Working languages: English to Italian
Italian to English
| Bruno D
Italy Local time: 10:12 CET (GMT+1)
Native in: Italian  | |
| Freelancer | | Translation, Editing/proofreading | | | | PRO-level points: 16, Questions answered: 13, Questions asked: 10 | Sample translations submitted: 2 Italian to English: Crin d’oro (madrigal)
General field: Art/Literary
Detailed field: Music | Source text - Italian
Crin d’oro cresp’ e d’ambra ters’ e pura
Ch’a l’aur’ in su la nev’ondeggia e vole,
Occhi soavi e più chiari ch’el sole
Da far giorno seren la nott’ oscura
Riso Rubini’ et perl’ ond’ escono parole
Si dolce ch’altro ben l’alma non vole.
Man d’avorio che i cor destrugg’e fura.
| Translation - English
Golden curly hair of pure and spotless amber
waving in the breeze above the snow,
gentle eyes so much brighter than the sun
that they turn the darkest night to clearest day.
A smile of rubies and pearls from where words issue,
so sweet that the soul could wish for nothing more.
Hand of ivory that destroys and storms hearts.
| English to Italian: Avantgarde Music: Oren Ambarchi
General field: Art/Literary
Detailed field: Music | Source text - English
Australian guitarist Oren Ambarchi (1969) manipulates the sounds of his guitar via a number of electronic and digital devices. The result has little to to do with guitars, and approaches the kind of music that is usually created with tone generators. Ambarchi credits Alvin Lucier as an influence, and his main recordings do mirror that static minimalism.
His early works were divided between a pseudo-jazz project, Stacte, which released Stacte (Jerker, 1998), Stacte.2 (Jerker, 1999) and Stacte.3 (Plate Lunch, 2000), and a series of solo and collaborative albums that explored the texture and the formation of sound: The Alter Rebbe's Nigun (Tzadik, 1999), a collaboration with Robbie Avenaim, Insulation (Touch, 2000), which was still devoted to chaotic atonal poems (performed on guitar only), and probably his first masterpiece, Afternoon Tea (Ritornell, 2000), which documents two improvisations with Paul Gough (Pimmon), Keith Rowe, Peter Rehberg (Pita) and Christian Fennesz, Persona (E.R.S., 2001).
Suspension (Touch, 2001 - Staubgold, 2002 - Touch, 2006) was the album that inaugurated his mature program, shifting the emphasis towards minimal events and silence.... | Translation - Italian
Il chitarrista australiano Oren Ambarchi (1969) manipola i suoni della sua chitarra per mezzo di svariati apparecchi elettronici e digitali. Il risultato ha ben poco a che vedere con le chitarre e si avvicina al tipo di musica che di solito viene prodotta da generatori di toni. Ambarchi cita l’influenza di Alvin Lucier e in effetti le sue registrazioni piú importanti rispecchiano quel tipo di minimalismo statico.
Nei suoi primi lavori si divideva tra un progetto di pseudo-jazz, Stacte, documentato negli album Stacte (Jerker, 1998), Stacte.2 (Jerker,1999) e Stacte.3 (Plate Lunch, 2000), ed una serie di album solisti e collaborazioni che esploravano la tessitura e la generazione del suono: The Alter Rebbe's Nigun (Tzadik, 1999), una collaborazione con Robbie Avenaim, Insulation (Touch, 2000), ancora dedicata a poesie caotiche atonali (eseguite alla sola chitarra), e quello che forse è il suo primo capolavoro, Afternoon Tea (Ritornell, 2000), che documenta due improvvisazioni con Paul Gough (Pimmon), Keith Rowe, Peter Rehberg (Pita) e Christian Fennesz, Persona (E.R.S., 2001).
Suspension (Touch, 2001 – Staubgold, 2002 – Touch, 2006) fu l’album che inauguró il suo programma maturo, spostando l’enfasi nella direzione degli eventi minimi e del silenzio...
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More Less | | Years of translation experience: 14. Registered at ProZ.com: Sep 2009. | | N/A | | N/A | | N/A | | Microsoft Word, Systran | | CV available upon request | | About me Born in Rome but spent 18 years in London and the South East working as a musician, recording engineer and producer.
I started editing and proofreading XVI and XVII century Italian madrigals and music theory texts on behalf of Linn Records, Southampton University (Musicology Dept.), and the Brighton Early Music Festival. Some of these texts were hardly legible photocopies of original manuscripts, often misinterpreted by the original translator. Having enjoyed the challenge, I decided to start translating this kind of documents myself. My first experience as a translator goes back many years, during my (then compulsory) military service when I translated manuals on the use and maintenance of Air Defence tactical weapons.
In more recent years I have also translated Music Technology articles and brochures from English into Italian.
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Keywords: Traduzioni, Traduttore, Translations, Translator, Music, Musicology, Music technology, Acoustics, Recording, Musical Instruments, Biographies, Interviews, Renaissance, Italian Madrigal, Music Production, Audio Applications, Strumenti Musicali, proofreading
Profile last updated
Oct 30, 2009 |
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