Translating for TACET – Part 1 – CD Booklets

As I approach the summer holidays, I thought I’d reflect a little on my work for one of my principal translation clients, TACET records, based in Stuttgart, Germany.

I started working for TACET back in November and my work for them encompasses CD booklets, press releases, website material and the odd bit of editing.

Today I’m going to talk about my work translating CD booklet texts. So far I have translated articles for the Scarlatti series that TACET are recording with Christoph Ulrich and for an upcoming double bass CD.

This is probably my favourite work for the company, as it’s here that I really get to combine my skills as a translator with my in-depth knowledge of classical music.

I believe it’s absolutely vital that the translator in this field should have specialist knowledge. For example, one of my texts on Scarlatti talked about how his keyboard sonatas were early examples of the genre, and how these were to later develop into the Classical period of Haydn, Mozart and Beethoven. Sometimes the text will comment on a musical example, and it is much easier to find a suitable translation if you can read the musical quote, too, and thus set it in context.

Occasionally I come across a well-known quote from music history. A recent one was Schumann’s heralding of Brahms as the next great thing. A musician would recognise this as a famous quote and I would always check how it has been translated in the past and whether a given quote has a “stock” translation. A translator with no musical background may not pick up on this.

Terminology is also an important area of my work, as it is for many (if not most!) translators. An obvious example is musical terms. Musicians the world over use Italian for most of their musical directions. Often these appear embedded in the German text and it is important to know when these should be left as they are and when they should be explained further. Likewise, some composers, such as Mahler, give their instructions in German. Sometimes I may choose to keep the original German in the text with a translation in brackets.

Ornamentation is a key feature of Scarlatti’s music and something which TACET’s artist, Christoph Ulrich, talks about a lot. Again, my knowledge of musical styles helps me to select the best possible English term for these ornaments.

I hope I’ve given you a quick flavour of how translating for classical music isn’t just a question of finding an equivalent word in the dictionary. It really is important that the translator knows about their subject matter.

Equally, it’s not enough to be a musician who speaks German. Often these CD booklets have long, complicated sentences. Even my German musician friends have commented on the density of these texts. The skill of the trained translator lies in understanding the different structures and ways of building a text between the two languages and how to make a successful and flowing target language text from the original German text.

You can view TACET’s recordings here:

(Please note, though, that not all the translations on TACET’s website are mine!)