中文翻译
转载自雅燃音乐天空@http://www.flamesky.com
整理修改：艾欧利亚

    原名Lah Zahr的Mars Lasar出生于德国，他还不到一岁的时候，他的父母就移民澳大利亚了。他在11岁时开始练习演奏钢琴，并先后学习了古典音乐、爵士乐和作曲。15岁时他在悉尼歌剧院获得了“青年作曲家奖”。在这段时间里他开始对用计算机来制作音乐才产生了兴趣。他回想说：“计算机迷住了我，因为应用它我可以创造出那么多类型的音乐”。他承认他最初的态度并不是很认真的，“我不得不摆脱贝多芬的束缚”，但是他不禁被那种全新的音乐所影响，比如Pink Floyd, Black Sabbath, Deep Purple, early Van Halen, Alan Parsons, Kraftwerk, Tangerine Dream 和Jean-Michel Jarre，他们的音乐使他产生了灵感。在高中他开始涉足抽象主义音乐领域，他的一个朋友把短波收音机中的音乐录成磁带，然后他们把这些音乐混编成一个音乐片断。在这之后不久，他加入了澳大利亚的“智商”公司，在那里他被“公正之光”计算机公司的负责人发现，并雇用他作为公司的内部作曲家。他说“我收到了全世界乐迷的问候，他们喜欢我为公正之光编的乐曲。”这段经历使他得到了一系列的广告合同和电视节目的音乐。

    在1987年，他为<澳大利亚的声音>创作了音乐，这是一部关于野生动物的影片，在这部乐曲中他把大自然的声响合成为音乐。在1990年，有名的音乐制作人Hans Zimmer和Trevor Horn介绍他到美国，Mars到美国之后为Tom Cruise的电影<Days Of Thunder>创作音乐。然后Horn又介绍他和Seal共同创作了一部专辑，这部专辑最终获得了格莱美奖。Mars的首张个人专辑专辑<Olympus>在1992年的法国阿尔贝维尔冬奥会上被哥伦比亚广播公司作为他们节目的主题音乐。同一年这部专辑在Billboard的新纪元音乐的排行榜上打入了前十位。下一部专辑<The Eleventh Hour>体现出了他独特的个人风格。他使用简单的采音器和音序器和他的Macintosh苹果计算机来创作音乐，他自己创作了一种融合了各种音乐流派的音乐，希望通过他的音乐来使人们相互理解，唤醒沉睡在人们心中的某种感情。

    在<The Eleventh Hour>这个专辑里，他也使用了那些所谓的“live”音乐家所用到的宏大的音乐，包括为Yanni做小提琴伴奏的Charlie Bisharat。在他的第三张专辑<Escape>中，他创作了一种栩栩如生的音乐幻想曲。奥林匹克国家公园是他的第4张专辑，收录于Real Music公司大获成功的美国国家公园系列。这个系列在美国销售的情况极好，公司和Mars将捐献收入的百分之十给奥林匹克国家公园以保护那里的环境。

英文原文：

  Born in Germany, Mars Lasar (Lah Zahr) moved to Australia with his parents when he was less than a year old. He started playing the piano at age eleven and received training in classical, jazz and composition. At age fifteen he won the "Young Composers Award" at the Sydney Opera House. It was around this time that he also developed an interest in using computers to create music. "Computers were fascinating to me because I could manipulate them to create so many different types of textures," he recalls.

  Of his earliest influences Mars admits, tongue-in-cheek, "I have to take my hat off to Beethoven," but he also cites such disparate performers as Pink Floyd, Black Sabbath, Deep Purple, early Van Halen, Alan Parsons, Kraftwerk, Tangerine Dream and Jean-Michel Jarre as sparking his musical interest. In high school he began dabbling in abstract concrete music with a friend who taped frequencies off the short wave radio and incorporated them into musical pieces, an early form of sampling. Later, Mars joined the Australian band IQ where he was discovered by the President of Fairlight Computers who hired him as the company's in-house composer. "I received calls from all over the world from fans of my Fairlight compositions," he says. The exposure led to a series of free-lance commercial and soundtrack work for the likes of Chrysler-Plymouth, Duracell and Kleenex and such television shows as Baywatch, Equal Justice and This is the NFL. In 1987, Mars created the score for Sounds Like Australia, a wildlife film that employed the Fairlight in taking the sounds of nature and shaping and reworking them into music. In 1990, noted producers Hans Zimmer and Trevor Horn brought Mars to America to work on the soundtrack for the Tom Cruise film Days of Thunder. Horn then brought him in to help with an album by new artist Seal, which ended up earning a Grammy nomination.

  Mars' album Olympus was used by CBS during their broadcast of the 1992 Winter Olympics from Albertville, France. The record was a "Top Ten" on Billboard's New Age Chart in the same year. The follow-up The Eleventh Hour represented a departure for Mars. Using a Sample Cell sampler and a Cubase sequencer with his Macintosh, he created an evocative, eclectic work that spills over into varied musical genres as it tells its epic tale of a world that can be saved through human interaction and communication. On The Eleventh Hour, Mars also makes extensive use of "live" musicians, including Yanni sideman Charlie Bisharat on violin and Greg Vail of Kilauea on wind instruments. On his third solo album Escape, he offers a fantasia of "visual" music.

  The Music of Olympic National Park is the fourth in Real Music's highly successful National Parks Series. The albums in this series have been best sellers across the country, and Mars and Real Music donate 10% from the sales of this album to the Mount Rainier Olympic Fund to assist in their efforts to preserve the park.