09/01/20 02:00:29
タイプ慣れしていないのでミスが目立つかもしれませんが、宜しくお願いします
There is,first,the solemn music of the priests' marches,their two invocations to Isis
and Osiris,and Sarastro's aria extolling friendship and forgiveness,'In diesen heil'gen Hallen'.
Mildness and majesty soar in unexampled union above a harmony solemn with dark instruments - bassoon
and horn,at times basset-horn and trombone - whose texture is at once rich and light.Sarastro's music,
according to Shaw,was the only one fit for the mouth of God,but that misses the point.There is in it
neither the apprehension of an unknown power nor the joy in resurrection that mark Christian faith;
the power in known,and - whatever the calls on Isis and Osiris,pale deities - it is a human power;we
may rejoice,but in human wisdom.Even the church music borrowed by the men in armour as they tell
the young prince about the ordeals - a Lutheran chorale above a four-part fugato - manages to be solemn
without transcendence.It is a token of Mozart's insight that exaltation of the human never grows
complacent or overbearing.The Magic Flute is an unrepeatable climax of 'enlightened' faith in human beings'
ability to guide themselves and the world;while it lasts,it rings true.
宜しくお願いします