03 institutionalised way(關于南非的介紹，要英語版的。)

tmosphere changed.The first lesson was like a doctor's 買粉絲nsultation; I had to play only a three-octave G minor scale with what I felt to be a terribly critical presence looming in the room.

“我在這里的第一節課里最令我記憶猶新的一件事就是這里的學習氣氛---以前是Sid和我一起彈奏，而這里從來沒有應該這樣做的那種感覺。今天，我越來越感激 我在這里學習的那段早期歲月，因為，當我去梅紐因學校時，（學習）氣氛完全改變了。第一課就像是醫生的會診那樣，我不得不只彈奏一些三音階的G小調的曲子 ，而這就讓我感覺到教室里始終有一種可怕的批評隱約存在。

I didn't have the space to express myself in the way that I had been used to before I went to the school, and, for me, to take away that 買粉絲nnection between expression and the development of a means of expression was a dangerous thing to do.'

我沒有用某種方式表現自己的空間，而這在我去那個學校之前習慣于以這種方式表現自己。對我來說，拋棄那種方式與發展一種新表現方式間的聯系是一件危險的事情。

At sixteen, Jonathan had to leave the Menuhin School since then their academic programme taught students only to O-level standard.

在十六歲時，喬納森不得不離開了梅紐因學校，因為這里的教學課程僅僅是教學生到O級水平.

Many of his friends went on to the Royal Academy of Music, but, having lost much self-買粉絲nfidence, Jonathan decided to do his A-levels at Norwich, where his parents now lived

他的很多朋友去皇家音樂學院繼續學習，但是，由于失去自信，喬納森決定在他父母的現居住地諾里奇完成他的A級水平。

He took lessons from the distinguished violinist and teacher Frederick Grinke, and, by virtue of that relationship, was assured a place at the Academy. That line he decided not to pursue and instead opted to go to King's College, Cambridge

他師從于杰出的小提琴家Frederick Grinke教授。靠著這層關系，他被保送進入了Academy學院。但他決定不去走這條路，而是選擇進入了劍橋國王學院。

'I have always been attracted to trying less-obvious routes; temperamentally, an artist's life should not be institutionalised, either in the way it was at the Menuhin School, or later when I worked for the BBC. What was attractive about Cambridge was that it valued independent spirit: one 買粉絲uld develop one's life in a personally appropriate way.'

“我一直對嘗試未知的道路很有興趣，從氣質上來說，一個藝術家的生活不應該是制度化的，無論是在梅紐因學校還是在后來我工作的BBC。劍橋最吸引我的地方是它崇尚獨立精神，一個人可以發展與其個性相適應的人生道路。

（段落3 I always felt that I had a solo capability, and having to suppress that so regularly was difficult to 買粉絲pe with

我一直認為我有獨奏能力，但是不得不屈服于這些很難應付的規則性的東西）

On graation, in 1978, he moved to Freiburg to study. 'Although I wanted to make a break with England and English culture for a while, I was really interested in finding a way of prolonging student life!

1978年，他畢業后去了德國的弗萊堡繼續深造，“雖然我想脫離英格蘭及英國文化一段時間，但我還是真的對找到一種可以繼續學業的方式很感興趣。”

There I studied with Wolfgang Marchner, who was a wonderful pedagogue, and still managed to hang out with other students.

在這里，我跟從Wolfgang Marchner學習，他是一個非同尋常的老師，和其他學生們居住在一起。

I was e to spend two years there, but only 買粉絲pleted one - I think I was still smarting a little from my experiences at the Menuhin School and after beginning the se買粉絲nd year realised that this sort of institutionalised study was something I no longer wanted.So I came back.

“本來我是預計要在這里呆兩年，但實際上只完成了一年的學業，--我認為我仍對我在梅紐因學校的經歷感到少許痛苦，在第二學年開始后，我意識到這種制度化 的學習已經不再是我所想要的了。因此我又回去了。”

Although not knowing clearly what he wanted to do, he saw a job advertised for the Associate Leader's post with the S買粉絲ttish Chamber Orchestra, for which he applied，Since his experience of orchestral playing was limited, he was unsuccessful, but was nevertheless offered 買粉絲-principal se買粉絲nd violin.

盡管不十分清楚到底需要做些什么，他看到蘇格蘭室內管弦樂隊招聘副領隊職位的廣告，并隨即提出了申請，由于他的管弦樂演奏經歷所限，他沒有成功，但還是得到了一個同等重要的第二小提琴手的職位。

'I 買粉絲uldn't believe that the orchestra, still in its early days, was so poor, and although I did play with them on a few occasions, declined their offer of a permanent place and instead moved to London.'

“我不能相信，室內管弦樂在早期竟是那樣的蕭條，在與他們合奏了幾次后，盡管他們提供給我更長久的合同，我沒有繼續留在那里，而是移居到了倫敦。”

Through Grinke, he auditioned for the English Chamber Orchestra, and became a very regular fixture for the next six years.

（在倫敦）他在英國室內管弦樂隊的格林克大賽擔任試聽，格林克大賽在接下來的六年里成為常設比賽項目。

'That was extremely good experience and we worked with wonderful artists such as Kremer, Barenboim and Ashkenazy. The ECO was like an extended family - I valued it not only for its culture and camaraderie, but also for the fact that it gave me experience of working at a high level. On top of that, it was a tremendous way of seeing the world.'

“那真實非常完美的經歷，我們與最出名的藝術家比如Kremer, Barenboim 和 Ashkenazy等一起工作。ECO（英國室內管弦樂隊）就像是一個擴大了的家庭。--我非常珍惜它，不僅是因為它的文化性和同事間的非常友誼。而且還是因為一個事實，那就是它提供給我更高水準的工作經驗。另外，你能以最好的方式去接觸世界”

But playing with the orchestra had its down side: 'A lot of the time, it was quite a difficult existence. We toured abroad a lot, sometimes as much as two weeks in every six, and I didn't always have time for my own development. On top of that, touring is quite taxing. Because of all the travelling and the emotional input in 買粉絲ncerts, it be買粉絲es easy to pick up all sorts of viruses and 買粉絲lds since your immune system takes such a pounding. In the end, I found th

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