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The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever sine the sudden announcement of his appointment in 2009. For the most part, the response has been favorable, to say the least.  “Hooray! At last!” wrote Anthony Tommasini, a sober-sided calssical-music critic.

One of the reason why the appointment came as such surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilbert’s appointment in the Times, calls him “an unpretentious musician with no air of the formidable conductor about him.” As a description of the next music director of an orchestra that has hitherto been led by musicians like Gusrav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise.

For my part, I have no idea weather Gilbert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting compositions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music. All I have to do is to go to my CD shelf, or boot up my computer and download still more recorded music from iTunes.

Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the art-loving public, classical instrumentalists must compete not only with opera house, dance troupes, theater companies, and museum, but also with the recorded performances of the great classical musicians of the 20th century. Their recordings are cheap, available everywhere, and very often much higher in artistic quality than today’s live performances; moreover, they can be “consumed” at a time and place of the listener’s choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.

One possible response is for classical performers to pogram attractive new music that is not yet available on record. Gilbert’s own interest in new music has been widely noted: Alex Ross, a classical-musical critic, has described him as a man who is capable of turning the Philharmonic into “a markedly different, more vibrant organization .” But what will be the nature of that difference? Merely expanding the orchestra’s repertoire will not be the enough. If Gilbert and the Philharmonic are to succeed, they must first change the relationship between American’s oldest orchestra and the new audience it hopes to attract.

 

 

 

题目

21. We learn from Para.1 that Gilbert’s appointment has____.

[A] incurred criticism.

[B] rasied suspicion.

[C] received acclaim.

[D] aroused curiosity.

 

 

22. Tommasini regads Gilbert as an artist who is_____.

[A] influential

[B] modest

[C] respectable

[D] talented

 

 

23. The author believes that the devoted concertgoers______.

[A] ignore the expenses of live performances.

[B] reject most kinds of recorded performances.

[C] exaggerate the variety of live performances.

[D] overestimate the value of live performances.

 

 

24. According to the text, which of the following is true of recordings?

[A] They are often inferior to live concerts in quality.

[B] They are easily accessible to the great public.

[C] They help improve the quality of music.

[D] They have only covered masterpieces.

 

 

25. Regarding Gilbert’s role in revitalizing the Philhamonic, the author feels____.

[A] doubtful

[B] enthusiastic

[C] confident

[D] puzzled

 

 

 

全文翻译

自从2009年纽约爱乐乐团突然宣布雇佣Alan Gilbert做下一届的音乐总监的决定公布，古典音乐界就开始议论纷纷。退一步说的话，评论的大部分是良好的。一位严肃的古典音乐学家Anthony Tommasini写到“好了，万岁”

无论怎样，这个任命来的如此突然的另一个原因是Gilbert相当地不为人知。甚至在泰晤士报宣布Gilbert的委命的Tommasini说他是一个谦逊的音乐家，没有一丝一毫架子。作为一直由像Gusrav Mahler和Pierre Boulez音乐家领导的管弦乐队的下一任下一任音乐总监的描述，这样的描述对于泰晤士报的读者来说是模糊的表扬。

对我来说，我不清楚Gilbert是一个好的指挥者或者说更好的一个。可以确定的是，他表演了许多有趣的作品，但是对我来说去Avery Fisher大厅或其他地方去听一场有趣的管弦音乐是没有必要的。我所要做的所有的工作就是走到我的CD架或者打开我的电脑，从iTunes上下载我喜欢的记录音乐。

那些认为记录唱片无法取代现场表演的奉献给音乐会的人没有抓住要领。为了获得艺术爱好者的时间、精力和金钱，古典音乐演奏家们必须不仅要和歌剧院、舞蹈队、电影院、博物馆竞争，也要和20世纪伟大的古典音乐家的记录表演竞争。他们的记录唱片是便宜的，在每个地方都能买到的，并且比起今天的现场表演，记录唱片有更好的艺术质量，他们可以被听者选择在任何时间任何地点“消费”。如此广泛传播实用的记录音乐已经引起了传统古典音乐会的危机。

对于古典音乐表演者来说一个可能的回应是组织一场吸引人的新音乐的音乐会，这首音乐还没有进行记录唱片的录制。Gilbert在新音乐上的兴趣被广泛关注：Alex Ross一个古典音乐评论家曾经描述Gilbert是一个可以把交响乐团带入到一个显著不同充满生气的组织的人。但是，不同的实质是什么呢？仅仅扩大管弦乐队的全部节目将是远远不够的。如果Gilbert和交响乐队想取得成功，他们第一个要改变的是美国的最古老的管弦乐队和它希望吸引的新的听众的关系。

 

 

 

逐句翻译

第一段

The decision of the New York Philharmonic(交响乐) to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever sine the sudden announcement of his appointment in 2009.

自从2009年纽约爱乐乐团突然宣布雇佣Alan Gilbert做下一届的音乐总监的决定公布，古典音乐界就开始议论纷纷。

 

 

For the most part, the response has been favorable, to say the least(退一步说).

退一步说的话，评论的大部分是良好的。

 

 

“Hooray! At last!” wrote Anthony Tommasini, a sober-sided(持重的；认真的；严肃的；正式的) calssical-music critic.

一位严肃的古典音乐学家Anthony Tommasini写到“好了，万岁”

 

 

第二段

One of the reason why the appointment came as such surprise, however, is that Gilbert is comparatively(比较地；相当地) little known.

无论怎样，这个任命来的如此突然的另一个原因是Gilbert相当地不为人知。

 

 

Even Tommasini, who had advocated Gilbert’s appointment in the Times, calls him “an unpretentious(谦逊的；含蓄的；不炫耀的) musician with no air of the formidable conductor about him.”

甚至在泰晤士报宣布Gilbert的委命的Tommasini说他是一个谦逊的音乐家，没有一丝一毫架子。

 

 

As a description of the next music director of an orchestra(管弦乐队) that has hitherto(迄今) been led by musicians like Gusrav Mahler and Pierre Boulez, that seems likely to have struck(打击) at least some Times readers as faint(模糊的) praise.

作为一直由像Gusrav Mahler和Pierre Boulez音乐家领导的管弦乐队的下一任下一任音乐总监的描述，这样的描述对于泰晤士报的读者来说是模糊的表扬。

 

 

第三段

For my part, I have no idea weather Gilbert is a great conductor or even a good one.

对我来说，我不清楚Gilbert是一个好的指挥者或者说更好的一个。

 

 

To be sure, he performs an impressive variety of interesting compositions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music.

可以确定的是，他表演了许多有趣的作品，但是对我来说去Avery Fisher大厅或其他地方去听一场有趣的管弦音乐是没有必要的。

 

 

All I have to do is to go to my CD shelf, or boot up my computer and download still more recorded music from iTunes.

我所要做的所有的工作就是走到我的CD架或者打开我的电脑，从iTunes上下载我喜欢的记录音乐。

 

 

第四段

Devoted concertgoers(常去听音乐会的人) who reply that recordings are no substitute(取代) for live performance are missing the point.

那些认为记录唱片无法取代现场表演的奉献给音乐会的人没有抓住要领。

 

 

For the time, attention, and money of the art-loving public, classical instrumentalists must compete not only with opera house, dance troupes, theater companies, and museum, but also with the recorded performances of the great classical musicians of the 20th century.

为了获得艺术爱好者的时间、精力和金钱，古典音乐演奏家们必须不仅要和歌剧院、舞蹈队、电影院、博物馆竞争，也要和20世纪伟大的古典音乐家的记录表演竞争。

 

 

Their recordings are cheap, available everywhere, and very often much higher in artistic quality than today’s live performances; moreover, they can be “consumed” at a time and place of the listener’s choosing.

他们的记录唱片是便宜的，在每个地方都能买到的，并且比起今天的现场表演，记录唱片有更好的艺术质量，他们可以被听者选择在任何时间任何地点“消费”。

 

 

The widespread availability(可用的；有用的；实用的) of such recordings has thus brought about a crisis in the institution(制度；建立) of the traditional classical concert.

如此广泛传播实用的记录音乐已经引起了传统古典音乐会的危机。

 

 

第五段

One possible response is for classical performers to pogram attractive new music that is not yet available on record.

对于古典音乐表演者来说一个可能的回应是组织一场吸引人的新音乐的音乐会，这首音乐还没有进行记录唱片的录制。

 

 

Gilbert’s own interest in new music has been widely noted: Alex Ross, a classical-musical critic, has described him as a man who is capable of turning the Philharmonic into “a markedly different, more vibrant(振动的；响亮的；充满生气的) organization .”

Gilbert在新音乐上的兴趣被广泛关注：Alex Ross一个古典音乐评论家曾经描述Gilbert是一个可以把交响乐团带入到一个显著不同充满生气的组织的人。

 

 

But what will be the nature of that difference?

但是，不同的实质是什么呢？

 

 

Merely expanding the orchestra’s repertoire(全部节目；计算机指令系统) will not be the enough.

仅仅扩大管弦乐队的全部节目将是远远不够的。

 

 

If Gilbert and the Philharmonic are to succeed, they must first change the relationship between American’s oldest orchestra and the new audience it hopes to attract.

如果Gilbert和交响乐队想取得成功，他们第一个要改变的是美国的最古老的管弦乐队和它希望吸引的新的听众的关系。

 

 

 

题目翻译

21. We learn from Para.1 that Gilbert’s appointment has____.

[A] incurred(招致；遭受) criticism.

[B] rasied suspicion.

[C] received acclaim.

[D] aroused curiosity.

 

21.从第一段可以看出Gilbert的任命已经_____。

[A] 招致批评。

[B] 遭受怀疑。

[C] 收到祝贺。

[D] 引起好奇。

 

22. Tommasini regads Gilbert as an artist who is_____.

[A] influential

[B] modest

[C] respectable

[D] talented

 

22. Tommasini认为Gilbert是一个______的艺术家。

[A] 有影响力的

[B] 谦虚的

[C] 受人尊敬的

[D] 有天赋的

 

23. The author believes that the devoted concertgoers______.

[A] ignore the expenses of live performances.

[B] reject most kinds of recorded performances.

[C] exaggerate(使增大；夸大) the variety of live performances.

[D] overestimate(对……评价过高) the value of live performances.

 

23. 作者相信音乐会的追随者们_____。

[A] 无视现场表演的花费。

[B] 反对大多数的记录唱片。

[C] 夸大了现场不熬演的种类。

[D] 对现场表演的价值估计过高。

 

24. According to the text, which of the following is true of recordings?

[A] They are often inferior to(不如；次于) live concerts in quality.

[B] They are easily accessible to the great public.

[C] They help improve the quality of music.

[D] They have only covered masterpieces(杰作；绝无仅有的人).

 

24. 根据文章，关于记录唱片的说法下面哪个是对的？

[A] 在质量上，记录唱片不如现场音乐会。

[B] 他们很容易传到大众。

[C] 他们帮助提高了音乐的质量。

[D] 他们只记录杰作。

 

25. Regarding Gilbert’s role in revitalizing(使恢复) the Philhamonic, the author feels____.

[A] doubtful

[B] enthusiastic

[C] confident

[D] puzzled

 

25. 在重振交响乐中关于Gilbert的角色，作者感到_____。

[A] 怀疑

[B] 热情

[C] 有信心

[D] 迷惑