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News PostsFilter Issue Content:**General searches have ALL the datatype filters options switched on.翻译The novel as a whole feels simultaneously contrived and improvisatory, scheematic and haphazard请帮我翻译一下这个句子
凝帝系列8Ys8
翻译(意译)：这部小说整体上给人同时考究和即兴的感觉，既带着计划性也带着偶然性。
这部小说整体感觉做作不自然，简单又杂乱无章
这部小说给人的整体感觉是即兴创造的而又矫饰的，同时又伴随着偶然性和阴谋性。
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扫描下载二维码Project MUSE - Mozart: The Early Years,
Mozart: The Early Years,
pp. 489-492
Reviewed by
Mozart: The Early Years, . By Stanley Sadie. pp. xxvi + 644. (Oxford University Press, Oxford and New York, 2006, ?25. ISBN 0-19-.)
In his Preface to the edited volume Wolfgang Amadè Mozart: Essays on his Life and his Music (1996), Stanley Sadie reflected upon his presence at the , and 1991 anniversary celebrations, and expressed the hope of likewise observing the festivities in 2006. Alas that ambition remained unfulfilled, but with the publication of this posthumous biography Sadie remains a substantial presence in this anniversary year and beyond. Mozart: The Early Years was to be the first of a two-part study, 'intended to be as near to comprehensive as such a book can reasonably be' (p. xix). As a stand-alone volume, it is notable as the first detailed treatment in English of Mozart's life and work before he moved to Vienna. Sadie's decision to conclude the first half of his projected narrative in 1781 reflects an established biographical tradition, with the production of Idomeneo and Mozart's final departure from the Salzburg service regarded as convenient markers of personal and compositional [End Page 489] maturity. That decision makes good sense from the standpoint of musical criticism, but it does raise the question of whether two-thirds of Mozart's life should be considered 'early'. The cover certainly conveys the large sweep of Mozart's life contained in the book, with its juxtaposition of the young prodigy's 'first' symphonic minuet (written at the age of 11) and the posthumous Kraft portrait of the mature composer. According to Sadie, the Mozart literature suffers from a conspicuous lacuna: an 'up-to-date study in English of Mozart's life and works'. Given the large number of recent studies of the composer in English, one wonders whether an implicit criticism lies behind Sadie's characterization of the field. In his own attempt at filling the lacuna, Sadie opts for a straightforward narrative, maintaining a clear distinction in each chapter between the events of Mozart's life and the works of the same period. The biographical passages offer an accurate and highly detailed account of Mozart's activities and travels, with frequent attention to items of local colour such as the name of the inn in which he stayed or the musicians he met en route. The most important source for such information is of course the Mozart family correspondence, and Sadie makes effective use of direct quotation and paraphrase from the letters to enliven the narrative. To learn of Mozart's relief at the positive reception of the 'Paris' Symphony, or of Leopold Mozart's surprise at the English custom of keeping a kettle on the boil, is to be reminded of how the correspondence can often read like an epistolatory novel in its own right. Depending upon the range of source material available, the balance between biographical narrative and musical discussion in Sadie's book can vary considerably. When an extensive correspondence survives, as is the case with the Grand Tour of 1763-6 or the trip to Mannheim and Paris in 1777-8, the narrative Sadie is able to construct is appropriately comprehensive. For the periods that Mozart spent primarily in Salzburg, however, the available biographical material is much more limited. While together in their home city, Mozart and his family had little reason to leave written records of their daily lives, and the biographer often has little to go on beyond the dates on the composer's autographs and occasional diary entries in documenting his musical and social activities. In consequence, one Salzburg chapter in Sadie's biography devotes only four pages out of thirty to biographical aspects, with the rest directed towards analysis of the music. Such imbalances are an inevitable consequence of our incomplete knowledge of Mozart, and the chapter's design would be unremarkable were it not for Sadie's stated ambition that 'no event in Mozart's life is ignored'—a curiously optimistic aim. There is no reason to believe that Mozart's life was uneventful in the months or even years for which we possess little information about him, and the gaps...
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