傅聪以中国精神论西方音乐家

Fou Ts’ong’s Use of Chinese Traditional Cultrual Terms in Discussing Western Musicians

肖邦、德彪西、莫扎特三位西方古典音乐大师都为傅聪所重视,并为傅聪以中国精神、中国审美意境所贯通与诠释。傅聪以“故国之情”、“李后主词”来理解肖邦作品、肖邦精神,并以中国山水画来比拟肖邦音乐的自由自在与出神入化之境。傅聪以“无我之境”、“人物两化”来诠释德彪西作品、德彪西精神,认为德彪西音乐有着中国古典精神中“天人合一”一般的审美意境。傅聪以老庄的“大象无形”、“物我两忘”比拟莫扎特境界,甚至将莫扎特比作朴素、天真、诗意的李白,又因莫扎特的同情悲悯心与善于艺术变化比作“贾宝玉加孙悟空”。因得益于中国古典文化的深厚滋养,故傅聪能自由而准确地领会贯通西方古典音乐大家的艺术精神,以致于他说“肖邦音乐里面包含着中国画”、“德彪西的音乐根本就是中国的音乐”、“中国人应该比任何民族更懂得莫扎特”等。

Valued by Fou Ts’ong,the three masters of Western classical music,Chopin,Debussy,and Mozart,have been interpreted with the Chinese spirit and Chinese aesthetic mood.Chopin’s works and his spirit are understood with"the feelings of homeland"and connected with"Li Yu’s Poems".The freedom and supernatural state of Chopin’s music are compared with Chinese landscape paintings.Describing Debussy’s works and his spirit with"selfless state"and"double characterization",Fou Ts’ong believes that Debussy’s music presents a general aesthetic conception of"the harmony between man and nature"in Chinese classical spirit.Fou Ts’ong describes Mozart’s realm as"a semblance great,the shadow of a shade"and"forgetting everything"advocated by Lao Zhuang.He even compares Mozart to the poet Li Bai who is artless,innocent,and poetic,and regards Mozart as a composite of Jia Baoyu and Sun Wukong because of Mozart’s compassion and capacity of artistic change.Thanks to the profound nourishment of Chinese classical culture.Fou Ts’ong is able to understand the artistic spirit of Western classical musicians freely and accurately,as he argues that"Chopin’s music contains Chinese paintings","The basis of Debussy’s music is Chinese Music","Chinese people should know Mozart better than any other nation",and so on.