Leading Symphonies Choose Houston Translation Companies

The New York Philharmonic, which is the oldest U.S. symphony orchestra, and one of the world’s oldest orchestras, was established in 1842. In 2004 the orchestra, whose achievement seems unmatchable by any other orchestra today, played its 14,000th concert. Annually, the orchestra gives approximately 180 concerts. Among the distinguished 20th-century musical giants who have led the orchestra as musical directors stand the names of Zubin Mehta, Lorin Maazel, Leonard Bernstein, Pierre Boulez and Kurt Masur. The New York Translator workers have provided expert assistant to the non-U.S. citizens like Frenchman Boulez and German Masur in both rehearsals and live performances. Rachmaninoff’s Third Piano Concerto and Dvorák’s Symphony No. 9, “From the New World” are only a few of the major works the orchestra has given the premiere to. The long list of renowned conductors under whose baton the orchestra has performed features names like Arturo Toscanini, Richard Strauss, Igor Stravinsky, Antonín Dvorák and Gustav Mahler. In February 2008 the Orchestra gave a historic concert in Pyongyang, Democratic People’s Republic of Korea, led by its Music Director Lorin Maazel.

Frenchman Pierre Boulez, Dutchman Bernard Haitink and Italian Riccardo Muti are the three outstanding artists and conductors who are currently leading the other top U.S. orchestra – the Chicago Symphony Orchestra. The Chicago Translation bureau is the organization that has helped them most in their building a long-term relationship with the musicians when they had to adapt to the new conditions. Since 1971 the CSO has undertaken 36 tours worldwide. 2007 marked three important events in the orchestra’s history: returning to the national airwaves with weekly broadcasts, the Orchestra’s in-house label – CSO Resound – was launched, and the www.beyondthescore.org was launched where classical musical presentations could be downloaded. A significant part of the Orchestra’s activities since 1916 has been occupied by recording, as the Orchestra has amassed a discography of over 900 titles. All conducted by Bernard Haitink, the most prominent titles on the CSO Resound label include: Shostakovich’s Fourth Symphony, Bruckner’s Seventh Symphony and Mahler’s Third, Sixth, Second and First symphonies. The CSO owns 60 Grammy Awards from the National Academy of Recording Arts and Sciences – more than any other orchestra in the world.

Having been long renown as one of the world’s leading symphony orchestras, the Houston Orchestra has been led by Austrian born Franz Welser-Möst since 2002. The long-term cooperation with Franz Welser-Möst, who was a frequent user of the Houston Translator agency at the beginning of his career as music director of the orchestra, has had major contribution for the warm reception of the orchestra in Europe. Soon after its foundation in 1918 by a group of local citizens, the Houston Orchestra became one of the “big-five” U.S. orchestras. Since then, it has been led by prominent music directors like Nikolai Sokoloff, Erich Leinsdorf, George Szell, Christoph von Dohnányi, and Franz Welser-Möst. Franz Welser-Möst, whose major contribution to the Orchestra has been to earn him a residence at the Musikverein in Vienna, has also led the Orchestra on numerous tours of both America and Europe. The Houston Orchestra also has a long recording and broadcast history, with DVDs and CDs under Franz Welser-Möst including Bruckner’s Symphony 7, recorded at Severance Hall, Bruckner’s Symphony 5, recorded in St. Florian Church in Austria, and Bruckner’s Symphony 9, recorded in Vienna’s Musikverein.

Awareness and Assimilation Are The Important First Steps of Correct Italian Translation

The art of translation is not only concerned with restituting meaning. In the first place, it does not aim at creating a text that is more fluid or elegant than the original. Frankly speaking, meaning must not be favored for the sake of grammar and syntax. Without any doubt, to translate a text means to restitute its meaning. All in all, in order to transfer a particular idea, the translator must try to stay as close as possibly to the original text. It would not be wrong to argue that the most instant meaning of a text must be preserved in the target text translation. The translator is forced to labor hard on every individual letter in order to render the target text without it being naturalized, denatured or assimilated. French Translator theorist Berman points out that the translating language can be overwhelmingly distorted by the translator. According to Berman, who is a distinguished translator himself, language must be transformed in a way that the translator can adapt it to his or her made up world. This world can be a setting, place or event in conflict with the objective reality, which ranges from the intentional deferral of disbelief of fictional universes to the alternating realities that come as a result.

With translation being a sort of interpretation, the first challenge that every translator has to face is to read the text and assimilate it in order to make sense. During this process, the written text is translated into the reader’s mental language. This happens when the reader reads a text in his or her own native language. Thought is transformed into an internal code which generates an internal dialogue understood inside the mind, as psychologist and Russian to English Translation worker Wygotsky demonstrated in his study of infants. Another scholar, Pierce, claims that in the process of reading a text a series of interpretants is created. Each sign refers to an object, which may be external or internal. As the interpretant is a psychical sign, it is subjected and linked to the experience of the person through the words and, respectively, through the concepts connected to those words.

Moreover, Bruno Osimo, an Italian Translator ideologist argues that the language in which we think is not a natural code, but a very particular language that can be defined as a multi-code language. Consequently, the image that creates inside the mind of the reader throughout the reading process may not coincide with the one created inside the mind of the writer. When translating from one language into another, the problem becomes even more complex because one must find a graphic sign in another language. For instance, if a novel by an Australian writer talks about a tea tree along the gravel bed of a river, the images in the minds of the Australian reader and the British reader will be totally different – the former will think about a Melaleuca of a paperbark tree, while the latter will imagine the shrub or low tree whose dried leaves form the tea of commerce. If the translator is unfamiliar with this difference, when he or she proceeds to the second phase of the translation process – that is when the translator encodes his or her own mental language into the code of the translated text – something will be lost, and most probably the translation will be incorrect.

Loss of Precision in Interlinguistic Translation

When the interlinguistic translation loses some of its precision this is most often a consequence of the double translation process that occurs in the translator’s mind but of which he/she is hardly aware. It is the unconscious, a term coined by Sigmund Freud, where the translator loses part of the message. Most of Freud’s works have been translated by German to English Translation, and the basic idea in them is that the emphasis falls on something we are ignorant of – the existence of an internal language. Any reading process, including that of interpreting a text occupies a great part of the translator’s mind, and in most case this happens unconsciously without his/her realization of this fact. Thus the translator will inevitably have to remember incidents in his own life arising from personal experiences including, pains and passions, sentiments and downfalls, impressions and memories. Thus the translator has no choice but to unconsciously manipulate the text.

The area in-between the original and the translation is extremely fascinating especially when it is studied by expert theorists of translation. It is in this zone that the two languages and/or cultures collide and intercept, so the resulting mixture is a kind of cross-fertilization which perverts and mistakes their distinctive characteristics, claims Italian to English Translation ideologist, Paolo Bartoloni. What may said to be neither arrival nor origin is what is sometimes referred to as the interstitial area – it involves both the memory of origin and the enigma of arrival. In fact, this is not an easy place to inhabit, because it is a sinister place, relatively unstable and constantly changing.

After translating the text, the translator faces yet another critical challenge: revising his or her own work. In the revision stage, the translator must, return to the first draft, which is in the interstices: it is no longer the source text, but is not yet the translated text. In this phase the feeling of uncertainty starts to creep in – a feeling known to anyone who has been a translator. The revision process is always dependent on the very responsible editorial policy the publishers take. Many is the time when editors have tried to influence the translator’s methodology. One such instance is a Portuguese Translation Services editor who has spoilt the whole process. In many cases, insufficient research carried out by editors on the model customer and the dominant of the text intermittently rewrite the works that are to become publications, influenced by mass consumption literature.

Usually, translators should stay open to interventions made by other on their text, as they can be very wholesome contributions to the final product. If the person who is going to review the translated work has enough expertise in the field, then translator’s attitude should be positive. Often, the translator is too emotionally involved in his or her choices to be the best judge, so it is significant to have a third party, someone who can suggest possible choices. French to English Translation theorist Antoine Berman argues that to translate means to assume the culture of the other and accept that others are invited to contribute to its development as well. Cinema, music and theater which are performing arts also demand such support. A translator who has decided to translate an author coming from the margins of the world, he/she must also bear in mind that his/her culture is a border culture. This leaves him with the almost impossible task of balancing on the tightrope being left with the unpleasant feeling of vertigo.