英语翻译The evocative titles of his pieces also illustrate quite well that ambition,even if they are only indicative and do not constitute a "program" Footprints in the Snow,The Girl with the Flaxen Hair,what saw the west wind,the sunken Cathedra

英语翻译The evocative titles of his pieces also illustrate quite well that ambition,even if they are only indicative and do not constitute a "program" Footprints in the Snow,The Girl with the Flaxen Hair,what saw the west wind,the sunken Cathedra
英语翻译
The evocative titles of his pieces also illustrate quite well that ambition,even if they are only indicative and do not constitute a "program" Footprints in the Snow,The Girl with the Flaxen Hair,what saw the west wind,the sunken Cathedral,etc..(Preludes).It replaces this way the colors to notes (and thus foreshadows this kaleidoscope stamps the Second Viennese School called Klangfarbenmelodie):it is only listen Arturo Benedetti Michelangeli,probably the best interpreter of his piano works,for access this synesthesia.Thus,although it is difficult to relate it to an artistic movement,it is generally described as "impressionist" label he himself never claimed and rather abandoned today.

英语翻译The evocative titles of his pieces also illustrate quite well that ambition,even if they are only indicative and do not constitute a "program" Footprints in the Snow,The Girl with the Flaxen Hair,what saw the west wind,the sunken Cathedra
这段文字是描述钢琴家德彪西的.
关于音乐和艺术的内容会比较抽象,增加了理解的难度.
以下为参考答案.
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他的作品那些唤人深省的标题也十分清楚地说明了他的野心,即使它们只是指示性的,并未构成一个“计划”,《雪上足迹》、《棕发少女》、《西风所见》、《沉没的教堂》等等（前奏曲）.它就是这样以色彩取代了笔记（因此预示着这千变万化标示了第二维也纳学派,亦被称为音色旋律）：即只听米凯兰杰利,或许是对他的钢琴作品最好的诠释,以接近这种共同的感觉.因此,尽管把它和一种艺术活动相联系是困难的,通常,它还是被描述为“印象主义者”的标签.而德彪西自己,从未申明,宁可在如今被放弃.
注：Arturo Benedetti Michelangeli即阿尔图罗·贝内代托·米凯兰杰利,意大利钢琴家.

The evocative titles of his pieces also illustrate quite well that ambition, even if they are only indicative and do not constitute a "program" Footprints in the Snow, The Girl with the Flaxen Hair, w...

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The evocative titles of his pieces also illustrate quite well that ambition, even if they are only indicative and do not constitute a "program" Footprints in the Snow, The Girl with the Flaxen Hair, what saw the west wind, the sunken Cathedral, etc.. (Preludes). It replaces this way the colors to notes (and thus foreshadows this kaleidoscope stamps the Second Viennese School called Klangfarbenmelodie): it is only listen Arturo Benedetti Michelangeli, probably the best interpreter of his piano works, for access this synesthesia. Thus, although it is difficult to relate it to an artistic movement, it is generally described as "impressionist" label he himself never claimed and rather abandoned today.
他的作品令人回味的标题也说明得很清楚，野心，即使他们只是象征不构成“程序”在雪地上的脚印，亚麻色头发的女孩，看到什么西风，沉没的教堂，等。（序曲）。它取代了这种方式来注释颜色（从而预示这万花筒邮票第二维也纳学派称为音色旋律）：它是只听阿图罗Benedetti Michelangeli的可能，他的钢琴作品最好的翻译，访问这个觉。因此，虽然它是很难与它的艺术运动，它通常被描述为“印象派”的标签，他自己从来没有声称，而放弃了今天。

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唤起观众的作品的标题也说明的非常清楚,野心,即使他们只是指示性和不构成“程序”踏雪寻梅的女孩,淡黄的头发,看到西方的什么风,沉没的大教堂等。(前奏曲)。它取代这样的色彩,笔记(因此预示着这个万花筒邮票第二维也纳学派称为Klangfarbenmelodie):这是只听阿图罗的趣事,也许最好的译员Michelangeli他的钢琴作品,对于一个...

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唤起观众的作品的标题也说明的非常清楚,野心,即使他们只是指示性和不构成“程序”踏雪寻梅的女孩,淡黄的头发,看到西方的什么风,沉没的大教堂等。(前奏曲)。它取代这样的色彩,笔记(因此预示着这个万花筒邮票第二维也纳学派称为Klangfarbenmelodie):这是只听阿图罗的趣事,也许最好的译员Michelangeli他的钢琴作品,对于一个

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