谁有贝多芬的英文生平介绍要比较长的

谁有贝多芬的英文生平介绍要比较长的
谁有贝多芬的英文生平介绍
要比较长的

谁有贝多芬的英文生平介绍要比较长的
http://www.lvbeethoven.com/Bio/BiographyLudwig.html
http://www.philharmonia.co.uk/thesoundexchange/philharmonia_live_and_online_event/masterclass/articles/beethoven_biography.html
自己看看～

我觉得这两个够详细了，语言也很地道：
http://www.philharmonia.co.uk/thesoundexchange/philharmonia_live_and_online_event/masterclass/articles/beethoven_biography.html
http://www.all-about-beethoven.com/beethovenlife.html

贝多芬生平简介
贝多芬LUDWIG VON BEETHOVERR (1770-1827)是十八世纪后年叶以来世界最著名的德国音乐家。1770年生于德国
莱茵河畔的波恩城。他的祖父原是荷兰籍，移居德国后，曾任当地宫廷乐长。父亲是个男高
音歌手，母亲是宫廷御厨的女儿。父亲从小就逼迫他学琴。他13岁任宫廷乐队大键琴手，
14岁任宫廷管风琴师,18岁任歌剧乐队中提琴手。...

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贝多芬生平简介
贝多芬LUDWIG VON BEETHOVERR (1770-1827)是十八世纪后年叶以来世界最著名的德国音乐家。1770年生于德国
莱茵河畔的波恩城。他的祖父原是荷兰籍，移居德国后，曾任当地宫廷乐长。父亲是个男高
音歌手，母亲是宫廷御厨的女儿。父亲从小就逼迫他学琴。他13岁任宫廷乐队大键琴手，
14岁任宫廷管风琴师,18岁任歌剧乐队中提琴手。1792年，海顿见到他，获准成为起学生。
1795年首次在维也纳以作曲家及钢琴家身份登台。1798-1800年除教授钢琴外，埋头作曲。
1800年4月举行作品音乐会，确立了作曲家的地位.此时，听力逐渐衰退，因耳聋的恐惧和
失恋，1802年欲自杀，后终于克服危机，振奋精神，继续作曲。
贝多芬音乐的创作风格，大致经历了三个阶段：（1）早期（波恩时期：1782-1792）其作品可以看到巴赫、海顿和莫扎特的影响。并为以后的创作积累了大量的素材。（2）中期（维也纳时期：1793-1808）此时创作的奏鸣曲和管弦乐曲，大大加强了作品的戏剧性，充分发展和完善了古典奏鸣曲式的结构和功能，显示出贝多芬的创作已完全成熟，并具独特的个性。（3）晚期（维也纳后期：1809-1827）音乐风格有明显的转变。作品规模缩小，主题带有歌唱性，增强了抒情性。呈现出浪漫主义的音乐风格。
贝多芬是人类艺术上最伟大的创造者之一。他一方面有着卓越的音乐天斌、炽热的叛逆气质和巨人般的坚强性格；另一方面他那百折不挠的意志和对社会的责任感而产生的崇高思想，形成他作为一个音乐家的特殊品质。他通过自己的创作，特别在他的九部交响曲中，反映了那个时代伟大的人民运动和最进步的思想。他以时代和个人的命运为题，通过深刻的哲理和感人的艺术形象相结合，写出了一系列交响乐作品，表现了从斗争到胜利、从黑暗到光明、从苦难到快乐的资产阶级上升时期的精神历程，他的九首交响曲像珍珠一样永远闪闪发光。
通过对贝多芬九首交响曲的研究和分析，特别是其中四首(即第三、五、六、九首)标题性交响曲的剖析，我们不仅可以了解贝多芬全部创作的基本面貌和他那伟大而纯真的思想，而且可以了解到交响乐创作上的重大革新，可以看到交响乐是如何从海顿、莫扎特时代过渡到以舒柏特、门德尔逊为代表的新发展时期。早在贝多芬在世时他就已被公认是具有世界意义的音乐家，他既是伟大的古典作曲家，又以浪漫派的先驱而载入史册。
贝多芬代表作品有《悲怆》奏鸣曲、《月光》奏鸣曲、《命运交响曲》（即第五交响曲）、《合唱交响曲》（即第九交响曲）等。
贝多芬的主要作品有：交响曲9首，序曲3首，钢琴协奏曲5首，小提琴协奏曲1首，弦乐四重奏19首，弦乐五重奏4首，钢琴三重奏8首，小提琴奏鸣曲10首，大提琴奏鸣曲4首，钢琴奏鸣曲32首，钢琴变奏曲20首， 钢琴小品24首，进行曲3首。此外，还有歌剧、清唱剧、康塔塔、弥撒曲、歌曲等

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Beethoven was born in Bonn, Germany, to Johann van Beethoven (1740-1792), of Flemish origins, and Magdalena Keverich van Beethoven (1744-1787).
Beethoven's first music teacher was his father, who ...

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Beethoven was born in Bonn, Germany, to Johann van Beethoven (1740-1792), of Flemish origins, and Magdalena Keverich van Beethoven (1744-1787).
Beethoven's first music teacher was his father, who worked as a musician in the Electoral court at Bonn, but was also an alcoholic who beat him and unsuccessfully attempted to exhibit him as a child prodigy. However, Beethoven's talent was soon noticed by others. He was given instruction and employment by Christian Gottlob Neefe, as well as financial sponsorship by the Prince-Elector. Beethoven's mother died when he was 17, and for several years he was responsible for raising his two younger brothers.
Beethoven moved to Vienna in 1792, where he studied with Joseph Haydn and other teachers. He quickly established a reputation as a piano virtuoso, and more slowly as a composer. He settled into the career pattern he would follow for the remainder of his life: rather than working for the church or a noble court (as most composers before him had done), he was a freelancer, supporting himself with public performances, sales of his works, and stipends from noblemen who recognized his ability.
Beethoven's career as a composer is usually divided into Early, Middle, and Late periods.
In the Early period, he is seen as emulating his great predecessors Haydn and Mozart, at the same time exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first two piano concertos, and about a dozen piano sonatas, including the famous "Pathétique".
The Middle period began shortly after Beethoven's personal crisis centering around his realisation that he was losing his hearing, and is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. The Middle period works include six symphonies (Nos. 3 - 8), the last three piano concertos and his only violin concerto, six string quartets (Nos. 7 - 11), many piano sonatas (including the "Moonlight", "Waldstein", and "Appassionata"), and Beethoven's only opera, Fidelio.
Beethoven's Late period began around 1816 and lasted until Beethoven ceased to compose in 1826. The late works are greatly admired for their intellectual depth and their intense, highly personal expression. They include the Ninth Symphony (the "Choral"), the Missa Solemnis, the last six string quartets and the last five piano sonatas.
Beethoven's personal life was troubled. Around age 28 he started to become deaf, a calamity which led him for some time to contemplate suicide. He was attracted to unattainable (married or aristocratic) women, whom he idealized; he never married. A period of low productivity from about 1812 to 1816 is thought by some scholars to have been the result of depression, resulting from Beethoven's realization that he would never marry. Beethoven quarreled, often bitterly, with his relatives and others, and frequently behaved badly to other people. He moved often from dwelling to dwelling, and had strange personal habits such as wearing filthy clothing while washing compulsively. He often had financial troubles, but such had been the life of most professional composers since his time.
It is common for listeners to perceive an echo of Beethoven's life in his music, which often depicts struggle followed by triumph. This description is often applied to Beethoven's creation of masterpieces in the face of his severe personal difficulties.
Beethoven was often in poor health, and in 1826 his health took a drastic turn for the worse. His death in the following year is usually attributed to liver disease.

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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 mainl...

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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.

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贝多芬生平简介
贝多芬LUDWIG VON BEETHOVERR (1770-1827)是十八世纪后年叶以来世界最著名的德国音乐家。1770年生于德国
莱茵河畔的波恩城。他的祖父原是荷兰籍，移居德国后，曾任当地宫廷乐长。父亲是个男高
音歌手，母亲是宫廷御厨的女儿。父亲从小就逼迫他学琴。他13岁任宫廷乐队大键琴手，
14岁任宫廷管风琴师,18岁任歌剧乐队中提琴...

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贝多芬生平简介
贝多芬LUDWIG VON BEETHOVERR (1770-1827)是十八世纪后年叶以来世界最著名的德国音乐家。1770年生于德国
莱茵河畔的波恩城。他的祖父原是荷兰籍，移居德国后，曾任当地宫廷乐长。父亲是个男高
音歌手，母亲是宫廷御厨的女儿。父亲从小就逼迫他学琴。他13岁任宫廷乐队大键琴手，
14岁任宫廷管风琴师,18岁任歌剧乐队中提琴手。1792年，海顿见到他，获准成为起学生。
1795年首次在维也纳以作曲家及钢琴家身份登台。1798-1800年除教授钢琴外，埋头作曲。
1800年4月举行作品音乐会，确立了作曲家的地位.此时，听力逐渐衰退，因耳聋的恐惧和
失恋，1802年欲自杀，后终于克服危机，振奋精神，继续作曲。
贝多芬音乐的创作风格，大致经历了三个阶段：（1）早期（波恩时期：1782-1792）其作品可以看到巴赫、海顿和莫扎特的影响。并为以后的创作积累了大量的素材。（2）中期（维也纳时期：1793-1808）此时创作的奏鸣曲和管弦乐曲，大大加强了作品的戏剧性，充分发展和完善了古典奏鸣曲式的结构和功能，显示出贝多芬的创作已完全成熟，并具独特的个性。（3）晚期（维也纳后期：1809-1827）音乐风格有明显的转变。作品规模缩小，主题带有歌唱性，增强了抒情性。呈现出浪漫主义的音乐风格。
贝多芬是人类艺术上最伟大的创造者之一。他一方面有着卓越的音乐天斌、炽热的叛逆气质和巨人般的坚强性格；另一方面他那百折不挠的意志和对社会的责任感而产生的崇高思想，形成他作为一个音乐家的特殊品质。他通过自己的创作，特别在他的九部交响曲中，反映了那个时代伟大的人民运动和最进步的思想。他以时代和个人的命运为题，通过深刻的哲理和感人的艺术形象相结合，写出了一系列交响乐作品，表现了从斗争到胜利、从黑暗到光明、从苦难到快乐的资产阶级上升时期的精神历程，他的九首交响曲像珍珠一样永远闪闪发光。
通过对贝多芬九首交响曲的研究和分析，特别是其中四首(即第三、五、六、九首)标题性交响曲的剖析，我们不仅可以了解贝多芬全部创作的基本面貌和他那伟大而纯真的思想，而且可以了解到交响乐创作上的重大革新，可以看到交响乐是如何从海顿、莫扎特时代过渡到以舒柏特、门德尔逊为代表的新发展时期。早在贝多芬在世时他就已被公认是具有世界意义的音乐家，他既是伟大的古典作曲家，又以浪漫派的先驱而载入史册。
贝多芬代表作品有《悲怆》奏鸣曲、《月光》奏鸣曲、《命运交响曲》（即第五交响曲）、《合唱交响曲》（即第九交响曲）等。
贝多芬的主要作品有：交响曲9首，序曲3首，钢琴协奏曲5首，小提琴协奏曲1首，弦乐四重奏19首，弦乐五重奏4首，钢琴三重奏8首，小提琴奏鸣曲10首，大提琴奏鸣曲4首，钢琴奏鸣曲32首，钢琴变奏曲20首， 钢琴小品24首，进行曲3首。此外，还有歌剧、清唱剧、康塔塔、弥撒曲、歌曲等
Beethoven was born in Bonn, Germany, to Johann van Beethoven (1740-1792), of Flemish origins, and Magdalena Keverich van Beethoven (1744-1787).
Beethoven's first music teacher was his father, who worked as a musician in the Electoral court at Bonn, but was also an alcoholic who beat him and unsuccessfully attempted to exhibit him as a child prodigy. However, Beethoven's talent was soon noticed by others. He was given instruction and employment by Christian Gottlob Neefe, as well as financial sponsorship by the Prince-Elector. Beethoven's mother died when he was 17, and for several years he was responsible for raising his two younger brothers.
Beethoven moved to Vienna in 1792, where he studied with Joseph Haydn and other teachers. He quickly established a reputation as a piano virtuoso, and more slowly as a composer. He settled into the career pattern he would follow for the remainder of his life: rather than working for the church or a noble court (as most composers before him had done), he was a freelancer, supporting himself with public performances, sales of his works, and stipends from noblemen who recognized his ability.
Beethoven's career as a composer is usually divided into Early, Middle, and Late periods.
In the Early period, he is seen as emulating his great predecessors Haydn and Mozart, at the same time exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first two piano concertos, and about a dozen piano sonatas, including the famous "Pathétique".
The Middle period began shortly after Beethoven's personal crisis centering around his realisation that he was losing his hearing, and is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. The Middle period works include six symphonies (Nos. 3 - 8), the last three piano concertos and his only violin concerto, six string quartets (Nos. 7 - 11), many piano sonatas (including the "Moonlight", "Waldstein", and "Appassionata"), and Beethoven's only opera, Fidelio.
Beethoven's Late period began around 1816 and lasted until Beethoven ceased to compose in 1826. The late works are greatly admired for their intellectual depth and their intense, highly personal expression. They include the Ninth Symphony (the "Choral"), the Missa Solemnis, the last six string quartets and the last five piano sonatas.
Beethoven's personal life was troubled. Around age 28 he started to become deaf, a calamity which led him for some time to contemplate suicide. He was attracted to unattainable (married or aristocratic) women, whom he idealized; he never married. A period of low productivity from about 1812 to 1816 is thought by some scholars to have been the result of depression, resulting from Beethoven's realization that he would never marry. Beethoven quarreled, often bitterly, with his relatives and others, and frequently behaved badly to other people. He moved often from dwelling to dwelling, and had strange personal habits such as wearing filthy clothing while washing compulsively. He often had financial troubles, but such had been the life of most professional composers since his time.
It is common for listeners to perceive an echo of Beethoven's life in his music, which often depicts struggle followed by triumph. This description is often applied to Beethoven's creation of masterpieces in the face of his severe personal difficulties.
Beethoven was often in poor health, and in 1826 his health took a drastic turn for the worse. His death in the following year is usually attributed to liver disease.

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