貝多芬的英語材料的閱讀

㈠ 關於貝多芬的英語短文

Ludwig van Beethoven， December 1770– 26 March 1827，was a German composer and pianist. He was a crucial figure in the transitional period between the Classical and Romantic eras in Western classical music, and remains one of the most respected and influential composers of all time.

Born in Bonn, then in the Electorate of Cologne (now in modern-day Germany), he moved to Vienna in his early twenties and settled there, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. Beethoven's hearing graally deteriorated beginning in his twenties, yet he continued to compose, and to conct and perform, even after he was completely deaf.
這樣可以么？

㈡ 有什麼好的閱讀英語材料

真誠地推薦精讀一類就是你訂閱的報刊
比如英語周報
21世紀報
chinadaily
泛讀推薦
書蟲叢書
文學名著

㈢ ~貝多芬英文資料~（好的加分）

Ludwig van Beethoven

Ludwig van Beethoven,he is not only good at playing the piano and concting a concert, but also a famous composer. His works have a rare originality, emotional depth, and expressive power and he was known for his nine symphonies, piano concertos, sonatas, and string quartets.

He started to learn the music when he was a boy and fallowed his farther. As the saying goes, interest is the best teacher. By 1795 he had earned a name for himself as a pianist of great fantasy and verve, admired in particular for his brilliant improvisations.

Unfortunately, around the year 1798 Beethoven noticed that he was suffering from a hearing disorder. But he didn』t give up what he liked. He continued to proce notable masterpieces throughout his life, even when his deafness was almost total. Although the great man has gone, his soul will live in his music and last forever.

譯文：

貝多芬路德維希·凡·貝多芬，他不僅擅長彈鋼琴和指揮音樂會，而且是一位著名的作曲家。他的作品具有罕見的獨創性、情感的深度和表達能力，他以他的九部交響曲、鋼琴協奏曲、奏鳴曲和弦樂四重奏而聞名。當他還是個孩子的時候，他就開始學習音樂，並把他的父親休了下來。

俗話說，興趣是最好的老師。到1795年，他已經為自己贏得了一個偉大的幻想和神韻的鋼琴家的名字，特別是欽佩他出色的即興演奏。

不幸的是，大約在1798年，貝多芬發現自己患有聽力障礙。但是他沒有放棄他喜歡的。在他的一生中，即使他的耳朵幾乎全聾了，他仍然不斷創作著著名的傑作。雖然這位偉人已經去世了，但他的靈魂仍將活在他的音樂中，並將永存。

(3)貝多芬的英語材料的閱讀擴展閱讀：

主要作品：

貝多芬的一生創作體裁廣泛，數量眾多。在器樂領域，包括9部交響曲、11首管弦樂曲和戲劇配樂、5首鋼琴協奏曲、1首小提琴協奏曲、16首弦樂四重奏和其他形式的重奏曲、32首鋼琴奏鳴曲以及小提琴、大提琴奏鳴曲、變奏曲等。

在聲樂領域，涉及歌劇、清唱劇、彌撒、康塔塔、合唱幻想曲和大量的藝術歌曲，聲樂領域的代表作品包括歌劇《費德里奧》、《D大調彌撒》、聲樂套曲《致遠方的愛人》等

人物經歷：

早年經歷

1770年12月16日，路德維希·凡·貝多芬出生於德國波恩。1775年左右，4歲的貝多芬被父親逼著學習鋼琴、小提琴，其父愚蠢地想用強制性手段將他培養成莫扎特式的神童。

1778年，8歲的貝多芬師從宮廷老管風琴師H·伊登學習音樂基礎理論及管風琴，同年8月26日第一次登台演出。

1781年，11歲的貝多芬輟學，進入波恩劇院樂隊當小樂師，有機會師從選帝侯宮廷管風琴師、指揮家和作曲家克里斯蒂安·戈特洛布·聶弗，聶弗是位啟蒙運動的參與者，對貝多芬一生影響很大。

1783年，13歲的貝多芬擔任宮廷樂隊的古鋼琴獨奏與伴奏，但無薪俸；同年根據德雷斯勒的進行曲改編為《鋼琴變奏曲》（woO63），這是他正式發表的第一首作品，由德國音樂出版家J·M·格茨予以出版。

1785年至1786年，貝多芬轉向弗蘭茲·安東·里斯學習小提琴，完成《三首鋼琴奏鳴曲》（woO36）。

1787年春天，貝多芬第一次訪問維也納，見到31歲的莫扎特，其彈奏技術受到莫扎特的贊賞；同年結識比自己大9歲的華爾斯坦伯爵，他是貝多芬在藝術事業與經濟上的重要支持者。

1790年，作曲家海頓去倫敦途經波恩，貝多芬結識海頓；同年受委託完成了兩部清唱劇：《為約瑟夫二世逝世所作的悼念清唱劇》（woO87），這也是貝多芬第一部與政治沾上邊的作品；以及《為利奧波德二世登基而作的清唱劇》（woO88）。

1792年11月，22歲的貝多芬在海頓等人的鼓勵支持下離開故鄉，開始拜海頓為師學習作曲，定居於維也納。

維也納初期

1793年，貝多芬改向莫扎特摯友，作曲家與教師J·B·申克學習對位法及音樂理論[1]。1794年，開始師從聖斯蒂芬大教堂阿爾布萊茲貝格學習對位法，向宮廷音樂總監安東尼奧·薩列里免費學習作曲；由於海頓忙於作第二次赴英演出的創作準備，師生兩人性格不同又有音樂思想上的分歧，貝多芬向海頓的學習終於1794年中止。

1796年8月，在《維也納雜志》上發表了貝多芬贈送給海頓的三首鋼琴奏鳴曲（Op.2）；同年開始出現耳聾現象。

1796至1797年創作完成《C大調第一鋼琴協奏曲》（Op.15），並於1798年在捷克布拉格首演。1799年，霍夫敏斯托於年底將貝多芬的《c小調第八（悲愴）鋼琴奏鳴曲》（Op.13）予以出版。

1800年4月，《第一交響曲》（Op.21）、《降E大調七重奏》（Op.20）在維也納皇家宮廷音樂會首演[1]。

1801年，創作完成《升c小調第十四（月光）鋼琴奏鳴曲》（Op.27 no.2），題獻給朱麗塔·吉米爾茨伯爵夫人；同年還完成了《弦樂五重奏》（Op.29）、《弦樂四重奏》（Op.18）。

1802年，到海利根施塔特度夏，貝多芬已完全聽不見聲音，同年10月初給自己的兄弟寫下著名的《海利根施塔特遺囑》；經過激烈的思想斗爭完成《第二交響曲》，並重返維也納。

成熟時期

1803年，神劇《基督在橄欖山》、《A大調克魯采小提琴奏鳴曲》首演；同年完成《第三鋼琴協奏曲》。

1805年4月，《第三（英雄）交響曲》首演，貝多芬親自擔任指揮，此作是貝多芬進入創作成熟時期的重要標志；同年11月20日，歌劇《費德里奧》在維也納皇家劇院首演。

1806年，創作完成《拉茲莫夫斯基弦樂四重奏》、《第四鋼琴協奏曲》、《第四交響曲》，以及小提琴協奏曲。

1808年12月，《第六（田園）交響曲》在維也納劇院舉行了首演。1809年，《科里奧蘭序曲》、《第五（命運）交響曲》、《C大調彌撒》相繼問世。

1810年11月，《第五鋼琴協奏曲》在萊比錫首演並取得了巨大成功，同時貝多芬因耳聾已與許多親友疏遠。

1812年，創作完成《第七交響曲》與《第八交響曲》；翌年夏天創作完成《戰爭交響曲》。

創作晚期

1814年2月—3月，《第七交響曲》、《戰爭交響曲》相繼再度上演，成為維也納狂熱事件。

1824至1825年，首次公演《第九交響曲》及其合唱；1825年3月，創作完成《庄嚴彌撒曲》。

1826年，《降B大調弦樂四重奏》完成並公演，歌劇《費德里奧》最後版本予以發行。

1827年，倫敦愛樂樂團贈予貝多芬100英鎊，邀請他為樂團譜寫《第十交響曲》，未及完成，貝多芬於同年3月26日與世長辭，終年57歲。

㈣ 八上英語，貝多芬的短文練習。

花花！！

㈤ 貝多芬的英語資料

伊索寓言.太陽和風.

The wind and the sun were disputing who was the stronger.

Suddenly they saw a traveler coming down the road. The sun said, "Whoever can make the traveler take off his coat will be the stronger."

So the sun hid behind a cloud, and the wind began to blow as hard as it could. As the wind blew harder, the traveler wrapped his coat more closely around himself.

Then the sun came out. He shone on the traveler. The traveler soon felt quite hot, and took off his coat.
風和太陽

●風和太陽兩方為誰的能量大相互爭論不休。

●突然，他們看到一個行人走在路上，太陽說：「誰能使行人脫下衣服，誰就更強大。」

●太陽藏在烏雲後面，風開始拚命地吹，風颳得越猛烈，行人越是裹緊自己的衣服。

●太陽出來了，暖暖地曬著行人，行人感到很熱，很快就把外套脫了下來。

㈥ 貝多芬的英文事跡

Ludwig van Beethoven was born in Bonn, Germany, on December 16, 1770. About 1775, Beethoven, aged 4, was forced by his father to learn piano and violin. His father foolishly wanted to cultivate him into a Mozart prodigy by coercive means.

1770年12月16日，路德維希·凡·貝多芬出生於德國波恩。 1775年左右，4歲的貝多芬被父親逼著學習鋼琴、小提琴，其父愚蠢地想用強制性手段將他培養成莫扎特式的神童

In 1778, 8-year-old Beethoven studied the basic theory of music and organ from H. Eden, a veteran court organist, and made his first performance on the stage on August 26 of the same year.

1778年，8歲的貝多芬師從宮廷老管風琴師H·伊登學習音樂基礎理論及管風琴，同年8月26日第一次登台演出 。

In 1783, Beethoven, 13, was a soloist and accompanist for the palace orchestra, but without salary. In the same year, he adapted "Piano Variations" based on Dressler's march, which was his first work officially published and published by German music publisher J. M. Gertz.

1783年，13歲的貝多芬擔任宮廷樂隊的古鋼琴獨奏與伴奏，但無薪俸；同年根據德雷斯勒的進行曲改編為《鋼琴變奏曲》，這是他正式發表的第一首作品，由德國音樂出版家J·M·格茨予以出版 。

In November 1792, with the encouragement and support of Haydn and others, Beethoven, 22, left his hometown and began to learn to compose music for Haydn and settled in Vienna.

1792年11月，22歲的貝多芬在海頓等人的鼓勵支持下離開故鄉，開始拜海頓為師學習作曲，定居於維也納。

(6)貝多芬的英語材料的閱讀擴展閱讀

一、後世紀念

貝多芬故居博物館毗鄰波恩老城區中心市集廣場，是貝多芬從1770年出生，直到1792年搬往維也納之前一直居住的地方。此處保存有貝多芬曾經彈奏過的鋼琴、十幾歲時演奏過的大風琴鍵盤、晚年使用的喇叭形助聽器以及大量貝多芬的樂譜手稿。

二、感情生活

貝多芬始終沒有找到終生伴侶，終生未娶，但是其情感經歷是相當豐富的。

1800年，貝多芬被16歲的貴族小姐琪麗愛泰迷住。由於出身的天壤之別，最終使他們勞燕分飛，使得當時深受耳疾擾的貝多芬差點為她自殺，並為她創作了《C小調月光奏鳴曲》。

1804年貝多芬與寡婦約瑟芬產生了感情，但二人最終因身份地位相差懸殊，失之交臂。

㈦ 英語小短文:貝多芬的生平介紹

其實高一英語課本上就有
born Bonn, baptized 17 December 1770; died Vienna, 26 March 1827
He studied first with his father, Johann, a singer and instrumentalist in the service of the Elector of Cologne at Bonn, but mainly with C.G. Neefe, court organist. At 11 ½ he was able to deputize for Neefe; at 12 he had some music published. In 1787 he went to Vienna, but quickly returned on hearing that his mother was dying. Five years later he went back to Vienna, where he settled. He pursued his studies, first with Haydn, but there was some clash of temperaments and Beethoven studied too with Schenk, Albrechtsberger and Salieri. Until 1794 he was supported by the Elector at Bonn but he found patrons among the music-loving Viennese aristocracy and soon enjoyed success as a piano virtuoso, playing at private houses or palaces rather than in public. His public debut was in 1795; about the same time his first important publications appeared, three piano trios op.l and three piano sonatas op.2. As a pianist, it was reported, he had fire, brilliance and fantasy as well as depth of feeling. It is naturally in the piano sonatas, writing for his own instrument, that he is at his most original in this period; the Pathetique belongs to 1799, the Moonlight ('Sonata quasi una fantasia') to 1801, and these represent only the most obvious innovations in style and emotional content. These years also saw the composition of his first three piano concertos, his first two symphonies and a set of six string quartets op.l8.

1802, however, was a year of crisis for Beethoven, with his realization that the impaired hearing he had noticed for some time was incurable and sure to worsen. That autumn, at a village outside Vienna, Heiligenstadt, he wrote a will-like document, addressed to his two brothers, describing his bitter unhappiness over his affliction in terms suggesting that he thought death was near. But he came through with his determination strengthened and entered a new creative phase, generally called his 'middle period'. It is characterized by a heroic tone, evident in the Eroica Symphony (no.3, originally to have been dedicated not to a noble patron but to Napoleon), in Symphony no.5, where the sombre mood of the c Minor first movement ('Fate knocking on the door') ultimately yields to a triumphant C Major finale with piccolo, trombones and percussion added to the orchestra, and in his opera Fidelio. Here the heroic theme is made explicit by the story, in which (in the post-French Revolution 'rescue opera' tradition) a wife saves her imprisoned husband from murder at the hands of his oppressive political enemy. The three string quartets of this period, op.59, are similarly heroic in scale: the first, lasting some 45 minutes, is conceived with great breadth, and it too embodies a sense of triumph as the intense f Minor Adagio gives way to a jubilant finale in the major embodying (at the request of the dedicatee, Count Razumovsky) a Russian folk melody.

Fidelio, unsuccessful at its premiere, was twice revised by Beethoven and his librettists and successful in its final version of 1814. Here there is more emphasis on the moral force of the story. It deals not only with freedom and justice, and heroism, but also with married love, and in the character of the heroine Leonore, Beethoven's lofty, idealized image of womanhood is to be seen. He did not find it in real life he fell in love several times, usually with aristocratic pupils (some of them married), and each time was either rejected or saw that the woman did not match his ideals. In 1812, however, he wrote a passionate love-letter to an 'Eternally Beloved' (probably Antonie Brentano, a Viennese married to a Frankfurt businessman), but probably the letter was never sent.

With his powerful and expansive middle-period works, which include the Pastoral Symphony (no.6, conjuring up his feelings about the countryside, which he loved), Symphony no.7 and Symphony no. 8, Piano Concertos nos.4 (a lyrical work) and 5 (the noble and brilliant Emperor) and the Violin Concerto, as well as more chamber works and piano sonatas (such as the Waldstein and the Appassionata) Beethoven was firmly established as the greatest composer of his time. His piano-playing career had finished in 1808 (a charity appearance in 1814 was a disaster because of his deafness). That year he had considered leaving Vienna for a secure post in Germany, but three Viennese noblemen had banded together to provide him with a steady income and he remained there, although the plan foundered in the ensuing Napoleonic wars in which his patrons suffered and the value of Austrian money declined.

The years after 1812 were relatively unproctive. He seems to have been seriously depressed, by his deafness and the resulting isolation, by the failure of his marital hopes and (from 1815) by anxieties over the custodianship of the son of his late brother, which involved him in legal actions. But he came out of these trials to write his profoundest music, which surely reflects something of what he had been through. There are seven piano sonatas in this, his 'late period', including the turbulent Hammerklavier op.106, with its dynamic writing and its harsh, rebarbative fugue, and op.110, which also has fugues and much eccentric writing at the instrument's extremes of compass; there is a great Mass and a Choral Symphony, no.9 in d Minor, where the extended variation-finale is a setting for soloists and chorus of Schiller's Ode to Joy; and there is a group of string quartets, music on a new plane of spiritual depth, with their exalted ideas, abrupt contrasts and emotional intensity. The traditional four-movement scheme and conventional forms are discarded in favour of designs of six or seven movements, some fugal, some akin to variations (these forms especially attracted him in his late years), some song-like, some martial, one even like a chorale prelude. For Beethoven, the act of composition had always been a struggle, as the tortuous scrawls of his sketchbooks show; in these late works the sense of agonizing effort is a part of the music.

Musical taste in Vienna had changed ring the first decades of the 19th century; the public were chiefly interested in light Italian opera (especially Rossini) and easygoing chamber music and songs, to suit the prevalent bourgeois taste. Yet the Viennese were conscious of Beethoven's greatness: they applauded the Choral Symphony even though, understandably, they found it difficuit, and though baffled by the late quartets they sensed their extraordinary visionary qualities. His reputation went far beyond Vienna: the late Mass was first heard in St. Petersburg, and the initial commission that proced the Choral Symphony had come from the Philharmonic Society of London. When, early in 1827, he died, 10,000 are said to have attended the funeral. He had become a public figure, as no composer had done before. Unlike composers of the preceding generation, he had never been a purveyor of music to the nobility he had lived into the age - indeed helped create it - of the artist as hero and the property of mankind at large.

㈧ 貝多芬的作品 英文的 要全點

=======
Symphonies
=======
Opus 21: Symphony No. 1 in C major (composed 1799-1800, premiè 1800)
Opus 36: Symphony No. 2 in D major (composed 1801-02, premièred 1803)
Opus 55: Symphony No. 3 in E-flat major ("Eroica") (composed 1803, premièred 1804)
Opus 60: Symphony No. 4 in B-flat major (composed 1806, premièred 1807)
Opus 67: Symphony No. 5 in C minor ("Fate") (composed 1805-08, premièred 1808)
Opus 68: Symphony No. 6 in F major ("Pastoral") (composed 1805-08, premièred 1808)
Opus 92: Symphony No. 7 in A major (composed 1811-12, premièred 1813)
Opus 93: Symphony No. 8 in F major (composed 1811-12, premièred 1814)
Opus 125: Symphony No. 9 in D minor ("Choral") (composed 1817-24, premièred 1824)
======
Concertos
======
WoO 4: Piano Concerto No. 0 (Beethoven) in E-flat major (1784)
Opus 15: Piano Concerto No. 1 in C major (1795)
Opus 19: Piano Concerto No. 2 in B-flat major (Before 1793)
Opus 37: Piano Concerto No. 3 in C minor (1803)
Opus 56: Triple Concerto for violin, cello, and piano in C major (1805)
Opus 58: Piano Concerto No. 4 in G major (1807)
Opus 61: Violin Concerto in D major (1806)
Opus 61a: Beethoven's arrangement of Opus 61 for piano, sometimes called Piano Concerto No. 6
Opus 73: Piano Concerto No. 5 in E-flat major ("Emperor") (1809)
=========================
Other works for soloist and orchestra
=========================
WoO 6: Rondo for Piano and Orchestra in B flat major (1793)
Opus 40: Romance for Violin and Orchestra No. 1 in G major (1802)
Opus 50: Romance for Violin and Orchestra No. 2 in F major (1798)
Opus 80: "Choral Fantasy" (Fantasia in C minor for piano, chorus, and orchestra) (1808)
=====================
Overtures and occasional music
=====================
Opus 43: The Creatures of Prometheus, overture and ballet music (1801)
Opus 62: Coriolan Overture (1807)
Overtures composed for Beethoven's opera Fidelio:
Opus 72: Fidelio Overture (1814)
Opus 72a: Leonore Overture "No. 2" (1805)
Opus 72b: Leonore Overture "No. 3" (1806)
Opus 138: Leonore Overture "No. 1" (1807)
Opus 84: Egmont, overture and incidental Music (1810)
Opus 91: Wellington's Victory ("Battle Symphony") (1813)
Opus 113: Die Ruinen von Athen (The ruins of Athens), overture and incidental music (1811)
Opus 117: König Stephan (King Stephen), overture and incidental music (1811)
Opus 115: Zur Namensfeier Overture (Feastday) (1815)
Opus 124: Die Weihe des Hauses Overture (Consecration of the House) (1822)

太多了，列不下，請到英文維基搜索：List_of_compositions_by_Ludwig_van_Beethoven

㈨ 貝多芬介紹英文

Ludwig van Beethoven was born in Bonn, Germany.

（路德維希·凡·貝多芬，出生於德國波恩。）

Vienna classical school, one of the representative figures, the period of European classicism composer.

（維也納古典樂派代表人物之一，歐洲古典主義時期作曲家。）

Beethoven spent his childhood under his father's strict and harsh ecation.

（貝多芬在父親嚴厲苛刻的教育下度過了童年。）

Created his stubborn, sensitive and emotional character.

（造就了他倔強、敏感激動的性格。）

He settled down in Vienna at the age of 22.

（22歲開始終生定居於維也納。）

The third symphony, written between 1803 and 1804, marked the beginning of its maturity.

（創作於1803年至1804年間的《第三交響曲》標志著其創作進入成熟階段。）

In the following 20 years, his numerous music works pushed classical music to its peak through strong artistic appeal and grand vision.

（此後20餘年間，他數量眾多的音樂作品通過強烈的藝術感染力和宏偉氣魄，將古典主義音樂推向高峰。）

And foreshadow the romantic music of the 19th century.

（並預示了19世紀浪漫主義音樂的到來。）

On March 26, 1827, Beethoven died in Vienna at the age of 57.

（1827年3月26日，貝多芬於維也納去世，享年57歲。）

(9)貝多芬的英語材料的閱讀擴展閱讀

貝多芬人物經歷：

1770年12月16日，路德維希·凡·貝多芬出生於德國波恩。1775年左右，4歲的貝多芬被父親逼著學習鋼琴、小提琴，其父愚蠢地想用強制性手段將他培養成莫扎特式的神童。

1785年至1786年，貝多芬轉向弗蘭茲·安東·里斯學習小提琴，完成《三首鋼琴奏鳴曲》（woO36）。

1787年春天，貝多芬第一次訪問維也納，見到31歲的莫扎特，其彈奏技術受到莫扎特的贊賞；同年結識比自己大9歲的華爾斯坦伯爵，他是貝多芬在藝術事業與經濟上的重要支持者。