“清楚变化了的音乐创造”——瓦格纳的“音乐戏剧”构想

"Clearly Changed Creation of Music"——On Wagner's "Musikdrama" Conception

瓦格纳自己从未用"音乐戏剧"来称呼他的作品,他的这种构想因而长期以来被误解。文章通过梳理瓦格纳自19世纪50年代以来的理论思考轨迹,论述他逐步形成的舞台作品理论:扬弃早期独立音乐(前古典、维也纳古典早期的器乐曲)"缺损的"模式,创造出包含万千意蕴的交响乐。自贝多芬《第三"英雄"交响曲》让音乐以自己的语言"开口说话"以来,瓦格纳《指环》四部剧及其它主要作品成为西方古典、浪漫时期独立音乐的丰碑。

Richard Wagner had never used ＂Musikdrama＂ to address his works.His conception therefore has been misunderstood for long.This thesis recollects the course of Wagner＇s theoretical thinking since 1850＇s and expounds his theory of stage work formed gradually： discarding ＂deficient＂ mode of early absolute music（pre-classical and early Vienna Classical instrumental music） and creating symphonic works containing all-embracing implications.Since the time when Beethoven let his Third ＇Eroica＇ Symphony ＂talk＂ in its own language,Wagner＇s Ring circle and other main works has become monument of the absolute music in western classical and romantic periods.