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.

　　這也是為什么當(dāng)我們?cè)噲D用語(yǔ)言描述音樂(lè)時(shí)，我們只能表達(dá)對(duì)音樂(lè)的感受，而無(wú)法領(lǐng)悟音樂(lè)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 alone the performance, of his works.

　　人們一致認(rèn)為，貝多芬思想自由而勇敢無(wú)畏，在我看來(lái)，要理解其作品必須要抓住勇氣這一本質(zhì)，在演奏其作品時(shí)更是如此。

　　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.

　　貝多芬習(xí)慣用緊促有力的演奏提高音量，然后曲風(fēng)一轉(zhuǎn)，緊接一段輕柔舒緩的音樂(lè)，而在他之前很少有作曲家這么做。

　　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.

　　貝多芬的自由觀意義尤為深遠(yuǎn)。在他看來(lái)，自由與個(gè)人的權(quán)利、責(zé)任息息相關(guān)，他提倡思想自由與個(gè)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.

　　你可以這樣闡釋貝多芬的大多數(shù)作品：磨難是在所難免的，但是與磨難抗?fàn)幍挠職鈩t是生命的意義之所在。