2023考研英語閱讀余音裊裊在海灘

　　The Aldeburgh World Orchestra

　　奧德伯格世界交響樂團(tuán)

　　Beach music

　　余音裊裊在海灘

　　120 players from 35 countries have a ball

　　來自35個(gè)國家的120名音樂家齊聚一堂開party

　　The musicians who got off the bus all wore the same black hoodies with Aldeburgh WorldOrchestra 2023 printed on the back. But the cases they carried were far from uniform.There were pocket-sized boxes for the piccolos, a wheeled-trolley for the harp and knobblytrunks, all barnacled in stickers, for the cellos. The English seaside town of Aldeburgh, thehome of Benjamin Britten, is used to welcoming performers from all over the world, butnothing on this scale; a musical Olympiad of 120 players from 35 countries.

　　下了車，所有的音樂家們都穿著統(tǒng)一的黑色衛(wèi)衣，背上還印有奧德伯格世界交響樂團(tuán)2023字樣，但他們各自拉的箱子卻五花八門袖珍小巧的短笛盒子，裝豎琴的帶輪推車，還有裝大提琴的多節(jié)箱子，上面滿是貼紙。奧德伯格是英國的海濱城市，也是Benjamin Britten的家鄉(xiāng)，過去總有世界各地的演奏家來這表演，但從來沒有達(dá)到這次的規(guī)模來自35個(gè)國家的120名音樂家齊聚一堂，堪比音樂屆的奧林匹克盛典。

　　Through its Britten-Pears young artist programme, Aldeburgh Music has earned a world-classreputation as a centre for the development of musical talent. When the programme s 40thanniversary coincided with London s Olympic games, Aldeburgh Music s chief executive,Jonathan Reekie, decided the moment had come for Aldeburgh to take a leap ahead andcreate a world orchestra. Most orchestraseven the most international ensemblesrecruit largely from Europe and America. The challenge for Mr Reekie and his team increating the Aldeburgh World Orchestra was to seek out 18-29-year-olds and usemodern technology to try to make the orchestra truly global.

　　奧德伯格音樂節(jié)有個(gè) 布里頓-皮爾斯青年藝術(shù)家項(xiàng)目，正是這個(gè)項(xiàng)目讓這一濱海小城聞名世界，成為培養(yǎng)音樂天才的中心。該項(xiàng)目的40周年紀(jì)念正好趕上倫敦奧運(yùn)會，奧德伯格音樂節(jié)的行政主管JonathanReekie就此決定，是時(shí)候讓奧德伯格闊步向前，建立一個(gè)世界交響樂團(tuán)。世界上大部分樂團(tuán)的成員大都來自歐美，即使最國際化的樂團(tuán)也不例外。建立奧德伯格世界交響樂團(tuán)，難就難在Reekie和他的團(tuán)對必須尋找18到29歲的年輕樂手，還得運(yùn)用現(xiàn)代科技確保這一樂團(tuán)真正國際起來。

　　The ￡700,000m project, which has received public and corporate funding, began threeyears ago with a call for YouTube submissions. Then Marie Bennell, the AWO s orchestramanager, travelled to Mexico to watch a rehearsal of the Youth Orchestra of the Americas,an important recruiter of regional talent. Patricia da Silva, a Brazilian double-bass player whois no more than five feet tall, stood out for her steady hand and warm personality. TheBritish Council in Egypt called the Cairo Conservatoire, who suggested Marcellino Safwat, a17-year-old cellist with ambitions to become a conductor. A colleague in Tokyo sent wordto China, where YouTube is banned, and old-fashioned demo tapes began to pour in. Overeight weeks Ms Bennell watched and listened to more than 600 submissions.

　　這一項(xiàng)目三年前在YouTube上啟動報(bào)名，耗資70萬英鎊，還享有政府和企業(yè)資助。奧德伯格世界交響樂團(tuán)的時(shí)任經(jīng)理Marie Bennell去了墨西哥，觀看美洲青年管弦樂團(tuán)的排練，因?yàn)檫@個(gè)樂團(tuán)集結(jié)了很多當(dāng)?shù)匾魳啡瞬?。巴西低音提琴演奏家Patricia da Silva身高雖不過五英尺，但卻因手穩(wěn)且平易近人脫穎而出。英國駐埃及文化委員會聯(lián)系了開羅音樂學(xué)院，學(xué)院舉薦了大提琴手Marcellino Safwat，他雖年僅17，卻有有朝一日成為指揮家的雄心壯志。一名東京的工作人員把報(bào)名消息帶到了中國，但由于YouTube在中國無法使用，報(bào)名者便源源不斷地寄來老式小樣磁帶。Bennell在八個(gè)多星期里，連看帶聽的處理了600多份報(bào)名申請。

　　She was determined to put together an ensemble that was capable of taking on ademanding repertoire and producing a unified sound. For that, she needed not justtechnical ability, but a steeliness of character and a willingness to listen. Players emergedin clusters, often grouped around an outstanding teacher. South Africa produces excellentstring players, many of them taught by 82-year-old Jack de Wet ,and Sophie Cherrier has made France the country to go to for young flautists. Britaindominates the orchestra s brass section, inspired by Richard Watkins, the Philharmonia sformer principal hornplayer, who is now a professor at the Royal Academy of Music. The finalselection was truly international: the cello section alone has players from ten countries,including Palestine and South Africa.

　　她決心組建一個(gè)能勝任各種高難度曲目并且音律和諧統(tǒng)一的樂團(tuán)。為此，她不僅要有技術(shù)上的辨別能力，還得性格足夠強(qiáng)大并且樂于傾聽。報(bào)名樂手絡(luò)繹不絕，而師出同一名師的學(xué)生通常會結(jié)伴報(bào)名。南非多出杰出弦樂演奏家，而他們大都師從于現(xiàn)已82歲高齡的 Jack de Wet;法國橫笛大師Sophie Cherrier則令年輕笛手們都爭相奔往法國。Richard Watkins--愛樂樂團(tuán)前首席號角手--時(shí)任皇家音樂學(xué)院教授，在他的激發(fā)下，英國樂手獨(dú)霸樂團(tuán)的銅管樂部。最終的選擇才是真正稱得上國際選才：僅大提琴部就有來自包括巴勒斯坦和南非在內(nèi)的十個(gè)國家的樂手。

　　In Sir Mark Elder, the AWO found exactly the conductor it needed. Fiercely demanding andarticulate, he is also incredibly kind, Ms Bennell says. He is music director of the Hallorchestra in Manchester, where he teaches conducting; he has also worked with Britain sNational Youth Orchestra, and knows from experience that creating an ensemble of youngplayers is an emotional and psychological process that requires a willingness toconcentrate and cannot easily be hurried.

　　奧德伯格世界交響樂團(tuán)認(rèn)為Mark Elder爵士正是樂團(tuán)指揮的最佳人選。Bennell說，爵士為人極其嚴(yán)苛，心直口快，但也有十分和藹的一面。Mark Elder爵士是曼徹斯特哈雷樂團(tuán)的音樂總監(jiān)，負(fù)責(zé)教授指揮;他也還在英國國家青年樂團(tuán)幫忙。據(jù)他的經(jīng)驗(yàn)，創(chuàng)建年輕樂手樂團(tuán)是一種歷程，有關(guān)情感和心理的歷程，這種歷程需要自主自愿的集中精力，并且不能操之過急。

　　Some of the less experienced musicians were taught, before they arrived, by professionalmusicians in Britain whose instructions were relayed by videoconference. Once in Aldeburgh,each section worked for a week with a specialist before the full rehearsals. A number of themplayed alongside their pupils in front of the conductor, which, for some, was itself anexperience to remember. As Ms da Silva posted on Facebook: The unthinkable happenedtoday: I played with the principal bassist of the Berlin Philharmonic. I still can t believe it!

　　一些年輕樂手缺乏經(jīng)驗(yàn)，在英國的資深音樂家便通過視頻會議在這些樂手到達(dá)奧德伯格之前對他們授課指導(dǎo)。以前在奧德伯格，每個(gè)部在合練之前都要配一個(gè)專家單獨(dú)訓(xùn)練一周。好些專家便會跟著指揮和他們的學(xué)生一起排練演奏，這對部分學(xué)生來說是終生難忘的經(jīng)歷。da Silva就在她的臉譜上發(fā)狀態(tài)說道今天發(fā)生了不可思議的事：我和柏林愛樂樂團(tuán)首席低音提琴手一起演奏了。這太讓人難以置信了!

　　It was important, Sir Mark says, to set the musical bar very highand then ensure that theyget up there. Setting a high bar meant choosing a demanding repertoire: the strange andambiguous Fifth Symphony that Dmitri Shostakovich wrote in 1937 when he had fallen outof grace with Stalin and the Communist Party, but was determined to go on composing inRussia, and the Sinfonia da Requiem, with its brilliant brass fanfares and heavy funeralmarch, that Britten wrote in 1940 as Europe was engulfed in war.

　　馬克爵士指出先把音樂標(biāo)準(zhǔn)設(shè)高一些，再確保他們能達(dá)到這一標(biāo)準(zhǔn)至關(guān)重要。設(shè)置高門坎就意味著要挑選一些高難度的曲目：德米特里肖斯塔科維奇1937年寫的晦澀難懂，風(fēng)格古怪的《第五交響樂》，當(dāng)時(shí)的他已失寵于斯大林，共產(chǎn)黨對他也不再尊崇，但他毅然決然繼續(xù)留在俄羅斯創(chuàng)作。再有就是布里頓1940年寫的《安魂交響曲》精彩絕倫的熱鬧銅管演奏，伴上沉重的葬禮進(jìn)行曲，相輔相成，成就了一曲絕響。

　　These musical responses to the worst that the 20th century could throw at the world had aresonance for many of the players, especially those from troubled parts of Russia, CentralAsia and the Middle East. Rehearsing the first movement of the Shostakovich, Sir Mark wasdetermined that the players should plumb the musical depths. It has to be morepowerfully played, more brilliantly played, he insisted. It has to feel like a crisis; all theideas in the music are threatening to explode. It must never feel like caf music.Aldeburgh may be a small seaside town, but there has been nothing small about creating thisworld orchestra.

　　這些音樂發(fā)聲自20世紀(jì)人類經(jīng)受的最深重的苦難，對于許多樂手，尤其是那些來自俄羅斯危機(jī)地區(qū)，中亞和中廣東地區(qū)的樂手，這樣的音樂最能喚起內(nèi)心深處的共鳴。在排練肖斯塔科維奇的第一樂章時(shí)，馬克爵士就決心讓樂手們更進(jìn)一步地去探索挖掘該音樂的深度。他堅(jiān)持認(rèn)為 必須將這首曲目演奏地更有力度，更加精彩。演奏得讓人感受到危機(jī)四伏，感到音樂中各種思想的交匯融合就像是要爆炸泄出一樣。決不能讓這曲子聽起來跟咖啡館音樂似的。奧德伯格也許只是個(gè)小小的濱海城市，但在這兒創(chuàng)建的世界交響樂團(tuán)絕不容小覷哦。

　　The Aldeburgh World Orchestra will be performing at the Snape Maltings concert hall nearAldeburgh on July 20th and 22nd, at the Ingolstadt festival in Germany on July 25th, theConcertgebouw in Amsterdam on July 27th and at the BBC Proms at London s Royal AlbertHall on July 29th.

　　7月20號和22號，奧德伯格世界交響樂團(tuán)將在奧德伯格附近的斯內(nèi)普馬爾廷音樂大廳演出;7月25號，在德國英戈?duì)柺┧匾魳饭?jié)演出;7月27號，在阿姆斯特丹皇家音樂廳演出;7月29號，在倫敦皇家阿爾伯特音樂廳為BBC節(jié)目演出。

　　The Aldeburgh World Orchestra

　　奧德伯格世界交響樂團(tuán)

　　Beach music

　　余音裊裊在海灘

　　120 players from 35 countries have a ball

　　來自35個(gè)國家的120名音樂家齊聚一堂開party

　　The musicians who got off the bus all wore the same black hoodies with Aldeburgh WorldOrchestra 2023 printed on the back. But the cases they carried were far from uniform.There were pocket-sized boxes for the piccolos, a wheeled-trolley for the harp and knobblytrunks, all barnacled in stickers, for the cellos. The English seaside town of Aldeburgh, thehome of Benjamin Britten, is used to welcoming performers from all over the world, butnothing on this scale; a musical Olympiad of 120 players from 35 countries.

　　下了車，所有的音樂家們都穿著統(tǒng)一的黑色衛(wèi)衣，背上還印有奧德伯格世界交響樂團(tuán)2023字樣，但他們各自拉的箱子卻五花八門袖珍小巧的短笛盒子，裝豎琴的帶輪推車，還有裝大提琴的多節(jié)箱子，上面滿是貼紙。奧德伯格是英國的海濱城市，也是Benjamin Britten的家鄉(xiāng)，過去總有世界各地的演奏家來這表演，但從來沒有達(dá)到這次的規(guī)模來自35個(gè)國家的120名音樂家齊聚一堂，堪比音樂屆的奧林匹克盛典。

　　Through its Britten-Pears young artist programme, Aldeburgh Music has earned a world-classreputation as a centre for the development of musical talent. When the programme s 40thanniversary coincided with London s Olympic games, Aldeburgh Music s chief executive,Jonathan Reekie, decided the moment had come for Aldeburgh to take a leap ahead andcreate a world orchestra. Most orchestraseven the most international ensemblesrecruit largely from Europe and America. The challenge for Mr Reekie and his team increating the Aldeburgh World Orchestra was to seek out 18-29-year-olds and usemodern technology to try to make the orchestra truly global.

　　奧德伯格音樂節(jié)有個(gè) 布里頓-皮爾斯青年藝術(shù)家項(xiàng)目，正是這個(gè)項(xiàng)目讓這一濱海小城聞名世界，成為培養(yǎng)音樂天才的中心。該項(xiàng)目的40周年紀(jì)念正好趕上倫敦奧運(yùn)會，奧德伯格音樂節(jié)的行政主管JonathanReekie就此決定，是時(shí)候讓奧德伯格闊步向前，建立一個(gè)世界交響樂團(tuán)。世界上大部分樂團(tuán)的成員大都來自歐美，即使最國際化的樂團(tuán)也不例外。建立奧德伯格世界交響樂團(tuán)，難就難在Reekie和他的團(tuán)對必須尋找18到29歲的年輕樂手，還得運(yùn)用現(xiàn)代科技確保這一樂團(tuán)真正國際起來。

　　The ￡700,000m project, which has received public and corporate funding, began threeyears ago with a call for YouTube submissions. Then Marie Bennell, the AWO s orchestramanager, travelled to Mexico to watch a rehearsal of the Youth Orchestra of the Americas,an important recruiter of regional talent. Patricia da Silva, a Brazilian double-bass player whois no more than five feet tall, stood out for her steady hand and warm personality. TheBritish Council in Egypt called the Cairo Conservatoire, who suggested Marcellino Safwat, a17-year-old cellist with ambitions to become a conductor. A colleague in Tokyo sent wordto China, where YouTube is banned, and old-fashioned demo tapes began to pour in. Overeight weeks Ms Bennell watched and listened to more than 600 submissions.

　　這一項(xiàng)目三年前在YouTube上啟動報(bào)名，耗資70萬英鎊，還享有政府和企業(yè)資助。奧德伯格世界交響樂團(tuán)的時(shí)任經(jīng)理Marie Bennell去了墨西哥，觀看美洲青年管弦樂團(tuán)的排練，因?yàn)檫@個(gè)樂團(tuán)集結(jié)了很多當(dāng)?shù)匾魳啡瞬拧０臀鞯鸵籼崆傺葑嗉襊atricia da Silva身高雖不過五英尺，但卻因手穩(wěn)且平易近人脫穎而出。英國駐埃及文化委員會聯(lián)系了開羅音樂學(xué)院，學(xué)院舉薦了大提琴手Marcellino Safwat，他雖年僅17，卻有有朝一日成為指揮家的雄心壯志。一名東京的工作人員把報(bào)名消息帶到了中國，但由于YouTube在中國無法使用，報(bào)名者便源源不斷地寄來老式小樣磁帶。Bennell在八個(gè)多星期里，連看帶聽的處理了600多份報(bào)名申請。

　　She was determined to put together an ensemble that was capable of taking on ademanding repertoire and producing a unified sound. For that, she needed not justtechnical ability, but a steeliness of character and a willingness to listen. Players emergedin clusters, often grouped around an outstanding teacher. South Africa produces excellentstring players, many of them taught by 82-year-old Jack de Wet ,and Sophie Cherrier has made France the country to go to for young flautists. Britaindominates the orchestra s brass section, inspired by Richard Watkins, the Philharmonia sformer principal hornplayer, who is now a professor at the Royal Academy of Music. The finalselection was truly international: the cello section alone has players from ten countries,including Palestine and South Africa.

　　她決心組建一個(gè)能勝任各種高難度曲目并且音律和諧統(tǒng)一的樂團(tuán)。為此，她不僅要有技術(shù)上的辨別能力，還得性格足夠強(qiáng)大并且樂于傾聽。報(bào)名樂手絡(luò)繹不絕，而師出同一名師的學(xué)生通常會結(jié)伴報(bào)名。南非多出杰出弦樂演奏家，而他們大都師從于現(xiàn)已82歲高齡的 Jack de Wet;法國橫笛大師Sophie Cherrier則令年輕笛手們都爭相奔往法國。Richard Watkins--愛樂樂團(tuán)前首席號角手--時(shí)任皇家音樂學(xué)院教授，在他的激發(fā)下，英國樂手獨(dú)霸樂團(tuán)的銅管樂部。最終的選擇才是真正稱得上國際選才：僅大提琴部就有來自包括巴勒斯坦和南非在內(nèi)的十個(gè)國家的樂手。

　　In Sir Mark Elder, the AWO found exactly the conductor it needed. Fiercely demanding andarticulate, he is also incredibly kind, Ms Bennell says. He is music director of the Hallorchestra in Manchester, where he teaches conducting; he has also worked with Britain sNational Youth Orchestra, and knows from experience that creating an ensemble of youngplayers is an emotional and psychological process that requires a willingness toconcentrate and cannot easily be hurried.

　　奧德伯格世界交響樂團(tuán)認(rèn)為Mark Elder爵士正是樂團(tuán)指揮的最佳人選。Bennell說，爵士為人極其嚴(yán)苛，心直口快，但也有十分和藹的一面。Mark Elder爵士是曼徹斯特哈雷樂團(tuán)的音樂總監(jiān)，負(fù)責(zé)教授指揮;他也還在英國國家青年樂團(tuán)幫忙。據(jù)他的經(jīng)驗(yàn)，創(chuàng)建年輕樂手樂團(tuán)是一種歷程，有關(guān)情感和心理的歷程，這種歷程需要自主自愿的集中精力，并且不能操之過急。

　　Some of the less experienced musicians were taught, before they arrived, by professionalmusicians in Britain whose instructions were relayed by videoconference. Once in Aldeburgh,each section worked for a week with a specialist before the full rehearsals. A number of themplayed alongside their pupils in front of the conductor, which, for some, was itself anexperience to remember. As Ms da Silva posted on Facebook: The unthinkable happenedtoday: I played with the principal bassist of the Berlin Philharmonic. I still can t believe it!

　　一些年輕樂手缺乏經(jīng)驗(yàn)，在英國的資深音樂家便通過視頻會議在這些樂手到達(dá)奧德伯格之前對他們授課指導(dǎo)。以前在奧德伯格，每個(gè)部在合練之前都要配一個(gè)專家單獨(dú)訓(xùn)練一周。好些專家便會跟著指揮和他們的學(xué)生一起排練演奏，這對部分學(xué)生來說是終生難忘的經(jīng)歷。da Silva就在她的臉譜上發(fā)狀態(tài)說道今天發(fā)生了不可思議的事：我和柏林愛樂樂團(tuán)首席低音提琴手一起演奏了。這太讓人難以置信了!

　　It was important, Sir Mark says, to set the musical bar very highand then ensure that theyget up there. Setting a high bar meant choosing a demanding repertoire: the strange andambiguous Fifth Symphony that Dmitri Shostakovich wrote in 1937 when he had fallen outof grace with Stalin and the Communist Party, but was determined to go on composing inRussia, and the Sinfonia da Requiem, with its brilliant brass fanfares and heavy funeralmarch, that Britten wrote in 1940 as Europe was engulfed in war.

　　馬克爵士指出先把音樂標(biāo)準(zhǔn)設(shè)高一些，再確保他們能達(dá)到這一標(biāo)準(zhǔn)至關(guān)重要。設(shè)置高門坎就意味著要挑選一些高難度的曲目：德米特里肖斯塔科維奇1937年寫的晦澀難懂，風(fēng)格古怪的《第五交響樂》，當(dāng)時(shí)的他已失寵于斯大林，共產(chǎn)黨對他也不再尊崇，但他毅然決然繼續(xù)留在俄羅斯創(chuàng)作。再有就是布里頓1940年寫的《安魂交響曲》精彩絕倫的熱鬧銅管演奏，伴上沉重的葬禮進(jìn)行曲，相輔相成，成就了一曲絕響。

　　These musical responses to the worst that the 20th century could throw at the world had aresonance for many of the players, especially those from troubled parts of Russia, CentralAsia and the Middle East. Rehearsing the first movement of the Shostakovich, Sir Mark wasdetermined that the players should plumb the musical depths. It has to be morepowerfully played, more brilliantly played, he insisted. It has to feel like a crisis; all theideas in the music are threatening to explode. It must never feel like caf music.Aldeburgh may be a small seaside town, but there has been nothing small about creating thisworld orchestra.

　　這些音樂發(fā)聲自20世紀(jì)人類經(jīng)受的最深重的苦難，對于許多樂手，尤其是那些來自俄羅斯危機(jī)地區(qū)，中亞和中廣東地區(qū)的樂手，這樣的音樂最能喚起內(nèi)心深處的共鳴。在排練肖斯塔科維奇的第一樂章時(shí)，馬克爵士就決心讓樂手們更進(jìn)一步地去探索挖掘該音樂的深度。他堅(jiān)持認(rèn)為 必須將這首曲目演奏地更有力度，更加精彩。演奏得讓人感受到危機(jī)四伏，感到音樂中各種思想的交匯融合就像是要爆炸泄出一樣。決不能讓這曲子聽起來跟咖啡館音樂似的。奧德伯格也許只是個(gè)小小的濱海城市，但在這兒創(chuàng)建的世界交響樂團(tuán)絕不容小覷哦。

　　The Aldeburgh World Orchestra will be performing at the Snape Maltings concert hall nearAldeburgh on July 20th and 22nd, at the Ingolstadt festival in Germany on July 25th, theConcertgebouw in Amsterdam on July 27th and at the BBC Proms at London s Royal AlbertHall on July 29th.

　　7月20號和22號，奧德伯格世界交響樂團(tuán)將在奧德伯格附近的斯內(nèi)普馬爾廷音樂大廳演出;7月25號，在德國英戈?duì)柺┧匾魳饭?jié)演出;7月27號，在阿姆斯特丹皇家音樂廳演出;7月29號，在倫敦皇家阿爾伯特音樂廳為BBC節(jié)目演出。