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目标片段贝多芬为什么爱上拿破仑？又为什么和拿破仑决裂传统的故事是这样子说的，贝多芬是法国大革命理想的支持者。他把第三交响曲献给了共和英雄波。拿巴拿破仑1804年。拿破仑宣布称帝贝多芬大怒说，拿破仑也不过是个凡人，而尔。他践踏人权，满足野心，于是，他撕掉了第三交响曲的提现，把作品改名为英雄交响曲，为纪念一位伟人而作。这一幕象征着艺术家与暴君决裂，也象征着革命理想，被帝国权利背叛。
来源片段anarchy does this mean that the the Beethoven is on the side of the revolution that's what I had always assumed but I know your ways yeah it's a little bit more complicated it is it always is um so a first Beethoven was sympathetic to the ideals of the french revolution and he was fascinated by the figure of napoleon a self-made man who blazed like a comet across the sky of europe and originally a very famous story he was going to dedicate this third symphony the Eroica to napoleon but then in december 1804 he heard that napoleon had crowned himself emperor and he said what he's just another politician he will sacrifice the rights of man on the altar of his ambition he will become a tyrant it wasn't wrong tom and he rips the manuscript in two and he scratches out the dedication to Bonaparte on the first page so no dedication to napoleon but good news tom we are and we always have been a patriotic podcast and I'm very pleased to say that Beethoven never wrote a piece called napoleon but he did write one about the Duke of Wellington and this is famously terrible isn't it well I mean I patriotic but you've got to be honest
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in his life who rejoiced in the name of Christian Gottlob Nefer and Nefer was a protestant the Beethoven's were Catholics and Nefer was tied in to the Enlightenment so he was full of ideas about reason and virtue and reform full of the writings of Voltaire and Kant and he passes these on to the young Beethoven now through his Enlightenment's enthusiasm Nefer is very well connected and one of his friends is a chap called Count Ferdinand Valstein who lives in Bonn and is very friendly with the Elector and it's Valstein who gets Ludwig a job playing the organ for the Elector they think this is tremendous they have great ambitions for Ludwig and in 1787 when he's 16 years old they sent him to the city of music to Vienna and there legend tells he meets the great
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他推行宗教宽容、行政改革、教育改革，试图以国家理性改造传统秩序。约瑟夫二世崇拜福尔泰、崇拜法国的启蒙主义百科全书派和斐特列大帝，他相信，君主权力可以成为启蒙的工具。波恩因此在当时形成了一个很特殊的德意志文化。宫廷支持共集会，组织允许思想自由流通，建立读书会，并且创办教授康德哲学的大学贝多芬参加过宫廷支持的读书会，他也在大学接触新思想。我之前介绍贝多芬生平的时候已经提过他的老师，他的启蒙老师克里斯蒂安内飞具有启蒙宗教的背景，
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It's the old order that has prevailed. And the freedom that the opera is celebrating, Tom, in 1814, those first audiences in Vienna, to them it's freedom from the war, freedom from the tyranny of Napoleon, freedom from the despotism of the French.
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原本带有明显的反雅。各兵色彩故事指向恐怖统治时期的非法监禁1805年的贝多芬版本、歌颂高贵品格1814年的版本，又很容易被当时观众理解为欧洲君主战胜拿破仑暴政的庆典。
S1：2 个窗口回退
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People are painting his portrait. They're making busts of him. Images of Beethoven are going all over Europe, and they're appealing to people who had never really existed before in the history of classical music. They're not admirers. They're not supporters. They're not patrons. They are fans. And that word is coming from fanatics, isn't it? They're fanatics for Beethoven. Yeah, absolutely. And I think part of the reason for this is that Beethoven's image perfectly fits the demands of the times. This is a conservative age, an age of reaction.
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其蒙贵族想用普遍原则完成有限改革，而革命大众把原则贯彻得比创造者更为彻底思想，一旦公开，就不再完全服从思想家的社会目的。接下来让我们回到贝多芬、贝多芬的音乐。我在这里试图反思的是，从他自己的写作、政治表态和他自己的评论来看，并没有站在革命资产阶级一边的什么依据，为什么后来仍然能够成为革命艺术的代表。贝多芬的音乐，最典型的给聆听者的经验，是从分裂走向统一，从痛苦走向欢乐，从失序走向更高、秩序奏鸣曲，
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Beethoven began his ninth symphony in 1822, and at its heart is Friedrich Schiller's Ode to Joy, which he'd first written in 1785, a kind of hymn to enlightenment values. As always, it's a complicated story. Wow. Schiller was horrified by the excesses of the French Revolution. He was horrified by the execution of the King and the Terror, and he actually toned down his original Ode to Joy to make it less radical, to make it more conservative. And this is the version that Beethoven used. But my favorite story about the Ode to Joy and about the ninth symphony is one that many of you will know.
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他把欢乐称为极乐世界的女儿，他呼唤亿万人彼此拥抱在星空之上，共同寻找慈爱的父亲。今天的听众很容易把它理解成民主平等和世界公民主义的赞格。当然，这已经成为了这个作品不可取消的一部分。当时，欢乐颂最初仍然带有18世纪启蒙人文主义的印记。齐勒在1785年写的欢乐颂原本接近一首升华的饮酒歌在描绘友谊、审美和共同情感中形成的兄弟共同体，他没有提出一套民主制度设计，没有说明社会冲突，要怎样通过现实政治程序解决？
S2：3 个窗口回退
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At least as powerful as the narrative of the artist triumphing over personal obstacles or tragedies is the notion of the artist as revolutionary, potentially in two different ways, the composer as musical revolutionary, and the artist as in revolt against the oppressive conventions of society or an oppressive political environment. In regard to the first of these, Beethoven as musical revolutionary, the situation is not as clear cut as it first appears. The earliest episodes in this series provided a number of examples of how the composer manipulated the classical tradition of Haydn and Mozart to his own purposes. Some of Beethoven's early works demonstrate an original and occasionally even unique approach to that tradition, but his musical vocabulary and the musical forms within which he worked could rarely be considered revolutionary.
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于是，古典奏鸣曲中的冲突发展和解决被理解为资产阶级社会的动力结构。贝多芬作品从压迫走向胜利的叙事，被解释为革命阶级争取自由的艺术应对。贝多芬因此被纳入了这套历史模式。他被理解成了一个革命艺术家，这种解释并非毫无道理。贝多芬的音乐后来确实被革命者、民族主义者和民主运动反复使用费德里奥成为了反抗专制的象征，英雄交响曲，成为了英雄政治的声音。欢乐颂成为了普遍人类共同体的准国歌。
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In this case, it seemed clear enough to most people exactly what that narrative involved, since Beethoven had made it clear that his original intention was to dedicate the symphony to Napoleon, whom he saw, at least initially, as the champion of the common man and whose courageous actions, in concert with the early spirit of the French Revolution, would result in the European wide embrace of the newfound ideals of liberty, equality, and fraternity. Beethoven, who had seen himself as the equal of any man because of his great musical genius, but had too often been made to feel inferior to the nobility, even those who supported him financially, would naturally feel inspired by such a movement. And in fact, he would probably have seen his own heroic struggle against social inequality to be intermeshed with Napoleon's.
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我们就会发现，他期待的政治变革寄托于开明君主和英雄人格和经过启蒙进化的贵族的崇高精神。他希望掌权者服从理性，希望贵族配得上自己的高贵希望，强力人物以公共使命约束个人野心。他与法国大革命共享的是自由尊严和普遍人性的语言，但是没有沿着阶级革命的道路走下去。然而， 艺术的意义当然不会停留在他的出身地。贝多芬从贵族人文主义中继承了崇高荣誉和解和普遍人性的理想。他通过音乐把这些理想变成所有人都能感受得到的经验。
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Take this kiss throughout the world. Brother or the stars unfurled must reside a loving father. But just because Beethoven's text may not be overtly political in nature, that does not mean that the ode to joy theme hasn't been used for political purposes, as for example, in a concert, celebrating the destruction of the Berlin Wall with the word joy replaced with the word freedom. But despite the unquestionably stirring impact made by the ode to joy finale, it is difficult to make the case that Beethoven was in some general way radical in his social views in this or any other instance. His interest in Napoleon as the savior of the common man ebbed and flowed, and the composer himself had both good and bad experiences with the nobility, some of whom showed an almost remarkable loyalty to the composer in spite of his sometimes difficult and challenging behavior toward them.
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他与法国大革命共享的是自由尊严和普遍人性的语言，但是没有沿着阶级革命的道路走下去。然而， 艺术的意义当然不会停留在他的出身地。贝多芬从贵族人文主义中继承了崇高荣誉和解和普遍人性的理想。他通过音乐把这些理想变成所有人都能感受得到的经验。当费得里奥的地牢大门打开，听众关心的不是国王派来了一个贤民的大臣，而是任何人都不应该受到秘密权利的任意囚禁贝多芬或许仍然把政治希望寄托在少数人的身上，