英语翻译第一段:Musician to RememberWith MusicTeachers.co.uk,Jonatha

英语翻译
第一段:Musician to Remember
With MusicTeachers.co.uk,Jonathan Evans-Jones looks at his varied career as a violinist,actor and arranger for the Hollywood blockbuster film,Titanic.
Although the release of James Cameron's film,Titanic,turned the attentions of the teeny-bopper brigade to the boyish good looks and charming smile of Leonardo diCaprio,it was interesting to make the acquaintance of another member of the film on a recent tour of North Wales by the Welsh Chamber Orchestra.Leader and soloist,Jonathan Evans-Jones (pictured above) had a short,but significant,part in this reconstruction of one of the world's most tragic maritime disasters.To many in the audience,he is instantly recognisable as the actor who played doomed bandleader,Wallace Hartley,and concerts often ended with countless youngsters asking for his autograph.'Some have seen the film nine or ten times' he says,'and recognise just about everyone in the cast.' He admits that the film was an important part of his career,something his publicity exploits,but he nevertheless plays it down when amongst musician colleagues:Evans-Jones is a quiet and sensitive man whose modesty somehow seems to conflict with his chosen career as a musician.
第二段:I used to cry when my grandmother played "Danny Boy" on the piano...
Born in South Wales,he claims that his immediate family is not particularly musically literate,but always remembers having music around him.'I used to cry when my grandmother played Danny Boy on the piano,on which I used also to experiment when I went to her house.' At about the age of eight,like many youngsters
有点长希望大家能帮帮忙.
如果可以不知道你们有没有谁有毅力将整篇翻译出来- -,

在铁达尼号电影里,有一个沉船时还坚持演奏的小提琴家,他的名字叫华莱士·哈特利（Wallace Hartley）,而扮演这个角色的是大名鼎鼎的小提琴家乔纳森 埃文斯-琼斯（Jonathan Evans-Jones),此文就是介绍乔纳森 埃文斯-琼斯的,百度上还找不到他的中文介绍.
楼主的文章出自
http://www.musicteachers.co.uk/journal/index.php?issue=2000-10&file=evansjones
FEATURE INTERVIEW
人物专访
Musician to Remember
值得记住的音乐家
With MusicTeachers.co.uk, Jonathan Evans-Jones looks at his varied career as a violinist, actor and arranger for the Hollywood blockbuster film, Titanic.
在英国MusicTeachers网站看来(本文是该网站对其的专访）,乔纳森 埃文斯-琼斯具有不同的职业,他是一个小提琴家,一个演员,而且还是好莱坞大片铁达尼号的编曲.
Although the release of James Cameron's film, Titanic, turned the attentions of the teeny-bopper brigade to the boyish good looks and charming smile of Leonardo diCaprio, it was interesting to make the acquaintance of another member of the film on a recent tour of North Wales by the Welsh Chamber Orchestra.
尽管詹姆斯卡梅隆的电影,铁达尼号的全球发行使李奥纳多 狄卡皮欧的俊俏外表和迷人笑容吸引了无数少男少女的注意力,但威尔士室内管弦乐队最近的一次北威尔士巡演中让观众们对电影里的另一个演员产生了极大兴趣.
Leader and soloist, Jonathan Evans-Jones (pictured above) had a short, but significant, part in this reconstruction of one of the world's most tragic maritime disasters.
作为领队和独奏,乔纳森 埃文斯-琼斯（上图）在重现这场世界上最悲惨的海难的影片中扮演了一个出场非常短暂但又非常重要的角色.
To many in the audience, he is instantly recognisable as the actor who played doomed bandleader, Wallace Hartley, and concerts often ended with countless youngsters asking for his autograph.
他由于自己所扮演的角色,一个注定要随船共亡的乐队领队华莱士·哈特利,而不断被很多观众认出,音乐会也经常在结束后有很多年轻人索取其签名 .
'Some have seen the film nine or ten times' he says, 'and recognise just about everyone in the cast.'
“一些人已经看过电影9到10次了”,他说,“他们已经可以认出几乎所有参与电影的演职员”
He admits that the film was an important part of his career, something his publicity exploits, but he nevertheless plays it down when amongst musician colleagues:
他承认这部电影是他职业生涯一个很重要的部分,对他的声名有很大的提升,但是当与音乐界朋友在一起时,他还是极力避免提及这部影片.
Evans-Jones is a quiet and sensitive man whose modesty somehow seems to conflict with his chosen career as a musician
乔纳森 埃文斯-琼斯就是这样一个喜欢安静以及审慎敏感的人,他的谦逊看起来和他所选择的音乐家的职业好像有点冲突.
（段落1 I used to cry when my grandmother played "Danny Boy" on the piano...
当我的奶奶用钢琴弹奏“丹尼男孩”的时候,我经常会泣而泪下.）
Born in South Wales, he claims that his immediate family is not particularly musically literate, but always remembers having music around him.'I used to cry when my grandmother played Danny Boy on the piano, on which I used also to experiment when I went to her house.'
他出生于南威尔士,他说他的直系亲属中并无特别有音乐文化修养的人,但是在他记忆中身边却一直并不缺少音乐.“我奶奶用钢琴弹奏“丹尼男孩”的时候,我经常会泣而泪下,我去她房间时也总是要亲自摸摸那个钢琴”
At about the age of eight, like many youngsters, he wanted to emulate his pop music heroes by playing the guitar, and despite his parents' reservations, was 'quietly persistent' in trying to get them to buy him an instrument.
大约8岁的时候,和很多小孩一样,他想以弹吉他去模仿那些英雄级的音乐前辈.他的父母并不同意给他买一件乐器,而他却不断的坚持乃至是无声的抗议.
Eventually they conceded, but only after he had shown musical promise by taking up the violin at school.
最终,他的父母让步了,但有个要求,那就是必须在学校里学习小提琴.
'I quite took to the violin, so the guitar never really went further than the usual four-chord trick. At home, I was never under any pressure to practise, and have been told that I made a decent sound: well at least my parents never complained!'
“我安静地拿起了小提琴,因而吉他就让步于这个平常的四弦琴.在家练习的时候,我从来也没有什么压力,家人经常告诉我我拉得还不错,很好.至少我的父母从来没有抱怨过.”
As usually happens with school tuition, he was taught in a group and, as children dropped out, received an increasing amount of individual time.School lessons were ultimately to become private lessons at the home of his teacher, Sidney Jones.
就像学校教育经常出现的那样,他一开始在一个小组里学习,随着不断有孩子退出,他越来越拥有更多的单独教受的时间.最后,学校课变成了个人课,他开始在 他的老师Sidney Jones的家里学习了.
'We would play things together - even exercises; he never seemed to have a fixed methodology but just loved the violin. I had a fair amount of success locally and was even asked by the headmaster at my school if I could be put forward for a television programme about kids' hobbies: I auditioned and appeared.
我们会一起弹奏--甚至是练习曲,他从不用死板的教学方法,而是全身心的对小提琴投入感情,因此在本地我已经取得了相当大的成功,甚至被我学校的校长考虑是不是要推荐我去参加一个关于儿童爱好的电视节目：“我听我演”
At about the same time, however, I had reached the point where I needed a teacher who could take me further.Sid suggested that I try for the Menuhin School, which in those days was still in its infancy.
然而,大约在此期间,我已经达到了需要再有其他高水平的老师把我的技艺提高的地步.Sid老师建议我去上梅纽因学校,当时这个学校还刚刚在起步阶段.
In the audition, I had to play to a group of internationally distinguished musicians - Menuhin was there, along with Nadia Boulanger and Robert Masters.
在（入学）试听中,我不得不在一些世界上著名的音乐家面前演奏,这些人有梅纽因,纳迪亚布朗热以及罗伯特马斯特等.
I had taken a large pile of pieces with me, played through some of them and was later awarded one of the four places they were offering.'
我已经准备了一大堆曲目,并从中演奏了几首,最终,我成为了他们录取的四个名额中的一个幸运者.
（段落2...when I got to the Menuhin School, the atmosphere changed.The first lesson was like a doctor's consultation...
在梅纽因学校,（学习）气氛完全改变了.第一课就像是医生的会诊那样.）
For Jonathan, the change was 'a hugely catastrophic culture-shock'. There was no bridging his South Wales experiences with those of the school, which he admits threw up a lot of questions and 'inner turmoil' about his own identity and, in particular, competition
对乔纳森来说,这个改变是巨大的激烈性的文化冲击.在他以前南威尔士的学习经历和新学校之间并无联系可言,他承认在这里解决了很多问题,如他自己个性的 ”五内俱乱“,特别是,竞争问题.
'Stories coming out at the time were of an Utopian musical experiment in Surrey that was churning out wonderful musicians. It did, but at what cost to the individual? Many who were there lost confidence, because suddenly being confronted with very talented people, and having to develop a sort of self-esteem within that peer group, was very hard.
同时,这些产生的实际结果是他在萨里郡的这所能粗制滥造出大量非同寻常的音乐家的学校里有了一个乌托邦似的音乐经历.但个性发展得付出多大成本?在这里的很多学生都失去自信,因为突然之间面对众多的天才高手,在那样的杰出同辈群体之间想要找到自尊无疑是很困难的.
One of the things that struck me after my first lesson in Wales was that learning was in the atmosphere - Sid and I just played together and there was never a feeling of having to do it a particular way.Today, the older I get, the more I appreciate what I was taught in those early days, because, when I got to the Menuhin School, the atmosphere changed.The first lesson was like a doctor's consultation; I had to play only a three-octave G minor scale with what I felt to be a terribly critical presence looming in the room.
“我在这里的第一节课里最令我记忆犹新的一件事就是这里的学习气氛---以前是Sid和我一起弹奏,而这里从来没有应该这样做的那种感觉.今天,我越来越感激 我在这里学习的那段早期岁月,因为,当我去梅纽因学校时,（学习）气氛完全改变了.第一课就像是医生的会诊那样,我不得不只弹奏一些三音阶的G小调的曲子 ,而这就让我感觉到教室里始终有一种可怕的批评隐约存在.
I didn't have the space to express myself in the way that I had been used to before I went to the school, and, for me, to take away that connection between expression and the development of a means of expression was a dangerous thing to do.'
我没有用某种方式表现自己的空间,而这在我去那个学校之前习惯于以这种方式表现自己.对我来说,抛弃那种方式与发展一种新表现方式间的联系是一件危险的事情.
At sixteen, Jonathan had to leave the Menuhin School since then their academic programme taught students only to O-level standard.
在十六岁时,乔纳森不得不离开了梅纽因学校,因为这里的教学课程仅仅是教学生到O级水平.
Many of his friends went on to the Royal Academy of Music, but, having lost much self-confidence, Jonathan decided to do his A-levels at Norwich, where his parents now lived
他的很多朋友去皇家音乐学院继续学习,但是,由于失去自信,乔纳森决定在他父母的现居住地诺里奇完成他的A级水平.
He took lessons from the distinguished violinist and teacher Frederick Grinke, and, by virtue of that relationship, was assured a place at the Academy. That line he decided not to pursue and instead opted to go to King's College, Cambridge
他师从于杰出的小提琴家Frederick Grinke教授.靠着这层关系,他被保送进入了Academy学院.但他决定不去走这条路,而是选择进入了剑桥国王学院.
'I have always been attracted to trying less-obvious routes; temperamentally, an artist's life should not be institutionalised, either in the way it was at the Menuhin School, or later when I worked for the BBC. What was attractive about Cambridge was that it valued independent spirit: one could develop one's life in a personally appropriate way.'
“我一直对尝试未知的道路很有兴趣,从气质上来说,一个艺术家的生活不应该是制度化的,无论是在梅纽因学校还是在后来我工作的BBC.剑桥最吸引我的地方是它崇尚独立精神,一个人可以发展与其个性相适应的人生道路.
（段落3 I always felt that I had a solo capability, and having to suppress that so regularly was difficult to cope with
我一直认为我有独奏能力,但是不得不屈服于这些很难应付的规则性的东西）
On graduation, in 1978, he moved to Freiburg to study. 'Although I wanted to make a break with England and English culture for a while, I was really interested in finding a way of prolonging student life!
1978年,他毕业后去了德国的弗莱堡继续深造,“虽然我想脱离英格兰及英国文化一段时间,但我还是真的对找到一种可以继续学业的方式很感兴趣.”
There I studied with Wolfgang Marchner, who was a wonderful pedagogue, and still managed to hang out with other students.
在这里,我跟从Wolfgang Marchner学习,他是一个非同寻常的老师,和其他学生们居住在一起.
I was due to spend two years there, but only completed one - I think I was still smarting a little from my experiences at the Menuhin School and after beginning the second year realised that this sort of institutionalised study was something I no longer wanted.So I came back.
“本来我是预计要在这里呆两年,但实际上只完成了一年的学业,--我认为我仍对我在梅纽因学校的经历感到少许痛苦,在第二学年开始后,我意识到这种制度化 的学习已经不再是我所想要的了.因此我又回去了.”
Although not knowing clearly what he wanted to do, he saw a job advertised for the Associate Leader's post with the Scottish Chamber Orchestra, for which he applied,Since his experience of orchestral playing was limited, he was unsuccessful, but was nevertheless offered co-principal second violin.
尽管不十分清楚到底需要做些什么,他看到苏格兰室内管弦乐队招聘副领队职位的广告,并随即提出了申请,由于他的管弦乐演奏经历所限,他没有成功,但还是得到了一个同等重要的第二小提琴手的职位.
'I couldn't believe that the orchestra, still in its early days, was so poor, and although I did play with them on a few occasions, declined their offer of a permanent place and instead moved to London.'
“我不能相信,室内管弦乐在早期竟是那样的萧条,在与他们合奏了几次后,尽管他们提供给我更长久的合同,我没有继续留在那里,而是移居到了伦敦.”
Through Grinke, he auditioned for the English Chamber Orchestra, and became a very regular fixture for the next six years.
（在伦敦）他在英国室内管弦乐队的格林克大赛担任试听,格林克大赛在接下来的六年里成为常设比赛项目.
'That was extremely good experience and we worked with wonderful artists such as Kremer, Barenboim and Ashkenazy. The ECO was like an extended family - I valued it not only for its culture and camaraderie, but also for the fact that it gave me experience of working at a high level. On top of that, it was a tremendous way of seeing the world.'
“那真实非常完美的经历,我们与最出名的艺术家比如Kremer, Barenboim 和 Ashkenazy等一起工作.ECO（英国室内管弦乐队）就像是一个扩大了的家庭.--我非常珍惜它,不仅是因为它的文化性和同事间的非常友谊.而且还是因为一个事实,那就是它提供给我更高水准的工作经验.另外,你能以最好的方式去接触世界”
But playing with the orchestra had its down side: 'A lot of the time, it was quite a difficult existence. We toured abroad a lot, sometimes as much as two weeks in every six, and I didn't always have time for my own development. On top of that, touring is quite taxing. Because of all the travelling and the emotional input in concerts, it becomes easy to pick up all sorts of viruses and colds since your immune system takes such a pounding. In the end, I found that such a nomadic existence often conflicted with the other freelance work I did.'
但是与英国室内管弦乐队的合作最后也结束了.“很难找到我自己的空闲时间.我们经常国外巡演,有时候每六周就会有两周在外面,我根本就没有时间去进行我自己的发展,再者,旅行是很累人的一件事,由于旅途劳累和对音乐会的大量感情投入,你的免疫系统连遭轰击,这样你就会很容易的染上各种病毒和感冒,最后,我发现这样的四处漂泊的生活经常与我其他的作为自由演员的工作相冲突”
Always on the lookout for 'new directions' in his career, perhaps something that is a throwback to his Menuhin days, he auditioned for the position of principal first violin with the BBC Symphony Orchestra.
由于一直在寻找他职业生涯的新方向,或许事情又回到了他的梅纽因时代,他在BBC交响乐团管弦乐队担任了首席小提琴手的重要职位.
'This was a chance to be in one place, which would give me a contract, a salary and a little more financial security. But when playing with orchestras, you find that the social structure is very much 19th-century, with an extreme hierarchy of command and behaviour.
“这终于有了一个固定的地方,这里可以给我一个合同,一份薪水以及更多的经济上的安全感.但是当你与乐队一起演奏时,你会发现这里的社会结构更像19世纪,有着极端的有关命令和行为的等级制度.
In other jobs, it is rare to be in such an infantilising situation: you have one person who says "start playing" and you start, and "stop playing" and you stop! For anyone with a modicum of individuality or creativity, it is a very difficult situation to cope with. I always felt that I had a solo capability, and having to suppress that so regularly was difficult to cope with.'
在其他工作里,你很难见到像这样的令人啼笑皆非的情况：有个人对你说”开始演奏“你就开始,说”停止演奏“你就停止.对于一个有着些许个人独创性的人来说,这确实是个很难让人妥善处理的情形,我一直认为我有独奏能力,但是不得不屈服于这些很难应付的规则性的东西”
He stayed with the BBC for three years, but, feeling that his life as a musician was becoming stale, decided to leave to become a freelance player.
他呆在BBC三年时间,但是由于感觉到他作为音乐家的生活变得越来越没有新意,他决定离开这里并成为一个独立的音乐演奏家.
'I felt that I had earned my spurs in orchestral music, had worked with some extremely good bands and really wanted something else. I suppose you could say that my decision to leave was reactive - again, I wanted something different and so took the opportunity. I started to guest-lead some very fine orchestras, such as Glyndebourne Touring, but also in the commercial session scene.'
我感到在管弦音乐中我已经获得了成就感,已经与一些极优秀的乐队在一起工作过,我真的需要其他一些改变,你也许说我离开的决定有点反作用--此外,我还是想要一些不同的东西,因而我要去寻找机会.我开始为一些优秀管弦乐队担当客座演奏嘉宾,比如格兰堡歌剧院等.但也曾经出席过一些商业会议的现场.“
He also joined with cellist Paul Watkins and harpist Hugh Webb to form the critically acclaimed chamber trio, Harfenspiel.
他还与大提琴演奏家Paul Watkins,竖琴家Hugh Webb组成了一个被广为赞誉的室内三重奏演出小组--Harfenspiel（这好像是个德语名）