This site uses cookies.
Some of these cookies are essential to the operation of the site,
while others help to improve your experience by providing insights into how the site is being used.
For more information, please see the ProZ.com privacy policy.
Bonjour, je propose des traductions générales, musicales, techniques (automobile) et commerciales (traduction de plaquettes commerciales, de courriers commerciaux, de devis, de rapports d'activités...)
Account type
Freelance translator and/or interpreter
Data security
This person has a SecurePRO™ card. Because this person is not a ProZ.com Plus subscriber, to view his or her SecurePRO™ card you must be a ProZ.com Business member or Plus subscriber.
Affiliations
This person is not affiliated with any business or Blue Board record at ProZ.com.
Services
Editing/proofreading, Translation
Expertise
Specializes in:
Automotive / Cars & Trucks
Business/Commerce (general)
Economics
Marketing
Music
Rates
Blue Board entries made by this user
0 entries
Portfolio
Sample translations submitted: 1
English to French: Translation from French (mother tongue) to English of the CD booklet of the "24 Preludes" of Claude Debussy General field: Art/Literary Detailed field: Music
Source text - English C. DEBUSSY : 24 PRELUDES
Composés entre 1909 et 1912, ces 24 préludes peuvent être considérés comme une « somme pianistique » dans l’œuvre de C. Debussy, mais aussi plus généralement dans la littérature pour l’instrument. Ils s’inscrivent dans une tradition, qui depuis les 24 préludes et fugues du « clavier bien tempéré » de J.S. Bach s’est poursuivie avec F. Chopin, puis S. Rachmaninov, A. Scriabine, O. Messiaen.
Ecrits dans la période de maturité du compositeur, ils succèdent aux « Estampes », aux « Images », à « L’île joyeuse », et précèdent les études (en quelque sorte préfigurées par les « Tierces alternées », 2ème cahier). Ils sont également contemporains des « Images » pour orchestre, C. Debussy ayant à l’époque déjà composé ses grandes partitions symphoniques.
70 ans après les préludes de F. Chopin dont elles s’inspirent, ces 24 pièces variées dévoilent toutes les facettes de l’art debussyste. Se distinguant de son grand prédécesseur romantique, qui fait du prélude une pièce libre, C. Debussy suggère à chacun d’eux un intitulé furtif qui nous renvoie librement aux multiples sources d’inspiration qui fécondent sa production musicale : la nature et ses éléments, les créatures féériques ou imaginaires, l’antiquité, l’exotisme, qu’il soit italien, espagnol, ou anglo-saxon. Au-delà des procédés descriptifs, C. Debussy y dévoile _tout comme F. Chopin_ ses états d’âme (joie, légèreté, humour parfois caricatural, sérieux, mélancolie, mystère, rêverie, accablement) sans excès, usant savamment d’un art de la demi-teinte, et de l’équilibre formel.
Ces partitions nous étonnent aujourd’hui encore par leur modernité. L’harmonie debussyste se libère des lois de la tonalité classique en usant de modes, de notes-pédales, de notes-pivots ; elle est créative d’accords et de complexes sonores colorés autonomes, s’aventure vers l’atonalité mais sans pour autant s’affranchir totalement des relations harmoniques fondamentales (rapport tonique/dominante, cadences). Extrêmement inventives et caractérisées, les mélodies s’émancipent, se faisant entendre sans accompagnement, ou distinctes de leur contexte harmonique. Les rythmes, affranchis des barres de mesure, se réfèrent à l’objet décrit, aux lieux ou situations évoquées.
La forme est également ouverte, la poésie semblant seule guider le compositeur dans une spontanéité parfois surprenante. Cette musique qui pourrait être improvisée n’exclut pas la présence de motifs, de développements, de répétitions ; l’unité y est présente, la construction formelle et la direction perceptibles. Si le discours est mobile et imprévisible, l’architecture (construction par sections, construction en arche, tripartisme) reste classique et stable. Peintre certes, mais également dessinateur, C. Debussy témoigne également de sa maîtrise de l’art polyphonique et du contrepoint.
Lui-même pianiste, il prête ici un grand intérêt au son (modes d’émission, résonnances, palette d’intensités), pétrissant son clavier, abordant l’instrument comme un orchestre de timbres multiples.
Les préludes de C. Debussy semblent avoir hérité de la clarté, de l’équilibre, du sens descriptif, du souci du détail, de l’art d’ornementer et du goût pour la danse qui caractérisaient les clavecinistes français. Par le brio, la virtuosité, les effets, les contrastes et l’usage de tous les registres de l’instrument ils poursuivent la tradition romantique. L’écriture en textures, les juxtapositions rythmiques, l’exploration des sonorités et l’utilisation complexe des pédales ouvrent délibérément la voie au piano moderne, ce qui donne toute son importance à cette œuvre, devenue incontournable pour les pianistes.
SYLVIE NICEPHOR
Translation - French C. DEBUSSY: 24 PRELUDES
Composed between 1909 and 1912, these 24 Preludes can be considered as a "pianistic sum" in the work of C. Debussy, but also more generally in the literature for the instrument. They are part of a tradition which, since the 24 Preludes and fugues of the "well-tempered clavier" of J.S. Bach continued with F. Chopin, then S. Rachmaninov, A. Scriabin, O. Messiaen.
Written in the period of maturity of the composer, they succeed to “Les Estampes”, “Les Images”, “L’Ile Joyeuse”, and precede the studies (somehow prefigured by “Les Tierces Alternées”, 2nd notebook). They are also contemporary of “Les Images” for orchestra, C. Debussy who at the time already composed his large symphonic scores.
Seventy years after F. Chopin Preludes on which they are based, these 24 varied parts reveal all the facets of Debussy art. Distinguished from his great romantic predecessor, who makes the prelude a free piece, C. Debussy suggests to each of them a stealth title which freely refers us to multiple sources of inspiration which fertilize his musical production: nature and its elements, magical or imaginary creatures, antiquity, exoticism, whether Italian, Spanish or English. Beyond descriptive processes, C. Debussy reveals, as F. Chopin, his states of mind (joy, lightness, humour sometimes cartoonish, seriousness, melancholy, mystery, dreaming, dejection) without excess, using cleverly an art of halftone, and formal balance.
These partitions still surprise us today by their modernity. Debussy harmony frees itself from the laws of classical tonality by using modes, pedal-notes, pivot-notes; it is creative of chords and autonomous sound colorful complexes, venture to atonality but without completely freeing from fundamental harmonic relations (relation tonic/dominant, cadences). Extremely inventive and characterized, the melodies free themselves, heard without accompaniment, or separate from their harmonic context. Rhythms, freed from the regular bar lines, refer to the described object, to the places or situations mentioned.
The form is also open, poetry seeming only guide the composer in a sometimes surprising spontaneity. That music which could be improvised does not exclude the presence of figures, developments, repetitions; unit is present, construction is formal and the direction is noticeable. If the speech is mobile and unpredictable, the architecture (construction by sections, construction in arch form, tripartism) remains classic and stable. Surely a painter, but also a drawer, C. Debussy also shows his mastery of polyphonic art and counterpoint.
Himself a pianist, he has here a keen interest in sound (patterns, resonances, range of intensities), kneading his keyboard, approaching the instrument like an orchestra with multiple timbres.
C. Debussy Preludes seem to have inherited the clarity, the balance, the descriptive sense, the attention to detail, the art of ornament and the taste for dance which characterized the French harpsichordists. They continue the romantic tradition by the brio, the virtuosity, the effects, the contrasts and the use of all the registers of the instrument. Writing in textures, rhythmic juxtapositions, the exploration of the sounds and the complex use of the pedals deliberately open the way to modern piano, which makes it so important to this work, become vital for pianists.
SYLVIE NICEPHOR
Sylvie Nicephor is simultaneously a pianist and a musicologist.
After her studies at the CNSM (Conservatoire National Supérieur de Musique), where she received four First Prizes in writing and orchestration classes, and her musicology doctor degree at the University of Paris Sorbonne, she perfected her piano interpretation in Paris with the Argentine pianist, W. Voguet, V. Scaramuzza’s pupil in Buenos Aires.
She gives concerts in France and also in other European countries (Germany, Italy, Hungary, Finland, Greece), where she has been regularly invited in international festival
More
Less
Translation education
Other - Diplôme de la Chambre de Commerce et d'Industrie Franco Britannique
Experience
Years of experience: 23. Registered at ProZ.com: Feb 2017.
I used to be an executive assistant and a translator for 18 years. I used to work in major companies in the CAC 40 index, such as “Parfums Christian Dior”, “L’Oréal”, “Alstom”, “Areva”, “Volvo”, “Peugeot”, “Renault”, etc... At Renault, I have translated 40 data sheets on vehicle engines and gearboxes from French into English and Spanish.I have worked in all these companies essentially with French, English and Spanish, French being my mother tongue.I have the diploma of the British Chamber of Commerce and Industry and the diploma of the COCEF (Official Chamber of Commerce of Spain in France).I specialize in English / Spanish into French general and commercial translations, for example:translation of business correspondence, business and activity reports, quotes and invoices, commercial booklets, curriculum vitae, etc...I specialize also in musical translations, such as, for example, translations of CD booklets.
This profile has received 6 visits in the last month, from a total of 6 visitors
Portfolio 