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allemand vers anglais: 250th Anniversary of the Pipe Organs in Ottobeuren General field: Autre Detailed field: Musique
Texte source - allemand Zum 250. Geburtstag am 29. September 2016 soll die zwölfjährige Baugeschichte der Ottobeurer Riepp-Orgeln, die trotz wechselvoller Restaurierungsgeschichte in hohem Maße ihre Ursprüngliche Struktur behalten haben und zu den wichstigsten europäischen Denkmalorgeln zählen, skizziert werden. Da der Orgelakt der Bauzeit verschollen ist, müssen Großkellereirechnungen und die Tagebuchaufzeichnungen von Johann Andreas Silbermann (1712-1783) als Primärquellen dienen.
1754-1755 werden mit dem Bildhauer Johann Joseph Christian aus Riedlingen und dem Schreiner Martin Hermann [Hörmann] aus Villingen erste Verträge für das Chorgestühl abgeschlossen. Im selben Zeitraum ist der aus Eldern bei Ottobeuren stammende, aber in Dijon ansässige Orgelbauer Karl Joseph Riepp erstmalig zu Vorverhandlungen in Ottobeuren. Mit dem Modell für das Chorgestühl liegt auch ein „Riss“ (Entwurf) für den Orgelneubau vor, der dem schließlich ausgeführten Konzept im Wesentlichen entsprochen haben muss. Silbermann berichtet darüber:
Othobeyern Ist eine Abtey in Schwabenland. Als ich in Zwyfalden war, so zeigte mir der Bildhauer daselbst ein Model von einer Orgel die dahin soll. Und auch einen sauber gezeigneten Riß wo sich im gantzen Chor herum das Pfeiffenwerk in 18 Feldern oder Façen herum zeiget. Mitten ist ein Positif und hinter einem Pfeiler soll der Organist sitzen. Man gab vor er wäre in Paris gemacht. Als aber H. Ripp Orgelmacher in Dijon den [22.] May 1755 bey mir in Colmar war, sagte er nur das er diesen Gedancken hat angegeben und zeignen lassen. Weilen Er gebürtig von Ottobeyren ist, so hat man das Vertrauen zu ihme. Er ist auch dorten gewesen und hat angegeben wie das Holtz zu denen Windladen un Corpus könte zu gerüstet werden. Er aber verlanget diese Arbeit nicht zu machen, indeme Ihme nicht anstendig ist, solange von Hauß wegzuseyn, und seine Frau konte Er nicht dahin nehmen, dan sie könte mit keinem Menschen ein Wort reden.
Aus Silbermanns Erwähnung des Besuchs von Riepp in Colmar geht weiterhin hervor, dass Riepp 1755 von Ottobeuren zwei Mitarbeiter nach Dijon gebracht hatte, nämlich Ludwig Weber und seinen Neffen Joseph Rabiny. Er ziehet zwey junge Orgelmacher; die er in der Lehre hat, nach.
Traduction - anglais On the 250th. anniversary, 29th September 2016, the twelve-year history of the Riepp organs in Ottobeuren will be outlinedSince the , which, despite a varied history of restorations, have to a great degree retained their original structure, and which count among the most important historic European organs. Since the opening ceremony of the organ at the time it was built has disappeared, the bills from the great wine cellars and the diary entries of Johann Andreas Silbermann (1712-1783) must serve as primary sources.
In 1754-55 the first contracts for the choir stalls were agreed with the sculptor Johann Joseph Christian of Riedlingen and the carpenter Martin Hermann [Hörmann] of Villingen. At the same period the organ builder Karl Joseph Riepp, who came from Eldern near Ottobeuren but was settled in Dijon, became involved in preliminary negotiations in Ottobeuren. Together with a model for the choir stalls, there was also a sketch for the new organ, which must have corresponded closely with the ultimately completed plan. Silbermann tells us:
Othobeyern [Ottobeuren] is an abbey in Swabia. When I was in Zwyfalden [Zwiefalten], the sculptor there showed me a model of an organ which was suppoed to be here. And also a well drawn sketch where all round the choir rhe pipework was shown in 18 fields or façades. In the centre is a Positive and behind a pillar the organist is supposed to sit. They told me it may have been sketched in Paris. However, when Mr. Riepp, the organ builder of Dijon was with me in Colmar on 22nd May 1755, he said merely that he had suggested these ideas and had them drawn. Since he was born in Ottobeuren, they trusted him. He has also been there and said how the wood for the wind chests and case could be prepared. However, he did not want this work to be done, because it was not convenient for him to be away from home for so long, and he could not tkae his wife away from there, since she would not be able to speak a word with anybody.
From Silbermann's mention of the visit by Riepp to Colmar, it appears furthermore that Riepp had brought two co-workers from Ottobeuren to Dijon in 1755, that is, Ludwig Weber and his nephew Joseph Rabiny. He took two young organ builders, whom he had as apprentices.
In the autumn of 1756, Silbermann received a message from Riepp concerning the conclusion of the contract for an organ split on either side of the choir stalls with merely 33 stops. On the abbey's part, the original plan was altered, and they wanted a central console in the middle of the choir.
allemand vers anglais: Legally valid description of ingredients General field: Autre Detailed field: Cuisine / culinaire
ALLERGENINFORMATION
Dieses Produkt enthält Weizengluten und Milch.
AUFBEWAHRUNG
Kühl, trocken und lichtgeschützt lagern.
HERGESTELLT IM VEREINIGTEN KÖNIGREICH VON
WARBURTONS LIMITED, HEREFORD STREET, BOLTON, BL1 8JB
150 g ℮
Traduction - anglais LEGALLY VALID DESCRIPTION:
DRIED PITTA BREAD SNACK FLAVOURED WITH SEA SALT AND COARSELY GROUND BLACK PEPPER
INGREDIENTS
Wheat Flour
Sunflower Oil
Water
Seasoning of Sea Salt and coarsely ground Black Pepper (Lactose, Sea Salt, Yeast Extract
(Yeast Extract, Salt, Maltodextrin (Potato)), Seasoning (Black Pepper), Sugar, Natural (Brandy) Vinegar Powder, Onion Powder, Seasonings, Spice Extracts (Extract of Black Pepper, Pepper Oil), Sunflower Oil, Antioxidant: Rosemary Extract, Lemon Oil),
Yeast
Salt
ALLERGEN INFORMATION
This product contains wheat gluten and milk
STORAGE
Store in a cool, dry place away from light
PRODUCED IN THE UK BY
WARBURTONS LIMITED,
HEREFORD STREET, BOLTON, BL1 8JB
150 g ℮
allemand vers anglais: Cleaning and Preservation in the Frauenkirche, Dresden General field: Technique / Génie Detailed field: Architecture
Texte source - allemand Den ersten Schwerpunkt bilden Reinigungs- und Pflegearbeiten an den Fußböden des Kirchenschiffes und der Emporen. Besondere Reinigungsarbeiten sind an den Brüstungsfeldern der Emporen auszuführen. Hervorgerufen durch die Heizungs- und Lüftungsanlage haben Luftbewegungen zu Staubablagerungen an den Stuckflächen, Sandsteinprofilen und der Betstubenverdachung geführt. Diese werden mit sensiblen Naturhaarpinseln entfernt und abgesaugt. Auch der plastische Zierrat am Altar und an der Chorschranke ist an den auskragenden Teilen zu behandeln. Hier werden unter der fachkundigen Hand eines Restaurators Verschmutzungen beseitigt.
Deutliche Gebrauchspuren zeigen einige der inneren Zuganstüren im Kirchenschiff, wo der Farbüberzug durch die täglichen Berührungen der Besucher stellenweise verlorengegangen ist. An diesen Holzflächen und Zierprofilen wird der Farbschichtenaufbau wiederhergestellt, im Retuscheverfahren an die intakten Flächen angeglichen und mit einem widerstandsfähigen Lack überzogen.
Parallel zu den Arbeiten im Kirchenraum erfolgen im oberen Bereich der Kuppel Maßnahmen an den kleinen Kuppelgaupen. Bauklimatechniker und Architekten führten im vergangenen Jahr detaillierte Untersuchungen am Sandsteinmauerwerk durch. Intensiv beobachtet wurden der hygrothermische Zustand des Mauerwerks und das komplexe Zusammenwirken der äußeren und inneren Feuchtigkeit und der Raumtemperatur. Hieraus gewonnene weiterführende Erkenntnisse gestatten technische Verbesserungen an den Gaupenseitenwänden der kleinen Rundgaupen. Während dieser Arbeiten ist aufgrund der räumlichen Enge im Wendelgang und notwendiger Gerüststellungen ein aufstieg zur Laternenplattform nicht möglich. Zur bessern Erreichbarkeit der schwer zugänglichen Gaupen vom Kuppelhauptraum aus ist hierfür ein rollbares Spezialgerüst angeschafft worden. Seine spezielle Konstruktion ist exakt auf die gekrümmte Geometrie der Kuppelwände zugeschnitten und kann nach dem Abbau für künftige Inspektionsarbeiten in der Frauenkirche verbleiben.
Mit diesen vorgenannten gezielten Maßnahmen wird unter Berücksichtigung der Besonderheiten des Bauwerkes ein wichtiger Schritt zum langfristigen Erhalt des baulichen wertes im Dienste der Nutzung getan.
Traduction - anglais The main emphasis is on the work of cleaning and preserving the floors of the nave and galleries. Especial cleaning is to be done on the balustrade sections of the galleries. Arising from the heating and ventilation system, air currents have led to layers of dust on the surfaces of the stucco, freestone sections and hood moulds of the prayer rooms. this has been removed and brushed with sensitive natural hair and vacuumed. Also the ornaments at the altar and the choir screen needs work on the projecting areas. The expert hand of a restorer removed any dirt.
Some of the inner doors in the nave show clear signs of wear, where the colour coating has been lost through daily use by visitors. The layers of colour have been restored on these wooden surfaces and decorative profiles, and the retouching has been matched to the intact surfaces and covered with a resilient lacquer.
Parallel with the work inside the church, measures have been taken in the upper region of the cupola on the small dormers. Climate technicians and architects made detailed researches on the sandstone masonry in the past year. The hygrothermal condition of the masonry and the complex interaction of the outer and inner moisture and ambient temperature was intensively observed. From the knowledge gained and leading on from this technical improvements were made possible to the side walls of the small dormers. In the course of this work it was not possible to reach the top of the lantern on account of the narrowness of the spiral staircase and necessary scaffolding. To make access easier to the dormers from the main space within the cupola, a special rollable scaffolding was acquired for the purpose. Its special construction is tailored to the exact curvilinear geometry of the cupola walls and can be kept once it has been dismantled for future inspections in the Frauenkirche.
With the above-mentioned measures complete, an important step in the light of the characteristics of the building has been taken towards the long-term preservation of the architectural value in the service of use.
français vers anglais: Recipe for Tarte au Citron General field: Autre Detailed field: Cuisine / culinaire
Texte source - français Préparation 20 mn Cuisson 20 mn Repos 30 mn Temps Total 1 h 10 mn
Ingrédients / pour 4 personnes
Pour la pâte sucrée :
140 g de beurre mou
75 g de sucre glace
25 g de poudre d'amande
1pincée de fleur de sel
1 œuf
250 g de farine
Pour la crème citron :
le zeste et le jus de 2 citrons
2 œufs
40 g de beurre pommade
80 g de sucre glace
Quelques framboises
PRÉPARATION Tarte au citron
1Mélanger au fouet le beurre pommade et le sucre glace jusqu'à obtenir une crème. Ajouter les zestes, l’œuf, la poudre d’amandes, le sel et la farine. Ne pas trop travailler la pâte. Quand le mélange est homogène, l'aplatir finement au rouleau entre 2 feuilles guitare ou film ou papier cuisson. Découper les cercles pour les tartelettes et les bandes pour les côtés. Réserver au congélateur.
2Préchauffer le four à 180°c. Poser les cercles à tartelettes sur les disques de pâte dès la sortie du congélateur. Ajouter aussitôt les bandes prédécoupées autour des cercles. Attention, la pâte dégèle rapidement et il est plus facile de la dresser quand elle est encore un peu rigide. Piquer les fonds de tarte et les recouvrir éventuellement de papier siliconé ou sulfurisé et de quelques billes de cuisson pour éviter à la pâte de gonfler. Enfourner environ 12 à 15 min. Les fonds doivent être dorés. Laisser refroidir. Une fois refroidis, frotter les fonds de tarte avec une micro-râpe pour les égaliser !
Pour finir
Dans un cul de poule, bien mélanger tous les ingrédients. Faire cuire au bain marie sans cesser de fouetter et arrêter au premier bouillon. Tremper le fond du cul de poule dans de l’eau glacée pour stopper la cuisson. Verser la crème sur les fonds de tarte et lisser. Décorer avec quelques framboises.
Traduction - anglais Preparation time: 20 min; cooking time: 20 min; rest time: 30 min; total time: 1 hour 10 min
Ingredients
Serves 4
For the pâte sucrée:
140g butter, softened
75g icing sugar
25g ground almonds
pinch of salt
1 egg
250g flour
For the lemon cream:
zest and juice of 2 lemons
2 eggs
40g softened butter
80g icing sugar
a few raspberries
Method:
1. Mix the soft butter and icing sugar with a whisk to obtain a creamy mixture. Add the flavourings, egg, ground almonds, salt and flour. Do not over-work the pastry. When the mixture is smooth, roll it thinly between two guitar sheets or film or greaseproof paper. Cut circles of paper to line the bottom of the tart tins and bands for the sides. Cool in the freezer.
2. Pre-heat the oven to 180º C., Gas mark 4. Place the tart cutouts on the pastry disks before removing from the freezer. Immediately add the previously cut bands around the circles. Care! the pastry thaws quickly and it is easier to shape it when it is still rather rigid. Prick the case of the paste and cover again with silicone or greaseproof paper and a few baking beans so that the paste does not balloon. Bake for about 12 to 15 minutes. The base should be golden-coloured. Leave to cool again. Once re-frozen, beat the base of the tart with a small rasp or fork to make it even.
To finish: In the upper part of a bain-marie or a mixing bowl, mix all the ingredients well together. Place in a bain-marie and beat continuously, stopping as soon as it starts to boil. Dip the upper part of the bain-marie in icy water to stop it cooking. Pour the cream into the tart and smooth. Decorate with a few raspberries.
français vers anglais: Excursion to Fontainebleau General field: Autre Detailed field: Tourisme et voyages
Texte source - français DESCRIPTIF DE LA PRESTATION
Une demi-journée divine au Château de Fontainebleau ! Au travers de notre excursion, vous serez séduit par le Château de Fontainebleau, résidence privilégiée des rois de France de François 1er à Napoléon, et par le charmant village de Barbizon, foyer artistique depuis le milieu du 19ème siècle.
LA VISITE DU CHATEAU DE FONTAINEBLEAU
Le Château de fontainebleau se situe à une soixantaine de kilomètres au sud-est de Paris. Haut lieu de l'Histoire de France, le Château de Fontainebleau a été l'une des demeures des souverains français depuis François Ier (qui en fit sa demeure favorite) jusqu'à Napoléon III. Plusieurs rois ont laissé leur empreinte dans la construction et l'histoire du château, qui est ainsi un témoin des différentes phases de l'Histoire de France depuis le Moyen Âge. Entouré d'un vaste parc et voisin de la forêt de Fontainebleau, le château se compose d'éléments de styles médiévaux, Renaissance, et classiques. Il témoigne de la rencontre entre l'art italien et la tradition française exprimée tant dans son architecture que dans ses décors intérieurs. Depuis 1981, le château fait partie avec son parc du patrimoine mondial de l'UNESCO. Le Château de Fontainebleau est particulièrement apprécié de nos jours pour la beauté des appartements de Napoléon III, récemment rénovés.
La visite guidée et commentée du château (audio guides individuels à votre disposition en anglais, français, espagnol, italien.) vous permettra d'apprécier la richesse du site avec son architecture, ses décors somptueux et son mobilier d'époque. Vous disposerez de temps libre pour flâner dans les jardins.
LE VILLAGE DE BARBIZON
Sur le chemin du retour à Paris, nous traverserons le charmant village de Barbizon, un des foyers de l'impressionnisme et lieu de prédilection de nombreux artistes peintres, tels Corot, Millet. Un bref arrêt vous permettra de découvrir l'atelier école du peintre Millet.
LES "PLUS" D'UN CIRCUIT TOURISTIQUE CHATEAU DE FONTAINEBLEAU AVEC FRANCE TOURISME :
• billet d'entrée inclus + audio guide compris
• un guide à votre écoute
• temps libre pour profiter de l'excursion et flâner dans les jardins
• possibilité de prise en charge et retour à votre hôtel (en option)
Traduction - anglais THE SERVICE WE PROVIDE
A marvellous half-day at Fontainebleau Castle! During our excursion, you will be amazed by Fontainebleau Castle, the priveleged residence of the kings of France from Francis I to Napoleon, and by the charming village of Barbizon, an artistic centre since the mid-19th century.
VISIT FONTAINEBLEAU CASTLE
Fontainebleau Castle is situated 60 km (35 miles) south-east of Paris. A historic landmark in the history of France, Fontainebleau Castle was one of the sovereign residences from the time of Francis I (who made it his favourite) up until Napoleon III. Several kings left their mark on the construction and history of the castle, which is also a witness to the different phases of the history of France since the Middle Ages. Surrounded by a vast park and neighbouring the forest of Fontainebleau, the castle is made up of mediaeval, renaissance and classical styles. It is a witness to the confluence of the Italian and French traditions in art, revealed as much in its architecture as in its interior design. Since 1981, the castle has taken part together with its park in UNESCO World Heritage. Fontainebleau Castle is especially appreciated today for the beauty of the apartments of Napoleon III, recently renovated.
The guided tour and commentary on the castle (individual audio guides are available in English, French, Spanish and Italian) will enable you to appreciate the richness of the site with its architecture, sumptuous décor, and period furnishings. You will have free time in which to stroll in the gardens.
THE VILLAGE OF BARBIZON
On the return journey to Paris, we will pass through the charming village of Barbizon, one of the centres of Impressionism and a favourite spot for numerous painters, such as Corot and Millet. A short stop will enable you to discover Millet's workshop.
THE ADVANTAGES OF A SIGHTSEEING TOUR OF FONTAINEBLEAU CASTLE WITH FRANCE TOURISME
• entry included + audio guide
• exclusive guide
• free time to enjoy the excursion and stroll in the gardens
• possibility of pick up and return to your hotel (optional)
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Expérience
Années d'expérience en traduction : 4. Inscrit à ProZ.com : Nov 2006.
allemand vers anglais (Cambridge University (Lang. Degrees))
Affiliations
N/A
Logiciels
Adobe Acrobat, CafeTran Espresso, memoQ, Microsoft Excel, Microsoft Word, OmegaT, Bench, Final Cut Pro, Sibelius, Plunet BusinessManager, Powerpoint, Wordfast
Roger Rayner respecte les pratiques professionnelles ProZ.com's - Liste des pratiques.
Bio
My love of languages is bound up with my music. I am a pianist and organist, and as a student had an ancient but brilliant piano professor, and my other teacher, Gillian Weir, was at the forefront of the then new “authentic” style – as we now call “historically aware” playing.
I was an Exhibitioner at Trinity College, Cambridge, and won a prize at the Royal Academy of Music. I have lectured for the University of East Anglia, the Workers' Educational Association, the Cambridge Board of Continuing Education and a leading company for educational holidays. In the course of directing tours to major festivals in cities such as Vienna, Eisenstadt, Leipzig and Dresden, I arranged private visits to demonstrate instruments played by Bach, Haydn, Liszt (see photos below) and Brahms. Performances of Haydn quartets solely for my party took place in successive years in the Esterhàzy Palace in Fertöd, Hungary. My tasks included city guiding, such as revealing Vienna as it was in Haydn’s day, playing his music on his instruments, talking in detail about great churches such as Vierzehnheiligen, and explaining how to ask for horseradish in Austria – where the word is different from the German.
As a pianist, So as to be of best assistance to you the client/customer, I am fully committed to developing my skills through continuing professional development. This includes not only attending many webinars for translators, and attending meetings and conferences, but also travel to exhibitions, such as the Dürer Drawings, Architectural Drawings, and Caravaggio/Bernini (all in Vienna), the “Charles I” and the “Da Vinci: A Life in Drawing,” exhibitions in London. It gives me a lot of pleasure to self-study to keep up to date with the latest research into these and similar subjects, and currently I seem to have been reading a large number of books on the Renaissance. Needless to say, I continue to play many organs abroad, such as the oldest (1642) organ in Vienna last year, aiming to study music on the instruments for which it was originally written.
Mots clés : German, French, English, General, Technical, Arts, Music, memoQ
Compétences 
