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(yǔ)言來(lái)描述音樂(lè)時(shí)，我們能做的只是清楚的表達(dá)對(duì)音樂(lè)的反應(yīng)，卻不能領(lǐng)會(huì)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 along the performance, of his works.

　　據(jù)大家所說(shuō)，貝多芬是個(gè)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(shuō)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(shí)習(xí)慣把音量提至頂點(diǎn)，然后驟然轉(zhuǎn)到柔和的篇章，這是他前輩的音樂(lè)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(duì)自由的看法，在他看來(lái)這和個(gè)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(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.

　　人們會(huì)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(jià)值。