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crocox

Romania

Native in: Romanian (Variant: Romania) 
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Art, Arts & Crafts, PaintingConstruction / Civil Engineering
Poetry & LiteratureMusic
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KudoZ activity (PRO) PRO-level points: 1422, Questions answered: 471, Questions asked: 12
Portfolio Sample translations submitted: 2
Romanian to English: Blues and Jazz in Banat
General field: Art/Literary
Detailed field: Music
Source text - Romanian
În primăvara următoare, la festival, după un spectacol cuceritor, „greii” jazzului au urcat pe scenă să-l felicite pe Gondi pentru noua trupă, pentru stil , piese şi pentru ghitarist. Patriarhul jazzului românesc, Mihai Berindei, le-a temperat, însă, entuziasmul, spunînd, referitor la Toni Kühn, neamţul trupei: „staţi liniştiţi, o să plece şi el.
Festivalul de jazz, anual, de la Sibiu devenise un fel de instituţie: nu oricine era invitat acolo. În mod normal. Exista o preselecţie, după care, în caz că era aleasă vreo formaţie, aceasta intra în concursul debutanţilor. în lumea jazzmanilor, în general, se făcea treptat. Trebuia să treci prin preselecţie, apoi un fel de concurs urca oricum pe acea scenă. În anii aceia, un cuvînt greu de spus îl aveau „puriştii”, adică jazmanii care considerau jazz adevărat doar mainstreamul bop şi post bop, pînă la hard şi cool. Nici gînd să accepte fusion sau free deşi în America şi în Europa, în general, se afirmaseră deja formaţii ce practicau aceste stiluri. .La una dintre ediţiile festivalului a apărut formaţia Carusel, din Arad, care a prezentat un program alcătuit din piese de jazz-rock. „Puriştii” au fost scandalizaţi, şi s-a făcut o şedinţă. La un moment dat, Gondi a luat cuvîntul: „Tovarăşi, mai bine decît să smulgă receptoarele de la telefoane, lăsaţi-i pe copiii să cînte jazz rock!”
Toni îşi aminteşte despre această seară: „Tică Răducan, artist plastic din Lugoj şi prieten comun, făcuse afişul, care colcăia de simboluri şi aluzii alchimice. Nici nu terminasem ultima piesă, că a venit ţintă la mine un securist care mi-a aruncat într-o răsuflare toate aceste întrebări: cine ţi-a permis să cânţi în engleză? cine a făcut afişele? cine le-a autorizat? cine e Theophrastus? Am apucat să-i răspund că Theophrastus e cocoşul meu preferat, de la Totina. Las că vă arăt eu vouă Theophrastus şi misticism! Aici a intervenit Johnny Răducanu, probabil cu o snoavă sau o glumă, nu-mi mai aduc aminte şi a liniştit situaţia.”
Translation - English
After a triumphant show at the festival, the heavyweights of jazz stepped on stage to congratulate Gondi on his new band, their style, on their compositions and the guitarist. Mihai Berindei, the Patriarch of Romanian jazz, tempered their enthusiasm and said about Toni Kühn, the German of the band: “don’t worry, he’ll leave too!”
The Jazz Festival in Sibiu had become some sort of an institution: not just anyone was invited there. There was, of course, a pre-selection, after which, in case some band had been chosen, it would have entered the beginners contest. The “purists”, that is the jazzmen who considered as being real jazz only the mainstream of bop and post-bop up to hard and cool, had a great word in the matter. There was no way they would accept fusion or free although there were some bands already launched in America and Europe practicing these styles. In one edition of the festival the band Carusel from Arad showed up, presenting a program of jazz-rock songs. The purists were scandalized and subsequently organized a meeting. At a moment, Gondi took the floor: “Comrades, better let the children play jazz rock than let them pull out the phone receivers!”
Toni recalls this evening: “Tică Răducan, an artist from Lugoj and common friend, had done the poster which swarmed with alchemy symbols and allusions. Hardly had the band finished the last song when a guy from the security services came to me and asked me all these questions in a breath: who allowed you to sing in English? who did the posters? who authorized them? who is Theophrastus? I hardly answered that Theophrastus was my favourite rooster in the countryside, at Totina. I’ll show you Theophrastus and mysticism! At this point Johnny Răducanu came with an anecdote or a joke, I can’t remember, and calmed down the situation.”
Romanian to English: Blues and Jazz in Banat
General field: Art/Literary
Detailed field: Music
Source text - Romanian
CUVÎNTUL AUTORULUI
There really is no such thing as art. There are only artists.
— E.H. Gombrich, art historian

Timişoara a fost, încă din Evul Mediu, un oraş european. Capitală a Banatului, Timişoara seamănă cu oraşul New Orleans, locul de baştină al jazzului, prin multiculturalitate. Aşezată foarte aproape de graniţele cu Ungaria şi Serbia, Timişoara este locuită de către mai multe naţionalităţi, în afară de românii, băştinaşi: maghiari, germani, sîrbi, ţigani, evrei, ruşi, ruteni, slovaci, croaţi, bulgari, cehi. Viaţa economică a oraşului a permis dezvoltarea culturală pe multiple planuri, la un nivel egal cu Budapesta şi Viena. Anul 1884 consemnează o premieră europeană, prin aprinderea primelor lămpi electrice de pe continent, iar, din 1889, circulă aici primele tramvaie alimentate electric.
Timişoara a fost dintotdeauna un loc în care nu au existat discriminări naţionale. Pînă nu demult, majoritatea timişorenilor vorbeau sau înţelegeau cel puţin trei limbi: româna, maghiara şi germana. Timişoara este singurul oraş din România care are trei teatre naţionale: cel român, cel german şi cel maghiar. Faptul că aici funcţionează, pe lîngă şcolile şi liceele cu limbă de predare română, maghiară, germană, sîrbă şi bulgară, liceul Calderon, cu limbă de predare franceză şi Shakespeare, în limba engleză, confirmă multiculturalitatea urbei noastre.
Muzica este o componentă importantă a expresiei artistice, în orice societate, iar artiştii muzicieni din Timişoara s-au bucurat de sprijinul comunităţii pentru a pregăti şi întreţine un nivel profesionist. Oraşul are două instituţii culturale de nivel naţional, Opera Naţională Română şi Filarmonica de Stat Banatul. Pentru a ajunge acolo, tinerii talentaţi sînt pregătiţi la Colegiul Naţional de Artă „Ion Vidu”, apoi la Facultatea de Muzică din cadrul Universităţii de Vest sau la Facultatea de Jazz şi Pop Richard Oschanitzky, din cadrul Universităţii Tibiscus.
În ceea ce priveşte jazzul, oraşul de pe Bega a făcut cunoştinţă cu sonorităţile swingate ale acestui limbaj de timpuriu, prin intermediul discurilor de patefon şi al emisiunilor radio. Ritmurile de charleston, swing, boogie woogie sau jive i-au contaminat iute pe cei ce erau tineri în anii 1930. Şi, fiindcă funcţia primordială a jazzului era aceea de acompaniatoare pentru dans, în Timişoara se putea întîlni acest unic produs cultural vernacular american, în primul rînd, în şcolile de dans. Deoarece regimul comunist considera cultura americană drept una decadentă, în notă cu linia trasată la Moscova, jazzul nu se bucura de respectul cuvenit, spre deosebire de ţările din vestul Europei. Locul său era acceptat, în anii ’45-’68, pe lîngă şcolile de dans, doar în cluburi muncitoreşti, în restaurante şi anumite localuri. Melomanii de jazz erau nevoiţi să asculte muzica favorită în mediu privat, de multe ori la domiciliu, unde puteau invita prieteni şi colegi spre a se delecta, analiza, discuta şi chiar a interpreta jazz. Cea mai competentă sursă de informare şi difuzare a jazzului a constituit-o emisiunea lui Willis Conover de la postul Voice of America, Jazz Hour. Multora dintre muzicieni, această emisiune le-a schimbat – dacă nu viaţa sau cariera – cel puţin, deschiderea către o formă culturală modernă, produs autentic al secolului al douăzecilea. Poziţia aparte, cîştigată de România prin neparticiparea la invazia Cehoslovaciei, în anul 1968, alături de ţările din Pactul de la Varşovia, i-a atras simpatia S.U.A. şi a statelor vest-europene. Preşedintele Statelor Unite, Richard Nixon, a efectuat, în anul 1969, prima vizită oficială a unui şef de stat de peste ocean la Bucureşti, simţind că este momentul să încerce o breşă în blocul socialist dirijat de U.R.S.S. Relaţiile româno-americane s-au dinamizat, în sfera lor intrînd schimburile culturale. Americanii începuseră deja să folosească jazzul, ca inter-faţă în propaganda prosperităţii societăţii lor, aflată în acerbă concurenţă cu sovieticii. The American Dream exporta jazzul, devenit o emblemă a egalităţii de drepturi şi de şanse.
Translation - English
WORD FROM THE AUTHOR
There really is no such thing as art. There are only artists.
— E.H. Gombrich, art historian

Timişoara has been, as far back as the Middle Ages, a European city. By its multiculturalism, the capital of the historic region of Banat resembles New Orleans, the hometown of jazz. Placed very close to the borders to Hungary and Serbia, Timişoara is inhabited by several nationalities besides the Romanian natives: Hungarians, Germans, Serbians, Gipsies, Russians, Ruthenians, Slovaks, Croatians, Bulgarians, Czechs. The economic life of the town favoured its cultural development on multiple levels, at the same pace with Budapest and Viena. The year of 1884 records a European premiere by the turning on of the first electric street lamps on the mainland while a little later, in 1889, trams in Timişoara became electric, too.
The city has always been a place without any national discrimination. Until recently, the majority of the locals would speak or understand at least three languages: Romanian, Hungarian and German. Timişoara is the only town in Romania that has no less than three national theaters: Romanian, German and Hungarian. The fact that in this town schools with teaching in Romanian, Hungarian, German, Serbian and Bulgarian languages function alongside the Calderon High School with teaching in French and Shakespeare, in English, confirms the multiculturalism of our town.
Music is an important component of artistic expression in any society and the musicians in Timişoara have always met the support of the community in their preparing and maintaining of a professional artistic standard. The town hosts two national cultural institutions which are the Romanian State Opera and the „Banatul” State Philharmonic Orchestra. Talented young people who aim to reach there are educated at „Ion Vidu” National College of Arts followed by the Faculty of Music at the West University of Timişoara or by „Richard Oschanitzky” Faculty of Jazz and Pop at Tibiscus University.
As far as jazz is concerned, the town lying on the Bega River has met the swinging sonorities of this language since early times through gramophone records and radio programmes. The rhythms of charleston, swing, boogie woogie or jive quickly contaminated the youngsters of the 1930s. Since the primordial function of jazz was to accompany dance, one could mainly find this unique American vernacular cultural product within the dance schools. Unlike the Western European countries where jazz enjoyed the due respect, the comunist regime in Romania considered the American culture as being a decadent one, thus following the line mapped out in Moscow. Between 1945-1968 jazz was accepted by the dance schools, in workers clubs, restaurants and some pubs. Jazz lovers were constrained to listen to their favourite music in a private environment, many times at home where they could invite friends and colleagues over to enjoy, analyze, discuss and even play the jazz themselves. The most competent source of information and broadcasting of jazz programmes was the Jazz Hour, Willis Conover’s radio broadcast on the Voice of America radio station. To many musicians this radio programme brought a change– if not in their life or carreer – at least in their opening to a modern form of culture, a genuine product of the 20th century. Romania’s particular position gained by its not participating, in 1968, in the invasion of Czechoslovakia alongside the countries of the Warsaw Treaty has drawn the sympathy of the USA and of the Western European countries. Driven by his feeling that it was time to try creating a breach in the socialist bloc controlled by the USSR, the American President Richard Nixon was the first statesman from across the ocean to pay an official visit to Romania in 1969. This brought a boost to the Romanian-American relationships which comprise the cultural interchange. Americans had already started using jazz as an interface in the propaganda of their society’s prosperity while being in harsh competition with the Soviet Union. The American Dream would export the jazz, made into a symbol of equal rights and opportunities.

Glossaries Architecture/Design, Arts/History/Religion, Arts/Music, Business, Chemistry - Physics , Constructions, Contracte, Drumuri/Autostrazi, Franceză - Română, Industria aerospatiala/Aviatie/Spatiu

Translation education Master's degree - Translation Studies West University of Timisoara
Experience Years of experience: 8. Registered at ProZ.com: Nov 2011.
ProZ.com Certified PRO certificate(s) N/A
Credentials English to Romanian (Romanian Ministry of Justice, verified)
Romanian to English (Romanian Ministry of Justice, verified)
Italian to Romanian (Romanian Ministry of Justice, verified)
Romanian to Italian (Romanian Ministry of Justice, verified)
Memberships N/A
Software Adobe Acrobat, Microsoft Excel, Microsoft Word, Powerpoint
Contests won Poetry with a tune: English to Romanian
2014 annual ProZ.com translation contest: English to Romanian
Professional practices crocox endorses ProZ.com's Professional Guidelines (v1.1).
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This user has earned KudoZ points by helping other translators with PRO-level terms. Click point total(s) to see term translations provided.

Total pts earned: 1462
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Profile last updated
Jan 22, 2017