2011年考研英语(一)阅读真题全文翻译与的答案

2011年考研英语(一)阅读真题全文翻译及答案（七绝俗手版）

2011-01-16

21-25 CBDBA

26-30 BDCAC

31-35 DCBAA

36-40 CDADB

41-45 BDACF

Section II

Reading Comprehension

Part A Directions:Read the following four texts. Answer the questions below each text by choosing [A], , [C] or [D]. Mark your answers on ANSWER SHEET 1. (40 points)

Text 1

The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the most part, the response has been favorable, to say the least. “Hooray! At last!” wrote Anthony Tommasini, a sober-sided classical-music critic。

2009年纽约交响乐团突然宣布聘用艾伦·吉尔伯特为下一位乐曲指挥，从那时起一直到现在，这次任命都成为古典音乐界的话题。退一步说，从总体上看，反应还是不错的。如冷静的古典音乐评论家安东尼·托姆西尼就这样写：从长时间来看，这次委命是英明的。

One of the reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilbert’s appointment in the Times, calls him “an unpretentious musician wi th no air of the formidable conductor about him。” As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise。

然而，这次任命还是令人意外。原因之一在于吉乐伯特名声相对较小。就连那时主张雇用吉尔伯特的托姆西尼，也称吉尔伯特其貌不扬，缺乏一位令人敬仰的指挥大师的气质。作为对这个很牛的管弦乐队（牛的表现：到目前为止一直被牛人领导着）下一任指挥家的描述，这种描述跟虚浮的赞扬一样，确实会令至少一部分泰晤士报的读者觉得愕然不解（让他们觉得不可思议）。

For my part, I have no idea whether Gilbert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting compositions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music. All I have to do is to go to my CD shelf, or boot up my computer and download still more recorded music from iTunes。

就我的观点而言，我不知道吉尔伯特是不是一位伟大的指挥家，甚至连他是不是算好的指挥家也不敢确定。可以确信的是，虽然他演出了很多令人印象深刻的有趣的乐曲。然而，我不需要访问Avery Fisher Hall（可能是纽约交响乐团所在地，即吉尔伯特表演之所），或者其他地方才能听到有趣的管弦乐。（作者意思是，不需要听吉尔伯特，到处可以听到有趣的管弦乐。）我所做的，只需要到我的CD棚里去，随便打开我的电脑，从ITUNES上就可下载比那（当指吉尔伯特表演的）多得多的类似的音乐。

Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the art-loving public, classical instrumentalists must compete not only with opera houses, dance troupes, theater companies, and museums, but also with the recorded performances of the great classical musicians of the 20th century. There recordings are cheap, available everywhere, and very often much higher in artistic quality than today’s live performances; moreover, they can be“consumed” at a time and place of the listener’s choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert。

对于唱片，那些专门参加音乐会的人会说，现场表演是不可替代的。他们显然忽视了一个要点。为了替音乐爱好者节省时间、精力、金钱考虑，古典乐曲表演表不仅要在各种表演场所进行竞争，还要在记录这些行为的媒介上竞争。记在唱片上的表演比现场表演更便宜，更易得，甚至质量更好。而且它们的消费时间地点可以任由听者选择。因此，这种唱片的广泛应用，给传统音乐会带来了生存危机。

One possible response is for classical performers to program attractive new music that is not yet available on record. Gilbert’s own inte rest in new music has been widely noted: Alex Ross, a classical-music critic, has described him as a man who is capable of turning the Philharmonic into “a markedly different, more vibrant organization。” But what will be the nature of that difference? Mere ly expanding the orchestra’s repertoire will not be enough. If Gilbert and the Philharmonic are to succeed, they must first change the relationship between America’s oldest orchestra and the new audience it hops to attract。

一个可能的应对方式（解决办法）是古典音乐表演者发明有吸引力的从唱片上听不到的曲子。吉尔伯特在新音乐方面投入了自己的兴趣，这已广被人知：如古典音乐评论家罗斯就把吉尔伯特描述成一个可以扭转交响乐方向的人，认为他把交响乐带进了一个明显不同的更有活力的天地。但是，这种“不同”的实质是什么呢？仅仅扩展交响乐的节目是不够的。吉尔伯特和交响乐要想取得成功，必须首先改变美国旧的管弦乐和它们想吸引的新的听众之间的关系。

21. We learn from Para.1 that Gilbert’s appointment has

[A]incurred criticism。

raised suspicion。

[C]received acclaim。

[D]aroused curiosity。

22. Tommasini regards Gilbert as an artist who is

[A]influential。

modest。

[C]respectable。

[D]talented。

23. The author believes that the devoted concertgoers

[A]ignore the expenses of live performances。

reject most kinds of recorded performances。

[C]exaggerate the variety of live performances。

[D]overestimate the value of live performances。