金笔佳文翻译：管弦乐文档翻译案例

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原文：

The Musical Quarterly

148

Hanson's writing for chorus is very personal and quite orchestral in its basic viewpoint. It departs widely from traditional methods. It is far from contrapuntal in style, while it does not eschew the use of counterpoint to achieve its best result. It springs from both the words themselves and their emotional suggestion，and from the harmonic scheme and the composer's sense of color and climax. There is some­times a deal of unison-writing declaiming the words in dramatic fashion; then one or two voice-parts will continue while the others weave in and out supplying choral color and harmonic texture. Words are often discarded altogether in building up a climax of vocal ecstasy，and are then suddenly resumed by the entire chorus with electrifying effect. Hanson normally writes for four vocal parts, only occasionally dividing into eight for greater sonority，especially in final chords; but he does not write in the usual four-part style. The harmony is not neces­sarily complete in the voices; the orchestra supplies what is lacking, while the singers devote themselves to melody and the important counterpoint. Hanson conceives his music for the chorus and orchestra as a whole, without attempting to make each complete in itself. It is indeed a mass ensemble for which he writes. In doing so，he achieves a personal style and type of expression, his chief contributions，perhaps, to modern musical method.

Passing reference has been made to another point of duality in the music of Howard Hanson, It is the result of the inner struggle between the spiritual and sensuous，which is a part of the character development of every normal man. Both of these forces manifest themselves in Hanson’s music, the spiritual seeming to be most definitely connected with his Nordic phase, the sensuous with his American phase. The two are consciously juxtaposed in “Pan and the Priest” and most vividly exemplified in the conflicting elements found in both the story and music of “Merry Mount.” Swayed by the one force，Hanson gives ex­pression to his fundamental religious leaning, even when, as in “The Lament for Beowulf，” the subject matter is pagan rather than Christian; swayed by the other，he seeks in his music to produce the ultimate in pure effects of melody and color, both harmonic and tonal. The “Romantic” Symphony is completely representative of his quest for such pure effects. The combination of the two forces gives the music as a whole a variety within the unity of the composer's individual style, while the use of the more sensuous method is often brought into play to heighten the effect of his more spiritual utterances. The music is a reflection of the whole man and his reaction to and attitude towards life as he lives it.

Of performance of his compositions Hanson has had no lack. This is owing not alone to the value and public effectiveness of the music itself, but also to Hanson’s outstanding ability as a conductor and to the wide acquaintance that has come from his extensive activities in the interest of American music and music education. He is constantly invited to direct performances not only of his own works but of entire programs of American music，both in this country and abroad. Here is an American conductor, perhaps the only one, or at least one among two or three, who has actually been engaged for a fee to conduct a European orchestra! On the podium he is vital yet poetic. He knows his scores, be they his own or those of others, and he brings to their interpretation a sympathetic understanding of the composers' ideas, often finding more in a work than its author was conscious of creating. Finally, his winning，friendly, and simple personality calls forth at once the full cooperation of the musicians of orchestra or chorus, be they professional or amateur. I have heard more than one orchestra respond to his baton with greater sonority and emotional effectiveness than to that of its regular conductor. Hanson has an uncanny sense of contrast and climax, and, without a calculated use of “show business,” he can arouse both performers and audience to emotional heights that find expression in enthusiastic demonstrations of approval. Characteristic of him is the spontaneous smile of commendation he bestows on an orchestral section or soloist that has nicely turned a phrase. Careful as a rehearser, he nevertheless gets his results quickly by drawing out the performers themselves rather than by seeming to impose his will upon them.

译文：

effect of his more spiritual utterances. The music is a reflection of the whole man and his reaction to and attitude towards life as he lives it.

翻看过去的资料可以发现霍华德·汉森的音乐还具有二元性特征。这源于人的精神和感官的内心斗争，每个正常人的性格发展 具有这一特征。两种互相对抗的力量都在汉森的音乐中有体现，精神方面的力量似乎与其北欧乐章密切相关，而感官方面的力量似乎与其美洲乐章密切相关，“Pan and the Priest” 有意将两者融入进去，而“Merry Mount.”故事和音乐又将两者生动地体现表现出来。受精神力量的影响，汉森透彻地表达了自己宗教信仰，甚至连“贝尔武夫挽歌” 关注的都是异教徒而非基督徒;受感官力量影响，他在自己的音乐中寻求旋律和声色的较纯粹效果。“Romantic” 交响乐有效表明了他追求纯粹效果的渴望。两种力量的结合使他的音乐在整体上达到了创作者个人风格的统一而不失个人特色，感官方法使用的越来越频繁以增强精神方面的表现力。音乐就是他整个人、为人处世和生活态度的真实写照。