情感的祭坛——论R·瓦格纳在19世纪德国音乐中的存在

Sacrificial altar of emotion--Wagner's existence in German music in the 19th century

作为19世纪德国音乐的革新者,R·瓦格纳的出现为西方音乐史增添了新的一页,他不但继承了欧洲浪漫主义音乐传统,而且还寻找了新的表现形式,即音乐戏剧Musikdrama。在他的一生中创作了许多流传后世的经典之作,例如《漂泊的荷兰人》《尼伯龙根指环》等。然而,瓦格纳的音乐创作思想是如何形成的?而他的存在在德国音乐乃至西方音乐的发展史中具有怎样的地位或价值?文章认为:政治经历、人道哲学以及唯美艺术所构成的统一体,从而形成了他的创作核心,即音乐与戏剧、文学、哲学上的完美结合,同时指出,虽然他的音乐戏剧作品当中带有明显的自我主义倾向和乌托邦式的幻想,但也包含了一个民族艺术家的真实冲动,即他渴望德国民族的富强与崛起,这也是瓦格纳音乐艺术最为生动的时代写照。

As the innovator of German music in the 19th century, the appearance of R.Wagner adds a new page for the western musical history. He not only inherited the musical tradition of the European romanticism, but also found the new way of expression, namely the musical drama--Musikdrama. In his life he created many famous works such as 'The Drifed Dutchman' 'Niblongan Ring', etc. However, how did the creation idea of Wagner's music take shape? What value was his existence in German music and in the development history of the western music? The article reckons that the unity of political experience, human philosophy and art of beauty make up his creation center, that is, the perfect combination of music and drama, art and philosophy . The article also points out that although his musical dramas are full of obvious egoism tendency and Utopian imagination, they also include the real impulse of a national artist. He admired for the richness and the growing up of German. This is also the vivid portrayal of Wagner's musical art.