SECTION 4

As you all know, the university is planning an arts festival for later this year, and here in the music department we've planned three concerts.

你们都知道了，学校计划在今年晚些时候举办一个艺术节，在音乐系我们计划举办三场音乐会。

These will be public performances, and the programme has just been finalised.

这些音乐会将会是公开的表演，这个计划刚刚确定下来。

The theme of the festival is links between the UK and Australia, and this is reflected in the music: each concert will feature both British and Australian composers.

这次艺术节的主题是英国和澳大利亚之间的联系，这会在音乐中反映出来：每场音乐会都将演奏英国和澳大利亚作曲家的作品。

I'll tell you briefly about the Australian music, as you probably won't be familiar with that.

我来给你们简短地介绍一下澳大利亚音乐，因为你们可能对此不是很熟悉。

The first concert will include music by Liza Lim, who was born in Perth, Western Australia, in 1966.

第一场音乐会将包含莉莎·利姆的音乐，她1966年出生于西澳大利亚的珀斯。

As a child, Lim originally learned to play the piano - like so many children - and also the violin, but when she was 11 her teachers encouraged her to start composing.

利姆小时候最开始学的是钢琴——就像许多其他小孩一样——还学了小提琴，但当她11岁时，她的老师鼓励她开始作曲。

She found this was her real strength, and she studied and later taught composition, both in Australia and in other countries.

她发现作曲是她真正擅长的事情，随后她便开始学习作曲，并且后来在澳大利亚和其他国家教作曲。

As a composer, she has received commissions from numerous orchestras, other performers and festivals in several countries.

作为一名作曲家，她收到了来自一些国家的众多管弦乐队、其他表演者和各种音乐节的作曲创作佣金。

Liza Lim's compositions are vibrant and full of energy, and she often explores Asian and Australian Aboriginal cultural sources, including the native instrument, the didgeridoo: this is featured in a work called The Compass.

莉莎·利姆的作品充满生机和活力，她经常探索亚洲和澳大利亚原住民的文化来源，包括本土乐器，迪吉里杜管：这些都体现在一部名为“指南针”的作品里。

Her music is very expressive, so although it is complex, it has the power of connecting with audiences and performers alike.

她的音乐非常富有表现力，所以尽管它很复杂，但却具有与观众和表演者产生共鸣的能力。

In the festival we're going to give a semi-staged performance of The Oresteia.

在艺术节中，我们将以The Oresteia作为半场演出。

This is an opera in seven parts, based on the trilogy of ancient Greek tragedies by Aeschylus.

这是一部分为七个部分的歌剧，基于埃斯库罗斯的古希腊悲剧三部曲

Lim composed this when she was in her mid-20s, and she also wrote the text, along with Barrie Kosky.

利姆在20多岁时就为这部剧作了曲，她还和巴利·科斯基一起作了词。

It’s performed by six singers, a dancer, and an orchestra that, as well as standard orchestral instruments, includes electric guitar, and a traditional Turkish stringed instrument.

这部歌剧是由六个演唱者、一个舞者和一支管弦乐队表演的，还有标准的管弦乐器，包括电吉他和传统的土耳其弦乐器。

Lim wrote that because the stories in the tragedies are not easy to tell, the sounds she creates are also disturbing, and they include breathing, sobbing, laughing and whistling.

利姆写到，因为悲剧中的故事并不容易表达，她创造的声音也是令人不安的，它们包括呼吸，抽泣，笑声和口哨声。

The work lasts around 75 minutes, and the rest of the concert will consist of orchestral works by the British composers Ralph Vaughan Williams and Frederick Delius.

作品持续约75分钟，音乐会的其余部分将由英国作曲家拉尔夫·沃恩·威廉斯和弗雷德里克·德利厄斯的管弦乐作品组成。

Moving on now to our second concert, this will begin with instrumental music by British composers Benjamin Britten and Judith Weir.

紧接着是我们的第二场音乐会，这将由英国作曲家本杰明·布里顿和朱迪斯·韦尔的纯音乐开场。

After the interval we'll go to Australia for a piece by Ross Edwards: The Tower of Remoteness.

在一段休息之后，我们将欣赏来自澳大利亚的罗斯·爱德华兹的作品：遥远之塔。

According to Edwards, the inspiration for this piece came from nature, when he was sitting alone in the dry bed of a creek, overshadowed by the leaves of palm trees, listening to the birds and insects.

据爱德华兹所说，这个作品的灵感来自大自然，当他独自坐在干涸的小河床上，笼罩在棕榈树叶的阴影中，倾听鸟儿和昆虫的声音。

The Tower of Remoteness is scored for piano and clarinet.

遥远之塔以钢琴和单簧管为特色。

Edwards says he realised years after writing the piece that he had subconsciously modelled its opening phrase on a bird call.

爱德华兹说他在写完这首曲子几年后，才发觉到他潜意识地在开乐曲开篇模仿了鸟叫。

Ross Edwards was born in 1943 in Sydney, Australia, and studied at the Sydney Conservatorium of Music and the universities of Adelaide and Sydney.

罗斯·爱德华兹于1943年出生于澳大利亚悉尼，曾在悉尼音乐学院和阿德莱德大学以及悉尼大学学习。

He's well known in Australia, and in fact he's one of the country's most performed composers.

他在澳大利亚很有名，事实上他是全国最出色的作曲家之一。

He's written a wide range of music, from symphonies and concertos to some composed specifically for children.

他写过各种各样的音乐，从交响乐和协奏曲，到专门为儿童创作的音乐。

Edwards's music has been described as being 'deeply connected to Australia', and it can be regarded as a celebration of the diversity of cultures that Australia can be proud of.

爱德华兹的音乐被描述为“与澳大利亚有着深厚的联系”，它可以被视为对澳大利亚引以为豪的多样性文化的颂扬。

The last of the three Australian composers to be represented in our festival is Carl Vine.

在我们的艺术节中，代表澳大利亚的三位作曲家中的最后一位是卡尔·瓦因。

Born in 1954, Vine, like Liza Lim, comes from Perth, Western Australia.

瓦因出生于1954年，与莉莎·利姆一样，来自西澳大利亚的珀斯。

He took up the cornet at the age of five, switching to the piano five years later.

他在五岁时开始学习短号，五年之后改学钢琴。

However, he went to university to study physics, before changing to composition.

然而，在转行到作曲之前，他在大学中学的是物理。

After graduating he moved to Sydney and worked as a freelance pianist and composer.

毕业后，他移居悉尼，成为自由钢琴家和作曲家。

Before long he had become prominent in Australia as a composer for dance, and in fact has written 25 scores of that type.

不久之后，他在澳大利亚成为了一名杰出的舞蹈作曲家，事实上，他已经写了25首这种类型的音乐。

In our third concert, Vine will be represented by his music for the flag hand-over ceremony of the Olympics held in 1996.

在我们的第三场音乐会上，将会演奏瓦因为1996年奥运会的旗帜交接仪式创作的音乐。

This seven-minute orchestral piece was of course heard by millions of people worldwide, and we'll hear it alongside works written by British composers Edward Elgar and, more recently, Thomas Adès.

这个七分钟的管弦乐作品当然是被全世界数百万人听过的，我们还会听到英国作曲家爱德华·埃尔加和更近期的托马斯·埃兹写的作品。