本文发表在 rolia.net 枫下论坛文章由贝多芬第28号奏鸣曲说起，谈贝多芬的晚期风格，然后不由自主的和时下盛行的沙龙音乐和意大利美声歌剧做了比较，可以看出作者
对意大利歌剧持鄙视和讽刺的态度。 作者是Edmund Morris， 出自他最新的贝多芬传记《Beethoven the Universal Composer》，我正在读。
Modern sensibilities detect a new kind of lyricism in the sonata's opening and slow movements, concentrated yet pure, impossible to tire of. This last quality, surely definitive of supreme beauty in any art, was not shared by two other styles that became the rage of Vienna that year: "Biedermeier" parlor pieces, all sugar and tears, and the bustling frivolity of a new opera by Rossini, The Barber of Seville. It was Beethoven's misfortune that his famous "third period" style, nascent for years but maturing finally in Op.101, should announce itself at the very moment that popular taste turned against him.
.... those conservatives who had always found Beethoven too radical, and were turning to Rossini now, as they had to Paisiello and Salieri in the past -- any composer, it would seem, whose name ended in a vowel and who could be relied on to stay in the same key.（很讽刺，把意大利作曲家都给骂了） Beethoven had never cared much for the florid, oompah-pah, Italiante style, and he even parodied it in the slow movement of his Op.31 No.1 piano sonata, which might be described as Rossini with brains.（言外之意就是罗西尼没有大脑，只会煽情）更多精彩文章及讨论，请光临枫下论坛 rolia.net
对意大利歌剧持鄙视和讽刺的态度。 作者是Edmund Morris， 出自他最新的贝多芬传记《Beethoven the Universal Composer》，我正在读。
Modern sensibilities detect a new kind of lyricism in the sonata's opening and slow movements, concentrated yet pure, impossible to tire of. This last quality, surely definitive of supreme beauty in any art, was not shared by two other styles that became the rage of Vienna that year: "Biedermeier" parlor pieces, all sugar and tears, and the bustling frivolity of a new opera by Rossini, The Barber of Seville. It was Beethoven's misfortune that his famous "third period" style, nascent for years but maturing finally in Op.101, should announce itself at the very moment that popular taste turned against him.
.... those conservatives who had always found Beethoven too radical, and were turning to Rossini now, as they had to Paisiello and Salieri in the past -- any composer, it would seem, whose name ended in a vowel and who could be relied on to stay in the same key.（很讽刺，把意大利作曲家都给骂了） Beethoven had never cared much for the florid, oompah-pah, Italiante style, and he even parodied it in the slow movement of his Op.31 No.1 piano sonata, which might be described as Rossini with brains.（言外之意就是罗西尼没有大脑，只会煽情）更多精彩文章及讨论，请光临枫下论坛 rolia.net