(单词翻译:单击)
听力文本
That music is Symphony No. 2, known as the Resurrection Symphony. Austrian Gustav Mahler composed the piece in the late 1800s.
Classical musician David Titcomb feels strongly about the composer and his work.
"Mahler is just... It's so evocative. It's so emotional and maybe those are cheap thrills, but to me they are deep emotional works especially the Resurrection Symyphony."
Music has filled Titcomb's life from almost the start. An inspiring music teacher handed young David a trombone to play in elementary school. He could barely make a sound at that time. But, he stuck with it.
Titcomb studied music at the State University of New York, Purchase. He went on to receive a Master of Fine Arts degree at Yale University School of Music.
David Titcomb played the trombone professionally for more than thirty years. He says it was a difficult decision to stop playing and to do something else.
"When I had to decide to stop my career as a player and move on to just the organizing of an orchestra, it was my heart and soul to play in orchestras and after a 30 year career I think I had done my part and wanted to move aside, now I'm semi-retired I only play the trombone in my wife's rock and roll band now, but for 30 years I was a member of the New York City Opera Orchestra and I also played very often with the Metropolitan Opera and various other freelance organizations and the New York City Ballet as well."
Now, Titcomb is the Managing Director for the Philharmonia Orchestra of New York (PONY). The organization held its first performance last March. It hopes to bring new audiences to classical music. It aims to make performances higher tech and more affordable.
Titcomb praises the more than eighty orchestra musicians, describing them as among New York's finest.
"The Philharmonia Orchestra of New York is comprised of many musicians who I have worked with over the last 30 years and many of them continue to work in the major companies at Lincoln Center including Metropolitan Opera, New York Philharmonic, New York City Ballet, New York City Opera and we came together shortly after the nuclear disaster and tsunami in Japan."
Mahler Symphony No. 2 music is reflective of a project dear to David Titcomb's heart.
David Titcomb has worked effortlessly along with PONY Principal Conductor Maestro Atsushi Yamada on bringing the Philharmonia Orchestra of New York and more than 100 choral students from Japan together to perform. The program is called Project Hand-in-Hand.
Project Hand in Hand aims to use performance to support disaster relief, cultural exchange, and education.
David Titcomb says it is a collaboration.
"With our good friend Atsushi Yamada, who is our conductor, who we worked with at New York City Opera back in the early 2000s and we started as the friends of Japan orchestra. We played a concert, actually it was Resurrection symphonies about a year after the disaster in northern Japan and we brought over 100 kids just to kind of show them that we were still paying attention and we wanted to give them some inspiration to continue to deal with their troubles and manage."
The joint performance with the PONY musicians and Japanese high school choir also includes students from American universities.
Titcomb says the collaboration makes him happy.
"Bringing the kids over to play at Lincoln Center. A lot of these kids have never been out of there prefecture, let alone been on a jet into New York to perform at Lincoln Center. So seeing an orchestra of 90 players on the stage and making music together with a chorus of 200 that what makes me smile."
Hand in Hand was created in response to the earthquake and tsumani in Japan. Earlier this year, Japan marked the 5th anniversary of the earthquake and tsunami that devastated the country in 2011. More than 18,000 people died or disappeared. The 9.0 magnitude quake struck offshore, creating a huge, powerful surge of water that rushed inland. Whole towns were destroyed in moments. And, the tsunami caused a major failure at the Fukushima Daiichi nuclear plant. The result was the worst nuclear disaster the world had ever seen.
More than 150,000 people were forced to leave their homes. Many have not been able to return because of radiation danger.
David says just like the Resurrection Symphony No. 2 by Mahler the music starts dark and has feelings of loss and by the end of the symphony, it is a triumph resurrection and things are reborn. This is the hope David Titcomb and PONY have for the victims of the 2011 disaster in Japan.
重点解析
1.stick with坚持
If you have a conviction about something, stick with it.
如果你对某事有自己的信念，那就坚持吧！
2.aim to打算；目标在于…
In this phase, you aim to reduce differences between you and the organiztional environment by changing either the environment or your behaviour.
在这个阶段，你的目标是通过改变环境或者自身行为来减少你和企业氛围的差别。
3.be comprised of 由…组成
There course will be comprised of readings, discussions, guest speakers and group design sessions.
整个课程将涵盖阅读、讨论、客座讲授以及分组设计等几部份。
4.along with 连同；一起
She wants to come along with us to the movie.
她想跟我们一起去看电影。
5.be able to 能够
I'm sure the girl will be able to look out for herself.
我相信女孩会自己照料好自己的。
6.deal with处理；安排
I'd like to tranquilly deal with the problems between us, even though I don't fear to hassle with you.
尽管我并不害怕与你争斗，可我愿意与你平静地处理我们之间的问题。
参考译文
这首是第2号交响曲，即《马勒复活交响曲》。奥地利作曲家古斯塔夫·马勒在19世纪末创作了这首曲子。
古典音乐家大卫·蒂特科姆对古斯塔夫·马勒和他的作品有着强烈的感情。
“马勒太……他的作品太能唤起情感了。他的作品太富有情感了，也许那是容易得来的刺激，
但是对我来说，它们是带有深刻情感的作品，尤其是这首《马勒复活交响曲》。”蒂特科姆的生活几乎从一开始就充满着音乐。一位音乐老师鼓舞了小大卫，这位老师给了小大卫一个长号，让他在小学里演奏。当时，他几乎吹不出一个声音。但是，他坚持了下来。
蒂特科姆在纽约州立大学普赖斯分校学习音乐。他后来在耶鲁大学音乐学院获得了美术硕士学位。
大卫·蒂特科姆从事长号手职业的时间超过了30年。
他说，结束自己长号手的职业生涯而去做其他的事情是一个艰难的决定。“当我不得不决定结束长号手的职业生涯，然后就只是做组织管弦乐队的工作的时候，我在想，在过去30年的职业生涯里，我全身心地投入乐队的演奏，我觉得我已经尽了我的责任，是时候结束了。现在我处于半退休状态。现在我只在我妻子的摇滚乐队吹长号。但30年来，我一直是纽约市歌剧院管弦乐队的一员，我也经常在大都会歌剧院演奏，还和其他各种自由职业组织和纽约市芭蕾舞团一块演出。”
现在，他是纽约爱乐乐团(PONY)的常务董事。该组织于去年3月举行了首次演出。它希望为古典音乐带来新的听众。它的目标是让古典音乐演出更有科技感，更能让人负担得起。
蒂特科姆赞扬了80多名管弦乐队的音乐家，称他们是纽约最好的乐队之一。
“纽约爱乐乐团由我在过去30年里合作过的许多音乐家组成，他们中的许多人继续在林肯中心的大公司工作，其中包括大都会歌剧院，纽约爱乐乐团，纽约市芭蕾舞团，纽约市歌剧院。我们是在日本核灾难和海啸发生后不久走到一起的。”
《马勒复活交响曲》这个作品反映了大卫·蒂特科姆所钟爱的一个项目。
大卫·蒂特科姆和纽约爱乐乐团的首席指挥Atsushi Yamada一起，轻松地促成了纽约爱乐乐团和来自日本的100多名合唱队学生的合作演出。这个项目叫做“携手计划”。
“携手计划”旨在通过演出支持救灾、文化交流和教育。
大卫·蒂特科姆说这是一次合作。
“Atsushi Yamada是我们的好朋友和我们的乐队指挥，我们在21世纪初曾在纽约市歌剧院共事。起初，我们和日本的乐队成为了朋友。在日本北部灾难发生大约一年后，我们开了一场音乐会，实际上就是《马勒复活交响曲》。我们跟日本的100多名合唱队学生一块演出，向人们展示，我们仍在关心着他们，我们想鼓舞人们继续应对他们的困难。
这次纽约爱乐乐团和日本高中合唱团的联合演出还包括来自美国大学的学生。
蒂特科姆说这次合作让他很开心。
“带这些孩子们去林肯中心表演。很多孩子从来没有离开过他们的省，更别说坐飞机去纽约林肯中心表演了。所以当我看到一个由90人组成的管弦乐队和200人组成的合唱团在舞台上演奏时，我不禁微笑起来。”
“携手计划”是为了应对日本的地震和海啸而策划的项目。今年早些时候，日本举行了2011年地震和海啸5周年纪念活动。超过18000人死亡或失踪。那次里氏9.0级的地震发生在近海区域，造成巨大而强劲的水浪涌向内陆。整个城镇瞬间被摧毁。海啸还导致福岛第一核电站发生重大故障。其结果是世界上有史以来最严重的核灾难。
超过15万人被迫离开家园。由于辐射危险，许多人无法返回家园。
大卫说，就像马勒的《马勒复活交响曲》一样，音乐从黑暗开始，有一种失落的感觉，但在交响曲的结尾，它表现了再次获得胜利和事物重生的感觉。这是大卫·蒂特科姆和纽约爱乐乐团给2011年日本灾难受害者带来的希望。
译文为可可英语翻译，未经授权请勿转载！
