【正文】 ce and quiet away from Vienna. But his pupil, Ferdinand Ries visited him in the summer, and during a walk in the woods pointed out a shepherd playing a flute made out of an elder twig. Beethoven could not hear it, and this made him very morose. As the winter approached he realized that his hearing was no better, and that it was likely to get worse, and he might end up totally deaf. However, it was some years before this happened, and Beethoven coped with the problem to a certain extent by giving up those aspects of his career which were most affected by his defective hearing. He also appeared less frequently at aristocratic soirees, and gave up plans to go on concert tours. It could be argued that Beethoven39。s deafness helped the development of his art: isolated from the world, and unable to perform, he could devote all his time to posing. He was already posing less at the piano, and the first of his bound sketchbooks, in which he made detailed drafts of the works in progress, date from 1798. In his panic, at the beginning, Beethoven may have believed himself to be deafer than he really was. In the early years of his deafness, he suffered from tinnitus (humming and buzzing in the ears), and loud noises caused him pain. In 1804 his friend Stephan von Breuning wrote to Franz Wegeler about the terrible effect his gradual loss of hearing was having on Beethoven: it had caused him to distrust his friends, and he was being very difficult to be with. But Beethoven did not start using an ear trumpet until 1814 and his earliest Conversation Books, in which his friends wrote when he could no longer hear what they were saying, only began in 1818. During the summer of 1803 Beethoven posed one of his most famous orchestral works, the Symphony no. 3, op. 55, the Eroica, which he originally entitled Bonaparte. The inspiration for this title derived from Napoleon39。s expedition to Egypt in 1789, and the second movement, a funeral march, was inspired by the rumours of Nelson39。s death at the Battle of Aboukir Bay. To Beethoven, as to so many, Napoleon Bonaparte had seemed to embody the ideals of the French Revolution and “enlightened” leadership, and in many homes throughout Europe portraits of Napoleon replaced even pictures of Christ. But as Napoleon39。s armies marched into neighbouring countries doubts crept in. As early as 1802, when Hoffmeister, Beethoven39。s publisher in Leipzig, suggested that Beethoven pose a sonata in celebration of Napoleon, Beethoven angrily rejected the idea because he felt that Napoleon had betrayed the Revolution in signing the Concordat with the Pope in 1801, reestablishing the Catholic religion in France. He said that while he might have posed such a work once, now everything was slipping back into the old ways. However, it seems likely that Beethoven originally wanted to dedicate the symphony to Napoleon, but because his patron, Prince Lobkowitz, wanted the rights to it, he changed his mind, and gave it the title Bonaparte instead. There is a wellknown story that when Beethoven heard the news that Napoleon had proclaimed himself Emperor in May 1804, he tore the title page in half, in despair and rage that Napoleon was just an ordinary person after all, who would trample on the rights of man and would bee a tyrant. The publisher subsequently gave it the title Sinfonia Eroica, although the title page also says it was written “to celebrate the memory of a great man”. There could be a very straightforward reason for the change of title. In 1803 Beethoven was thinking of visiting Paris or even moving there permanently, and he might have thought it wise to dedicate it to Napoleon. But he changed his mind about Paris, and meanwhile war between Austria and France was imminent, and the censors were clamping down on any signs of sympathy with the French. Beethoven might well have felt that to keep “Bonaparte” as a title or dedication would be frowned on in Vienna, and so removed the title, although on 26 August 1804 he was writing to Breitkopf and H?rtel, the publishers, that “the title of the symphony is really Bonaparte”. According to Baron de Trmont, a French official in Vienna during the French occupation of 1809, Beethoven continued to admire Napoleon as one who had risen from humble origins. The symphony had a mixed reception, and many people felt it was far too long. Although Beethoven refused to make any changes, when it was published in 1805 he added a note that because of its great length it should be played near the beginning of a convert before the audience got too tired. (2887 words) TOP 課文二 貝多芬　安妮平羅特貝克 貝多芬于1792年11月10日抵達(dá)維也納。他年齡還不到22歲，急于向海頓學(xué)習(xí)作曲。他替自己找了一間閣樓，可幾乎還沒來得及搬進(jìn)去，就得知父親12月18號(hào)在波恩突然去世的消息。有趣的是，貝多芬沒有在日記中提到父親的去世，但他給漢諾威選侯去信說， 自己仍然需要資助兩個(gè)弟弟上學(xué)；結(jié)果選侯把他的薪水增加了一倍，這些按季付的薪水一直延續(xù)到1794年，他的兩個(gè)弟弟卡爾、約翰也分別于1794年、1795年年底先后跟隨他來到了維也納?！?貝多芬很快就引起了卡爾里奇洛烏斯基王子的注意，并且作為座上客搬進(jìn)了王子的宮殿；他在此度過了兩年。里奇洛烏斯基成了主要的資助人，貝多芬經(jīng)常在他的禮拜五上午室內(nèi)音樂會(huì)上演奏。里奇洛烏斯基有自己的弦樂四重奏樂隊(duì)，由伊格納茲叔番澤領(lǐng)隊(duì)。當(dāng)貝多芬搬來時(shí)，他還是個(gè)少年。貝多芬的幾部作品是在那兒首先演奏的，后來貝多芬將鋼琴奏鳴曲作品第13號(hào)《悲愴》獻(xiàn)給了里奇洛烏斯基。　　　 貝多芬立即師從海頓，課程一直延續(xù)到1793年，但他似乎發(fā)現(xiàn)這些課程令人失望。海頓“爸爸”當(dāng)時(shí)沉浸在巨大成功的喜悅之中，顯然很少顧及自己的弟子。他讓貝多芬學(xué)習(xí)復(fù)調(diào)音樂，采用標(biāo)準(zhǔn)的教材，弗克斯的《藝術(shù)津梁》（1725），但貝多芬抱怨自己沒有取得任何進(jìn)步（雖然不是對(duì)海頓抱怨），因?yàn)楹ｎD太忙，不能恰當(dāng)?shù)丶m正練習(xí)中的錯(cuò)誤；在這一年，似乎是作曲家約翰尚克暗中幫助貝多芬進(jìn)行練習(xí)，甚至到了讓貝多芬把修改的錯(cuò)誤自己抄寫出來的地 步，這樣海頓就不會(huì)意識(shí)到所發(fā)生的事情。在維也納的頭幾年，海頓要貝多芬在任何發(fā)表作品的頭頁標(biāo)上“海頓弟子”，但貝多芬拒絕了。他告訴朋友們，盡管他跟海頓學(xué)，其實(shí)什么也沒學(xué)到。然而，貝多芬忍受著委屈，在1793年的夏天，陪海頓來到尼可勞斯埃斯特海王子在艾森施塔特的避暑住宅；椐貝多芬從前在波恩的老師尼弗說，海頓叫貝多芬陪他去倫敦進(jìn)行第二次巡回演出，這是為1794年而計(jì)劃的，但在這以前，一個(gè)令人尷尬的插曲惡化了他們的關(guān)系。盡管科隆的選侯在年初就把他的薪水增加了一倍，而且每年還另外送給他500弗羅林作為生活費(fèi)用，貝多芬仍然覺得手頭過緊。1793年他要海頓親自給選侯寫信，海頓指出貝多芬欠了債，不得不向他借錢，并且要選侯增加貝多芬的薪水；他附上5首曲子，并報(bào)告說 ，他的學(xué)生自從來到維也納后取得了很大的進(jìn)步，他預(yù)言貝多芬將成為歐洲最偉大的作曲家之一?？墒聦?shí)上，這5首曲子中，只有一首是在維也納作的——其它幾首是他修訂的在波恩時(shí)寫的演奏作品。選侯意識(shí)到這一情況，冷冷地答道，“我十分懷疑，他目前是否真的在作曲方面取得了重大進(jìn)步，而且我擔(dān)心，他會(huì)象第一次去維也納那樣，除了債務(wù)外什么也不會(huì)帶回來?！奔热慌c海頓在一起什么曲子也沒作，選侯建議貝多芬回到波恩。在作曲和收入方面，似乎貝多芬一直在欺騙海頓，這也許能充分地解釋，為什么1794年1月貝多芬最終沒有陪海頓去英國?！　　　　　　　　　　　　　　?兩人的關(guān)系在以后幾年里處于緊張狀態(tài)。有這樣一個(gè)傳說：當(dāng)貝多芬的三個(gè)鋼琴三重奏 的第1號(hào)作品首次在里奇洛烏斯基王子的晚會(huì)上演奏時(shí)，海頓對(duì)這些作品十分欣賞，但建議他不要發(fā)表第3首，即C小調(diào)三重奏，因?yàn)檫@首曲子對(duì)公眾來說難度太大；貝多芬