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

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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.




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