贝多芬的英语材料的阅读

㈠ 关于贝多芬的英语短文

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.
这样可以么？

㈡ 有什么好的阅读英语材料

真诚地推荐精读一类就是你订阅的报刊
比如英语周报
21世纪报
chinadaily
泛读推荐
书虫丛书
文学名著

㈢ ~贝多芬英文资料~（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.

译文：

贝多芬路德维希·凡·贝多芬，他不仅擅长弹钢琴和指挥音乐会，而且是一位著名的作曲家。他的作品具有罕见的独创性、情感的深度和表达能力，他以他的九部交响曲、钢琴协奏曲、奏鸣曲和弦乐四重奏而闻名。当他还是个孩子的时候，他就开始学习音乐，并把他的父亲休了下来。

俗话说，兴趣是最好的老师。到1795年，他已经为自己赢得了一个伟大的幻想和神韵的钢琴家的名字，特别是钦佩他出色的即兴演奏。

不幸的是，大约在1798年，贝多芬发现自己患有听力障碍。但是他没有放弃他喜欢的。在他的一生中，即使他的耳朵几乎全聋了，他仍然不断创作着著名的杰作。虽然这位伟人已经去世了，但他的灵魂仍将活在他的音乐中，并将永存。

(3)贝多芬的英语材料的阅读扩展阅读：

主要作品：

贝多芬的一生创作体裁广泛，数量众多。在器乐领域，包括9部交响曲、11首管弦乐曲和戏剧配乐、5首钢琴协奏曲、1首小提琴协奏曲、16首弦乐四重奏和其他形式的重奏曲、32首钢琴奏鸣曲以及小提琴、大提琴奏鸣曲、变奏曲等。

在声乐领域，涉及歌剧、清唱剧、弥撒、康塔塔、合唱幻想曲和大量的艺术歌曲，声乐领域的代表作品包括歌剧《费德里奥》、《D大调弥撒》、声乐套曲《致远方的爱人》等

人物经历：

早年经历

1770年12月16日，路德维希·凡·贝多芬出生于德国波恩。1775年左右，4岁的贝多芬被父亲逼着学习钢琴、小提琴，其父愚蠢地想用强制性手段将他培养成莫扎特式的神童。

1778年，8岁的贝多芬师从宫廷老管风琴师H·伊登学习音乐基础理论及管风琴，同年8月26日第一次登台演出。

1781年，11岁的贝多芬辍学，进入波恩剧院乐队当小乐师，有机会师从选帝侯宫廷管风琴师、指挥家和作曲家克里斯蒂安·戈特洛布·聂弗，聂弗是位启蒙运动的参与者，对贝多芬一生影响很大。

1783年，13岁的贝多芬担任宫廷乐队的古钢琴独奏与伴奏，但无薪俸；同年根据德雷斯勒的进行曲改编为《钢琴变奏曲》（woO63），这是他正式发表的第一首作品，由德国音乐出版家J·M·格茨予以出版。

1785年至1786年，贝多芬转向弗兰兹·安东·里斯学习小提琴，完成《三首钢琴奏鸣曲》（woO36）。

1787年春天，贝多芬第一次访问维也纳，见到31岁的莫扎特，其弹奏技术受到莫扎特的赞赏；同年结识比自己大9岁的华尔斯坦伯爵，他是贝多芬在艺术事业与经济上的重要支持者。

1790年，作曲家海顿去伦敦途经波恩，贝多芬结识海顿；同年受委托完成了两部清唱剧：《为约瑟夫二世逝世所作的悼念清唱剧》（woO87），这也是贝多芬第一部与政治沾上边的作品；以及《为利奥波德二世登基而作的清唱剧》（woO88）。

1792年11月，22岁的贝多芬在海顿等人的鼓励支持下离开故乡，开始拜海顿为师学习作曲，定居于维也纳。

维也纳初期

1793年，贝多芬改向莫扎特挚友，作曲家与教师J·B·申克学习对位法及音乐理论[1]。1794年，开始师从圣斯蒂芬大教堂阿尔布莱兹贝格学习对位法，向宫廷音乐总监安东尼奥·萨列里免费学习作曲；由于海顿忙于作第二次赴英演出的创作准备，师生两人性格不同又有音乐思想上的分歧，贝多芬向海顿的学习终于1794年中止。

1796年8月，在《维也纳杂志》上发表了贝多芬赠送给海顿的三首钢琴奏鸣曲（Op.2）；同年开始出现耳聋现象。

1796至1797年创作完成《C大调第一钢琴协奏曲》（Op.15），并于1798年在捷克布拉格首演。1799年，霍夫敏斯托于年底将贝多芬的《c小调第八（悲怆）钢琴奏鸣曲》（Op.13）予以出版。

1800年4月，《第一交响曲》（Op.21）、《降E大调七重奏》（Op.20）在维也纳皇家宫廷音乐会首演[1]。

1801年，创作完成《升c小调第十四（月光）钢琴奏鸣曲》（Op.27 no.2），题献给朱丽塔·吉米尔茨伯爵夫人；同年还完成了《弦乐五重奏》（Op.29）、《弦乐四重奏》（Op.18）。

1802年，到海利根施塔特度夏，贝多芬已完全听不见声音，同年10月初给自己的兄弟写下著名的《海利根施塔特遗嘱》；经过激烈的思想斗争完成《第二交响曲》，并重返维也纳。

成熟时期

1803年，神剧《基督在橄榄山》、《A大调克鲁采小提琴奏鸣曲》首演；同年完成《第三钢琴协奏曲》。

1805年4月，《第三（英雄）交响曲》首演，贝多芬亲自担任指挥，此作是贝多芬进入创作成熟时期的重要标志；同年11月20日，歌剧《费德里奥》在维也纳皇家剧院首演。

1806年，创作完成《拉兹莫夫斯基弦乐四重奏》、《第四钢琴协奏曲》、《第四交响曲》，以及小提琴协奏曲。

1808年12月，《第六（田园）交响曲》在维也纳剧院举行了首演。1809年，《科里奥兰序曲》、《第五（命运）交响曲》、《C大调弥撒》相继问世。

1810年11月，《第五钢琴协奏曲》在莱比锡首演并取得了巨大成功，同时贝多芬因耳聋已与许多亲友疏远。

1812年，创作完成《第七交响曲》与《第八交响曲》；翌年夏天创作完成《战争交响曲》。

创作晚期

1814年2月—3月，《第七交响曲》、《战争交响曲》相继再度上演，成为维也纳狂热事件。

1824至1825年，首次公演《第九交响曲》及其合唱；1825年3月，创作完成《庄严弥撒曲》。

1826年，《降B大调弦乐四重奏》完成并公演，歌剧《费德里奥》最后版本予以发行。

1827年，伦敦爱乐乐团赠予贝多芬100英镑，邀请他为乐团谱写《第十交响曲》，未及完成，贝多芬于同年3月26日与世长辞，终年57岁。

㈣ 八上英语，贝多芬的短文练习。

花花！！

㈤ 贝多芬的英语资料

伊索寓言.太阳和风.

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.
风和太阳

●风和太阳两方为谁的能量大相互争论不休。

●突然，他们看到一个行人走在路上，太阳说：“谁能使行人脱下衣服，谁就更强大。”

●太阳藏在乌云后面，风开始拼命地吹，风刮得越猛烈，行人越是裹紧自己的衣服。

●太阳出来了，暖暖地晒着行人，行人感到很热，很快就把外套脱了下来。

㈥ 贝多芬的英文事迹

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，路德维希·凡·贝多芬出生于德国波恩。 1775年左右，4岁的贝多芬被父亲逼着学习钢琴、小提琴，其父愚蠢地想用强制性手段将他培养成莫扎特式的神童

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岁的贝多芬师从宫廷老管风琴师H·伊登学习音乐基础理论及管风琴，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岁的贝多芬担任宫廷乐队的古钢琴独奏与伴奏，但无薪俸；同年根据德雷斯勒的进行曲改编为《钢琴变奏曲》，这是他正式发表的第一首作品，由德国音乐出版家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岁的贝多芬在海顿等人的鼓励支持下离开故乡，开始拜海顿为师学习作曲，定居于维也纳。

(6)贝多芬的英语材料的阅读扩展阅读

一、后世纪念

贝多芬故居博物馆毗邻波恩老城区中心市集广场，是贝多芬从1770年出生，直到1792年搬往维也纳之前一直居住的地方。此处保存有贝多芬曾经弹奏过的钢琴、十几岁时演奏过的大风琴键盘、晚年使用的喇叭形助听器以及大量贝多芬的乐谱手稿。

二、感情生活

贝多芬始终没有找到终生伴侣，终生未娶，但是其情感经历是相当丰富的。

1800年，贝多芬被16岁的贵族小姐琪丽爱泰迷住。由于出身的天壤之别，最终使他们劳燕分飞，使得当时深受耳疾扰的贝多芬差点为她自杀，并为她创作了《C小调月光奏鸣曲》。

1804年贝多芬与寡妇约瑟芬产生了感情，但二人最终因身份地位相差悬殊，失之交臂。

㈦ 英语小短文:贝多芬的生平介绍

其实高一英语课本上就有
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 贝多芬的作品 英文的 要全点

=======
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，请到英文维基搜索：List_of_compositions_by_Ludwig_van_Beethoven

㈨ 贝多芬介绍英文

Ludwig van Beethoven was born in Bonn, Germany.

（路德维希·凡·贝多芬，出生于德国波恩。）

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

（维也纳古典乐派代表人物之一，欧洲古典主义时期作曲家。）

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

（贝多芬在父亲严厉苛刻的教育下度过了童年。）

Created his stubborn, sensitive and emotional character.

（造就了他倔强、敏感激动的性格。）

He settled down in Vienna at the age of 22.

（22岁开始终生定居于维也纳。）

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

（创作于1803年至1804年间的《第三交响曲》标志着其创作进入成熟阶段。）

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

（此后20余年间，他数量众多的音乐作品通过强烈的艺术感染力和宏伟气魄，将古典主义音乐推向高峰。）

And foreshadow the romantic music of the 19th century.

（并预示了19世纪浪漫主义音乐的到来。）

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

（1827年3月26日，贝多芬于维也纳去世，享年57岁。）

(9)贝多芬的英语材料的阅读扩展阅读

贝多芬人物经历：

1770年12月16日，路德维希·凡·贝多芬出生于德国波恩。1775年左右，4岁的贝多芬被父亲逼着学习钢琴、小提琴，其父愚蠢地想用强制性手段将他培养成莫扎特式的神童。

1785年至1786年，贝多芬转向弗兰兹·安东·里斯学习小提琴，完成《三首钢琴奏鸣曲》（woO36）。

1787年春天，贝多芬第一次访问维也纳，见到31岁的莫扎特，其弹奏技术受到莫扎特的赞赏；同年结识比自己大9岁的华尔斯坦伯爵，他是贝多芬在艺术事业与经济上的重要支持者。