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[文化博览] 【整理】文化 2008-01-10, Beethoven 贝多芬 - 05

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[文化博览] 【整理】文化 2008-01-10, Beethoven 贝多芬 - 05

Beethoven 贝多芬传

犹如蛟龙游遍浩瀚的大海,音乐王国哪里都有他翱翔的身影。他的后辈不可能将他的成就作为起点,只能重新做起,因为他的先辈已经到达艺术的绝顶!----《贝多芬传》






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Transcript for Reference Only

The typical piano of 1790s, say, 3, in Vienna was a fairly light instrument, and it was very well suited to the kind of pianism that were most conventional in Vienna at that time.

 

Beethoven changed the whole style of playing. He wanted bigger pianos, he wanted louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that implied that the piano range was too small, I mean you, you keep going to the last note of the piano and implying that the musics really could go higher but you can't. That's something that Mozart rarely did only on rare occasions that Beethoven does fairly constantly.

 

Haydn's influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he'd learned nothing from the lessons.

 

What is different in Beethoven is the emotional seriousness, the feeling, that one has at his music is somehow deeply moral, and there is no question about the amount of resentment that Beethoven inspired in his audiences when he first appeared largely because of the way he made the listener concentrate on the. . the motivic work in the piece, the way he would take one single motif and then you had to realize the way this motif appeared in different forms throughout the work.

 

People didn't like to be forced to listen to music with that intension. On several occasions, Beethoven rebelled when the audience treated his music as mere background entertainment.

 

Beethoven's rebelliousness surfaces into sonata Pathetique in C minor, a work which seemed to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller described tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist succumbing to suffering, in other words, resisting an attitude of resignation and this approach I think is reflected even at the very beginning of a piece like the sonata Pathetique of 13, we have this laden chords in the low register, stressing complex, dissonant sounds like the one I'm playing here. We hear in the main fast section of the piece as a gesture of resistance to this suffering.

[ 本帖最后由 seansxf 于 2008-3-1 17:30 编辑 ]

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The typical piano of 1796 in Vienna, with a frothy light instrument and it was very well suited to the kind of pianism that ??conventional in Vienna at that time.

Beethoven changed the whole style of play. You want bigger pianos, you want louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that imply that the piano ring was too small, I mean, you keep going to the last vote of the piano and implying music is really go as high as you can, as something that really did only on reary occasions what Beethoven does is fairly constantly.

Hidens employed on Beethoven came from his music, not his role as tutor. Beethoven once claimed he’d learned nothing from the lessons.

One is different in Beethoven is the emotional seriousness. The feeling that one has in his music is somehow deeply moral and there is no question about the mountain present of Beethoven inspire his or his when he first heart largely because of the way he made the listen of concentrate on the..the motif work in the piece, the way he would take one single motif and then you had to realize the way this motif appeared to different forms throughout the world.

People didn’t like to be forced to listen to music without attention. On several occasions, Beethoven rebelled when the ordean stratic as music as near background of the entertainment.

Beethoven’s rebelliousness surfaces into sino pathetic and see miner work which seem to be a sibersive conpesition, one of the influences own him was the great pooled dramatist and philosopher free drik Sheler . Sheler discribed tragic art as having to do with not simply the depiction of human suffering, but the attemp to resist see coming to suffering, another world resisting and attitude towards resignation and this approach I think is reflected even at the very beginning of the the piece like was ?? of 13.

Begging, cores in the love register, stressing, complex, dissanent sounds like one that played here.
We hear in the main fa-section of the piece as a gesture of resistence to this suffering.
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on ssgg116

The typical piano of 1796 ** in Vienna, with a fairly light instrument and it was very well suited to the kind of pianism that were most conventional in Vienna at that time.

Beethoven changed the whole style of playing. You want bigger pianos, you want louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that implied that the piano range was too small, I mean you, you keep going to the last note of the piano and implying music is really good to go higher but you can't, as something that Mozarts rarely did only on rare occasions and that Beethoven does is fairly constantly.

Haydn's influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he’d learned nothing from the lessons.

What is different in Beethoven is the emotional seriousness. The feeling that one has in his music is somehow deeply moral, and there is no question about the amount of present of Beethoven inspired in his or his when he first appeared largely because of the way he made the listener concentrate on the..the motif work in the piece, the way he would take one single motif and then you had to realize the way this motif appeared to different forms throughout the work.

People didn’t like to be forced to listen to music without attention. On several occasions, Beethoven rebelled when the ordean stratic as music as near background of the entertainment.

Beethoven’s rebelliousness surfaces into sino pathetic and see miner work which seem to be a sibersive conpesition, one of the influences own him was the great pooled dramatist and philosopher free drik Sheler . Sheler discribed tragic art as having to do with not simply the depiction of human suffering, but the attemp to resist see coming to suffering, another world resisting and attitude towards resignation and this approach I think is reflected even at the very beginning of the the piece like was ?? of 13.

Begging, cores in the love register, stressing, complex, dissanent sounds like one that played here.
We hear in the main fa-section of the piece as a gesture of resistence to this suffering


genius is not without limitations
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on 王四五

The typical piano of 1790 say 3 in Vienna was a fairly light instrument, and it was very well suited to the kind of pianism that were most conventional in Vienna at that time.

Beethoven changed the whole style of playing. He wanted bigger pianos, wanted louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that implied that the piano range was too small, I mean you, you keep going to the last note of the piano and implying that the music really could go higher but you can't. That's something that Mozart rarely did only on rare occasions, that Beethoven does is fairly constantly.

Haydn's influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he d learned nothing from the lessons.

What is different in Beethoven is the emotional seriousness, the feeling, that one has at his music is somehow deeply moral, and there is no question about the amount of resentment of Beethoven inspired in his audiences when he first appeared largely because of the way he made the listener concentrate on the. . the motive work in the piece, the way he would take one single motive and then you had to realize the way this motive appeared to different forms throughout the work.

People didn t t like to be forced to listen to music without attention. On several occasions, Beethoven rebelled when the audience treated his music as mere background entertainment.

Beethoven s rebelliousness surfaces into sonata Pathetique in C minor, a work which seem to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller described tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist see coming to suffering, in other word resisting an attitude towards resignation and this approach I think is reflected even at the very beginning of the piece like this the sonata Pathetique of 13, we have this laden cords in the low register, stress in complex, dissonant sounds like one that played here. We hear in the main fa-section of the piece as a gesture of resistance to this suffering.




I serve.
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on 诚石

The typical piano of 1790 say 3 in Vienna was a fairly light instrument, and it was very well suited to the kind of pianism that were most conventional in Vienna at that time.

Beethoven changed the whole style of playing. He wanted bigger pianos, wanted louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that implied that the piano range was too small, I mean you, you keep going to the last note of the piano and implying that the music really could go higher but you can't. That's something that Mozart rarely did only on rare occasions, and that Beethoven does is fairly constantly.

Haydn's influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he d learned nothing from the lessons.

What is different in Beethoven is the emotional seriousness, the feeling, that one has at his music is somehow deeply moral, and there is no question about the amount of resentment that Beethoven inspired in his audiences when he first appeared largely because of the way he made the listener concentrate on the. . the motive work in the piece, the way he would take one single motif and then you had to realize the way this motive appeared to different forms throughout the work.

People didn t t like to be forced to listen to music without attention. On several occasions, Beethoven rebelled when the audience treated his music as mere background entertainment.

Beethoven's rebelliousness surfaces into sonata Pathetique in C minor, a work which seem to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller described tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist succumbing to suffering, in other word resisting an attitude of resignation and this approach I think is reflected even at the very beginning of the piece like this the sonata Pathetique of 13, we have this laden chords in the low register, stress in complex, dissonant sounds like one that played here. We hear in the main fa-section of the piece as a gesture of resistance to this suffering.


genius is not without limitations
smile.gif on wang45

The typical piano of 1790s, say, 3, in Vienna was a fairly light instrument, and it was very well suited to the kind of pianism that were most conventional in Vienna at that time.

Beethoven changed the whole style of playing. He wanted bigger pianos, wanted louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that implied that the piano range was too small, I mean you, you keep going to the last note of the piano and implying that the music really could go higher but you can't. That's something that Mozart rarely did only on rare occasions, and that Beethoven does / fairly constantly.

Haydn's influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he d learned nothing from the lessons.

What is different in Beethoven is the emotional seriousness, the feeling, that one has at his music is somehow deeply moral, and there is no question about the amount of resentment that Beethoven inspired in his audiences when he first appeared largely because of the way he made the listener concentrate on the. . the motivic work in the piece, the way he would take one single motif and then you had to realize the way this motive appeared in different forms throughout the work.

People didn't like to be forced to listen to music without attention. On several occasions, Beethoven rebelled when the audience treated his music as mere background entertainment.

Beethoven's rebelliousness surfaces into sonata Pathetique in C minor, a work which seemed to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller described tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist succumbing to suffering, in other words, resisting an attitude of resignation and this approach I think is reflected even at the very beginning of a piece like / the sonata Pathetique of 13, we have this laden chords in the low register, stress in complex, dissonant sounds like the one / I'm playing here. We hear in the main fa-section of the piece as a gesture of resistance to this suffering.
^Flora^

The typical piano of 1790s, say, 3, in Vienna was a fairly light instrument, and it was very well suited to the kind of pianism that were most conventional in Vienna at that time.

Beethoven changed the whole style of playing. He wanted bigger pianos, he wanted louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that implied that the piano range was too small, I mean you, you keep going to the last note of the piano and implying that the music really could go higher but you can't. That's something that Mozart rarely did only on rare occasions, and that Beethoven does / fairly constantly.

Haydn's influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he'd learned nothing from the lessons.

What is different in Beethoven is the emotional seriousness, the feeling, that one has at his music is somehow deeply moral, and there is no question about the amount of resentment that Beethoven inspired in his audiences when he first appeared largely because of the way he made the listener concentrate on the. . the motivic work in the piece, the way he would take one single motif and then you had to realize the way this motive appeared in different forms throughout the work.

People didn't like to be forced to listen to music with that attention. On several occasions, Beethoven rebelled when the audience treated his music as mere background entertainment.

Beethoven's rebelliousness surfaces into sonata Pathetique in C minor, a work which seemed to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller described tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist succumbing to suffering, in other words, resisting an attitude of resignation and this approach I think is reflected even at the very beginning of a piece like / the sonata Pathetique of 13, we have this laden chords in the low register, stress in complex, dissonant sounds like the one / I'm playing here. We hear in the main fast section of the piece as a gesture of resistance to this suffering.


实现无障碍英语沟通
homework

'The typical piano of 1790s, say, 3, in Vienna was a fairly light instrument, and it was very well suited to the kind of pianism that were most conventional in Vienna at that time."

"Beethoven changed the whole style of playing. He wanted bigger pianos, wanted louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that implied that the piano range was too small, I mean you, you keep going to the last note of the piano and implying that the music really could go higher but you can't. That's something that Mozart rarely did only on rare occasions, and that Beethoven does fairly constantly."

Haydn's influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he'd learned nothing from the lessons.

"What is different in Beethoven is the emotional seriousness, the feeling, that one has at his music is somehow deeply moral, and there is no question about the amount of resentment that Beethoven inspired in his audiences when he first appeared largely because of the way he made the listener concentrate on the. . the motivic work in the piece, the way he would take one single motif and then you had to realize the way this motive appeared in different forms throughout the work."

People didn't like to be forced to listen to music with that attention. On several occasions, Beethoven rebelled when the audience treated his music as mere background entertainment.

Beethoven's rebelliousness surfaces into sonata Pathetique in C minor, a work which seemed to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller described tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist succumbing to suffering. In other words, resisting an attitude of resignation and this approach I think is reflected even at the very beginning of a piece like the sonata Pathetique of 13, we have this laden chords in the low register, stress in complex, dissonant sounds like the one. I'm playing here. We hear in the main fast section of the piece as a gesture of resistance to this suffering.
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hw


The typical piano of 1793 in Vienna was fairly light instrument and it was very well suited to the kind of pianism that were very most conventional in Vienna at that time. Beethoven changed the whole style of playing. He wanted bigger pianos and loud pianos. And we know that he broke strings. He smashed hammers. He also wrote music that implied that piano rang was too small, I mean, you keep going to the last note of piano and implied that music can really go higher but you cant'. That's something that Mozart rarely did on rare occasions but Beethoven did it fairely constantly.

Hyden's inflence on Beethoven came from his music,not his role as a tutor. Beethoven once claimed that he learned nothing from his lessons. What difference in Beethoven is the emotional seriousness. The feeling that one has his music somehow deeply moral and there is no question about the amount of resentment of Beethoven inspired his audiences when he first appeared largely because of his way made listener concentrate on the motivated work in the piece, the way he would take one single motif then you have to realize the way of this motivated piece appeared different forms throughout the work.

People didn't like to be forced to listen to music without attention. On several occasions Beethoven rebelled when the audiences treated his music as mere background entertainment. Beethoven's rebelliousness surfaces into Sonata --C minor. A work which seemed to be a subsersive composition. One of influences on him was the great poet, dramatist and philosophy Freerich Schiller. Schiller described tragic art as having to do with simply to do description of human suffering but the attempt to resist succumbing to suffering, in another words, resisting an attitude of resignation and this approach I think is reflected even at the very beginning of a piece like -----, we have this laden chords in the low register, stress in complex, dissonant sounds like the one. I'm playing here. We hear in the main fast section of the piece as a gesture of resistance to this suffering.



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好栏目推荐之美国口语俚语
1月10号的BEETHOVEN中那一段音乐是他的<悲怆>,所以文中出现的曲名应该是Pathetic,为悲伤之义.
homework

The typical piano of 1790s, say, 3 in Vienna was a fairly light instrument and was very well suited to the kind of pianism that very most conventional in Vienna at that time.

Beethoven changes the whole style of plan. He want to bigger pianos want louder pianos and we know that he broke strings when he smack hammers, he also wrote music that implied that the piano range was too small. I mean you keep going to the last note of the piano and implying that the music really could go higher and you can't. That's something Mozart rarely only on rare occasions and that Beethoven does it fairly constantly.

Hyden's influence on Beethoven came from his music not his role of tutor. Beethoven once claimed he learned nothing from the lessons. What is different in Beethoven is the emotional serious. The feeling that the one has that music is somehow deeply moral. There is no question about the amount of resentment that Beethoven inspired in his audiences when he first appeared largely because of the way he made the listener concentrate on the motivic work in the piece, the way he could take one single motif and then you had to realize the way this motive appeared in different forms throughout the work.

People didn't like to be forced to listen to music with attention. On several occasions, Beethoven rebelled when the audiences treated his music as mere background entertainment.

Beethoven's rebelliousness surfaces into sonata Pathetic in C minor. A work which seem to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller describe tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist succumbing to suffering, in other words, resisting an attitude of resignation and this approach I think is reflected even at the very beginning of piece like the sonata Pathetic of 13. We have this laden chord in low register, stress in complex, dissonant sounds like the one I'm playing here. We here in the main fast section of the piece as a gesture of resistance to his suffering.
Maybe, I'm better than I give myself credit for.

putfan

The typical piano of 1790s, say, 3, in Vienna was a fairly light instrument, and it was very well suited to the kind of pianism that were most conventional in Vienna at that time.

 

Beethoven changed the whole style of playing. He wanted bigger pianos, he wanted louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that implied that the piano range was too small, I mean you, you keep going to the last note of the piano and implying that the musics really could go higher but you can't. That's something that Mozart rarely did only on rare occasions /// that Beethoven does fairly constantly.

 

Haydn's influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he'd learned nothing from the lessons.

 

What is different in Beethoven is the emotional seriousness, the feeling, that one has at his music is somehow deeply moral, and there is no question about the amount of resentment that Beethoven inspired in his audiences when he first appeared largely because of the way he made the listener concentrate on the. . the motivic work in the piece, the way he would take one single motif and then you had to realize the way this motif appeared in different forms throughout the work.

 

People didn't like to be forced to listen to music with that intension. On several occasions, Beethoven rebelled when the audience treated his music as mere background entertainment.

 

Beethoven's rebelliousness surfaces into sonata Pathetique in C minor, a work which seemed to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller described tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist succumbing to suffering, in other words, resisting an attitude of resignation and this approach I think is reflected even at the very beginning of a piece like the sonata Pathetique of 13, we have this laden chords in the low register, stressing complex, dissonant sounds like the one I'm playing here. We hear in the main fast section of the piece as a gesture of resistance to this suffering.

...............................................................................

We must live through all time, or die by suicide!


And God said, Let there be English: and there was English.
And I saw the English, that it was good.
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Homework

 

The typical piano, eh, of 1790s, say, 3 in Vienna was a fairly light instrument and it was very well suited to the kind of pianism that were most conventional in Vienna at that time.

 

Beethoven changed the whole style of playing. He wanted bigger pianos and louder pianos and we know that he broke strings, he smashed hammers. He also wrote music that implied that the piano range was too small, I mean, you keep going to the last note of the piano and implying that the musics really could go higher but you can’t. That’s something that Mozart really did only on rare occasions that Beethoven does fairly constantly.

 

Haydn’s influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he’d learned nothing from the lessons.

 

What is different in Beethoven is the emotional seriousness, the feeling, that one has at his music is somehow deeply moral, and there is no question about the amount of resentment that Beethoven inspired in his audiences when he first appeared largely because of the way he made the listeners concentrate on the, the motivic work in the piece, the way he would take one single motif and then you had to realize the way this motif appeared in different forms throughout the work.

 

People didn’t like to be forced to listen to music with that intension.

 

On several occasions, Beethoven rebelled when the audience treated his music as mere background entertainment.

 

Beethoven’s rebelliousness surfaces into sonata Pathetique in C minor, a work which seemed to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller described tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist succumbing to suffering, in other words, resisting an attitude of resignation and this approach I think is reflected even at the very beginning of a piece like this sonata Pathetique of 13.

 

We have this laden chords in the low register, stressing complex, dissonant sounds like the one I’m playing here. We hear in the main fast section of the piece as a gesture of resistance to this suffering.

 

Just 说说而已!
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