翻译软件是最好玩的软件

英文原文：

In the opening bars of Beethoven’s First Symphony, expectation sits high - the lack of a sure harmonic base tantalizing the ear, the tricky wind and pizzicato string chords teasing and testing out orchestral ensemble. There is, as we launch into the famous Nine, an almost mesmeric sense of things about to be. The Allegro itself settles sonorously down in C major, the tension of the slow introduction giving way to a settled, assured mood. (Beethoven’s ability to assure his listeners is to be one of his more popular assets.) The gait is unmistakably his, taut and alert; and when the music threatens to settle into conventionality, it soon begins marvelously to spread and expand. The second subject, too, avoids lapsing into conventional utterance by conjuring a late-flowering theme on the oboe, haunting in G minor, just when interest is beginning to slacken. Scherzo and finale - the latter with its mock-serious start and irresistible motion - are also echt Beethovenian, full of joy, urgency, and good humour.

中文翻译：

在贝多芬的第一个交响乐开头酒吧，期望坐高-逗惹耳朵，棘手的风和pizzicato串弦的缺乏一个肯定的泛音基地戏弄和测试管弦乐队的合奏。 ，因为我们发射入著名九，事几乎催眠术感觉是。 急速的乐章在C少校安定宏亮击倒，缓慢的介绍的紧张让路到一种被安定的，确定的心情。 (贝多芬的能力保证他的听众是是他的一更加普遍的财产。)步态是无误地他的，拉紧和机敏的; 并且当时音乐威胁安定入习俗，它很快开始奇妙地传播和扩展。 第二个主题在oboe，同样，避免下降入常规话语通过召唤一个后开花的题材，困扰在G未成年人，当兴趣开始松驰。 谐谑曲和结局-后者以它嘲笑严肃的开始和不可抗拒的行动-也是echt Beethovenian，充分喜悦、紧急和愉快的心情。