アルゲリッチの素晴らしさとは？

前へ 次へ
このQ&Aのポイント
  • アルゲリッチの演奏は他の偉大なピアニストとは異なり、彼女の演奏にはパワフルで男性的な要素がある。
  • 彼女の演奏は20世紀の作曲家の音楽に象徴される現代性と調和し、プロコフィエフ協奏曲のように機械的なエネルギーと20世紀音楽の都市的な要素を感じさせる。
  • 一方、彼女の演奏はロマン派音楽を感動的に表現するための必要な技術を持ちながらも、現代的な音の形成に制御されており、軽率で作り物めいた演奏にはならない。モーツァルトや初期のベートーヴェンなど、明るく透明な音色で解釈される。
回答を見る
  • ベストアンサー

翻訳お願いしますm(_ _)m

長文で、御手数ですが、どうか分かり易く翻訳お願い出来ないでしょうか？ But if asked to get to the heart of her greatness as an interpreter and draw out what distinguishes　her from other great pianists, it is not this "feminie" aspect we would evoke, but rather the powerful virllity of her playnig. "Does she play like a man? No, she plays like an Argerich!" is a phrase one often hears. This is what comes across from her performances of music by those 20th-century composers who moved away from the romanticism of the past and established themselves as the embodiment of modernity. To appreciate this, we need only go back to her performances of the Prokofiev concertos, whose machine-like energy certainly derives from the virtuosity acquired from playing Liszt but also stands out for a tomado-like tangibility of sound in tune with the "technical", urban dimension of 20th-century music. In tha same way, while her liszt shows that she possesses the necessary resources to give romantic music its full evocative power, she nevertheless does so in a controlled way bound up with the modern sense of how to shape the sound, with no disgressions into the facile or mannered. This is the basis of her Mozart and early Beethoven in particular: both are interpreted with a bright, limpid sound in which logic prevails over sentiment. 音楽評論の一部です。非常に長いですが、どうかお力添えお願い致しますm(_ _)m

  • 英語
  • 回答数2
  • ありがとう数2

質問者が選んだベストアンサー

  • ベストアンサー
  • jjubilee
  • ベストアンサー率75% (367/485)
回答No.2

ご丁寧なお礼のお言葉ありがとうございます。最初の訳は急いで訳しましたので、文法的解釈は省きました。大事なところ、誤解していたところだけ書き留めますね。 １）it is not this "feminie" aspect we would evoke, but rather the powerful virility of her playing. ** "It is [not (A) but (B)] that we would evoke"という形の強調構文です。"that"は省略されています。 "would"は仮定法過去の帰結節で、ここだけ訳そうとすると「（もし我々が呼び起こせといわれるなら）～を呼び起こすだろう」というニュアンスです。このようにすると強調形とうまく結びつかないので前回のように味のない訳になりました。 ** 「解説者」は「評論家」の方が断然ぴったりでした。 ２）"what comes accross from ～"のところですが、元は"(A) is across from (B)."というもので、「(A)は(B)の（/(B)から見て）真向かいにある」という形の変形です。本題の直訳は「彼女の演奏の真向かいから来ているもの」ということから「～の演奏から直に感じたもの」と訳しました ** その他、"modernity"をどう訳すか一瞬悩みましたが、単なる「現代性；近代性」でいいのかなとも思いましたが、ロマンス派と現代音楽（１２音階主義、無調、セリ）などの特徴も加味されているのかなと思い「現代音楽」と訳しました。解釈はお任せします。 ３）we need only go back to her performances of the Prokofiev concertos ** 前回の訳は直訳し過ぎました。こなれた訳は「（～するためには、）我々はプロコフィエフのコンチェルトを弾く彼女の演奏に戻ってみることだけでよい。」の方が日本語としてはいいですね。 ４）"・・・, whose machine-like energy certainly derives from the virtuosity acquired from playing Liszt but also stands out for a tomado-like tangibility of sound in tune with the "technical", urban dimension of 20th-century music. ** ", whose ・・・"は非常によく出てくる形なのですが、関係代名詞の継続用法で接続詞を補わなければなりません。よく出てくるのが「理由」の接続詞で、", for"「というのは～だからだ」というのが多いです。前者の理由が", for"以下の文になっているか検証の必要があります。 「（～するためには、）プロコフィエフのコンチェルトを弾く彼女の演奏に戻ってみることだけでよい。」 その理由は？", for"以下の文になっているかどうか？ ** 少しここは勘違いしていました。"not only ～ but also"の構文ではなく、"certainly ～ but ・・・"「なるほど～だけれども・・・もある」という感覚のイディオムでした。申し訳ありません。受験英語では、"it is true that ～ but ・・・"とか"～ all right, but ・・・"「なるほど～だが・・・」という構文です。"also"が入っていたので見逃しました。 ** "tornado-like"なら意味がとおります。また"tangibility"は直訳すれば「可触性」つまり「触れることのできる性質」とか「触知可能性」というような訳になりますが、もっと分かりやすく言えば「（鍵盤）タッチ」でいいのではないかと思います。 【改訂訳】 「このことを正当に評価するためには、プロコフィエフのコンチェルトを弾く彼女の演奏に戻ってみることだけでよい。というのは、なるほど彼女の機械のようなエネルギーは確かにリストを演奏することから得られた名人芸から来ているのだが、２０世紀音楽の「技術的」で都会的な次元と調和した竜巻のような音のタッチこだわっているからである。」 ５）"while (A), (B) nevertheless ・・・"という形ですが、この"while"は"whereas"と同じ用法で、「～だが一方」とか「～に反して」という意味で、"still"「それでもなお」などと一緒に用いられることがあります。ここでは"nevertheless"「にも関わらす」と逆接を表す語がもう一語追加されているところで難しくなります。私の訳は、"while"と"nevertheless"を１つの意味にまとめ逆接として訳しました。 ** "resources"は物質的には「資源」なとという意味もありますが、ここでは精神的な「原動力」と訳しました。 ** "bound up with ～"は「～と関係した」という意味です。 ** "the facile or mannered"は「the + 形容詞」で抽象名詞を表します。ここの"or"はちょっと前の"no"と関わり合って"not (A) or (B)"「(A)も(B)も～でない」と全部否定になります。 ６）"are interpreted with ～"は「～を使って解釈される」というのが直訳ですが翻訳では前の訳でいいと思います。 多少日本語の選び方で満足のいく文章ではなかったかもしれませんが、アルゲリッチの演奏とパワーの解釈にはまずまず近いものではないかと思っています。グルダの超絶技巧をもつ器用さが一番好きなんですが、アルゲリッチに関してはパワーだけではないパワーが大好きです。 追伸：最初、「丸太・アルゲリッチ」としたのはちょっとしたしゃれのつもりでしたがお分かりになりました・・・？彼女の太い腕を連想しました。不謹慎で不真面目な洒落でちゃかしたようで申し訳ありません、

sub_bob5
質問者

お礼

目から鱗です；；；；；； 私の様な他力本願な要望にここまで丁寧なご回答、 本当に、本当に感謝いたしますm(_ _)m 英語は少しながら得意分野ではあったので、頂いた 解説がとても役に立ちました。まだまだこれから 精進が必要なようです＾＾； いえいえ、アルゲリッチに理解のある方にご丁寧に 翻訳して頂き更に彼女の魅力に触れられました。 とても安定感のある素晴らしい翻訳だと思います！！ 本当に感謝、感謝です！！！ 丸太・アルゲリッチに関してですが、最初の解説を 頂いた際はタイプミスかな？と思いましたが今回謎が 解けて思わずクスッと来てしまいましたｗ 彼女には申し訳ないですが秀逸なジャパニーズ・ジョーク ですｗ 本当に感謝しきれません！ 諄いですが、本当にご丁寧な翻訳・解説ありがとうございました！ もし又機会がありましたらお助け頂けると嬉しいです＾＾

その他の回答 (1)

  • jjubilee
  • ベストアンサー率75% (367/485)
回答No.1

長すぎて「ウァッ！」と思いましたが、丸太・アルゲリッチの名が出ていたので何とかやってみました。 But if asked to get to the heart of her greatness as an interpreter and draw out what distinguishes　her from other great pianists, it is not this "feminie" aspect we would evoke, but rather the powerful virility of her playing. 「しかし、もし解説者として彼女の偉大さの神髄に触れ、彼女と他のピアニストの違いは何かを引き出すよう求められたら、我々が喚起させるのはこの「女性らしさ」という面ではなく、むしろ彼女の演奏の男らしさである。」 "Does she play like a man? No, she plays like an Argerich!" is a phrase one often hears. 「彼女は男のように弾くのですか？」「いいえ、彼女はアルゲリッチのように弾くのです。」というのがよく聞くフレーズです。 This is what comes across from her performances of music by those 20th-century composers who moved away from the romanticism of the past and established themselves as the embodiment of modernity. 「これが、過去のロマン派に別れを告げ、現代音楽（現代性）の権化として確乎たる地位を気づいた２０世紀の作曲家たちによって、彼女の音楽演奏から直に感じたものである。」 To appreciate this, we need only go back to her performances of the Prokofiev concertos, whose machine-like energy certainly derives from the virtuosity acquired from playing Liszt but also stands out for a tomado-like tangibility of sound in tune with the "technical", urban dimension of 20th-century music. 「このことを正当に評価するためには、我々はプロコフィエフのコンチェルトを弾く彼女の演奏に戻ってみることだけが必要である。というのは彼女の機械のようなエネルギーは確かにリストを演奏することから得られた名人芸から来ている（だけでなく）２０世紀音楽の「技術的」で都会的な次元と調和したトマトに触れるように音に触れることにこだわっているからである。」 ** "tomado"は"tomato"としましたがよろしいですか？ ** "not only ～ but also"の"not only"が見つかりませんがよろしいですか？ 「（だけでなく）」の訳は私が勝手につけましたが、場合によっては位置が変わるかもしれません。 In tha same way, while her liszt shows that she possesses the necessary resources to give romantic music its full evocative power, she nevertheless does so in a controlled way bound up with the modern sense of how to shape the sound, with no digressions into the facile or mannered. 「同じ様に、彼女がロマン派の音楽にもその完全な喚起するパワーを与えるのに必要な原動力を持ち合わせていることを彼女のリスト演奏が示しているのにもかかわらず、彼女は音を形作るやり方の現代的な感覚や安直さにもわざとらしさにも脱線しないうまくコントロールされた関わり方で、そうするのである。」 ** 「そうするのである」とは「彼女がロマン派の音楽にもその完全な喚起するパワーを与える」ことを示す。 This is the basis of her Mozart and early Beethoven in particular: both are interpreted with a bright, limpid sound in which logic prevails over sentiment. 「これが、特に彼女のモーツァルトと初期のベートーベンの基幹である。この二人は論理が感性をしのいでいる明るく透明な音であるように解釈されている。」 ミススペリングもあり、何か抜けているところもあるのではないかと思いましたが、何とか意味が通じる？ように翻訳した部分もあります。この女性ピアニストはアルゲリッチのことですか？ ここはどうしてこんな訳になるのか、などご疑問があればおっしゃって下さい。今日はもう寝ます。

sub_bob5
質問者

お礼

この長文で、回答がないのではと思っていましたが早速のご回答本当に ありがとうございます！！m(_ _)m ミススペリングが多く読みにくいところがあった事をお許しください。 冊子が小さく非常に見にくかったもので・・・m(_ _)m はい＾＾これはマルタ・アルゲリッチについて書かれたものです！ tomato-likeの部分ですが、おそらく私がtornado-likeを見間違えた のかと思います。。。「竜巻の様な」でいいでしょうか？ それと、文法上の事ですが私も「ん？？？」と思うところが多々ありました。 恐らくですが、評論家の口語的な表現などが直接採用されたのかと解釈 しています。日本人の我々にとっては砕けすぎて少し読みづらいかなぁ と思いました；； 本来このような「お礼」ではなく翻訳料が発生してもおかしくないような 丁寧な翻訳と解説を本当にありがとうございました！！

  1. カテゴリ
  2. 学問・教育
  3. 語学
  4. 英語

関連するQ&A

  • 翻訳お願いします

    以下の英文を翻訳していただけるかたに、 お願いできますでしょうか？ 誤植があるかもしれませんが、 意訳でもかまいませんし、そのまま訳していただいてもいいです。 なにとぞよろしくお願いします。 You each feel the other has a kind of perfection, fills a gap that nothing else can, as tough the cracks in your life are cemented and hell together, and the life made bearable, because of this escape. so you wear the relationship like a beautiful but insubstantial cloth that buffers you and protects you from life's harshness. The relationship is set a few degrees away from the harder emptier world, like a cloth of dreams that makes everything better. This permits you to worship from afar., from memories, from promises, from potentials. But in the end if nothing is made solid, you experience disillusionment and disappointment. Neptune is like water in which you can see beautiful images, reflections of love, it can ease your thirst, clean your wounds, but like water it can drain away and leave no trace, nothing. The to end the dream, is to see the other person, and the situation as they are, however flawed or hopeless it may all be, and not as you'd like them to be For so long as you look at them as you'd like them to be the dream exists. But it crumbles gets harder in the cold light of reality and in the effort of making it work and making it real.

  • 翻訳教えて下さい。

    Waiting The first and most important point in infant observation is the non-interference of the parent, usually the mother. She must refrain from initiating play or selecting which toys the child will play with. At the same time she is told to remain connected to the child and to immerse herself in his activity. As the parent empties herself of expectations, knowledge and desires in order to participate in an empathic way with her child's play, she starts feeling what he feels and merges with his emotional field. Watching In the presence of an observer, the parent watches her infant play and connects with him. When a mother speaks, what is important is not so much the content of what she says, but the subtle musical attunement to the moods and moves of the baby. The infant communicates his experience through his body, his face, his gestures, his screamings. The slightest moves on the baby's face are meaningful. The presence of the observer may allow the parent to develop awareness of her own simultaneous emotional reactions to the child's expressions and to understand her baby not through analysis, but through presence and awareness of what he does communicate of who he is and what he wants.

  • 英語のわかる方、翻訳をお願いいたします。

    インタビュー記事です。 The cameras follow her from New York to Los Angeles, and she admits her lifestyle means she doesn't see her 14-year-old son as often as she'd like. ‘I'm a f**king renaissance woman!’ she declares at one point. Jodie has said in the past about her bold style: 'I got a lot of grief about two years ago for my faux-hawk. People were making fun of it on comedy shows. 'But I don’t like to walk with the pack anyway, so of course they are going to make fun of me. I don’t care. 'Anybody really creative is going to end up on those lists.' よろしくお願いいたします。

  • 翻訳をお願いします！

    Chamber music dominates, but so does the confronation between solist and orchestra, the type of communal encounter that is for Marry the raison d'etre of music -making. Marry shun isolation, being drawn insted to the sort of musical context in which a spirit of reciprocal reaction grows from the need to establish a mutual rapport in duos, trios, quartets and every other poible combinations. Here, her volcanic expressivity has to take account of the discipline and balance that must be collectively agreed upon with her fellow performers, who can often be quite different in nature, and are in turn called upon to respond in kind to her impassioned playing. これらなのですが。。。もう訳がわかりません゜(゜´Д｀゜)゜ 頭が変になりそうです。 どなたか、お力添えをお願い出来ないでしょうか？

  • 翻訳をお願い出来ないでしょうか？

    音楽評論の様な内容です。 文の切れ目が分かりづらく、四苦八苦しています。 お力添え願えませんでしょうか？ 　It is a way of giving in order to reciive, just like her more recent interest in performers of older generations, such as Tom, Bob or John who bring with them the values of a different era. 　Marry operates with in this existential vision of music, which insted of abstract perfection seeks the essence of truth, and she continues to pursue values and emotions that grasp art's fundamental sense of coming into being. 　It was in context that Fred put his plan for Marry project into action in 2002, with the support of the ABC bank and DEF Rete due. 　The chosen location was NY, a place that has historically been welcoming territory for pianists. 　For ten years now, in the month of June, this event has allowed Marry to create a busy community in NY, gathering around her artists from various backgrounds and types of experience. 　Some are celebrated, some are not, but all are fired by the spirit of making music in a sort of cloistered envionment, and share with the great pianist an awareness of the valuable lessons in sensitivity that can be learnt though a repertoire that often reveals hidden aspects in the great composers as well as unsuspected qualities in minor figures. 長文で申し訳ないですが、英語に詳しい方、宜しくお願い致します。

  • 翻訳をお願いいたします

    以下の英文を和訳していただけるかたに。 お願いできますでしょうか？ ３段落に分けた中盤部分となります。 難解な部分も含め、意訳大歓迎です。 どうぞよろしくお願いいたします。 I know one client met her soul mate and was idyllically happy with him, but for some unexplained reasons she began to have terrible nightmares after meeting him that didn’t seem related to her soul mate at all. It later emerged in therapy that the meeting had dragged up other forgotten memories of a past incarnation, and a traumatic event that had happened in that past life just before she met her soul mate. In her subconscious memory, the wonderful meeting of her soul mate and this terrible event were linked. Other effects can be more direct, like sensing what your soul mate is doing.

  • 翻訳お願いします

    Mary Lou Robertson is an experienced bird-watcher at a very young age. In fact, she is so knowledgeable about them. Not bad for a 13-year-old girl who is still in school! So when did this young schoolgirl first become interested in bird-watching? It all started when her family moved to a new neighborhood. Mary Lou explains that she would feel very lonely at times when she first moved to her new home. She had left her friends behind when she moved, and on her new street there were not many children to play with. Becoming a bird-watcher helped her to settle into the new neighborhood and to feel more at home. "After moving to a new neighborhood without many kids living on my street,"she says,“the wildlife sort of brought me closer to feeling like I had friends.” 　Every morning mary Loe takes her binoculars and heads out to look for birds. But when qualities do birdwatchers need? Mary Lou explains that in order to watch birds, one must be quiet and calm and not make a lot of noise. She says that if the watcher makes any sudden movements, the birds will probably become scared because they will think that the person is a predator. 自分で訳してみても全く文章にならないので、翻訳お願いします。

  • 翻訳お願いします

    Later, Mary Lou reads a short piece of text from her book. As she does so, the listener can hear how each piece tells a little about a bird and gives it a personality. “Hi, my name is Ossie the Osprey,”she begins. “I live in rivers, lakes, and coastal waterway.” She then continues with the next bird. “Hi, I'm olivia the Owl,”she reads,“I give six deep hoots.” The book is beautifully illustrated and both easy and interesting for children to read. The additional advantage with Mary Lou's book is that it is also educational. It is unusual for a young girl to feel so strongly about a hobby. Has bird-watching changed Mary Lou at all? In many ways, it has not changed her in the least; she still plays with her brother and sister and does the things that other children do. But since she became so involved with birds, something about her is slightly different. She explains in her own words: “Now I observe more of the world than I did when I was younger. I feel more attached. I feel that everything around me is important. I look at everything I can, because it might be something different that what I think it is.” This young birdwatcher and author now knows that things are not always what they appear to be. Each new thing she sees might be something exciting and different. For this curious young ‘Bird Girl，’everything might just be another chance to learn something new! よろしくお願いします。

  • 翻訳（和訳）をお願いします

    To further prove her point, Bader pulls out her phone, and sure enough, she has a spreadsheet that’s carefully curated with brands that she’s been trying to work with to help open the door for more inclusivity, so not only she can be welcomed there, but so her plus-size followers can too. But she doesn’t typically share all this background work she does, she says, asking aloud if maybe she should. “Maybe this is something I could share, in a way, without listing out every single name, but just saying, ‘We're doing this on a daily basis,’" she says, before also noting aloud to herself — and to her team — that it’s time to start a new cycle of following up with brands to continue the process of trying to make fashion a more inclusive space. 翻訳サイトを使っても意味がわかりません。 彼女の主張をさらに証明するために、ベイダーは携帯電話を取り出し、そして案の定、彼女はスプレッドシートを持っている、それは彼女がそこで歓迎されるだけでなく、彼女のプラスサイズのフォロワーもそうすることができるように、より包括性の扉を開くのを助けるために、彼女が一緒に仕事をしようとしているブランドを慎重にキュレートしている。 しかし、彼女は通常、自分がしているこのような背景のある仕事をすべて共有することはないという。 「ファッションをよりインクルーシブな空間にするためのプロセスを続けるために、ブランドとのフォローアップの新しいサイクルを始める時が来たと、自分自身、そして彼女のチームに声を大にして指摘する。 よろしくお願いします。

  • 翻訳してほしいです・・・

    　しっかりとした日本語の翻訳してほしいです。 （1）The problems facing Cambodia. Underage girl prostitution is a serious social problem in Cambodia. Especially in brothels in villages near the capital Phnom Penh,it is not uncommon for young girls to take customers in the company of adult prostitutes. This was about 10 years ago. When I was in Cambodia as a university student, I had the opportunity to visit a facility that sheltered women and children who had been victims of prostitution and provided them with vocational training. One of the girls who particularly impressed me was Lilia, a 12-year-old girl with long, silky black hair. Lilia was 10 years old when she was sold from a poor village in the north and forced to sell her body in a brothel in a back alley in Phnom Penh. When she did not want to take clients, she was beaten and kicked and forced to do what she was told. When I visited the facility, she had already been taken care of and was being cared for, and her mental and physical wounds were healing, but at the time she was taken care of, she had bruises and burns all over her body and was in great pain. （2）I spent time with Lilia playing tag and ball. She was quieter than most children, but her occasional smile was pure childlike. Lilia was very attached to me, and when we were tired of playing, we took a shower together. Lilia was naked and I could see the scars on her small, thin body. There were burn marks on her back and large teeth marks on the bulge of her small breasts. Such an innocent girl had been in a brothel until a few months ago. I felt as if I had been confronted with this reality, and I felt indescribable. When I left the establishment after staying there for a few days, Lilia handed me a beautiful red flower and a small letter. The letter said, in her own words, 『I was happy to be with you』 As I was driving home from the facility, my heart ached as I imagined the unimaginable that had happened to such a young and sweet girl. More than a year later, I visited Cambodia again. Although I was not able to visit the facility, I had dinner with the staff. 「How is Lilia?」I asked him, and he told me the shocking truth「Actually, she ran away from the facility」 （3）I wondered where the little girl had gone after running away from the facility. As we often hear in other facilities, Cambodian girls often escape from shelters and return to brothels because their families cannot survive without them working. Did Lilia also go back to the brothel? Or are they trying to return to their own homes? It was very painful to think about how that little Lilia was doing.

注目のQ&A

カテゴリ

専門家に質問してみよう

職業から探して質問する

あなたにピッタリな商品が見つかる！ OKWAVEセレクト

質問する