This courageous attitude in fact becomes a requirement for the performers of Beethoven’s music. His compositions demand the performer to show courage, for example in the use of dynamics. 48) Beethoven’s habit of increasing the volume with an intense crescendo and then abruptly following it with a sudden soft passage (a “subito piano”) was only rarely used by composers before him. 贝多芬习惯用渐强的方式来逐渐增高乐曲的音量，然后又突然跟上一节轻柔的乐段，在他之前，只有极个别作曲家会使用这种表现方式。(说明：由于还没有看到完整的试卷，所以这一句话出题人会有些改动，暂时这样翻译，请参考即可。)In other words, Beethoven asks the performer to show courage, not to be afraid of going to the edge of the precipice, and he thus forces the performer to find the “line of most resistance,” a phrase coined by the great pianist Artur Schnabel.

Beethoven was a deeply political man in the broadest sense of the word. He was not interested in daily politics, but concerned with questions of moral behavior and the larger questions of right and wrong affecting the entire society.49) Especially significant was his view of freedom, which, for him, was associated with the rights and responsibilities of the individual: he advocated freedom of thought and of personal expression. 尤为重要的是他对自由的观点，对他而言，这种自由将个人的权利和责任联系起来：他倡导思想自由和个人言论自由。

Beethoven would have had no sympathy with the now widely held view of freedom as essentially economic, necessary for the workings of the market economy. A relatively recent example of the economic definition of freedom can be found in “The National Security Strategy of the United States of America,” a document issued by President George W. Bush on September 17, 2002, defining America’s relation to the rest of the world. It states that the aim of the United States, as the most powerful nation on earth, is to extend the benefits of freedom across the globe…. If you can make something that others value, you should be able to sell it to them. If others make something that you value, you should be able to buy it. This is real freedom, the freedom for a person—or a nation—to make a living.

Beethoven’s music is too often seen as exclusively dramatic, expressive of titanic struggle. In this respect, the “Eroica” and the Fifth symphonies represent only one side of his work; one must also appreciate, for example, his “Pastoral” Symphony. His music is both introverted and extroverted and it again and again juxtaposes these qualities. The one human trait that is not present in his music is superficiality. Nor can it be characterized as shy or cute. On the contrary, even when it is intimate, as in the Fourth Piano Concerto and the “Pastoral” Symphony, it has an element of grandeur. And when it is grand, it also remains intensely personal, the obvious example being the Ninth Symphony.

Beethoven, in my view, was able to achieve a perfect balance in his music between vertical pressure—pressure from the composer’s mastery of musical form—and horizontal flow: he always combines vertical factors such as harmony, pitch, accents, or tempo, all of which relate to a sense of rigor, with a great sense of freedom and fluidity. This question of extremes and of balance, I believe, must have been a conscious preoccupation for him. You find an expression of it in Fidelio, for example: the composition contains a constant movement between polar opposites—from light to darkness, the negative to the positive, between events that occur above, on the surface, and those that take place underground. Just as he was unable to write anything superficial, or simply pretty, he was equally unable or unwilling to write anything portraying what was fundamentally and exclusively evil. Even a character such as Pizarro, the governor of the prison in Fidelio, can be understood as a personification of corruption and oppression, but not of evil.

Beethoven’s music tends to move from chaos to order (as with the introduction to the Fourth Symphony) as if order were an imperative of human existence. For him, order does not result from forgetting or ignoring the disorders that plague our existence; order is a necessary development, an improvement that may lead to the Greek ideal of catharsis. It is not by chance that the Funeral March is not the last movement of the Eroica Symphony, but the second, so that suffering does not have the last word. 50) One could paraphrase much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.

我们可以这样来解读贝多芬的大部分作品：痛苦是难以避免的;但是与之相抗争的勇气使得生命值得继续。

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