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Part C
46. It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it and not grasp music itself.
這就是為什么當(dāng)我們嘗試用語(yǔ)言來描述音樂時(shí),我們能清楚的表達(dá)對(duì)音樂的反應(yīng),但并沒有領(lǐng)會(huì)音樂的精髓。
47. By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let along the performance, of his works.
據(jù)大家所說,貝多芬是個(gè)思想自由而且有勇氣的人,發(fā)現(xiàn)勇氣是理解他作品的本質(zhì),更不用說演奏他的作品了。
48. Beethoven’s habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him.
貝多芬表演時(shí)習(xí)慣性的增加他的音量,然后突然轉(zhuǎn)為柔和的節(jié)拍,前輩的音樂家很少有這種習(xí)慣。
49. Especially significant was his views of freedom, which, for him, was associated with the rights and responsibilities of the individual; he advocated freedom of thought and of personal expression.
尤其重要的是他對(duì)自由的看法,他認(rèn)為這和個(gè)人的權(quán)利和責(zé)任有關(guān),他提倡思想自由和個(gè)人言論自由。
50. One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.
人們會(huì)將貝多芬的很多作品解釋為——痛苦是難免的,但是與痛苦抗?fàn)幍挠職獗砻魃档没钕氯ァ?BR>

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