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　　Section III Translation

　　46. It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it and not grasp music itself.

　　這就是為什么當(dāng)我們嘗試用語言來描述音樂時，我們能做的只是清楚的表達對音樂的反應(yīng)，卻不能領(lǐng)會音樂的精髓。

　　47. By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding,let along the performance, of his works.

　　據(jù)大家所說，貝多芬是個思想自由而且有勇氣的人，而且我發(fā)現(xiàn)勇氣是理解他作品的必要因素，更不用說演奏他的作品了。

　　48. Beethoven’s habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him.

　　貝多芬表演時習(xí)慣把音量提至頂點，然后驟然轉(zhuǎn)到柔和的篇章，這是他前輩的音樂家很少有的習(xí)慣。

　　49. Especially significant was his views of freedom, which, for him, was associated with the rights and responsibilities of the individual; he advocated freedom of thought and of personal expression.

　　尤其重要的是他對自由的看法，在他看來這和個人的權(quán)利和責(zé)任有關(guān)，而且還他倡導(dǎo)思想自由和個人言論自由。

　　50. One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.

　　人們會將貝多芬的很多作品解釋為——痛苦是難免的，但是與痛苦抗?fàn)幍挠職馐股�活有價值。

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