贝多芬的

He set Beethoven to work on counterpoint, using the standard text book, Fux's Gradus ad Parnassum (1725), but Beethoven complained that he was not making any progress because Haydn was much too busy to correct the exercises properly and it seems that for that year the composer Johan Schenk secretly helped Beethoven with the exercises, even going so far as to get Beethoven to copy out any corrections in his own hand so that Haydn would not realize what was going on.

他让贝多芬学习复调音乐，采用标准的教材，弗克斯的《艺术津梁》（1725），但贝多芬抱怨自己没有取得任何进步，因为海顿太忙，不能恰当地纠正练习中的错误；在这一年，似乎是作曲家约翰·尚克暗中帮助贝多芬进行练习，甚至到了让贝多芬把修改的错误自己抄写出来的地步，这样海顿就不会意识到所发生的事情。

Indeed,"Luminosa" boasts choral numbers arranged by Prizeman from a surprising variety of sources, including Saint-Saens'"Carnival of the Animals," Beethoven's Seventh Symphony, Pachelbel's "Canon," and Debussy's "Clair de Lune." Set to Latin words and recorded in an echoey acoustic style, the results have a churchy feel without being doctrinal.

的确，luminosa专辑中包括了很多出色合唱歌曲，是罗伯特从众多的音乐类型中选取出来的，包括Saint-Saens'&Carnival of the Animals，&贝多芬的第七交响曲，巴夏贝尔的圣颂和德彪西的月光，以拉丁文和回响式的音响风格编奏，因此演唱具有教堂的氛围，却不刻板。

Greenhorns write of syncopation now as if it were a new way of giving the utmost impetus to a musical measure; but the rowdiest jazz sounds like the Maiden's Prayer after Beethoven's third Leonora overture; and certainly no negro corobbery that I ever heard could inspire the blackest dancer with such diable au corps as the last movement of the Seventh Symphony. And no other composer has ever melted his hearers into complete sentimentality by the tender beauty of his music, and then suddenly turned on them and mocked them with derisive trumpet blasts for being such fools.

毛头小伙子们现在一提起切分音就好象是一种使音乐节奏成为最强而有力的新方法；但是在听过第三里昂诺拉前奏曲之后，最狂热的爵士乐听起来也象&少女的祈祷&那样温和了，可以肯定地说我听过的任何黑人的集体狂欢都不会象贝多芬的第七交响乐最后的乐章那样可以引起最黑最黑的舞蹈家拼了命地跳下去，而也没有另外哪一个作曲家可以先以他的乐曲的阴柔之美使得听众完全溶化在缠绵悱恻的境界里，而后突然以铜号的猛烈声音吹向他们；带着嘲讽似地使他们觉得自己是真傻。

I think of poets and musicians. Of Beethoven's "Moonlight Sonata" and of Shakespeare, whose Lorenzo declaims in The Merchant of Venice ,"How sweet the moonlight sleeps upon this bank!/ Here will we sit and let the sounds of music / Creep in our ears."

一只蟋蟀在草叶间欢唱，令我想起了诗人和音乐家、想起了贝多芬的《月光交响曲》和莎士比亚笔下的《威尼斯商人》中的洛伦佐的话：&沉睡于河岸的月光是多么的迷人/我们要坐在这里让音乐之声/潜入我们的在耳内。&

His recording of the C-minor concerto, again with Leonard Bernstein, met with general approval, even if Gould "yields more to his own nature than he shoud in the Largo" and "meanders and rhapsodizes without thinking that this movement, too, is by Beethoven."

即使古尔德&在广板乐章里过多的发挥了他的个性&并且&随意的表现闲散和狂想的情绪而丝毫不顾忌这是贝多芬的乐章&，但是他和伯恩斯坦录制的C小调协奏曲仍然获得了广泛的认同。

Greatly gifted, he became organist at Linz Cathedral in 1855; throughout his composing career, his orchestrations would be compared to organ sonorities. In 1865 he heard Tristan und Isolde in Munich and thereafter idolized Richard Wagner, though his own works remained indebted to Ludwig van Beethoven. In 1868 he was appointed professor at the Vienna Conservatory and settled in Vienna for the rest of his life.

他天资聪慧，1855年起任林茨大教堂管风琴师；在他的作曲生涯中，他的管弦乐谱曲可与其管风琴的洪亮声相媲美。1865年他在慕尼黑听到《崔斯坦与伊索德》，此后华格纳便成了他的崇拜对象，不过他自己的作品受贝多芬的影响很大。1868年任维也纳音乐学院教授，从此定居维也纳。

Although Beethoven entered into the upper class, and communicated with some nobles, he never placed himself as their subordination. In 1809, Beethoven lived in Crown Prince Siji Knoff's manor. When asked to play piano for a French invader officer, Beethoven definitely refused the Crown Prince's request. Instead, he ran home in rain, took down Crown Prince's dust and smashed it. In the summer of 1812, Beethoven met Goethe in the sanitaria of Taipliz, Czechoslovakia.

贝多芬虽然进入上流社会，与王公贵族相往来，但他从不置自身于臣仆的地位。1809年贝多芬住在利希诺夫斯基亲王的庄园里，亲王要求他为法国侵略者将领演奏钢琴，贝多芬断然拒绝，冒雨回到自己的家，取下亲王的胸像摔得粉碎。1812年夏，贝多芬在捷克疗养地泰普利茨会见了歌德。

There is hot buttered toast for tea and then records for the quiet evening: a Scarlatti sonata, a Sibelius symphony, a Beethoven violin concerto, or books that carry their readers farther than any summer journey.

有涂好黄油的面包作茶点，宁静的夜晚还有唱片听：斯卡拉蒂的奏鸣曲、西贝柳斯的交响曲、贝多芬的小提琴协奏曲；或是有能把读者带到远方——比夏日旅行还远的地方的书籍。

Thus I desire a great deal less pleasure from jazz and thrillers than from the music, let us say, of Beethoven or the novels, for example, of Dostoievsky; and the sex appeal of the girls on the covers of magazines seems to me less thrilling than the more complicated appeal to a great variety of feelings made by a Rubens, an EI Greco, a Constable, a Seurat.

因此我从爵士乐和刺激性事物中找到的乐趣需比音乐里的少得多，比如说，贝多芬的或者是Dostoievsky的小说；杂志封面上的性感＊＊比Rubens，Greco，Constablet Seurat所创造的精细复杂的情感对于我来说要逊色得多。

Thus I desire a great deal less pleasure from jazz and thrillers than from the music, let us say, of Beethoven or the novels, for example, of Dostoievsky; and the sex appeal of the girls on the covers of magazines seems to me less thrilling than the more complicated appeal to a great variety of feelings made by a Rubens, an EI Greco, a Constable, a Seurat.

因此我从爵士乐和刺激性事物中找到的乐趣需比音乐里的少得多，比如说，贝多芬的或者是Dostoievsky的小说；书封面上的性感女郎比Rubens，Greco，Constablet Seurat所创造的精细复杂的情感对于我来说要逊色得多。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。