英语小短文:贝多芬的生平介绍

不用太高深.高一水平就行.至少60个词,也不要太多喔

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 unproductive. 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 during 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 produced 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.

Beethoven was born in Borne in 1770 and passed away in 1827.Since his childhood ,he began playing the piano. He ever learned from Hayton, a very famous musician at that time and made friends with Morzart. on March 29th of 1827 at his funeral, more than 2000 thousand people went to mourn him. Beethoven is deserved of the King of Symphony.

小学就学了

贝多芬的耳疾，应该是父亲小时候打耳光造成的，一个如此功利的父亲，能带给孩子什么样的幸福？诚然，贝多芬后来成长为维也纳古典音乐的代表人物之一，但他的一生坎坷，命运多舛，先是早年耳疾，然后是两耳失聪，对于一个音乐家来说，这无疑是最大的打击。“贝多芬在世时常被指为愤世嫉俗,脾气暴躁.可是,有谁想过30多岁耳朵出现毛病,作为一个天才横溢的音乐家,这是何其残酷的命运?为了掩饰 耳疾, 听不见也要装作听见,而且也很忌讳别人谈论耳朵的事. 人们只知道他脾气暴躁, 极难相处, 但又有谁体会到他内心的痛苦与恐惧? 贝多芬热爱生命, 热爱人类, 端看第九交响曲中的" 欢乐颂" ,若非有一颗热爱世人的心及高尚的情操, 又何能作出如此天籁? 耳疾,听不见也要装作听见,而且也很忌讳别人谈论耳朵的事.人们只知道他脾气暴躁,极难相处,但又有谁体会到他内心的痛苦与恐惧?贝多芬热爱生命,热爱人类,端看第九交响曲中的"欢乐颂" ,若非有一颗热爱世人的心及高尚的情操,又何能作出如此天籁? ”脾气暴躁，极难相处，这是大家给他下的评语，是啊，有谁知道和体会得到他内心的痛苦？暴躁的父亲，不当的教育，使贝多芬有了一个孤僻的性格，他的成长历程是极其痛苦的。贝多芬的一生应是极其渴望爱的一生，但命运恰恰让他在这方面失意一生，，贝多芬极其渴望爱，但小时候的成长历程，他没得到过爱，也没能学会如何去爱。尽管身边从没少过爱情，但他留不住爱，所以直到去世，他一直是独身。贝多芬的父亲是一个酒鬼，在他小的时候，他一定非常痛恨父亲爱喝酒的毛病，但他成年后也酷爱饮酒，恨什么偏偏会继承什么，可见家庭的影响是多么巨大。 事物都是有两面性的，也许正因为命运多舛，贝多芬才创作出了如此多扣人心弦的作品。他的作品中蕴藏的力求量是无法言传的,只有不断的聆听,才能体悟贝多芬的启示:向命运挑战,永不妥协 。

-- 贝多芬的一生 Ludwig van Beethoven was born in Bonn, Germany, on December 16, 1770. His father and grandfather were both musicians. Beethoven revealed his own musical talents when he was very young. At the age of 7 he was playing in public. In 1787 Beethoven traveled to Vienna and met his idol, Mozart1. After playing a little on the harpsichord2 he asked for a theme, on which he improvised3 so wonderfully that Mozart listened with interest and said, turning to the other musicians present: “ This young man will leave his mark in the world some day.” But Beethoven could not stay in Vienna. His mother fell ill, and he rushed back to Bonn. In 1792 Beethoven returned to Vienna, where he spent the rest of his life. He became a pupil of Haydn’ s4 but was dissatisfied with his method of teaching. In order not to offend the famous master, he took lessons in secret from another composer, Joan Schenk. Nevertheless, he quickly became famous. Then tragedy struck. He discovered that he was slowly becoming deaf. This was the great crisis of his life. After this, Beethoven’ s music became more profound. He developed a completely original style of composing. It reflected his violent emotions, his sufferings, and joys. At this time Beethoven composed the most popular of all symphonies, his fifth, Fate, in which he expressed a musical depiction5 of his struggle with the fate of deafness. He dedicated his Symphony No.3, Heroic, to Napoleon, thinking he stood for “ Liberty, Equality and Fraternity6,” for he deeply sympathized with the ideals of the French Revolution. But the moment he heard that Napoleon had declared himself Emperor, he tore off the dedication of the title page. It was during this last period of his life that he produced some of his greatest, most thoughtful works, among which was Symphony No. 9. In 1826 Beethoven became seriously ill, and on March 26, 1827, he died, at the age of 57. Twenty? five thousand people lined the streets through which was carried the bier1 of the greatest composer the world has ever known. There were thirty torchbearers, among them Franz Schubert2, with other well? known musicians, artists, authors and poets. In the old cemetery3 in Vienna can be seen the Master’ s last resting place, which contains a simple monument4 on which is engraved the glorious name: “ Beethoven.” The life of Beethoven is the life of a great artist who was also great as a man. His genius enlarged the language of music, for his compositions speak to the world of the struggles, aspirations and triumphs of the soul. They are deeply emotional and expressing the feelings of all humanity in their beauty. His character was a noble one. People respect him for his great genius and love him for goodness and the purity of his soul. Through grief and misfortune he bravely fought a lifelong battle with fate in order to be worthy of his high ideals. He was a man of profound vision and his music has deeply moved its listeners for generations.