雙語讀?。篊all me by ...（一）09:我喜歡他假裝惱怒的樣子
He must have noticed I was shaken and in an effort to make it up to me began asking me questions about the guitar. I was too much on my guard to answer him with candor. Meanwhile, hearing me scramble for answers made him suspect that perhaps more was amiss than I was showing. “Don’t bother explaining. Just play it again.” But I thought you hated it. Hated it? Whatever gave you that idea? We argued back and forth. “Just play it, will you?” “The same one?” “The same one.”
他必定注意到我的震驚，似乎為了補償我，他開始問我關(guān)于吉他的問題。我警戒心太強，無法坦誠回答他。聽到我慌亂的回答，他猜想或許還有什么我沒表現(xiàn)出來的問題。“甭解釋了，再彈一遍就是了。”“可是我覺得你討厭這首曲子。”“討厭？你為什么那么想？”我們爭論不休。“你彈就是了，好嗎？”“同一首？”“同一首。”
I stood up and walked into the living room, leaving the large French windows open so that he might hear me play it on the piano. He followed me halfway and, leaning on the windows’ wooden frame, listened for a while.
“You changed it. It’s not the same. What did you do to it?”
“I just played it the way Liszt would have played it had he jimmied around with it.”
“Just play it again, please!”
I liked the way he feigned exasperation. So I started playing the piece again.
After a while: “I can’t believe you changed it again.”
“Well, not by much. This is just how Busoni would have played it if he had altered Liszt’s version.”
“Can’t you just play the Bach the way Bach wrote it?”
“But Bach never wrote it for guitar. He may not even have written it for the harpsichord. In fact, we’re not even sure it’s by Bach at all.”
“Forget I asked.”
“Okay, okay. No need to get so worked up,” I said. It was my turn to feign grudging acquiescence. “This is the Bach as transcribed by me without Busoni and Liszt. It’s a very young Bach and it’s dedicated to his brother.”
我起身走進客廳，打開大落地窗，好讓他聽見我在鋼琴上彈同一首曲子。他跟我走到半途，然后倚著木窗框聽了一陣兒。
“你改了。這不是同一首。你做了什么？”
“我只是用李斯特的即興風格來彈。”
“再彈一次就是了，拜托！”
我喜歡他假裝惱怒的樣子，所以我又重新開始彈這首曲子。
過了一會兒。“我不敢相信你又改了。”
“恩，一點點。這是類似布索尼改寫李斯特版本的彈法。”
“你就不能照巴赫寫的來彈嗎？”
“可是巴赫從來沒寫過吉他的版本啊。說不定他根本不是寫給大鍵琴的。事實上，我們甚至不確定這曲子究竟是不是巴赫寫的。”
“當我沒求你。”
“好啦好啦，不必這么激動啊。”輪到我假裝勉強同意。“這是我改編的巴赫，沒有布索尼和李斯特的成分。是年輕時的巴赫獻給兄弟的作品。”
《請以你的名字呼喚我》
他必定注意到我的震驚，似乎為了補償我，他開始問我關(guān)于吉他的問題。我警戒心太強，無法坦誠回答他。聽到我慌亂的回答，他猜想或許還有什么我沒表現(xiàn)出來的問題。“甭解釋了，再彈一遍就是了。”“可是我覺得你討厭這首曲子。”“討厭？你為什么那么想？”我們爭論不休。“你彈就是了，好嗎？”“同一首？”“同一首。”
I stood up and walked into the living room, leaving the large French windows open so that he might hear me play it on the piano. He followed me halfway and, leaning on the windows’ wooden frame, listened for a while.
“You changed it. It’s not the same. What did you do to it?”
“I just played it the way Liszt would have played it had he jimmied around with it.”
“Just play it again, please!”
I liked the way he feigned exasperation. So I started playing the piece again.
After a while: “I can’t believe you changed it again.”
“Well, not by much. This is just how Busoni would have played it if he had altered Liszt’s version.”
“Can’t you just play the Bach the way Bach wrote it?”
“But Bach never wrote it for guitar. He may not even have written it for the harpsichord. In fact, we’re not even sure it’s by Bach at all.”
“Forget I asked.”
“Okay, okay. No need to get so worked up,” I said. It was my turn to feign grudging acquiescence. “This is the Bach as transcribed by me without Busoni and Liszt. It’s a very young Bach and it’s dedicated to his brother.”
我起身走進客廳，打開大落地窗，好讓他聽見我在鋼琴上彈同一首曲子。他跟我走到半途，然后倚著木窗框聽了一陣兒。
“你改了。這不是同一首。你做了什么？”
“我只是用李斯特的即興風格來彈。”
“再彈一次就是了，拜托！”
我喜歡他假裝惱怒的樣子，所以我又重新開始彈這首曲子。
過了一會兒。“我不敢相信你又改了。”
“恩，一點點。這是類似布索尼改寫李斯特版本的彈法。”
“你就不能照巴赫寫的來彈嗎？”
“可是巴赫從來沒寫過吉他的版本啊。說不定他根本不是寫給大鍵琴的。事實上，我們甚至不確定這曲子究竟是不是巴赫寫的。”
“當我沒求你。”
“好啦好啦，不必這么激動啊。”輪到我假裝勉強同意。“這是我改編的巴赫，沒有布索尼和李斯特的成分。是年輕時的巴赫獻給兄弟的作品。”
《請以你的名字呼喚我》
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