①Hello ladies and gentlemen. In some way my memories are compositions, and my compositions are my memories.〔in some way「ある意味で」〕〔composition「作品・作曲」〕②I would like to share with you my memory of an evening of a special atmosphere which was that of the last snow in spring.〔I would like to ...「〜したいと思います」〕〔share with you「皆さんと共有する」〕〔the last snow in spring「春の最後の雪」〕③As the light faded, I heard music, one could say with my inner ear but that is a way of saying it which insults my respect for proper anatomy!〔as「〜するにつれて」〕〔one could say「〜と言うこともできる」〕〔inner ear「心の耳・内なる聴覚」〕〔insult「損なう・侮辱する」〕④It was only after I had long written it down that I realized that this music, which just came to me like that, was actually very difficult to analyse – that this portrayal of nature through this rather intuitive channeling somehow bypassed the constructs that I had of how to build up music.〔It was only after ... that ...「〜して初めて…した」〕〔write down「書き留める」〕〔analyse「分析する」〕〔portrayal of nature「自然描写」〕〔bypass「迂回する」〕〔constructs「構築された枠組み」〕⑤I'll try to explain some aspects of it after playing.〔try to explain「説明してみる」〕〔aspects「側面」〕⑥So here we have the score as I wrote it down that very evening.〔score「楽譜」〕〔that very evening「まさにその晩」〕⑦I suppose the first thing to notice is that in the whole of the piece there are no sharps and no flats.〔the first thing to notice「最初に注目すべき点」〕〔sharps and flats「嬰記号と変記号」〕⑧There's no chromaticism.〔chromaticism「半音階法・クロマティシズム」〕⑨Perhaps that was a response to the visual aspect of snow.〔response to「〜への反応」〕〔visual aspect「視覚的側面」〕⑩The piece is a sketch from life of calm grey air, thick with snow, at dusk.〔sketch from life「実景からの素描」〕〔thick with snow「雪に満ちた」〕〔at dusk「夕暮れに」〕⑪So the snowfall is reflected first of all in this kind of progression of even quavers.〔be reflected in「〜に反映される」〕〔quavers「八分音符」〕⑫Each of these quavers gives the impression of falling gently but purposefully into place without regard to its neighbours, just like snow.〔give the impression of ...「〜という印象を与える」〕〔without regard to「〜を気にせず」〕〔neighbours「隣の音」〕⑬We perceive a kind of veil of falling snow and in this veil is a chaotic non-regularity, but of course we perceive patterns which are transitory.〔veil「ヴェール・薄膜」〕〔chaotic non-regularity「混沌とした不規則性」〕〔transitory「一時的な」〕⑭And I suppose that is reflected in phenomena like this, where you have a set of notes which gets repeated identically:〔set of notes「音のまとまり」〕〔repeated identically「同一に繰り返される」〕⑮So there we have five notes and five notes which are copies of each other, and here we have four notes and four notes, now three and three.〔copies of each other「互いのコピー」〕⑯So I suppose this is a kind of fuzzy representation of the kind of patterns where we do not know if they're really there.〔fuzzy representation「曖昧な表現」〕⑰Harmonically this piece is in an amalgamation of Dorian mode, as we see in the first and last chord, and Locrian, which is the prevailing mode of the melody〔harmonically「和声的に」〕〔amalgamation「融合・混合」〕〔Dorian mode / Locrian「ドリア旋法／ロクリア旋法」〕〔prevailing mode「支配的な旋法」〕⑱The point is that this floating harmony gives a kind of all-pervasive atmosphere of disembodied character, and at the same time innermost provenance – I suppose that is most to be felt with this melodic fragment.〔floating harmony「浮遊する和声」〕〔all-pervasive atmosphere「遍在する雰囲気」〕〔disembodied character「身体を離れた性質」〕〔innermost provenance「最も内的な由来・源泉」〕〔melodic fragment「旋律断片」〕⑲In a later part of the piece, starting about here, more specifically here, the snow seems to fall ever slower and more infrequently.〔later part of the piece「曲の後半」〕〔more specifically「より正確には」〕〔infrequently「まれに・間隔を空けて」〕⑳This might represent the fading of natural light as our field of view gets restricted to the glow around a lamp — a solitary meadow lamp.〔might represent「〜を表しているのかもしれない」〕〔field of view「視界」〕〔glow around a lamp「ランプの周囲の光」〕〔solitary meadow lamp「孤独な野原のランプ」〕 出典元（音声）Kit Armstrong : Snowfall Fading | Musique, ma patrie !
