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  3. "The language of a composer" , Cardus wrote, "his harmonies, rhythms, melodi

"The language of a composer" , Cardus wrote, "his harmonies, rhythms, melodi

游客2023-12-27  6
问题     "The language of a composer" , Cardus wrote, "his harmonies, rhythms, melodies, colors and texture, cannot be separated except by pedantic analysis from the mind and sensibility of the artist who happens to be expressing himself through them".
    But that is precisely the trouble; for as far as I can see, Mozart’s can. Mozart makes me begin to see ghosts, or at the very least ouija-boards. If you read Beethoven’s letters, you feel that you are at the heart of a tempest, a whirlwind, a furnace; and so you should, because you are. If you read Wagner’s, you feel mat you have been run over by a tank, and that, too, is an appropriate response.
    But if you read Mozart’s — and he was a hugely prolific letter-writer — you have no clue at all to the power that drove him and the music it squeezed out of him in such profusion that death alone could stop it; they reveal nothing — nothing that explains it. Of course it is absurd (though the mistake is frequently made) to seek external causes for particular works of music; but with Mozart it is also absurd, or at any rate useless, to seek for internal ones either. Mozart was an instrument. But who was playing it?
    That is what I mean by the Mozart Problem and the anxiety it causes me. In all art, in anything, there is nothing like the perfection of Mozart, nothing to compare with the range of feeling he explores, nothing to equal the contrast between the simplicity of the materials and the complexity and effect of his use of them. The piano concertos themselves exhibit these truths at their most intense; he was a greater master of this form than of the symphony itself, and to hear every one of them, in the astounding abundance of genius they provide, played as I have so recently heard them played, is to be brought face to face with a mystery which, if we could solve it, would solve the mystery of life itself.
    We can see Mozart, from infant prodigy to unmarked grave. We know what he did, what he wrote, what he felt, whom he loved, where he went, what he died of. We pile up such knowledge as a child does bricks; and then we hear the little tripping rondo tune of the last concerto — and the bricks collapse; all our knowledge is useless to explain a single bar of it. It is almost enough to make me believe in — but I have run out of space, and don’t have to say it. Put K. 595 on the gramophone and say it for me. [br] The "Mozart problem" , as defined by the author, is that______.
选项 A、it is difficult to understand Mozart’s letters and his music
B、there is little connection between his personality and his music
C、Mozart gave us nothing of a clue about his music in his letters
D、his music is quite different from that of Beethoven or Wagner
答案 B
解析 推断题型从第四段第一句可推出Mozart’s Problem应在之前提到：第三段第一句见注释76，后面一句是：当然为某一特别的音乐作品去寻求客观原因是荒谬的(尽管错误会时常出现)；但就莫扎特来说这样做也是荒谬的，或至少是无用的，去寻求内在原因也是如此。因此从第三段的内容可推论出：人们难以从莫扎特的作品中去寻求其动机，也无法将他的作品和他的性格联系起来，因此B为答案。
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