[筆譯] 1/字_筆_英譯中_古典音樂文集_4000字
[必]工 作 量：約4000 字
[必]工作報酬：每一字1元
[必]涉及語言：中譯英
[必]所屬領域：古典音樂/歌劇
[必]文件類型：期刊文章
[必]截 稿 日：2017.8.8
[必]應徵期限：2017.8.4
[必]聯絡方式：站內信
[必]付費方式：交稿後一天內付款
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[選]工作要求：準時交件
[選]試 譯 文：
Mahler’s exposition of subject groups is far from conventional in other
respects, embracing a return to E flat for more reference to the tonic,
an excursion to D minor for some- thing that might be development, and
finally the return of the second subject in E flat with an overpowering
cadence towards the tonic of that key: the 'towards' is important since
Mahler wrenches away the final tonic in preparation for the true development
section. It must be conceded that Mahler very seldom wrote a conventional
exposition (and when he did in the opening movements of the First and Sixth
Symphonies, he signalled strongly to this effect by adding conventional repeat
marks). His attitude to sonata form was rather similar to his approach to
literary texts. If Mayer's description of Mahler as a literary "usurper' is
to be retained, it might as well be extended to his use of form.
Movement after movement in his oeuvre fragments, rebuilds, and cross-breeds
formal types. In the Eighth, the most spectacular example of this is the
incorporation of a lengthy fugue into the development section.
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