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  3. When the Cleveland Orchestra moved into Severance Hall, the state-of-the-art

When the Cleveland Orchestra moved into Severance Hall, the state-of-the-art

游客2023-12-28  17
问题     When the Cleveland Orchestra moved into Severance Hall, the state-of-the-art design let well-heeled patrons call their cars from their boxes and be whisked home without having to linger in the cold midwestern air. By that time its music director, George Szell, was on the cover of Time and its albums were bestsellers. But after the imperious Szell died, the orchestra, now in its centennial season, came to lack a distinct identity.
    The trajectory reflected the decline of the city itself. Once the fifth-largest in America, a steelmaking hub and sports powerhouse, Cleveland for decades was known mostly for losing games, money and people—shedding half its population in a generation. What is now the 51st-largest city in the country is an unlikely home for a top-tier orchestra. In the late 2oth century Cleveland was more associated with rock’n’roll. A museum celebrating that sound opened, and seemed poised to oust Severance Hall as the centre of the city’s musical life.
    Yet the 21st century has seen—and heard— a revival of the orchestra’s glory. Both financially and artistically, the outfit is stronger than ever. Much of its success can be credited to the latest music director, Franz Welser-Most. The Austrian-born conductor arrived and began reshaping the band. One Cleveland board member confides that he was chosen over more famous conductors because he pledged to upend the status quo: "Franz was the only one who said, ’There’s something different I’d like to do’."
    Absolute precision has been the orchestra’s hallmark since Szell. Mr Welser-Most prefers a lighter touch. "You can’t have total control, " he says. "Szell would tell the English horn player which optician to go to. That doesn’t work anymore." Now the music breathes more. Before his current job he endured a rocky stint with the London Philharmonic Orchestra, but in Cleveland he is well-liked by both his players and the wider community. When the orchestra visits local schools or plays at pop concerts on holidays, he goes too. "It makes a difference to people if they see you and say: ’I know this guy’."
    More Clevelanders are indeed getting to know him: subscriptions and attendance are rising. The audience is the youngest for any American orchestra, with more than a fifth of classical concert-goers aged 25 or under. Just as important, the patrons are charitable. Statutory funding for the arts is less munificent than in bigger cities and more left-leaning states, but Cleveland’s long tradition of private giving is holding up—crucially, since the institution’s endowment covers only a fraction of the operating budget. Last year the orchestra raised almost $25 m; it has managed more than $20 m for the past five years.
    That is a handsome haul for any arts organization, especially one in a mid-tier city. "It’s not a huge population here, but it’s a very generous community, " says André Gremillet, the orchestra’s executive director. "They’re proud that north-east Ohio can produce great American culture."
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答案     当克利夫兰管弦乐团开始在塞弗伦斯音乐厅演出时，音乐厅先进的设计使得富有的乐团赞助人可以从包厢叫车，不需要在中西部寒冷的空气中等待，就能迅速回到家中。那时，它的音乐总监乔治.塞尔(George Szell)登上了《时代周刊》(Time)杂志的封面，音乐专辑畅销，但专横的塞尔死后，现已拥有百年历史的管弦乐队逐渐失去了独特的风格。
    克利夫兰管弦乐团的发展轨迹反映了城市本身的衰落。体育城市克利夫兰曾是美国第五大钢铁制造中心，但这几十年来它的运动员比赛失利、资金流失并且在30年左右的时间里人口减少了近一半。如今，这座美国第51大的城市不走可能成为顶级管弦乐团的大本营。20世纪末的克利夫兰是摇滚乐的殿堂。为了纪念摇滚乐的发展，当地建造了一座以摇滚为主题的博物馆，似乎要取代塞弗伦斯音乐厅，成为这座城市音乐生活的中心。
    然而，21世纪见证了管弦乐的复兴，听众能够再次享受到美妙的音乐。现在乐团不仅创造了更大的经济效益。也拥有了更高的艺术水准。它的成功很大程度上要归功于其现任音乐总监弗朗兹.威尔瑟.莫斯特(Franz Welser-Most)。这位奥地利出生的指挥家来到这里，开始重塑乐团。一位克利夫兰董事会成员透露，威尔瑟.莫斯特之所以在众多著名指挥家中胜出，是因为他承诺要颠覆现状：“弗朗兹是唯一一个说‘我想做点不一样事情’的人。”
    自塞尔以来，克利夫兰管弦乐团一直以对乐谱绝对准确的演绎著称，威尔瑟. 莫斯特则倾向于采用更温和的方式。“你不能控制一切。”他说，“塞尔告诉英国号角演奏者去哪家眼镜店，这已经不管用了。”现在克利夫兰的管弦乐更富自由气息。威尔瑟-莫斯特曾在伦敦爱乐乐团工作，那是一段坎坷的经历，但现在在克利夫兰，他博得了演奏家与听众的喜爱。当乐团访问当地学校或在假日的流行音乐会上演出时，他也会一同前往。“如果听众看到你并说，‘我认识这家伙’，他们的感受会不一样。”
    确实，越来越多的克利夫兰人开始认识他，乐团的演出票的订购量和演出上座率都在上升。超过五分之一的管弦乐听众年龄低于25岁，是美国最年轻的古典音乐爱好团体。而且，赞助人十分大方。通常来说，乐团的法定资助比大城市以及更为“左倾”的州少，但克利夫兰仍在传承私人赞助的传统，这一点至关重要，因为乐团的捐赠仅占运营预算的一小部分。去年，乐团筹集了近2,500万美元。过去5年，它管理的资产超过2,000万美元。
    特别是对位于二线城市的艺术机构来说，这是一笔可观的收入。“这里的人口并不多，但民众非常慷慨。”乐团执行总监安德烈.格雷米耶(André Gremillet)说，“他们自豪俄亥俄州(Ohio)东北部能产生伟大的美国文化”。
解析     1.第2段第四句若直译为“20世纪末，克利夫兰更多地与摇滚乐联系在一起。”则显得生硬，在翻译时可对其意思进行解释说明，译为“20世纪末的克利夫兰是摇滚乐的殿堂。”。
    2.第3段第一句若直译是“然而，21世纪见证了——也听到了——乐团辉煌的复兴”，由于“听到了”与“复兴”并不搭配，在翻译时可增加“听到了”的宾语，译为“然而，21世纪见证了管弦乐的复兴，听众能够再次享受到美妙的音乐”，使译文更为流畅。
    3.第3段第二句若将Both financially and artistically译为“无论是经济上还是艺术上”则显得生硬，在翻译时应对原文进行提炼，将其译作“不仅创造了更大的经济效益，也拥有了更高的艺术水准”更为合适。
    4.第3段第五句status quo为固定搭配，意思是“现在的情况”，故此处可译作“现状”。
    5.第4段第二句在翻译a lighter touch的时候应结合全文进行意思解读。前文提到乔治.塞尔的领导风格专横跋扈，而威尔瑟.莫斯特采用的是更为温和的方式，因此，此处可译作“更温和的方式”。
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