维也纳

It is the desire of the Philharmonic not only to provide musically definitive interpretations of the masterworks of this genre, but at the same time, as musical ambassadors of Austria, to send people all over the world a New Year's greeting in the spirit of hope, friendship and peace.

在新年上演从斯特劳斯家族及其同代人的大量曲目中选出的活泼的和怀旧的曲目所组成的节目已经是爱乐乐团多年的传统。这些音乐会不仅给维也纳音乐之友协会大厦的观众们带来了愉悦，而且通过世界范围的电视转播获得了巨大的国际声望，现在已向50多个国家转播。

He then served as maestro di cappella at San Giovanni in Monte and afterwards worked in Milan , Rome , Vienna and Berlin .

然后，他曾担任伴奏大师迪在圣乔瓦尼在蒙特卡罗，后来在米兰，罗马，维也纳和柏林工作。

In the late twenties, Wittgenstein also came into contact with the Vienna Circle of logical positivists, who were greatly inspired by his work on the Tractatus.

在20岁后半段，维特根斯坦也接触到维也纳圈的逻辑实证主义，谁是极大地鼓舞了他的工作 Tractatus 。

The movement's most famous member was Viennese painter Gustav Klimt, and his work, as well as that of other secessionists, is showcased at the Secession Pavilion, designed by Josef Maria Olbrich.

这次运动最有名的成员是维也纳画家古斯塔夫。克里姆特，他和其他分离派成员的作品都被陈列在约瑟夫。玛利亚。奥尔布里希设计的分离派展览馆里。

Even the German foreign correspondent of the biggest Chinese sports daily TITAN SPORTS travelled to Vienna only for this purpose.

甚至德国的外国记者的中国最大的体育日报体坛周刊也专程前往维也纳。

Stigmatising it as the bleeding heart of western decadence – a chambered life-pulse coursing with errant freedoms just like partitioned Vienna or Berlin – he wound down its cinemas, closed its private studios, persecuted its actors, writers, filmmakers.

他给上海打上了西方堕落的烙印——追求偏离正轨的自由，就像分裂的维也纳或柏林——他停拍电影，关闭私人电影制作公司，迫害演员、编剧和导演。

Solely didactic motives of Bach in composing the cycle appear questionable, considering the spiritual conception of the sonatas, their concertante character and their high rank within the historical process of a gradual development of the classical Viennese sonata.

考虑到奏鸣曲的精神观念、适于发挥高度技巧的特点、和在维也纳古典奏鸣曲逐步发展的历史进程中形成的高阶性，巴赫纯粹说教式的创作动机受到怀疑。

When the band battle array with giant philharmonic society, in the eye shot that appears in compatriots through TV screen, when kite music " cold duck paddle " in Vienna when aureate hall resound, character of feeling of Guo Ying of artist of our country ancient kite: Come how many years, I dream to be able to let Gu Zheng all the time the musical gem of this one the Chinese nation, show her of alive bound music that attractive Oriental verve.

当乐团庞大的乐队阵容，通过电视荧屏出现在国人的视野中、当筝曲《寒鸭戏水》在维也纳金色大厅回荡时，我国古筝艺术家郭鹰感言：多少年来，我一直梦想能让古筝这一中华民族的音乐瑰宝，在世界音乐之都显示她那迷人的东方神韵。

In 1982 Chen was invited to conduct the Asben Festival Orchestra in America and was hailed as a success. In 1984, Chen was appointed President of Shanghai Symphony Orchestra, and two years later was appointed Music Director, the first music director of any performing groups in Chinese history. Since 1985, Chen has appeared in nations and regions including the former USSR, Japan, Italy, the USA, the Great Britain, Switzerland, Korea, the DPRK, Thailand, Singapore, Australia, Germany, Denmark, Austria, France, Spain, Russia, Hong Kong, Macau and Taiwan, conducting native orchestras. In 1998, 1999, and 2000 he led the Central Chinese National Orchestra on its tours to many cities in Austria, Germany, Denmark. His concerts at the Grosser Saal Musikverein of Vienna and the Lincoln Center of New York have won enormous successes. In August, 2000, he led again the Central Chinese National Orchestra to perform in the "Chinese Culture in America" Festival, appearing in musical centers including the Lincoln Center.

上海音乐学院毕业后，曾任上海芭蕾舞团管弦乐队常任指挥。1982年他应邀在美国阿思本音乐节指挥音乐节乐团，大获成功。1984年出任上海交响乐团团长，1986年被任命为上海交响乐团音乐总监，成为中国文化发展史上第一位文艺院团的总监。1985年以来，陈燮阳先后赴苏联、日本、意大利、美国、英国、瑞士、韩国、朝鲜、泰国、新加坡、澳大利亚、德国、丹麦、奥地利、法国、西班牙、俄罗斯等国家和港、澳、台地区，指挥本团或当地著名乐团举办音乐会，均受盛赞。1998年1月和1999年2月，陈燮阳率中央民族乐团赴奥地利、德国、丹麦，在世界著名的维也纳金色大厅和柏林爱乐大厅，以及其他城市音乐厅举办中国新年音乐会。2000年8月，他又率中央民族乐团赴美国参加&中华文化美国行&的巡回演出，其中包括在纽约著名的林肯艺术中心举办音乐会。

They include hard-boiled history, such as a review of how the confused motives of the British government's 1917 Balfour Declaration first laid the ground for the conflict. There is a vitriolic character sketch of Golda Meir,"the face that launched a thousand MiGs". And there is a somewhat moist-eyed account of a peace symposium convened by the conductor Daniel Barenboim that called for more European mediation—a call in which one cannot help but hear a subconscious lament by the eminent and worldly participants that Jerusalem and Damascus were not more like Vienna and Paris in the first place.

其中有冷峻的史实，如书中一篇评论阐述了1917年英国贝尔福宣言背后种种令人不解的动机是如何为以巴冲突埋下了第一个隐患；《令一千架米格飞机升空的人》则以辛辣的文笔给出了果尔达·梅厄的人物特写；而关于丹尼尔·巴伦波音召集和平座谈会呼吁欧洲进行更多调解的报道则令人情不自禁、眼眶微湿——因为我们无法对那些杰出人物与尘世中人在潜意识中发出的叹息置若罔闻：耶路撒冷和大马士革再也不像一开始那样，能与维也纳和巴黎相提并论了。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。