Europe.
他希望他们做回本分。
He wants them to be what they are.
他希望他们本质上成为他的仆人。
He wants them to be essentially his servants.
因此，他一登基为大主教，就立即推行他的目标：把莫扎特当作雇员，而不是天才。
And so his goal which he institutes the moment he has been enthroned as archbishop, is to treat Mozart not as a genius but as an employee.
所以，汤姆，这和我们的处境非常相似，对吧？
So Tom, is very like our situation, isn't it?
这就是我们被对待的方式。
This is how we are treated.
他们今晚就在观众席上。
They're in the audience tonight.
我们的执行制片人托尼·帕斯托尔和杰克·达文波特，他们也把我们当雇员对待，不是吗？
Our executive producers, Tony Pastor and Jack Davenport, they treat us like employees, don't they?
而且
And
我们和莫扎特一样，感到受辱，被当作仆人对待。
we, like Mozart, feel humiliated, treated like servants.
当莫扎特回到萨尔茨堡时，正是发生了这样的事，
And this is exactly what happens to Mozart when he goes back to Salzburg,
是的。
Yeah.
我的意思是，我不希望把我们和莫扎特相提并论。
Well, I mean I don't want to compare us to Mozart.
我们别往那个方向说了。
Let's not go down there.
没有，我没有。
No, I haven't.
但是
But
只是想说，存在社会性的羞辱。
just to say, there are social humiliations.
但我认为，让莫扎特更受压迫的，是他清楚自己有多优秀。
But I think also what oppresses Mozart more than anything else is that he knows how good he is.
他想要挑战极限。
He wants to test the limits.
他不想被束缚在萨尔茨堡，被迫为大主教创作那些无聊的玩意儿。
He doesn't want to be chained up in Salzburg having to compose whatever rubbish the archbishop wants.
他本质上想摆脱束缚，走出去成为一名自由职业者。
He wants basically to do a handle, to go out there and become a freelance.
而大主教对此非常愤怒。
And the archbishop is furious at this.
他觉得，虽然并非毫无道理，但这是一种忘恩负义的行为。
He sees it, I mean not unjustifiably, as kind of rank in gratitude.
他的父亲利奥波德也因为各种原因感到担忧，我想是这样的。
And Leopold, his dad, is also worried for various reasons, I think.
首先，他不希望儿子最终在阁楼上饿死。
One, he doesn't want his son to end up kind of starving to death in a garret.
他知道作为一名自由职业者将面临极大的不稳定性。
He knows it's going to be very insecure being a freelance.
我想他还有些担心，如果儿子惹怒了大主教，这可能会给他带来糟糕的后果。
I think also he's anxious that if his son annoys the archbishop then this might end up badly for him.
他可能会被解除自己的职位。
He might get dismissed from his own position.
而且我认为，他也无法忍受与儿子分离的想法。
And I think also he can't bear the thought of being separated from his son.
利奥波德与年轻莫扎特之间的关系。
The relationship between Leopold and the young Mozart.
这是他们一生中最为紧密的关系。
It's the most intense relationship that either of them will have in their entire lives.
利奥波德越来越担心的事情，他称之为莫扎特的小家伙。
And the thing that Leopold is becoming increasingly worried about, Mozart's little Fellow, as he calls it.
莫扎特开始对女孩感兴趣了。
Mozart is getting interested in girls.
利奥波德担心的是，莫扎特可能会真的结婚。
And what Leopold is worried about is that Mozart might actually marry.
这才是他真正担忧的灾难。
So this is the real disaster that he's fretting about.
但到了1770年，莫扎特年满21岁。
But Mozart, seventeen seventy, he turns 21.
他决定要走出去闯荡世界，根本不在乎。
And he decides that he's going to go out into the world and he doesn't care.
当利奥波德说不许去时，莫扎特却说：爸爸，我走了。
And when Leopold says no, goes, Dad, I'm off.
于是他真的离开了。
And so off he goes.
而利奥波德不能走，因为他必须留在大主教身边。
And Leopold can't go because he's got to stay behind with the archbishop.
所以深受莫扎特爱戴的母亲陪他一同出发。
So Mozart's much loved mother goes with him.
他们启程前往神圣罗马帝国各地。
And they head off and they go to various places across the Holy Roman Empire.
虽然没取得多大成效，但我觉得莫扎特过得很开心。
Not to any great effect, but I think Mozart's having quite a good time.
然后他们来到了莱茵河畔的一个城市，叫曼海姆。
And then they end up in a city on the Rhine called Mannheim.
在曼海姆，他们住进了一位当地剧院提示员韦伯先生的房子里。
And in Mannheim they stay in a house that is owned by the prompter in the local theater, Herr Weber.
韦伯先生不是有一个、两个、三个，而是有四个漂亮的女儿。
And Herr Weber has not one, not two, not three, but four gorgeous daughters.
年轻的沃尔夫冈疯狂地爱上了名叫阿洛伊西亚的女高音，这个消息传到利奥波德耳中后，他气得暴跳如雷。
Young Wolfie, he falls madly in love with a soprano called Aloysia, and the news of this gets back to Leopold and blows a gasket.
他写信给莫扎特和他的母亲，质问：你们在干什么？
And he writes to Mozart and to his mother and says, What are you doing?
你们为什么要在曼海姆这种无足轻重的地方，浪费时间追女孩？
Why are you wasting your time mooning over girls in a no ho place like Mannheim?
去巴黎。
Go to Paris.
去伦敦。
Go to London.
如果你想 freelance 生涯成功，就去一个能赚到足够钱维持生计的地方。
If you want to make a go of being freelance, do it in a place where you can make enough money for it to be sustainable.
于是，莫扎特听从了，去了巴黎，结果一团糟。
And so, Mozart obeys, and he goes to Paris, and it's a disaster.
他讨厌巴黎。
He hates Paris.
他讨厌法国人。
He hates the French.
他讨厌法国音乐，讨厌法国品味，讨厌一切有关法国的东西。
He hates French music, he hates French taste, he hates everything about it.
这很合理，汤姆。
That's fair enough, Tom.
我一直在等你们大笑。
I was waiting for the gusts of laughter.
很高兴你们终于笑了，因为接下来你们会为自己的笑声感到羞愧——我们要进入悲剧了：莫扎特在巴黎期间，他母亲去世了。
I'm glad they finally came because we are now, you'll be ashamed of yourselves for laughing, we're plunging into tragedy because while Mozart is in Paris, his mother dies.
莫扎特被这一打击击垮了。
Mozart is prostrated by this.
他深爱母亲，如今被悲痛摧残得无法自拔。
He adored his mother and he is crippled by grief.
最终，他离开了巴黎，拖着疲惫的身体回到曼海姆，把脸埋进阿洛伊西亚温暖的胸膛寻求安慰。
And eventually he leaves Paris and he crawls back to Mannheim to bury his face in the comforting chest of Aloysia.
可他却发现，阿洛伊西亚已经嫁给了别人。
Only to find that Aloysia has only got and married someone else.
那么，保罗·沃尔菲该何去何从？
And so what's Paul Wolfy to do?
他只能返回萨尔茨堡。
He has to go back to Salzburg.
这一定很丢脸吧，汤姆。
That must be humiliating Tom.
非常、非常丢脸。
Very, very humiliating.
他基本上在接下来的几年里专心致志地工作。
And essentially he kind of knuckles down for several years.
他写出了大主教想要的那些枯燥乏味的作品。
He writes the dreary stuff that the archbishop wants.
但与此同时，他一直在挣脱束缚。
But all the time he's pulling at his chains.
他依然怀揣着梦想。
And he still has his dreams.
我们必须追随自己的梦想，多米尼克。
And we've got to follow our dreams, Dominic.
我们必须追随自己的梦想，对吧？
We've got to follow our dreams, haven't we?
你年轻的时候，是个学者。
You, as young man, you were an academic.
是的。
I was.
但你曾梦想写一部关于威尔逊政府的巨著。
But you had dreams of writing enormously long books about the Wilson government.
是的，我有过。
I did.
你还制作了关于猴子的播客，并实现了你的梦想。
Recording podcasts about monkeys and you lived your dream.
我确实做到了。
I have.
不过，我想有些人会称之为噩梦。
A nightmare I think some people would call it.
而莫扎特决心实现自己的梦想。
And Mozart is determined to live his dream.
关键的时刻出现在1781年，当时他25岁，被萨尔茨堡大主教召到维也纳，想把他像一只表演猴子一样展示出来。
And the crucial moment comes in 1781 when he's 25 and he's summoned to Vienna by the archbishop of Salzburg who wants to show him off like a kind of performing monkey.
这对莫扎特来说是一种羞辱，因为他在维也纳是一位极具分量的人物，深受其他音乐家和作曲家的钦佩。
And this is humiliating for Mozart because he is a figure of great consequence in Vienna, much admired by fellow musicians, by fellow composers.
他不想被大主教呼来喝去。
And he doesn't want to be at the beck and call of an archbishop.
所以他直接说：不，不去。
And so he says, no go.
不仅如此，他还惹怒了利奥波德，因为当他抵达维也纳时，发现韦伯一家也搬到了那里。
On top of that, as well as infuriating the archbishop, he also infuriates Leopold because when he turns up in Vienna, he finds that the Weber's have moved there.
虽然女高音阿洛伊西娅已经有了男朋友。
And although the soprano, Aloysia, she's got her own man.
但还有一位韦伯家的妹妹在，那就是康斯坦策。
There is another Weber sister available and this is Constanza.
莫扎特宣布他想娶她，利奥波德顿时暴跳如雷。
And Mozart announces that he wants to marry her and Leopold hits the roof.
所以他既惹怒了大主教，也惹怒了利奥波德。
So he's infuriated both the archbishop and Leopold.
他被召去参加一场决定命运的会议。
He's summoned to a kind of make or break conference.
根据莫扎特本人的说法，事情变得非常糟糕，大主教的管家把他踢出房间，就这样结束了。
And it goes so badly that the archbishop steward according to Mozart's own account kicks him up the arse out of the room and that is it.
这就是莫扎特在萨尔茨堡任职的终结。
That is the end of Mozart's term of employment at Salzburg.
从这一刻起，他将成为一名自由职业者。
And from this point on, he will become a freelance.
所以他现在的处境有点糟糕，对吧汤姆？
So he's in a bit of a mess, isn't he Tom?
因为这件事
Because this
这一切对他来说压力非常大，真是一团糟。我觉得莫扎特的音乐具有一种轻盈且常常充满欢乐的特质，以至于人们很容易忽略其中表达的压力和不幸。
is all very stressful for It is a mess and I think Mozart's music has such a quality of lightness and often of joy that it can be easy to miss the expressions of stress and unhappiness.
但它们确实存在。
But they are definitely there.
而我们现在要听的这首曲子，我之前从未听过现场演奏。
And the piece we're going to hear now is I'd never heard it played live before.
今天下午我们走进这里排练时，我听到舞台上飘来这首曲子的旋律。
When we walked in here this afternoon for our rehearsal, I heard the strains of it coming from the stage.
我迫不及待想再听一遍。
And I can't wait to hear it again.
这是他在母亲去世后几天到几周内在巴黎创作的作品。
It's a piece that he wrote in Paris in the days and weeks after the death of his mother.
这曲子简直美到极致。
And it is simply sublime.
女士们、先生们，这首是E小调小提琴奏鸣曲。
So ladies and gentlemen, this is the violin sonata in E minor.
它将由斯特凡妮·冈利演奏小提琴，米什卡·拉什迪·莫蒙演奏钢琴。
It And is going to be played by Stephanie Gonley on the violin and Mishka Rushdie Momong on the piano.
请欣赏。
Enjoy.
我的意思是，多米尼克，那个
I mean, Dominic, that that
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这提醒了我们，任何录音都无法与现场音乐的力量相媲美。
that is a reminder that that no recording can compare with power of live music.
太精彩了。
That was amazing.
完全无法相比。
At all.
在你聆听本集节目的过程中，你可能已经注意到，这一集有些特别之处，对吧，汤姆？
Now as you have been listening to this episode, you might have noticed that this episode had something a little extra special, didn't it, Tom?
确实如此。
It absolutely did.
这是因为，在本播客中你听到的每一首乐曲，都是由圣马丁学院乐团现场演奏的。
And that's because every piece of music you've heard during this podcast has been performed live by the Academy of Saint Martin in the Fields.
如果你在现场，一定会记得他们的表演有多么非凡。
And if you were there, you will remember how absolutely extraordinary their performance was.
我们非常高兴能邀请他们参与本集节目。
We are thrilled to have them featured on this episode.
而且坦率地说，我们更兴奋的是，能够将这场活动的录音免费向所有未能亲临现场的播客听众开放。
And frankly, we're even more thrilled to be able to make that recording of that event open and free to everybody in the podcast who wasn't able to attend in person.
圣马丁学院乐团是历史上被录制最多的乐团之一，每年在全球举办80多场音乐会，包括在伦敦历史悠久的圣马丁教堂举行的精彩系列演出。
The Academy of St.
圣马丁学院乐团是历史上被录制最多的乐团之一，每年在全球举办80多场音乐会，包括在伦敦历史悠久的圣马丁教堂举行的精彩系列演出。
Martin in the Fields is one of the most recorded orchestras of all time, giving more than 80 concerts a year across the world, including a stunning series in London at the historic Church of St.
圣马丁教堂。
Martin in the Fields.
圣马丁学院乐团是历史上被录制最多的乐团之一，每年在全球举办80多场音乐会，包括在伦敦历史悠久的圣马丁教堂举行的精彩系列演出。
The Academy of St.
圣马丁学院乐团是历史上被录制最多的乐团之一，每年在全球举办80多场音乐会，包括在伦敦历史悠久的圣马丁教堂举行的精彩系列演出。
Martin in the
圣马丁学院乐团正为《历史之外》的所有听众提供专属的免费会员资格。
Fields is offering an exclusive complimentary Friends membership to all listeners of The Rest is History.
您可以参加公开排练，享受音乐会前的讲座与艺术家见面会，获取独家数字下载内容，并且最重要的是，享受伦敦音乐会门票25%的折扣。
You can attend open rehearsals, enjoy pre concert talks and meet and greets with soloists, access exclusive digital downloads, and crucially receive 25% off tickets to their London concerts.
要领取您免费的会员资格并了解所有这些精彩机会，请访问 asmf.org/history。
To claim your complimentary Friends membership and explore all these incredible opportunities, just go to asmf.org/history.
所以别错过。
So don't miss out.
立即访问 asmf.org/history 并注册吧。
Visit asmf.org/history and sign up today.
那么，汤姆，莫扎特离开了萨尔茨堡。
So, Tom, Mozart has left Salzburg.
他的赌注成功了吗？
Does his gamble pay off?
当然，这伴随着一些代价。
Well, obviously it comes with costs.
利奥波德多次提醒莫扎特这些代价。
Leopold has repeatedly reminded Mozart of these costs.
这些代价主要是经济上的。
They are above all financial.
因此，莫扎特极易受到影响奥地利的地缘政治冲击，这些冲击会削弱贵族赞助人资助他的能力。
So Mozart is very vulnerable to geopolitical shocks hitting Austria and affecting the ability of aristocratic patrons to sponsor him.
另一个风险当然是他可能生病，一旦生病，他就无法创作。
Another risk of course is that he might fall ill because then no one he won't be able to write.
他就赚不到钱了。
He won't make any money.
尽管他已经离开了萨尔茨堡的大主教，但仍有一些无法理解他的赞助人。
And even though he's left the archbishop of Salzburg, there are still uncomprehending patrons.
莫扎特选择自由职业的真正目的，正是为了能够展翅高飞。
And the whole point for Mozart to go freelance really is so that he can stretch his wings.
他可以探索音乐的边界。
He can test the limits of music.
我认为正因如此，某些赞助人认为他难以相处、富有挑战性。
And I think because of that, he is seen by certain patrons as being difficult, as being challenging.
没错，对于那些看过《莫扎特传》的人来说，有一个著名场景——据一些史料记载，皇帝约瑟夫二世观看莫扎特的一部作品后说，很棒，但音符太多了
Right, so there's a famous moment for those of you who've seen Amadeus, which apparently is reflected in some of the sources that Joseph the second, the emperor, sees one of Mozart's productions and says, it's great, but there are too many
音符。
notes.
是的。
Yes.
这可能是后人杜撰的，但听起来很有道理，因为我认为莫扎特确实对当时的音乐体制缺乏耐心，如果你愿意这么说的话。
It's probably apocryphal, but I mean it has the ring of truth because I think Mozart really is impatient with the musical regime, if you want to put it like that.
事实上，在1790年，法国大革命刚刚兴起之际，一位同行作曲家指责莫扎特在音乐上是个‘长裤派’，即一个想要推翻穿着紧身裤之人的革命者。
And in fact, in 1790, so when the French revolution is really kicking off, a fellow composer accuses Mozart of being in musical terms a son collote, someone who wants to kind of burn down Somebody who's wearing trousers rather than britches.
嗯，这个我们稍后会看到。
Well, so that's I mean we'll see.
实际上，莫扎特非常注重自己的穿着打扮。
Mozart is actually quite he likes his fashion.
所以他可能喜欢长裤，也可能喜欢一条裤子。
So he might like a collotte, he might like a pair of trousers.
但他确实在突破界限。
But he is pushing at the limits.
当然，他面临的另一个问题是更个人化、更情感化的：他经历了一场巨大的家庭破裂。
And then the other problem of course that he faces is a more personal and more emotional one and that is that he has gone through a huge family bust up.
不仅他的父亲与他疏远，他深爱的妹妹南娜·厄尔——也是一位才华横溢的音乐家，深受莫扎特喜爱——也对他极度不满，以至于他们之间的沟通彻底中断。
So not only is his father alienated, but his beloved sister, Nana Earl, who's also a brilliant musician, much loved by Mozart, she ends up so cross with him that basically communication between them breaks off.
在1782年他迎娶康斯坦策时，他的父亲和妹妹都没有出席婚礼。
And in 1782, when he marries Constanza, neither his father nor his sister is there at the wedding.
尽管莫扎特仍与利奥波德保持联系，但他们彼此深爱，使得这段关系并未彻底断绝。
And although Mozart remains in contact with Leopold, they love each other too much for the break to be total.
我认为从那时起，他们两人之间毫无疑问依然存在的爱，却被深深的相互怨恨严重毒化了。
I think that from this point onwards, the love that they undoubtedly both still feel for each other is massively, massively poisoned by mutual resentment.
但汤姆，让我们谈谈真正重要的事情。
But Tom, let's get down to what really matters.
成为自由职业者通常是为了赚更多的钱。
The point of going freelance is often to make more money.
莫扎特赚得更多了吗？
Is Mozart making more money?
他确实赚了更多钱。
He is making more money, yes.
所以他有了仆人，从一个仆人变成了拥有仆人的人。
So he has servants, he goes from being a servant to having servants.
就像你，多米尼克，像我，像基尔·斯塔默，他喜欢穿西装。
Like you Dominic, like me, like Keir Starmer, he loves a suit.
他总是风度翩翩。
He's always cutting a dash.
他有一件精美的红色外套，引来了许多赞叹。
He has an exquisite red coat which excites much admiration.
实际上，当他的父亲来维也纳拜访他时，莫扎特非常得意地指着这些公寓说：看这些地方。
And actually when his father comes to stay with him in Vienna, Mozart takes great pleasure in saying, look at these apartments.
这些地方的开销比我如果继续留在萨尔茨堡大主教手下工作一整年赚的钱还要多。
These are costing me more than I would have earned in an entire year had I stayed in the service of the archbishop of Salzburg.
而这当然正是他父亲曾经做过的事。
Which is of course what his father had done.
但你说对莫扎特来说最重要的是钱。
But you said the most important thing to Mozart is money.
我的意思是，钱对他来说确实重要。
I mean it is important to him.
但事实上，我认为对他来说最重要的是，他能将自己的天才感推向极致。
But actually, I think the most important thing to him is that he can test his sense of his own genius to the absolute limits.
因此据说，当约瑟夫二世对他说‘音符太多了，我亲爱的莫扎特’时，莫扎特的回答是。
And so it is claimed that his reply to Joseph II's comment, too many notes, my dear Mozart.
莫扎特回答说：‘陛下，音符的数量恰好是必需的那么多。',
Mozart replies, there are exactly as many notes as there need to be, your majesty.
如果维也纳和欧洲各地有像约瑟夫二世这样不理解莫扎特所做之事的人，那么也有很多人真正欣赏他。
And if there are Joseph II's in Vienna and across Europe, people who don't properly appreciate what Mozart is doing, there are lots who do.
这不仅仅是莫扎特在创作杰作。
And it's not just that Mozart is writing masterpieces.
这些杰作也确实被公认为杰作。
These masterpieces are recognized as such.
我认为正是从这一点出发，你进入了浪漫主义时期。
And I think it's from this that you get in the Romantic period.
莫扎特实际上并不是浪漫主义时期的产物。
Mozart is not really He's not a product of the Romantic period.
但进入19世纪初、1810年代，人们回望过去，会说：实际上，他在浪漫主义兴起之前就已经是个浪漫主义人物了。
But going into the 1800s, the 1810s, people look back and they say, Actually, he was a Romantic figure before Romanticism.
这是一个为了追求艺术而挑战传统的人。
This is a man who He defied convention in the cause of following his art.
他不让任何事物阻碍自己。
He didn't let anything stand in his way.
我想，对他那些浪漫主义仰慕者而言，最著名地体现这一点的杰作，是一部于1787年10月在布拉格首演的歌剧。
And I suppose the great work that most famously in the opinion of his romantic admirers illustrated this was an opera that was premiered in Prague in October 1787.
而且，这部作品关键地只用了四个月就完成了。
And it was written crucially four months.
这部歌剧首演时，距离利奥波德——也就是莫扎特的父亲——去世刚好四个月。
It was premiered four months after the death of Leopold, so Mozart's father.
这部歌剧名叫《唐·乔瓦尼》。
And this opera was called Don Giovanni.
《唐·乔瓦尼》讲述了一个蔑视传统、诱骗女性、通奸、杀人却从不道歉的男人的故事。
And Don Giovanni told the story of a man who cared nothing for convention, who seduced, who committed adultery, who killed people and he never apologizes.
但唐·乔瓦尼有着严重的恋父情结。
But Don Giovanni has serious daddy issues.
他的父亲是一个叫骑士长的人物，唐·乔瓦尼在歌剧开场时就杀死了他，随后却在一时愚蠢中，邀请了骑士长的雕像共进晚餐。
And the daddy is a figure called the Commendatore whom Don Giovanni had killed in the opening moments of the opera And who he then sees a statue of and in a foolish moment invites to supper.
他完全惊呆了。
And is absolutely stunned.
他正坐下来用餐时，门口传来一阵猛烈的敲门声。
He is sitting down to his meal when there is a great hammering on the door.
骑士长的雕像大步走了进来。
And in strides the statue of the commendatore.
骑士长指着唐·乔瓦尼，唱道：‘唐·乔瓦尼，我来带你走。’
And the commendatore points at Don Giovanni and he sings, Don Giovanni, I chain a take o.
我现在在阿尔伯特音乐厅的舞台上演唱了她
I've now sung up her on
在阿尔伯特音乐厅的舞台上。
the stage of the Albert Hall.
唐·乔瓦尼仍然拒绝道歉。
Don Giovanni still refuses to apologize.
指挥官敦促他悔改。
The commendatore urges him to repent.
唐·乔瓦尼不肯。
Don Giovanni won't.
他伸出手去握住他的手。
He reaches out and takes his hand.
你要握住他的手吗？
You going to take your hand?
然后指挥官把唐·乔瓦尼拖入地狱，最后我们听到唐·乔瓦尼说，就这样，故事结束了。
And then the commendatore drags Don Giovanni down to hell and the last you hear of Don Giovanni, he goes, and that's the story.
你不需要，你说了
You don't need to You say it
现在再也不需要说了。
never need to say it now.
那么莫扎特呢？
So is Mozart?
莫扎特就是唐·乔万尼吗？
Is Mozart Don Giovanni?
我不这么认为。
I don't think so.
我觉得这是一种浪漫化的过度解读。
I think that is a kind of romantic over reading.
而且我认为，如果你真想通过一部歌剧来理解莫扎特的内心世界。
And I think actually if you want an opera that gives you a sense of where Mozart is coming from.
理解他作为一位依赖贵族赞助人的艺术家所感受到的挫败感。
The sense of frustration that he feels as someone who is beholden on the sponsorship of aristocratic patrons.
更好的方式是看看他前一年，即1786年创作的歌剧。
Much better to look at the opera he wrote the previous year in 1786.
这就是《费加罗的婚礼》，一部大获成功的剧作。
And this is The Marriage of Figaro, an absolute smash hit.
我认为这是至今仍永久留在剧目中的最古老的歌剧。
I think it's the oldest opera to have been permanently on the repertoire.
这部歌剧改编自一部极具争议的法国戏剧，该戏剧因被认为冒犯贵族而在维也纳被禁演。
And this is based on a very controversial French play which has been banned in Vienna because it is seen as being offensive towards the aristocracy.
《费加罗的婚礼》中，费加罗本人是伯爵的仆人，他想娶伯爵夫人的女仆。
And the marriage of Figaro, Figaro himself is a servant to a count and he wants to marry the maid of the countess.
这位女仆名叫苏珊娜。
The maid is called Susanna.
但伯爵却想行使初夜权，打算在苏珊娜嫁给费加罗之前与她同寝。
But the count wants to claim the doi de senor, the right to take Susanna to bed before she marries Figaro.
费加罗对此感到愤怒，这完全可以理解，我认为。
And Figaro is furious about this, understandably, I think.
这部歌剧的情节充满了跳窗、交换衣服等各种桥段。
And the plot of the opera, there's loads of jumping out of windows, swapping clothes, all this kind of thing.
最终，伯爵在花园中被羞辱。
And it ends up with the count humiliated in a garden.
而这一羞辱时刻，却转化为最精致的和解时刻。
And this moment of humiliation is then transformed into a moment of the most exquisite reconciliation.
曾被伯爵伤害的伯爵夫人原谅了他。
The countess who has been wronged by the count forgives him.
曾被费加罗伤害的苏珊娜也原谅了他。
Susannah who's been wronged by Figaro forgives him.
我想向我已故的挚爱叔叔致敬，他在我大约十三四岁时送给我一套《费加罗的婚礼》磁带套装，并通过这个时刻，让我不仅爱上了莫扎特，更爱上了整个歌剧艺术。
And I just want to pay tribute to my beloved uncle who's no longer with me, who when I was about 13 or 14 gave me a box set of cassettes of the marriage of Figaro and taught me through this moment, gave me love not just for Mozart but for opera, full stop.
而那正是我心中最珍贵的时刻。
And it would be my desertile in this, that moment.
但在我看来，这并不是最能传达莫扎特对当时社会体制所感到挫败的时刻。
But it's not the moment I think that best conveys the sense of frustration that Mozart felt with the social setup that he was involved in.
因为有一段更好的咏叹调更能表达这一点。
Because there is a better aria that does that.
这是仆人费加罗唱的最后一段咏叹调。
And this is the last aria that Figaro the servant sings.
在这个时刻，他以为苏珊娜背叛了他。
And it's a moment where he thinks that Susanna has betrayed him.
他非常沮丧，非常愤怒，以至于几乎打破了第四面墙，直接对观众席中的男性们讲话。
And he's so upset, he's so angry that he kind of breaks through the fourth wall and he addresses the men in the audience directly.
他说：女人是不是很糟糕？
And he says, aren't women awful?
她们总是背叛我们。
They're always betraying us.
当然，他是错的。
And of course, he's wrong.
但那些了解原版法语戏剧的人会知道，这段咏叹调在剧中原本的位置是费加罗抱怨贵族阶层，直接对伯爵说：你以为你有多了不起，其实你根本不算什么。
But those in the know, those who are familiar with the original French play would know that this aria is in the place that in the play has Figaro complaining about the aristocracy, addressing the count, saying, You think you're so wonderful, but you're not wonderful at all.
你之所以能做你做的事，唯一的理由是你生来就拥有这一切。
The only reason that you can do what you do is because you were born into it.
所以，如果你想感受的不仅是费加罗，还有莫扎特向权力说真话，我们即将听到的这首咏叹调——
And so if you want to have a sense of not just Figaro, but Mozart speaking truth to power, this aria we're about to hear now,
好消息是，汤姆不会演唱这首咏叹调。
Well, this is the wonderful news is that Tom will not be singing that aria.
它将由威廉·托马斯来演唱，谢天谢地。
It's going to be sung by William Thomas, thank God.
这首咏叹调的名字意思是，我相信，稍微睁开你的眼睛。
And the aria is called, means, I believe, open a little bit your eyes.
威廉。
William.
汤姆，女士们先生们，我真不想这么说，但这才是专业人士该有的样子。
Tom, ladies and gentlemen, I hate to say it, but that is how a professional does it.
总得从某个地方开始。
Got to start somewhere.
非常感谢。
So thank you very much.
太棒了。
That was wonderful.
所以，汤姆，《费加罗的婚礼》和《唐·乔瓦尼》都是巨大的成功。
So Tom, Maricer Figaro and Don Giovanni are both great successes.
而我们通常对莫扎特的印象是这种荒唐的挥霍无度者。
And obviously the image that we often have of Mozart is this sort of ludicrous spendthrift.
但难道它们不正表明，他不仅是一位杰出的作曲家，还是一位极具能力的企业家吗？
But don't they show that actually he's an extremely capable entrepreneur as well as a magnificent composer?
是的，我认为确实如此。
Yeah, I think it does.
我认为，把莫扎特描绘成一个挥霍无度、在金钱事务上像个孩子的天才，这种观念。
And I think the idea of Mozart as a spendthrift as a kind of a genius who in money matters is just a child.
我认为这在很大程度上反映了利奥波德书信的影响，其中他被塑造成正是这样的人。
I think that that's in large part a reflection of the impact of Leopold's letters in which he's cast as exactly that.
但确实可以说，到1789年和1790年，情况开始略有下滑。
But it is true to say that by 1789 and 1790, things are starting to go slightly downhill.
当然，这些年正是法国大革命爆发的时期。
And of course, these are the years that sees the French Revolution breaks out.
奥地利深受这一事件的影响。
And Austria is very much impacted by this.
玛丽·安托瓦内特当然是哈布斯堡家族的一员。
Marie Antoinette, of course, is a Habsburg.
此外，在哈布斯堡帝国的东翼，一场与土耳其人的战争也已爆发。
And on top of that, on the eastern flank of the Habsburg empire, a war has broken out with the Turks.
因此，对于一个主要依赖稳定环境与和平条件来获得委托的人而言，这绝非好消息。
So this is not good news for someone who depends essentially on stable conditions, conditions of peace to get commissions.
但莫扎特运势下滑还有更多国内和个人层面的原因。
But there are also more domestic, more personal reasons for the downturn in Mozart's fortunes.
他的妻子康斯坦策病得很重。
His wife, Constanza, falls very seriously ill.
他不得不花大笔钱买药，送她去疗养地，这些都是德语区人生病时常见的做法。
He has to spend lots of money on medicine, packing her off the spas, all the kind of stuff that happens in the German speaking world when you fall ill.
莫扎特自己也病倒了。
Mozart himself then falls ill.
这真是灾难性的，因为当他卧床不起时，他就无法工作。
And this is the real calamity because of course when he's lying in bed he can't work.
如果他不能工作，他就赚不到钱。
And if he can't work, he's not making any money.
他最终康复了，但手头真的非常拮据。
And he does recover, but he's really, really short of funds.
因此，1790年和1791年，他的信件中充满了令人尴尬的求助信，试图向富有的朋友借钱。
And so 1790, 1791, his correspondence is full of frankly embarrassing, catching letters trying to get money out of his rich friends.
到了1791年，一个命运般的委托出现了。
And then in the 1791, there comes a fateful commission.
一份创作安魂曲的委托。
A commission to write a requiem.
所以这个故事的传统版本是，这是他生命中一个非常奇怪、诡异且令人难忘的时刻，对吧？
So the traditional version of this story is that it's a very strange and eerie and haunting moment in his life, isn't it?
是的。
Yeah.
我认为这可能是整个古典音乐中最诡异、最令人毛骨悚然的故事。
I think the kind of the eeriest, the most haunting story perhaps in the whole of classical music.
这个故事源自康斯坦策在莫扎特去世后的回忆。
And it derives from reminiscences from Constanza in the wake of Mozart's death.
她向后来撰写莫扎特第一本传记的人讲述了这些事。
She spoke to the man who would then go on to write the first biography of Mozart.
根据康斯坦策的说法，委托创作《安魂曲》是匿名的。
And according to Constanza, the commission to write the Requiem, it's anonymous.
它来自一位身份不明的信使。
It comes from an unknown messenger.
莫扎特开始创作这部作品，随后病倒，但仍继续工作。
Mozart starts writing it and he falls ill but continues working on it.
在创作过程中，他越来越坚信自己正在为自己的葬礼谱写安魂曲。
And as he works on it, he becomes convinced that he is writing the requiem for himself.
不仅如此，他还觉得自己被人下毒了。
And not only that, but that he is being poisoned.
他最终没能完成这部作品，因为在1791年5月12日中午过后不久，他就去世了。
Now he never finishes it because on the 12/05/1791, just after midday, he dies.
他被埋葬在一个公共墓穴中。
And he is buried in a common grave.
几乎没有哀悼者出席葬礼。
Almost no mourners attend the ceremony.
他下葬后，没有任何纪念碑或墓碑标记他安息之地。
And after he is buried, there is no memorial, no headstone to mark the place where his body lay.
正是由此，人们又衍生出浪漫的传说：莫扎特孤独离世，无人知晓，穷困潦倒。
And it's from this that you get, again, the romantic myth that Mozart died forgotten, unknown, a pauper.
这个说法极具感染力，因此人们深信不疑。
And it's very powerful, and this is why people believe it.
然而，总的来说，这并不真实。
However, in the main, it's not true.
抱歉。
Sorry.
我们讲了这个故事，现在我们要揭穿它。
We've told it and now we're going to debunk it.
我们要既吃蛋糕又保留蛋糕。
We're going to have our cake and we're going to eat it.
我们确切地知道是谁委托创作了这首安魂曲。
We know exactly who commissioned the Requiem.
是一位古怪的伯爵，他喜欢雇佣音乐家为他创作作品，然后冒充是自己的作品。
It was an eccentric count who enjoyed employing musicians to write pieces for him and he would then pass them off as his own.
所以他本质上是雇用莫扎特当代笔作家。
So he was essentially employing Mozart to be a ghost writer.
莫扎特并没有被毒死。
Mozart was not poisoned.
他似乎是死于风湿热。
He seems to have died of rheumatic fever.
他并没有被遗忘。
He was not forgotten.
当维也纳传出莫扎特去世的消息时，大批人群聚集在他家门外为他哀悼。
When the news spread across Vienna that Mozart had died, huge crowds gathered outside his house to mourn him.
他备受珍爱与钦佩。
He was cherished and admired.
也许正因如此，他也不是真正的穷人。
And maybe because of that, he wasn't really a pauper either.
他仍然面临财务困境，但已经开始挽回损失。
He was still in financial trouble, but he was starting to recoup his losses.
他于1791年创作的一部歌剧《魔笛》上演后取得了巨大成功。
An opera that he wrote in 1791 that got put on, The Magic Flute, absolute smash.
可能是他最赚钱的一部歌剧。
Probably his most lucrative opera off the lot.
所以，当时已经有一些迹象表明他正在从财务困境中逐步恢复。
So there were signs that he was hauling himself back from the financial brink.
尽管他确实举行了一场极为简朴的葬礼，而且人们并没有参加仪式。
And although it is true that he had a very spare funeral, the people didn't go to the ceremony.
没有墓碑。
There is no headstone.
我认为这更多地反映了他个人的虔诚，他觉得或许正是对巴洛克时期过度奢华的反叛，过于张扬的葬礼会是对上帝的不敬。
I think this reflects more than anything his personal piety, his sense that possibly as a reaction to the the the excesses of the baroque that an overly flamboyant funeral would be disrespectful to God.
但即便如此，汤姆，这无疑是古典音乐史乃至整个音乐史上最令人心碎的时刻。
But even so, Tom, this is surely the most tragic moment in the history of classical music, of music generally.
一想到这个，我就感到非常难过。
I do find it upsetting to ponder
莫扎特如此年轻就离世。
the death of Mozart so early.
他去世时年仅36岁。
He dies when he's 36.
你会想到，如果他活下来，本可以写出多少音乐。
You think of all the music that he could have written if he'd survived.
他一直写日记，里面记录了他未来可能尝试的一些创作构想。
He kept a journal, and in it he was working out things that he might do late in the future.
他在日记中记录的日期一直延续到1790年代，甚至到1800年代。
And he would write up the date through the 1790s into the 1800s.
因此，他显然预期自己能活到十九世纪。
So he was contemplating living certainly into the nineteenth century.
但他并没有活到那一天。
And of course, he doesn't.
很难不觉得这是一场巨大的悲剧。
And it's hard not to feel that as a terrible tragedy.
但我认为，那场冷漠的葬礼本身也令人痛心。
But I think also the impersonality of that funeral, it is upsetting.
《莫扎特传》里那个场景——他被随意扔进墓穴，然后撒上石灰，人们就转身离开，留下莫扎特的遗体。
So the scene in Amadeus where he's chucked into the grave and then lime is thrown over it and they just wander off and there is Mozart's body.
我觉得这确实让人难过。
I do find that upsetting.
我认为原因在于，莫扎特在世时就深受喜爱。
And I think the reason for that is that in his lifetime, Mozart was loved.
但在他去世后，他变得更加受人爱戴。
But in the wake of his death, he became even more loved.
直到今天，他依然被人们深爱着。
And he has remained loved to this day.
我觉得，他的去世中带着一种哀伤。
And there is a kind of sorrow about his death, I think.
嗯，汤姆，你啊。
Well, you, Tom.
恕我直言，这真是一场精彩绝伦的演说。
That was, dare I say, a tour de force.
现在，让我们向莫扎特告别。
And now to say farewell to Mozart.
没有比莫扎特的《安魂曲》更好的作品了。
There is no better piece than Mozart's great Requiem.
在我看来，这是有史以来最顶尖的音乐作品之一。
For my money, of the very best pieces of music ever written.
接下来我们将播放《进堂咏》和《慈悲经》，由爱乐合唱团演出，并迎来纳迪斯·威廉姆斯的回归。
So we're now going to have the Introitus and the Curie, and that's going to be with the Philharmonia Chorus and the return of Nardis Williams.
感谢您的收听。
Thank you for listening.
希望您喜欢，我们将在2025年周四回归，带来2025年的首期节目，播放我们在皇家阿尔伯特音乐厅录制的那场演出的后半部分。
I hope you enjoyed it, and we will be back on Thursday in 2025, our first show of twenty twenty five with the second half of that show that we recorded at the Royal Albert Hall.
那期节目的主题将是贝多芬。
And the focus of that show will be Beethoven.
希望您会喜欢。
I hope you enjoy it.
再见。
Bye bye.
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