Bienvenido Buen Sabor, es un placer encontrarte de nuevo.
Sepas que estás (con tu dirección) en mi lista de amigos.
Voy a enviar más tarde mis sugerencias sobre tu traducción castellana.
Te dejo un rato de mejorarla, como promites en el comentario.
Ils sont venus > Ya llegaron (o: Han llegado)
Un abrazo, Valerio
Mamá
Teşekkür Et! ❤ | ||
8 teşekkür aldı |
Teşekkür Detayları:
Kullancı Adı | 'kadar süre önce teşekkür etti |
---|---|
Valeriu Raut | 11 yıl 1 ay |
Lara Fabian - La mama |
Corry Brokken - La Mamma German cover version |
Jerzy Połomski - Nasza Mama Polish cover |
Vicente Celestino - La mamma Version brésilienne |
1. | Mother |
2. | About death - Part I |
3. | To All Mothers / A Toutes Les Mamans / Para Todas Las Madres |
1. | La Bohème |
2. | Hier Encore |
3. | Emmenez-moi |
"Ils-sont-ve-nus,-Ils-sont-tous-là." Eight syllables in the original, i.e., eight notes in the melody.
"Ve-ní-an,-es-tan-a-quí-to-dos." Nine syllables already. And that's with me cheating (changing the voicing of the verbs).
"Ya-lle-gar-on.-"(or "Han-lle-ga-do-")"-es-tan-a-quí-to-dos." Ten syllables. And you see what's happening here, where this is going.
It's been a long time since I heard the name Charles Aznavour. I'm not familiar with this song. And I have a ferschtunken broken computer that only operates in a special diagnostic mode, that doesn't allow me to do multimedia or even to run essential programs. So I can't even listen to the song on youtube.
All I have to work with for "song-fitting" and "singability" is syllable count. If some notes can get a staccato-split, I could probably add extra syllables, but you can only overload notes so much before you ruin a melody. (Yeah, the process of musical correlation isn't a talent, an artistic gift; but a scientifically-acquired, measureable skill.)
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Now I noticed that the English translation had a comment about the difficulty of translating this song. What I found was that there are definite shifts in point of view, as in a dramatic monologue ... one time the character who's speaking is addressing the audience, the next time, apparently he's addressing another character in the story, the next he's addressing ANOTHER character in the story, then he shifts back to speaking to us, the audience. Without additional storytelling, or adequate punctuation, it's hard to follow those shifts. But I'm pretty sure I nailed it on that count.
Tienes razón, he mirado solamente la letra, no he pensado en el ritmo.
I'll be back!
I had to revisit this ... my mother-in-law passed away yesterday at 11am. My wife and daughter (the 1st grandchild) were there ... I wish I could share this with them. But my wife's family is Italian-American ... they have trouble enough with English & have not retained any Italian language skills. Spanish or French are completely out of the question. I guess it's a good thing Aznavour makes a short summary in English at the beginning.
My dear friend Buen Sabor,
I offer you all my sympathy, after reading that your mother-in-law passed away.
The songs we listen are sometimes our life.
La Mamma, this Aznavour song is tragic and true.
To every one of us comes the day when mother fades away.
- Yorum yazmak için giriş yapın veya kayıt olun
I've started this at least 6 times, and every time the internet has gone down & taken it with it. I'm not done, I don't have time today, but I don't want to lose it again, so I'm saving it as is.
"Qu'ils boivent frais le vin nouveau,
" Le bon vin de la bonne treille
" Tandis que s'entrassent pêle-mêle
" Sur les bancs, foulards et chapeaux."*
"Los que caten sangre fresca
" Vinos de los odres nuevos
" Aún su desorden nos diga
" Que la vida es pa'los vivos " *
Spanish version (c) copyright 2013 Stephen Gagne
*This stanza is describing a wake, with obvious Christian religious overtones of "new wine in new wineskins", of death and rebirth. I'll work on this later.