Re:請幫忙翻譯一下這段巴哈.....

Question

原文如下(第二段,超多的,字數太多又po不上來):
The direct influence of Handel’s suites on English keyboard music was slight, though it can be traced in Thomas Chilcot’s suites of 1734 (Caldwell, 1973) and those of J.C Smith. There were other influence as well: one of Dieupart’s suites, without its overture, was published by Walsh in 1705; the others were probably also known through the composer’s teaching activities in England. G.B. Draghi’s Six Select Sutes (sic) appeared in 1707, a suite by Alexander Maasmann, about 1715, and about the same time a set of six by J.B. Loeillet which perhaps reflected Dieupart’s influence, since all have A-C-S-aria/gavotte-minuet-G. Henry Symonds was more varied but equally systematic in his Six Sets of Lessons (1733), which contained four A-C-S-gavotte-minuet-G, two with preludes, and two “sonatas”. The influence of strongly in English harpsichord music beginning, perhaps, with Richard Jones (1732) and continuing with James Nares, Barnabas Gunn and John Jones. (The final victory of the sonata in England is described briefly in ∫1 above.)

10. BACH AND THE GERMANS. Bach wrote about 45 suites, setting in them such a standard as to compel all others to be measured against it. They may be surveyed quickly in order of diminishing ‘classicism’. At the top are the six cello suites, prelude—A—C—S—X—G, where X is a pair of minuets in the first two, a pair of bourrées in the second two and a pair of gavottes in the last two. Unification among the pieces, obvious in no.3, moves from subtlety to concealment (or non-existence) in no.5, whose allemande and gigue, however, quote the F minor Suite of Gaspard Le Roux, one of the French composers whose music Bach possessed. The next set in the hierarchy, the English suites, begins with another, more extensive quotation from Le Roux, this time the gigue from his A major suite.

Answer 1

雖然在 Thomas Chilcot 1734 年作的組曲(根據 Caldwell 1973 的研究),
及 J.C. Smith 所作的的組曲當中,
可找到一些韓德爾的組曲對英國(或英式)鍵盤音樂的直接影響, 但是這只是輕微的.
英國(或英式)鍵盤樂曲受到其他作曲家影響到的, 像是:
(1) Dieupart (Franois [Charles] Dieupart, 約1670-1740, 法國大鍵琴,風琴家及作曲家,
在英國活動) 所作的一首組曲 (去掉序曲)(Walsh 在 1705 出版), 及由他在英國教授學生
的活動, 可看出影響.
(2) Giovanni Battista Draghi (義大利大鍵琴,風琴家及作曲家) 的出現在 1707 的作品
Six Select Sutes (原文筆誤, 應為 Suite).
(3) Alexander Maasmann 約 1715 年的一首組曲. 及,
(4) Jean-Baptiste Loeillet (比利時, 在倫敦活動) 約同時期作的一套 6 首組曲--
這也許受到 Dieupart 的影響, 因為這 6 首都由 Allemande-Courante-Sarabande-
aria/gavotte-minuet-Gigue 的組成.
(5) Henry Symonds 的 Six Sets of Lessons (1733): 變化較多, 但一樣是有系統的,
其中四首是由 A-C-S-gavotte-minuet-G 組成, 兩首有帶前奏曲, 另有兩首奏鳴曲.
(接下來的句子有誤--沒動詞, 大概是:)
對英國大鍵琴樂曲強的影響也許始自 Richard Jones (1732), 繼而為
James Nares, Barnabas Gunn and John Jones.
(奏鳴曲在英國的勝利, 在前面∫1 中有略為描述了)
10. 巴哈及德國作曲家
巴哈寫了約 45 組的組曲, 等於是為這組曲曲式設下了一個標準,
使得其他的組曲都不得不與其相比 (拿 Bach 的當做衡量的標準).
這些作品可以根據它們逐漸遠離 "傳統形式" 的程度來分層排序,
以便讓我們能很快的檢視一下這些組曲.
最上層是 6 首無伴奏大提琴組曲, 各由 前奏-Allemande-Courante-Sarabande-X-Gigue
組成, X 在前兩首中是一對小步舞曲, 在中間兩首是一對布雷舞曲, 在最後兩首則是
一對嘉禾舞曲.
從 No 1 起, 尤其是 No 3, 可明顯看出舞曲間的些微巧妙之關係,
但這統合性, 到了 No 5 就隱藏住或不存在了, 雖然 No 5 的 A 及 G 是
引用了 Gaspard Le Roux 的 f 小調組曲 (巴哈有這法國作曲家的譜).
接下來, 看下一層, (巴哈的)英國組曲, 其第一首就又引用且重(四聲)用了
別人的, 是 Gaspard Le Roux (法國大鍵琴及作曲家, 約 1660-1707) 的
A 大調組曲的吉格舞曲.
參考到:
http://www.hoasm.org/VIID/Dieupart.html
http://en.wikipedia.org/wiki/Giovanni_Battista_Draghi_%28composer%29
http://en.wikipedia.org/wiki/Jean-Baptiste_Loeillet_of_London
http://en.wikipedia.org/wiki/Gaspard_Le_Roux