Edward Klorman’s excellent study Mozart’s Music of Friends is a wide-ranging interpretation of Mozart’s chamber music that draws together many strands of scholarship primarily in order to nuance our understanding of these works as they may exist in performance. Klorman offers much food for thought here, to both scholars and performers. I hope his contribution will be digested and applied especially by those who enact and appreciate Mozart’s chamber music primarily within the sphere of performance. Indeed, in what follows, I write from the perspective of a performer: one who has migrated from the world of academic scholarship on Mozart specifically into the world of historically informed performance (HIP; and for whom a book such as this is of immense value), though my contextual reflections on Klorman’s book are not to be read as the pursuit of a specifically HIP agenda for Mozart. Klorman’s fundamental contention is that Mozart’s chamber music, like much chamber music of its time, existed at least in part as an act of sociability: music as music-making among friends. His work sensitively bridges the gap between music conceived as a representation (visually, in a score) and music as lived experience in performance – or in the act of listening – in real time. He offers numerous detailed applications of a principle that music enacts. In this respect, he draws upon writing by Nicholas Cook, who has repeatedly visited the capacity of music to be simultaneously both artefact and behaviour. A recurrent theme in Cook’s writing has been the notion of the musical score as a script (rather than a prescription). The dust jacket of one of his most recent books puts it as follows: ‘Cook supplants the traditional musicological notion of music as writing, asserting instead that it is as performance that music is loved, understood, and consumed. This book reconceives music as an activity through which meaning is generated in real time.’1 Some years earlier, Cook had argued that performance could be viewed as a generator of social meaning, drawing in his thesis upon interdisciplinary performance theory (particularly theatre studies, poetry reading and ethnomusicology). Thus:

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“我的线路是什么？” 莫扎特室内乐中的表演意义

爱德华·克洛曼 (Edward Klorman) 出色的研究莫扎特的《朋友的音乐》(Music of Friends) 是对莫扎特室内乐的广泛诠释，它汇集了许多学术领域，主要是为了加深我们对这些作品的理解，因为它们可能存在于表演中。克洛曼在这里为学者和表演者提供了许多值得深思的地方。我希望他的贡献将被那些主要在表演领域内演绎和欣赏莫扎特室内乐的人所消化和应用。事实上，在接下来的内容中，我是从表演者的角度来写的：一个从莫扎特学术研究领域专门迁移到历史知识表演领域的人（HIP；对他来说，像这样的一本书具有巨大的价值), 尽管我对 Klorman 的书的上下文反思不应被视为对莫扎特特定 HIP 议程的追求。克洛曼的基本论点是，莫扎特的室内乐，就像当时的许多室内乐一样，至少部分是作为一种社交行为而存在的：音乐是朋友之间的音乐创作。他的作品敏锐地弥合了被视为表现形式（视觉上，乐谱中）的音乐与作为表演或聆听行为中的实时体验的音乐之间的差距。他提供了音乐制定的原则的许多详细应用。在这方面，他借鉴了尼古拉斯·库克 (Nicholas Cook) 的著作，后者曾多次探讨音乐既是人工制品又是行为的能力。库克写作中反复出现的主题是将乐谱作为剧本（而不是处方）的概念。他最近的一本书的封套这样写道：“库克取代了传统的音乐作为写作的音乐学概念，断言音乐是作为表演而被喜爱、理解和消费的。这本书将音乐重新定义为一种实时产生意义的活动。 1 几年前，库克认为表演可以被视为社会意义的生成器，在他的论文中借鉴了跨学科表演理论（特别是戏剧研究，诗歌阅读和民族音乐学）。因此：这本书将音乐重新定义为一种实时产生意义的活动。 1 几年前，库克认为表演可以被视为社会意义的生成器，在他的论文中借鉴了跨学科表演理论（特别是戏剧研究，诗歌阅读和民族音乐学）。因此：这本书将音乐重新定义为一种实时产生意义的活动。 1 几年前，库克认为表演可以被视为社会意义的生成器，在他的论文中借鉴了跨学科表演理论（特别是戏剧研究，诗歌阅读和民族音乐学）。因此：