Предисловие

Настоящее учебное пособие разработано для студентов третьего курса

музыкального колледжа. Его содержание обусловлено особенностями курса иностранного
языка в колледжах этой категории. Эти особенности связаны, в частности с тем, что в
данном учебном заведении сосуществуют группы с разным исходным уровнем подготовки
студентов. Поэтому методическое пособие должно обеспечить преподавателю возможность
проводить работу с текстами разного уровня сложности, избираемыми в каждом случае в
зависимости от конкретного положения в группе.
Основу методического пособия составляют тексты музыкальной направленности.
Каждый текст снабжен лексическим материалом, представляющим наибольшую трудность при
переводе и раскрытии смыслового содержания. Некоторым из текстов сопутствуют
грамматические задания, что позволяет автоматизировать речевые конструкции на основе их
сознательного усвоения, связав их с важным и интересным для студента лексическим
материалом.
Пособие состоит из 4 разделов. В первом разделе представлены тексты обще-
музыкальной тематики, направленные на пополнение лексического запаса, знание
терминологии. Содержание второго раздела посвящено музыкальным жанрам и направлениям,
которые соответствуют отделениям, представленным в музыкальном колледже. Они
направлены на приобретение навыков письменного перевода, что, в свою очередь,
способствует развитию родного языка с учетом его стилистических особенностей. В третьем
разделе представлен материал, способствующий развитию навыков ведения диалога,
способности поддержания беседы на тему театральной тематики, поведения на концерте. В
четвертом разделе приведены тексты разного уровня сложности о выдающихся композиторах
разных эпох, знаменитых музыкантах. Отрывки из интервью со знаменитыми музыкантами
предполагают развитие навыков устного перевода(sight translation).В начале раздела дан
указатель имен и фамилий композиторов, которые представляют особую трудность при
произношении. В конце представлена лексика, необходимая для подготовки доклада по
заданной теме.
Методический замысел пособия - профессиональная заинтересованность студента в
содержании текстов и возможность высказаться по проблемам его будущей специальности.
Тематика текстов и множество заданий творческого и дискуссионного характера рассчитаны на
то, чтобы создать дополнительный психологический стимул для занятий иностранным языком.

3
Part I. Music in our life
Recommended vocabulary:
to play an important role, to enrich the life, to appreciate the cultural heritage, to give
pleasure, to understand the country's history and life better, to make one's outlook broader, to
become clever (intelligent);to compose music, composer, musician, band, orchestra, musical
styles: classical music, modem music, jazz, pop, rock, folk, pieces of music: serenade, fugue,
piano concerto, symphony, grand opera; to amaze, to invade, to be full of energy, to be
melodic, to have much in common, to go to concerts, to play the piano (guitar, violin, musical
instrument), to listen to music, to have an ear for music, to enjoy, to collect tapes, a tape-
recorder, a record-player, an audio system, to be a fan of, to be crazy about, to sing songs, to
remain popular, to be a gifted person.

MUSIC IN OUR LIFE

People cannot live without music. They listen to music, dance to music or learn to
play musical instruments. Music is everywhere: at home, in a concert hall, in the park, at the
seaside, in the forest and in the street.
Music is not a combination of pleasant sound only. It is an art which reflects life.
Music reflects people ideas and emotions. In this world, filled with conflicts, tragedies, joys
and hopes, music strives to speak to people of what is most important, urgent and poignant.
Music in the lives of different people is different: some compose music, others play
music, and others only listen to it. A lot of people who cannot play any musical instrument
love to listen to music either at home or at a concert. Different people like different kinds of
music. You may prefer pop or rock music, country or folk music, classical music or jazz, but
you certainly cannot think of a day without music.
As for me, I prefer… music. I have a lot of cassettes (CDs, records). I try to watch all
the programmes dealing with it on TV and to go to the concerts as often as possible. My
favorite composer (singer, musician) is … I think he (she) is very talented. I can (not) play an
instrument (the piano, the guitar, the violin). It is a great pleasure to be able to play an
instrument and I like it a lot.

4
Questions:
1. What role does music play in our life?
2. What is your favourite musical style?
3. Do you prefer listening to music alone or together with your friends? Why?
4. Who is your favourite composer? Why?
5. Which Russian (foreign, English, American) classical music composers do you know?
6. Which of the (anions modern composers do you consider to be geniuses?
7. Dо you play a musical instrument? Are you good at playing it?
8. Do you think that music makes the life more enjoyable?
9. How often do you go to music concerts?
10. Are there many concert halls available in your city? What are they?

The role of music

1. Combine two words together: melancholy, catchy, soft, amazing, eloquent,
fascinating, torchy, breathtaking, tuneless, annoying, boring, dreadful;
меланхоличная, запоминающаяся, .мягкая, изумительная, выразительная,
пленительная, зажигающая, захватывающая, без мелодии, раздражающая,
скучная, ужасная.

2. How do you characterize:

a) pop music;
b) folk music;
c) classical;
d) organ;
e) jazz.
- What kind of music do you listen more often to?
- Do you listen to music that you don't like?
- What do you think of modern music?
3. Read about the attitude of some people towards modern music; find negative and
positive things in their opinions; express their attitude to the opinions of the people; tell about
their parents' opinions about modern music.
Samuel Williams, 58

5
 I am sorry now that I was never too concerned about the music my kids listened to in
the mid-60s and 70s. It was destroying. Parents should be very careful about cassettes
and CDs they buy for their children.
Willa Cohen, 64
Some of the music is immoral. Kids should be listening to music with messages like
staying away from drugs or staying at school. There are some rap songs that are all
right. Kids can dance to a beat but without all these sacrilegious things.

Gloria Basket, 41
On the whole, I don't think it's bad. I am not into heavy rock, but mostly the music is no
worse than what I listened to when I was growing up. I don't see any sense in warning
labels on records or CDs because who reads labels anyway? Few people do.
Shawn Mulbery, 49
The music is probably too violent. I can't find any sense in the lyrics. If the music
doesn't destroy your mind, it will destroy your ears. I don't think that banning music is
the answer but parents have to be responsible for what their children listen too.

4. Discuss the influence of music on people.

5. Tell about the influence of music on their life. Use the words: appeals to..., transforms,
inspires, entertains, destroys, enriches, makes think of..., makes remember, pictures in
the mind.
6. Tell when you have a wish to listen to music; how many times a day (a week) you
listen to music.
7. The class is divided into two groups, one group is for music, the other - is against. Try
to persuade each other that you are right.

Example: a pupil from group A; music helps people to better their mood; a pupil from group
B: people can have good mood without any music; people should control their emotions.

6
NAMES OF MUSICAL INSTRUMENTS AND PEOPLE WHO PLAY THEM
bassoon [bә'su:n] — фагот
bassoonist [bә'su:nist] — фаготист
brass [brɑ:s] —медные духовые инструменты
cellist ['t∫e list] —виолончелист
cello ['t∫elәu] — виолончель
clarinet [ˌklᴂri'net] — кларнет
clarinettist [ˌklᴂri'netist] — кларнетист
double-bass [dᴧbl'beis] — контрабас
double-bass player— контрабасист
flautist ['flↄ:tist] — флейтист
flute [flu:t] — флейта
French horn [frent∫´hↄ:n] — валторна
oboe ['әubәu] — гобой
oboist ['әubәuist] — гобоист
percussion [рә'kᴧ∫n] —ударные инструменты
This section consists of various kinds of drums [drᴧmz] (барабаны), cymbals ['simb(ә)lz]
(тарелки) and other instruments for certain works.
trombone [trↄm'bәun] —тромбон
trombonist [trↄm'bәunist] —тромбонист
trumpet [´trᴧmpit] —труба
trumpeter [´trᴧmpitә] —трубач
viola [vi'әulә] —альт
viola player—альтист
violinist [,vaiә'linist] — скрипач
woodwinds ['wudwindz] —деревянные духовые инструменты

7
 Music in our life

Music is art of combining sounds that have rhythm, harmony and melody. It was born
together with people and reflects the world around by means of combinations of tones. Music
can relax, treat and cure, it can inspire and provoke our deepest emotions. Beautiful melodies
fill our hearts with kindness, joy and happiness.
Speaking of the history of musical instruments development we must say that first musicians
used very primitive ones: whistles, pipes, drums. Then harps, mandolins, bagpipes, flutes,
horns appeared.
The piano was invented in Italy by Bartolomeo Christophory in 1709 - 1711. It was improved
in the nineteenth century and since that time has changed very little. Only the design of the
piano has been developed for almost three centuries. The modern piano can produce ninety
sounds and has eight octaves. In Russia the first piano appeared in the middle of the
eighteenth century and was described by Antiokh Kantemir, the pioneer of Russian poetry, in
his rhyme.
Nowadays modern musicians have various instruments at their disposal: violins, guitars,
saxophones, trumpets, pianos, accordions, violonchellos and many others.
An orchestra is a group of professional performers of music. Orchestras were born at the
beginning of the seventeenth century.
Some people are fond of classical music, they like polkas, marches and waltz. Others are
interested in pop music and choose different modern trends: jazz, rock, hard rock, heavy
metal, different kinds of electronic music, rap and rave, including acid-house and hard-core
etc. For some music lovers these days, though, jazz and rock are considered to be a kind of
classical music.
Children and grown-ups collect records, CDs, cassettes of their favourite groups, listen to
them at home or visit their concerts.
You can hardly find a person who doesn't like or need music, who never sings or dances.
Music is beauty in sounds, our source of inspiration.
What makes many young people crazy about pop music and indifferent to classical
music? What are your ideas of this subject? Do you agree with the author's opinion?
It's a true that some young people are crazy about pop music and indifferent to classical, but I
am absolutely sure that is a majority. I guess most youngsters nowadays prefer popular music
to concertos, sonatas, preludes and so on. Young people, I suppose, are fond of pop music

8
because of the beat- which makes it easier to listen to than classical music and requires less
concentration. Also, the words that do every day life seem more immediate and important
than the words of operas and songs by classical composers. Besides, the singers of modern
songs are usually very little older than their fans and come from ordinary homes, which helps
their fans to identify themselves with them. Often young people are not so crazy about the
music as about the pop star. And on the other hand, in general, classical music demands a
very high degree of concentration, some knowledge of composer's life and times. This is
beyond a lot of young people.

Part II. Musical genres and styles.

Symphony
In Western music, a symphony is an extended musical composition, scored almost
always for orchestra. "Symphony" does not necessarily imply a specific form though most are
composed according to the sonata principle. Many symphonies are tonal works in four
movements with the first in sonata form and this is often described by music theorists as the
structure of a "classical" symphony, although many symphonies by the acknowledged
classical masters of the form, Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van
Beethoven, do not conform to this model.
History of the form
Origins
The word symphony derives from Greek συμφωνία, meaning "agreement or concord of
sound", "concert of vocal or instrumental music", "harmonious" (Oxford English Dictionary).
This Greek word was used to describe an instrument mentioned in the Book of Daniel once
identified by scholars as a bagpipe (this is identified as the root of the name of the Italian
zampogna). However, more recent scholarly opinion points out that the word in the Book of
Daniel is siphonia (from Greek siphon, reed), and concludes that the bagpipe did not exist at
so early a time, though the name of the "zampogna" could still have been derived from this
word. In late Greek and medieval theory, the word was used for consonance, as opposed to
diaphonia, which was the word for dissonance. In the Middle Ages and later, the Latin form
symphonia was used to describe various instruments, especially those capable of producing
more than one sound simultaneously. Isidore of Seville was the first to use the word
symphonia as the name of a two-headed drum, and from 1155 to 1377 the French form

9
symphonie was the name of the organistrum or hurdy-gurdy. In late medieval England,
symphony was used in both of these senses, whereas by the sixteenth century it was equated
with the dulcimer. In German, Symphonie was a generic term for spinets and virginals from
the late 16th century to the 18th century (Marcuse 1975, 501). In the sense of "sounding
together" the word begins to appear in the titles of some works by 16th- and 17th-century
composers including Giovanni Gabrieli (Sacrae symphoniae, 1597, and Symphoniae sacrae,
liber secundus, 1615), Adriano Banchieri (Eclesiastiche sinfonie, 1607), Lodovico Grossi da
Viadana (Sinfonie musicali, 1610), and Heinrich Schütz (Symphoniae sacrae, 1629).

In the 17th century, for most of the Baroque period, the terms symphony and sinfonia
were used for a range of different compositions, including instrumental pieces used in operas,
sonatas and concertos—usually part of a larger work. The opera sinfonia, or Italian overture
had, by the 18th century, a standard structure of three contrasting movements: fast; slow; fast
and dance-like. It is this form that is often considered as the direct forerunner of the orchestral
symphony. The terms "overture", "symphony" and "sinfonia" were widely regarded as
interchangeable for much of the 18th century.

Another important progenitor of the symphony was the ripieno concerto—a relatively
little-explored form resembling a concerto for strings and continuo, but with no solo
instruments. The earliest known ripieno concerti are by Giuseppe Torelli (his set of six, opus
five, 1698). Perhaps the best known ripieno concerto is Johann Sebastian Bach's Brandenburg
Concerto No. 3.
18th-century symphony
Early symphonies, in common with both overtures and ripieno concertos, have three
movements, in the tempi quick-slow-quick. However, unlike the ripieno concerto, which uses
the usual ritornello form of the concerto, at least the first movement of these symphonies is in
binary form. They are distinguishable from Italian overtures in that they were written to stand
on their own in concert performances, rather than to introduce a stage work—although a piece
originally written as an overture was sometimes later used as a symphony, and vice versa.
Symphonies at this time, whether for concert, opera, or church use, were not considered the
major works on a program: often, as with concerti, they were divided up between other works,
or drawn from suites or overtures. Vocal music was dominant, and symphonies provided
preludes, interludes, and postludes.

10
The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became
a standard three movement form: a fast movement, a slow movement, and then another fast
movement. Mozart's early symphonies are in this layout. The early three-movement form was
eventually replaced by a four-movement layout which was dominant in the latter part of the
18th century and most of the 19th century. This symphonic form was influenced by Germanic
practice, and would come to be associated with the "classical style" of Haydn and Mozart.
The normal four-movement form became, then:
an opening allegro
a slow movement
a minuet or scherzo
an allegro or rondo
Variations on this layout were common, for instance the order of the middle two movements,
or the addition of a slow introduction to the first movement.
Vocabulary:
imply подразумевать
movement зд. часть
conform to подчинять, подчиняться
scholar ученый
bagpipe волынка
reed язычковый инструмент
simultaneously одновременно
medieval средневековый
hurdy-gurdy шарманка
equate with приравнивать, отождествлять
dulcimer цимбалы
generic общий
spinet спинет
virginal клавесин
forerunner предшественник
progenitor предок, предшественник
binary двоичный
distinguish отличать, различать
on smb’s own самостоятельно
vice versa наоборот, в обратном порядке
layout зд. форма
eventually со временем
latter последний (из перечисленных)

11
 Opera

Opera is an art form in which singers and musicians perform a dramatic work
combining text (called a libretto) and musical score. Opera is part of the Western classical
music tradition. Opera incorporates many of the elements of spoken theatre, such as acting,
scenery and costumes and sometimes includes dance. The performance is typically given in
an opera house, accompanied by an orchestra or smaller musical ensemble.
Opera started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne,
produced in Florence around 1597) and soon spread through the rest of Europe: Schütz in
Germany, Lully in France, and Purcell in England all helped to establish their national
traditions in the 17th century. However, in the 18th century, Italian opera continued to
dominate most of Europe, except France, attracting foreign composers such as Handel. Opera
seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality
with his "reform" operas in the 1760s. Today the most renowned figure of late 18th century
opera is Mozart, who began with opera seria but is most famous for his Italian comic operas,
especially The Marriage of Figaro, Don Giovanni, and Così fan tutte, as well as The Magic
Flute, a landmark in the German tradition.
The first third of the 19th century saw the highpoint of the bel canto style, with Rossini,
Donizetti and Bellini all creating works that are still performed today. It also saw the advent
of Grand Opera typified by the works of Meyerbeer. The mid to late 19th century is
considered by some a golden age of opera, led by Wagner in Germany and Verdi in Italy. This
"golden age" developed through the verismo era1 in Italy and contemporary French opera
through to Puccini and Strauss in the early 20th century. During the 19th century, parallel
operatic traditions emerged in central and eastern Europe, particularly in Russia and Bohemia.
The 20th century saw many experiments with modern styles, such as atonality and serialism
(Schoenberg and Berg), Neoclassicism (Stravinsky), and Minimalism (Philip Glass and John
Adams). With the rise of recording technology, singers such as Enrico Caruso became known
to audiences beyond the circle of opera fans. Operas were also performed on (and written for)
radio and television.


1
Веризм (итал. verismo, от vero - правдивый), реалистическое направление в
итальянской литературе, музыке и изобразительном искусстве конца 19 в.
12
 Operatic terminology
The words of an opera are known as the libretto (literally "little book"). Some
composers, notably Richard Wagner, have written their own libretti; others have worked in
close collaboration with their librettists, e.g. Mozart with Lorenzo Da Ponte. Traditional
opera, often referred to as "number opera"2, consists of two modes of singing: recitative, the
plot-driving passages sung in a style designed to imitate and emphasize the inflections of
speech, and aria (an "air" or formal song) in which the characters express their emotions in a
more structured melodic style. Duets, trios and other ensembles often occur, and choruses are
used to comment on the action. In some forms of opera, such as Singspiel, opéra comique,
operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or
semi-melodic passages occurring in the midst of, or instead of, recitative, are also referred to
as arioso. During the Baroque and Classical periods, recitative could appear in two basic
forms: secco (dry) recitative, accompanied only by continuo, which was usually a harpsichord
and a cello; or accompagnato (also known as strumentato) in which the orchestra provided
accompaniment. By the 19th century, accompagnato had gained the upper hand, the orchestra
played a much bigger role, and Richard Wagner revolutionised opera by abolishing almost all
distinction between aria and recitative in his quest for what he termed "endless melody".
Subsequent composers have tended to follow Wagner's example, though some, such as
Stravinsky in his The Rake's Progress3 have bucked the trend. The terminology of the various
kinds of operatic voices is described in section 3 below.
History
The word opera means "work" in Italian (it is the plural of Latin opus meaning "work"
or "labour") suggesting that it combines the arts of solo and choral singing, declamation,
acting and dancing in a staged spectacle. Dafne by Jacopo Peri was the earliest composition
considered opera, as understood today. It was written around 1597, largely under the
inspiration of an elite circle of literate Florentine humanists who gathered as the "Camerata
de' Bardi". Significantly, Dafne was an attempt to revive the classical Greek drama, part of the
wider revival of antiquity characteristic of the Renaissance. The members of the Camerata
considered that the "chorus" parts of Greek dramas were originally sung, and possibly even

2
The term "number opera" is used to distinguish such a work from an opera that does not
easily, if at all, divide into easily extractable pieces, such as Wagner's music dramas.
Nevertheless, it should be understood that, despite the fact that a composer may apply a
designation of scenes or numbers in an opera, the musical flow is not necessarily interrupted.
3
The Rake's Progress – Похождения Повесы
13
the entire text of all roles; opera was thus conceived as a way of "restoring" this situation.
Dafne is unfortunately lost. A later work by Peri, Euridice, dating from 1600, is the first opera
score to have survived to the present day. The honour of being the first opera still to be
regularly performed, however, goes to Claudio Monteverdi's L'Orfeo, composed for the court
of Mantua in 1607.
Vocabulary:

score партитура
incorporate объединять
spread распространять
artificiality искусственность
renowned прославленный, известный
advent появление
emphasize подчеркивать
inflection интонация
in the midst в середине
occure случаться, происходить
gain the upper hand достигнуть вершины
abolish отменять
distinction различие
quest поиск
term термин
subsequent последующий
tend тенденция
buck противиться
revive возрождать
conceive задумывать

14
 Choir

A choir, chorale, or chorus is a musical ensemble of singers. Choral music, in turn, is

the music written specifically for such an ensemble to perform.
A body of singers who perform together is called a choir or chorus. The former term is
very often applied to groups affiliated with a church (whether or not they actually occupy the
choir) and the second to groups that perform in theatres or concert halls, but this distinction is
far from rigid. The term "Choir" has the secondary definition of a subset of an ensemble; thus
one speaks of the "woodwind choir" of an orchestra, or different "choirs" of voices and/or
instruments in a polychoral composition. In typical 18th to 20th century oratorios and masses,
chorus or choir is usually understood to imply more than one singer per part, in contrast to the
quartet of soloists also featured in these works.
Structure of choirs
Choirs are often led by a conductor or choirmaster. Most often choirs consist of four sections
intended to sing in four part harmony, but there is no limit to the number of possible parts as
long as there is a singer available to sing the part: Thomas Tallis wrote a 40-part motet
entitled Spem in alium, for eight choirs of five parts each; Krzysztof Penderecki's Stabat
Mater is for three choirs of 16 voices each, a total of 48 parts. Other than four, the most
common number of parts are three, five, six and eight.
Choirs can sing with or without instrumental accompaniment. Singing without
accompaniment is called a cappella singing (although the American Choral Directors
Association[1] discourages this usage in favor of "unaccompanied," since a cappella denotes
singing "as in the chapel" and much unaccompanied music today is secular). Accompanying
instruments vary widely, from only one to a full orchestra; for rehearsals a piano or organ
accompaniment is often used, even if a different instrumentation is planned for performance,
or if the choir is rehearsing unaccompanied music.
Types of Choirs
Mixed choirs (with male and female voices). This is perhaps the most common type,
usually consisting of soprano, alto, tenor and bass voices, often abbreviated as SATB. Often
one or more voices is divided into two, e.g., SSAATTBB, where each voice is divided into
two parts, and SATBSATB, where the choir is divided into two semi-independent four-part
choirs. Occasionally baritone voice is also used (e.g., SATBarB), often sung by the higher

15
basses. In smaller choirs with fewer men, SAB, or Soprano, Alto, and Baritone arrangements
allow the few men to share the role of both the tenor and bass in a single part.
Male choirs, with the same SATB voicing as mixed choirs, but with boys singing the
upper part (often called trebles or boy sopranos) and men singing alto (in falsetto), also
known as countertenors. This format is typical of the British cathedral choir.
Female choirs, usually consisting of soprano and alto voices, two parts in each, often
abbreviated as SSAA, or as soprano I, soprano II, and alto, abbreviated SSA.
Men's choirs, usually consisting of two tenors, baritone, and bass, often abbreviated as
TTBB (or ATBB if the upper part sings falsetto in alto range. ATBB may be seen in some
barbershop quartet music.
Children's choirs, often two-part SA or three-part SSA, sometimes more voices. This
includes boychoirs.
 Choirs are also categorized by the institutions in which they operate:
 Church choirs
 Collegiate and university choirs
 School choirs
 Community choirs (of children or adults)
 Signing choirs (of Deaf or Hearing individuals)- using Sign Language rather than
voices
 Professional choirs, either independent (e.g.Philippine Madrigal Singers, Anúna) or
state-supported (e.g., BBC Singers, National Chamber Choir of Ireland, Canadian
Chamber Choir, Swedish Radio Choir).
Some choirs are categorized by the type of music they perform, such as
 Symphonic choirs
 Bach choirs
 Vocal jazz choirs
 Show choirs, in which the members sing and dance, often in performances somewhat
like musicals
 Gospel choirs

16
 Skills involved in choral singing
Choral singers vary greatly in their ability and performance. The best choral singers possess
(among others) the following abilities:
 to sing precisely in tune (on the correct pitch) and with a vocal timbre (or color) which
complements the other singers;
 to sing at precisely controlled levels of volume, matching the dynamics marked in the
score or prescribed by the conductor, and not sing so loudly as to be markedly
detectable as an individual voice within the section;
 to sight-read music fluently;
 to read and pronounce the text accurately and in the pronunciation style specified by
the leader, whatever the language may be. This includes correct diction, proper vowels
and timing of diphthongs, and correct placement of consonants;
 to understand and interpret the music and to reflect that understanding in the vocal
production of the music;
 to remain completely alert for long periods, monitoring closely what is going on in a
rehearsal or performance;
 to monitor one's own singing and detect errors, correcting them as they go along,
 to accept direction from others for the good of the group as a whole, even when the
singer disagrees aesthetically with the instructions;
 to produce a healthy and pleasing tone through the use of proper vocal technique;
 to sing using pure vowels through vowel tracking to match the group;
Singers who have perfect pitch require yet other skills:
 to sing music in keys other than that in which it is written, since choirs often sing
music in transposed form.
 to stay "in tune" with the ensemble, even in the event the ensemble modulates slightly
away from "perfect" pitch
 to provide ensembles with the key or starting pitch that a piece begins on, usually with
unaccompanied pieces

17
Vocabulary:
apply применять
affiliate присоединять, присоединяться
choir хор, место хора в соборе
distinction отличие, различие
rigid жесткий
imply подразумевать
per part в каждой партии
feature помещать
discourage отговаривать, отговорить
denote обозначать
chapel церковь, богослужение
secular светский
treble дискант
gospel евангелие, евангелистский
pitch высота (звука), абсолютный слух
timbre [´tᴂmbƏ(r)] тембр
complement дополнять
detactable заметный, различимый
consonant согласный звук
vowel гласный звук
alert чуткий, внимательный
monitor контролировать, наблюдать
aesthetic [i:s´Ɵetic] эстетический
volume громкость
transpose транспонировать

18
 Folk music
The term folk music originated in the 19th century as a term for musical folklore. It has
been defined in several ways; as music transmitted by word of mouth, music of the lower
classes, music with no known composer. It has been contrasted with commercial and classical
styles.
Origins and definitions
The terms folk music, folk song, and folk dance are comparatively recent expressions.
They are extensions of the term folk lore, which was coined in 1846 by the English
antiquarian William Thoms to describe "the traditions, customs, and superstitions of the
uncultured classes."The term is further derived from the German expression Volk, in the
sense of "the people as a whole" as applied to popular and national music by Johann Gottfried
Herder and the German Romantics over half a century earlier.
A literary interest in the popular ballad was not new: it dates back to Thomas Percy and
William Wordsworth. English Elizabethan and Stuart composers had often evolved their
music from folk themes, the classical suite was based upon stylised folk-dances and Franz
Josef Haydn's use of folk melodies is noted. But the emergence of the term "folk" coincided
with an "outburst of national feeling all over Europe" that was particularly strong at the edges
of Europe, where national identity was most asserted. Nationalist composers emerged in
Eastern Europe, Russia, Scandinavia, Spain and Britain: the music of Dvorak, Smetana,
Grieg, Rimsky-Korsakov, Brahms, Liszt, de Falla, Wagner, Sibelius, Vaughan Williams,
Bartók and many others drew upon folk melodies. The English term "folklore", to describe
traditional music and dance, entered the vocabulary of many continental European nations,
each of which had its folk-song collectors and revivalists.
However, despite the assembly of an enormous body of work over some two centuries,
there is still no certain definition of what folk music (or folklore, or the folk) is. Folk music
may tend to have certain characteristics but it cannot clearly be differentiated in purely
musical terms. One meaning often given is that of "old songs, with no known composers",
another is that of music that has been submitted to an evolutionary "process of oral
transmission.... the fashioning and re-fashioning of the music by the community that give it its
folk character." Such definitions depend upon "(cultural) processes rather than abstract
musical types.
For Scholes, as for Cecil Sharp and Béla Bartók, there was a sense of the music of the
country as distinct from that of the town. Folk music was already "seen as the authentic
19
expression of a way of life now past or about to disappear (or in some cases, to be preserved
or somehow revived)," particularly in "a community uninfluenced by art music" and by
commercial and printed song. Lloyd rejected this in favour of a simple distinction of
economic class yet for him too folk music was, in Charles Seeger's words, "associated with a
lower class in societies which are culturally and socially stratified, that is, which have
developed an elite, and possibly also a popular, musical culture." In these terms folk music
may be seen as part of a "schema comprising four musical types: 'primitive' or 'tribal'; 'elite' or
'art'; 'folk'; and 'popular'."
Revivalists' opinions differed over the origins of folk music: it was said by some to be
art music changed and probably debased by oral transmission, by others to reflect the
character of the race that produced it.Traditionally, the cultural transmission of folk music is
through playing by ear, although notation may also be used. The competition of individual
and collective theories of composition set different demarcations and relations of folk music
with the music of tribal societies on the one hand and of "art" and "court" music on the other.
The traditional cultures that did not rely upon written music or had less social stratification
could not be readily categorised. In the proliferation of popular music genres, some music
became categorised as "World music" and "Roots music".
Vocabulary:
comparatively сравнительно
extention продолжение
lore знания
coin придумать, создать выражение
superstition предрассудок
derive происходить
evolve развивать, развиваться
emergence возникновение
coincide совпадать
edge грань, край
identity зд. принадлежность
assert отстаивать
revivalist последователь
assembly собрание
fashion формировать,придумывать форму
submit подчинять
stratify наслаивать
comprise включать и себя, состоять из
demarcation разграничение
tribal племенной
stratification расслоение
proliferation размножение
root корень
20
 Jazz

From its early development until the present, jazz has incorporated music from 19th and
20th century American popular music. Its West African pedigree is evident in its use of blue
notes, improvisation, polyrhythms, syncopation, and the swung note but one of jazz's iconic
figures Art Blakey has been quoted as saying, "No America, no jazz. I’ve seen people try to
connect it to other countries, for instance to Africa, but it doesn’t have a damn thing to do
with Africa".
The word "jazz" began as a West Coast slang term of uncertain derivation and was first
used to refer to music in Chicago in about 1915.
From its beginnings in the early 20th century, Jazz has spawned a variety of subgenres,
from New Orleans Dixieland dating from the early 1910s, big band-style swing from the
1930s and 1940s, bebop from the mid-1940s, a variety of Latin jazz fusions such as Afro-
Cuban and Brazilian jazz, and free jazz from the 1950s and 1960s, jazz fusion from the 1970s
and late 1980s developments such as acid jazz, which blended funk and hip-hop influences
into jazz.
As the music has spread around the world it has drawn on local national and regional
musical cultures, its aesthetics being adapted to its varied environments and giving rise to
many distinctive styles.

Definition
Jazz can be very hard to define because it spans from Ragtime waltzes to 2000s-era
fusion. While many attempts have been made to define jazz from points of view outside jazz,
such as using European music history or African music, jazz critic Joachim Berendt argues
that all such attempts are unsatisfactory.One way to get around the definitional problems is to
define the term “jazz” more broadly. Berendt defines jazz as a "form of art music which
originated in the United States through the confrontation of blacks with European music"; he
argues that jazz differs from European music in that jazz has a "special relationship to time,
defined as 'swing'", "a spontaneity and vitality of musical production in which improvisation
plays a role"; and "sonority and manner of phrasing which mirror the individuality of the
performing jazz musician".

21
 Travis Jackson has also proposed a broader definition of jazz which is able to
encompass all of the radically different eras: he states that it is music that includes qualities
such as "swinging', improvising, group interaction, developing an 'individual voice', and being
'open' to different musical possibilities".Krin Gabbard claims that “jazz is a construct” or
category that, while artificial, still is useful to designate “a number of musics with enough in
common to be understood as part of a coherent tradition”.
While jazz may be difficult to define, improvisation is clearly one of its key elements.
Early blues was commonly structured around a repetitive call-and-response pattern, a
common element in the African American oral tradition. A form of folk music which rose in
part from work songs and field hollers of rural Blacks, early blues was also highly
improvisational. These features are fundamental to the nature of jazz. While in European
classical music elements of interpretation, ornamentation and accompaniment are sometimes
left to the performer's discretion, the performer's primary goal is to play a composition as it
was written.
In jazz, however, the skilled performer will interpret a tune in very individual ways,
never playing the same composition exactly the same way twice. Depending upon the
performer's mood and personal experience, interactions with fellow musicians, or even
members of the audience, a jazz musician/performer may alter melodies, harmonies or time
signature at will. European classical music has been said to be a composer's medium. Jazz,
however, is often characterized as the product of egalitarian creativity, interaction and
collaboration, placing equal value on the contributions of composer and performer, 'adroitly
weigh[ing] the respective claims of the composer and the improviser'.
In New Orleans and Dixieland jazz, performers took turns playing the melody, while
others improvised countermelodies. By the swing era, big bands were coming to rely more on
arranged music: arrangements were either written or learned by ear and memorized – many
early jazz performers could not read music. Individual soloists would improvise within these
arrangements. Later, in bebop the focus shifted back towards small groups and minimal
arrangements; the melody (known as the "head") would be stated briefly at the start and end
of a piece but the core of the performance would be the series of improvisations in the middle.
Later styles of jazz such as modal jazz abandoned the strict notion of a chord progression,
allowing the individual musicians to improvise even more freely within the context of a given
scale or mode. The avant-garde and free jazz idioms permit, even call for, abandoning chords,
scales, and rhythmic meters.

22
 Origins
By 1808 the Atlantic slave trade had brought almost half a million Africans to the
United States. The slaves largely came from West Africa and brought strong tribal musical
traditions with them. Lavish festivals featuring African dances to drums were organized on
Sundays at Place Congo, or Congo Square, in New Orleans until 1843, as were similar
gatherings in New England and New York. African music was largely functional, for work or
ritual, and included work songs and field hollers. The African tradition made use of a single-
line melody and call-and-response pattern, but without the European concept of harmony.
Rhythms reflected African speech patterns, and the African use of pentatonic scales led to
blue notes in blues and jazz.
In the early 19th century an increasing number of black musicians learned to play
European instruments, particularly the violin, which they used to parody European dance
music in their own cakewalk dances. In turn, European-American minstrel show performers
in blackface popularized such music internationally, combining syncopation with European
harmonic accompaniment. Louis Moreau Gottschalk adapted African-American cakewalk
music, South American, Caribbean and other slave melodies as piano salon music. Another
influence came from black slaves who had learned the harmonic style of hymns and
incorporated it into their own music as spirituals. The origins of the blues are undocumented,
though they can be seen as the secular counterpart of the spirituals. Paul Oliver has drawn
attention to similarities in instruments, music and social function to the griots of the West
African savannah.
Vocabulary:
incorporate объединять
pedigree родословная
blue notes блюзовые ноты
spawn порождать, породить
fusion сплав, слияние
span охватывать
sonority звучание
designate обозначать
coherent последовательный, связный
call-and-response зов-отклик
in part отчасти
holler орать, вопить
discretion усмотрение
alter менять, изменять
at will по желанию
medium среда
egalitarian эгалитарный (уравнительный)
23
adroit ловкий, искусный
bebop род джазовой музыки
core сердцевина, середина
abandon оставлять, отказаться
notion понятие
chord аккорд
mode лад, тональность
scale шкала
tribal племенной
lavish щедрый
cakewalk кекуок
minstrel менестрель
griot*
court music придворная музыка

Менестрель (франц. ménestrel, от позднелат. ministerialis - состоящий на службе; англ.

minstrel), 1) профессиональный певец и музыкант в феодальной Франции и Англии,
иногда рассказчик и декламатор, нередко одновременно поэт и композитор.

*Гриоты –это музыканты Западной Африки. Их можно встретить в Мали, Сенегале,

Гвинее и Гамбии, то есть там, где живёт группа народов мандинго. Слово «гриот»
(griot) – французское, сами музыканты называют себя джали (jali).

20-th century music styles

The 20-th century is by all means considered to be the most influential period of time in
the development of music. In the 20-th century there were more practising musicians than in
all previous centuries taken together. In the 20-th century there was no mainstream but
various styles in music. It is not an easy task to describe these music styles. They reflect the
world that was constantly changing. Desires and fears of the people of the 20-th century found
their outlet in music. The 20-th century opened a new era in the history of mankind, and the
new epoch was to be described in new musical forms. The rules were left in the past. In the-
20-th century everybody could choose the music that he would enjoy. It was exciting in its
adventurous freedom.
In the 1920s in New Orleans beautiful music filled the streets and cafes. The black and
poor singers sang about their hard lives. Their music — jazz, ragtime and blues— soon
travelled to Europe. It was the time when the black music entered the whites' culture changing
24
me lifestyle of the people all over the world. Ever since the 1930s music was not just a way to
relax. From that time on music began to reflect and determine the people's way of life.
Many sub-cultures developed as a result of the fusion of black and white music cultures.
Black music evolved in the Caribbean and in the United States, later it moved to Britain. Such
styles as reggae, rap, hip-hop to say nothing of the blues were created by the black
community. Today many white musicians either perform the black music or use the black
melodies in creating their own songs.
In the 1940s and 1950s new styles of music emerged. Swing, rock'n'roll and singers like
Jerry Lee Lewis and Chuck Berry destroyed the laws of morality that were imposed on the
people by the Church for centuries. In the 1950s Elvis Presley became the king of rock 'n' roll
in the United States of America. The new music travelled to Europe soon. It was especially
popular among the teenagers. The parents were really shocked by «Devil's music» that their
children adored. The young people disagreed with their parents, wore their jeans and danced
to their rock'n'roll records.
In the 1960s in Great Britain, in Liverpool a new band was created. It was soon to be
known world-wide as the «Beatles». John Lennon and Paul McCartney were writing simple
songs and performing them so brilliantly that they gave a new impulse for the development of
the musical community. Other members of the famous group were George Harrison and
Ringo Starr. Such songs as «Yesterday», «Let It Be», «Love Me Do», arid «Yellow Sub-
marine» made them the most popular band not only in England, but throughout the world as
well.
From the British Isles their music quickly travelled to Europe, America and other
continents. Early in 1964 what soon came to be called «Beatlemania» struck the United
States. For the first time> British pop music was important abroad. Such U.S. performers as
Chuck Berry and Elvis Presley admired the music of the «Beatles».
The long hair and tastes in dress of the musicians became popular in different countries.
The freshness and' excitement of the earliest days of rock 'n' roll and simple but engaging
lyrics of John Lennon and; Paul McCartney kept the group at the top of popularly charts for
several years. They won recognition from the music industry in the form of awards for
performances an songs. Soon they became not only popular, but rich as well. With the money
they earned they could experiment with new musical forms and arrangements. The result was
a variety of songs ranging from ballads to complex rhythm tunes and songs of social
comment: Their music inspired hundreds to create new music.

25
 In 1969 at Woodstock, near New York a great rock festival attracted nearly half a
million young people; Most of "them were hippies, who shocked the-world with their beards,
longhair; old jeans and their calls for peace and love. They came to listen to such new stars: as
Jimmy Hendrix and Joe Cocker. They sang- about- the war in Vietnam and about violence in
the world. The music performed at Woodstock had a tremendous influence on the
development of the culture of the youth. The young people rose in protest against the
mercantile society. The ideals of the hippies are still living in many hearts. In the middle of
the 1990rs the Woodstock festivals were revived. But today Woodstock is no longer a great
parry it used to be in 1969"; Young people who come to Woodstock today simply want to see
the violent youth of their parents.
"The mid-1970s witnessed great changes in the music. The gentle mood of the 1960s
was gone. The music became violent and aggressive. This was a protest of the new
generation, not peaceful pacifist protest of Woodstock, but protest aimed at the negation and
destruction of the existing order. Hard rock, heavy metal and punk became popular among the
young. Such groups as «AC/DC>>, «Kiss», «Black Sabbath>>; and «Sex Pistols» shocked
the public by their music and behavior. Although music of such kind still has its fans, the peak
of its popularity has decreased.
Music that developed in the 1970s and 1980s had its own peculiarities. Melodies were
simple and often unoriginal, different groups would easily borrow the popular melodies
written by competing groups. Young people would not listen alone to their favourite bands;
they would rather have a get-together or a party or go to a disco club. The new music styles
that appeared in the 1980s were aimed at dancing and disco clubs, thus rhythm and beat
became more important than the melody.
Multiculturalism found its expression in the music. In the 1980s young people started to
listen to different kinds of music and they were not afraid of choosing what they really loved.
No single style or set of styles can be attributed to the 1980s and 1990s. The best word to
characterise what was going on in the world of music at that time is diversification.
The epoch found its best expression in techno music. A British band «Depeche Mode»
was the first to express the realities of a complex and constantly changing society through
highly elaborate music. This was the music of technological advance and breakthrough, the
message of the rhythm was the dependence of our civilisation on the machines that were able
to do everything faster and better than humans do.

26
 The 1990s witnessed further changes in the world of music. Pop music became
extremely fashionable among young people. Madonna, Michael Jackson, and «Spice Girls»,
and «Backstreet Boys» give an example of what teenagers preferred to listen. At' the same
time a powerful opposition to the pop music appeared. Rave, techno, rap, chaos, and acid
styles were gaining momentum in the 1990s. Young people who preferred this kind of music
would never attend a pop show because of a general disgust and hatred for pop music.
The music of the 20-th century did a lot to change the outlook of the people, make
peace, bring some positive social changes. It still plays a great role in the life of the people of
the 21-st century. Everything either happy or tragic that occurs in our life is set to music.

Questions for discussion:

- What was typical of American music of the 20-th century?

- In the 20-th century the USA developed several distinctive and highly influential types of
music: jazz, blues, country, and rock'n'roll. The most important performers were Louis
Armstrong, Duke Ellington, Charlie Parker, and John Coltrane in jazz; Muddy Waters in the
blues, Hank Williams in country and western, and Elvis Presley in rock 'n' roll.

-Does music play an important role in the life of young people?

- Yes, it does. It even determines, their life style and fashion. Teenagers try to imitate their
favourite musicians in appearance, dress, and lifestyles. Hippies originally tried to imitate the
«Beatles». Hippies usually have long hair, they are dressed in torn clothes. People who prefer
heavy metal would rather be dressed in leather and be richly decorated with decorations made
of iron.

- What music do you like?

- In fact I can listen to almost any kind of music, my tastes range from classic music to heavy
metal. At the same time there are certain styles of music that I prefer. I believe that music
should be energetic, that is why I am fond of the German group «Scooter» that performs
electronic music. They were extremely popular in our country in the late 1990s, although in
the English speaking countries not many were aware of their existence. In 1999 the «Scooter»
visited Russia and gave a concert in Moscow at «Olympiysky.» This was a fantastic and

27
unforgettable show. They performed all their best songs including their hit «How much is the
fish?».

- What is your favourite band?

- As I have already mentioned there are many groups that I am fond of. A couple of years ago
I preferred the «Scooter». I still like this group, but now I think that the band I like most of all
is the «Savage Garden». This is an Australian group that started to perform in the 1990s. The
members of the «Savage Garden» are Daniel Jones and Darren Hayes. My favourite song by
the «Savage Garden» is «To the Moon and Back». It is very lyrical and inspiring. Their latest
singles are «Chained to You» and «I Knew I Loved You».

Part III. At the concert.

THE NOVOSIBIRSK STATE CONSERVATORY OF MUSIC

Up to recently the Novosibirsk Conservatory of Music was the first and the only music
higher educational institution in Siberia and the Far East. Young people devoted to music
here to become professional musicians in each sphere of music art, composition, experts in
music. A fair number of graduates become teachers of music schools and colleges, they are
members of music organization and work in musical theatres all over Russia and abroad.

The Conservatory of Music was opened in 1956 to admit 58 students. Now, the
student’s body is about 800. One can hear good music all day long in the daytime and at
night. The Conservatory of Music stands in the very centre of the city in Sovjetskaya Street.
31. On the left-hand side is the monument dedicated to M. Glinka — the first composer of
Russian National Style, whose name our conservatory bears. On the right-hand side is the
Central Post-Office.

On the ground floor there is a hall with a magnificent staircase leading to classrooms,
laboratories and studios, a cloak-room and a canteen. A good library with a fine selection of
musical and fictional literature is also on the ground floor. The conservatory's Maly and
Bolshoi Halls are used for concerts and meetings

28
 Students study at six faculties — piano, musicology and composition, choral
conducting, folk instruments, vocal singing and orchestra (violin, viola, cello, double-bass,
harp), symphony conducting, and graduate courses (for vocal singers and musicologists). To
enter the Conservatory one has to take rather difficult entrance examinations. The course of
training lasts 5 academic years.

The v i o l i n schoo l is of s p e c i a l pri de and is connected with such names as A.

Azatyan, A, Amiton, G. Pekker, M. Libermann, Z. Bron and many others. The young
talented violinists have won the excellent reputation at various International competitions.
Among them are V. Repin, M. Vengerov, A. Barachovsky, etc. The students gain experience
in collaboration with the Novosibirsk Symphony Orchestra under the direction of Prof. A.
Kats. There are a lot of brilliant orchestra musicians — A, Shustin B. Butch, V. Sokolov, etc.
The vocal singing faculty was founded by Prof. V. Arkanov. Much attention is paid to
versatile musical education of future singers — they study several foreign languages, among
them Italian, French, German and English. The piano is a must for all the conservatory
students. Choral singing has occupied a very important place in Russian musical life. The
existence of the faculty is due largely to the enthusiasm of choir masters, such as V.
Minin, S. Mussin, Yu. Braginsky. The Folk Instruments Orchestra of the Novosibirsk Radio
and Television under the direction of Prof. Gusjev is one of the best orchestras in the
co unt r y. In the conservatory there is a specialized secondary music school where advanced
ways of teaching the younger generation are applied. For the same purpose the Music
Lyceum was set up around ten years ago.

The Conservatory Museum has a lot of exhibits which attract a great number of visitors.

THE FIRST PERFORMANCE

Vocabulary:
- to include into the cast; to decide; to get the part; to expect much of
- getting through the role; to rehearse; partners; to instruct; to imitate; in his opinion; no
doubt

29
- on seeing the rehearsal; the director; to be pleased; to be astonished; to appreciate; what he
heard was ...; in his opinion; to be sure; to be a success; to be flattered
- to be excited; to have a feeling that; to hear and see nothing; to be astonished; to forget; to
prompt; to try to do one's best
- the performance; to fail; silence; no applause
- the director; to be angry; furious; to come backstage; to leave the theatre; to be afraid

At the concert (a lesson of good manners)

Questions:
1. Who is your favourite singer? Do you often listen to his songs? Have you got cassettes
with his/her songs at home? Have you ever gone to the concert of this singer? Which of
his/her songs do you like most of all?
2. What comes to you minds when you think about a concert? What associates with the
word «concert»?
3. Do you know anything about Promenade Concerts or «Proms»? Listen to a story. Try
to understand what the word «promenade» mean and who invented and why such concerts.

In 1895, Sir Henry Wood conducted the first Promenade Concert in London. His aim was
to make classical music more popular and to encourage young people to get to know the great
masters of the classical music - Mozart, Bach, Beethoven.
In order to make the atmosphere more informal, people were allowed to stand and even
walk around - «promenade» - during the concert. Seats were cheap and the crowds flocked to
attend. Now, the Proms, as they are usually called, are the most important annual classical
music festivals in Britain. Many concerts are sold out. They entertain and delight audiences of
all ages all over Britain.
Agree or disagree with the five things concerning the behavior at the concert.
1. Please do not drink
2. Please do not eat during the performance
3. The taking of photographs is strictly forbidden
4. Please try not to cough during the performance
5. Please ensure that all alarms are switched off
Points for discussion:
- Work in pairs and include some other requests, concerning the behaviour at the concert.

30
 - Tell which of these things you find annoying.
- How would you reprove (делать замечания) а person, who:
a) eats chocolate sweets during the concert?
b) eats ice-cream;
c) coughs from time to time;
d) speaks over a mobile telephone.
- The pupil A reproves the pupil В because of his/her bad behaviour at the concert; the
pupil В - reacts to the remark.

- The pupil A was at the concert of his/her favourite singer. The neighbour's behaviour
annoyed him/her, and the pupil A complains to the friend about the behaviour. The pupil A
can be:
a) at the concert alone;
b) at the concert together with the friend, and they discuss the behaviour of one person.
- Has anyone annoyed you at the concert or at the theatre? In what way? How did you react
to the bad behaviour of your neighbour?
- Is your behaviour always proper at the concert or at the cinema or at the theatre? What did
you do wrong?

Invitation to the concert

Questions:
- What do say about the music, if you liked it?
- What do you say about the music, if you didn't like it?
- What is your favourite sort of music?
- Do your friends share the same tastes in music as you?
- Where and when do you listen to music?
- Do you like having background music while you are working?
- Do you buy cassettes, CDs? How often?
- What usually makes you decide that you want to buy a certain cassette?
- What are your favourite singers, groups?
- Have you got any records with classical music?
- Who are your favourite composers of classical music?

31
 Read «pros» and «cons» on classical music, add some more things.
Pros
It appeals to me (my heart, my feelings); I enjoy listening to it;
it enriches me; It makes me think of happy times;
I like catchy tunes;
Cons

It's annoying/irritating; I don't understand it;

It's boring; I find it noisy and dreadful;
It puts me to sleep; I don't think much of classical music.

Tell your opinions about classical music.

Read the expressions for persuading a friend to go to the concert of classical music:
- Let's go to a concert.
- Why not go to a concert?
- Would you like to go to a concert?
- What about going to a concert?
Useful expressions:
The music is tuneful and appealing. (Музыка мелодична и трогательна).
There is no music more beautiful and deep that this. (Нет музыки более
прекрасной и глубокой по содержанию, чем эта).
The music astonishes by its originality and depth. (Музыка поражает своей
оригинальностью и глубиной).
You will get excitement (pleasure) out this music. (Ты испытаешь волнение
(удовольствие) от этой музыки)
Не was a composer of unusual genius. (Он был композитором необыкновенной
одаренности).
Few can equal him. (Немногие могут с ним сравниться).
То many people his genius is an enigma. (Для многих людей его одаренность
является загадкой).
His music has been called the music of the future. (Его музыку называли
музыкой будущего).

32
Phrases that help to reply to a friend's invitation.

That's a good idea. - Прекрасная мысль.

Fine! - Прекрасно!
I'd love to (I'll be delighted) - С большим удовольствием.
I don't mind - He возражаю.
I'm afraid 1 can't - Боюсь, что я не смогу.
Not me. - Только не я.
1 would rather... - Я бы лучше...
I have got things to do. - У меня дела.
I'm all for it. - Я целиком за это.
I'm against it. - Я против этого.
His music is light and super ficial. - Его любимая музыка поверхностная и
надуманная.
The music is stark and cold. - Музыка безжизненна и Холодна.
The music gets on the nerves. - Музыка действует на нервы.
It lacks depth. - В ней недостает глубины.

Many of his works have faded. - Многие его произведения устарели. I don't get
any excitement out of his music. - Я не испытываю никакого волнения от его
музыки.
It is the kind of music that very few like. - Это такая музыка, которая нравится
очень немногим.
What's on the programme? - Что в программе?
Who is giving the concert? - Кто дает концерт?

33
Look through the programme and convince a friend to go to the concert. The friend
refuses.

Tuesday 15 February 2005 at 7.30 pm

Glinka Overture, «Ruslan and Ludmila».

Prokofiev Symphony No. 1.
Rachmaninoff Rhapsody on the theme of Paganini and orchestra.

Make up their own dialogue and the pupil A convinces his/her friend to go to the concert.

THE BRITISH BALLERINA AT THE BOLSHOI THEATRE

We got to Sverdlov Square and I got out and for a long time was standing in front of
the Bolshoi. It was a great moment in my life as I looked at the famous pillars for the first
time. I was afraid that I couldn't uphold the prestige of the Bolshoi ballet.
Bolshoi in Russian means great, and the Bolshoi Theatre was named for its size. It
could not have a better name. It is a theatre which is great in every sense. It is unique in the
world of ballet and opera. No wonder I was excited and eager to get inside and start
working. The moment I was inside I had the feeling that I was wanted and was being waited
for. At the top of the stairs I was met by a group of dancers, among them Ulanova, Semenova,
Plissetskaya, Chabukiany, Kondratov and others. M. Chulaki, the director of the Bolshoi was
waiting for us in his room. I was terribly eager to see the Bolshoi immediately, so we started
examining the theatre. I was impressed by marble stairs, red carpets, and red and gold
furniture. We went into the director's box, and for the first time I saw this huge, wonderful
theatre which seats more than 2,000 people. Its circle is like the circle in the Scala at Milan
34
and it has the atmosphere of intimacy of the Metropolitan in New York. And the stage is three
times larger than the stage at Covent Garden. Next morning when I came up to the theatre a
lot of people hurrying in the direction of the theatre could be seen. Apparently it is a Moscow
custom to give a midday performance in the theatres on Sundays, and that day "The Snow
Maiden" performed by the Bolshoi Opera Company was on.
I was shown to my dressing-room. As I entered the rehearsal-room all the dancers
stopped their work and greeted me with applause. It gave me the encouragement I needed at
that moment. I would like to emphasize my very happy relations with the dancers and theatre
administrators throughout my stay. From the moment I got inside the Bolshoi until the
moment I left Russia I felt the warmth and care of my fellow-dancers. I was one of them, and
everything possible was being done to help me. There was a feeling of complete devotion
which could be met nowhere else in the world. Part of this feeling came from tradition, and
another part from the fact that in their country actors are regarded as people making a special
contribution to society.
Pronunciation Drill
[ei]: 'famous, named, a'fraid, 'waiting, 'maiden, stay, day
[i:]: com'plete, feel, 'feeling, greet, need, re'ceive, 'people, means, 'eager, seats [ә:]: first,
work, 'working, world, 'furniture, re'hearsal
[ou]: 'moment, no, 'nowhere, shown, snow, 'fellow, up'hold, gold
[f]: 'atmosphere, 'emphasize
Exercise 1.
Read the text again and correct the following statements. Begin your sentences with: «I’m
afraid you are not quite right ..."; «I'm afraid you are wrong because ...»
1. Miss Beryl Grey got to Sverdlov Square and was standing in front of the Maly Theatre.
2. At the top of the stairs she was met by a group of singers.
3. The director of the Bolshoi was waiting for her in the rehearsal-room.
4. Next morning when she came up to the theatre there were no people there.
5. When she entered the rehearsal-room the dancers did not stop work.
6. Beryl Grey was greeted with flowers when the dancers saw her.
7. She did not need any encouragement at that moment.
8. Her relations with the Soviet dancers were not very good.

35
Exercise 2.
Give full answers to the questions:
1. Where did Miss Beryl Grey come from?
2. Was it her first visit to Moscow? Why was she standing for a long time in front of the
Bolshoi?
3. Why was she afraid?
4. What gave her the feeling that she was wanted and expected?
5. What was she impressed by when she got inside the theatre?
6. What Moscow custom did she note?
7. Why did the dancers stop their work when Miss Grey entered the rehearsal-room?
8. Why did she need encouragement at that moment?
9. What did she say about her relations with the actors?
10. How does she explain the feeling of complete devotion of the actors?

Exercise 3.
Translate into English:
1. Берил Грей стояла долгое время перед Большим театром. Очевидно, это была
торжественная минута в ее жизни.
2. Неудивительно, что она была взволнована, это было ее первое выступление в
Большом театре.
3. Ей не терпелось войти внутрь.
4. Она очень хотела начать репетицию (репетировать).
5. У нее было такое чувство, что ее ждут.
6. Ей понравился в Москве обычай давать дневные представления в субботу и в
воскресенье.
7. Ее приветствовали аплодисментами,
8. Аплодисменты (поддержали) вдохновили ее.
9. Мне бы хотелось подчеркнуть ее хорошие отношения с труппой Большого театра.
10. Берил Грей понравилось чувство преданности актеров своему искусству и театру.

36
Exercise 4.
Describe the Bolshoi Theatre using the following words and expressions:
seats more than (6,000, 2,000 people); bunt of glass (marble, stone, wood); always packed;
atmosphere of (intimacy, festivity); performance; to perform; tickets must be booked in
advance; the orchestra stalls (stalls, circles, boxes, pit, gallery); huge; stairs; carpets; furniture;
stage; curtain; company; it is a custom to...

Exercise 5.
Speak on the following topics, using the words and expressions of the text :
a) Your first visit to the theatre:
1. When did you visit the theatre for the first time?
2. What theatre was it? 3. What was on that day?
4. Where were your seats?
5. When did the performance begin?
6. Who were you with?
7. How did you get the tickets for this performance?
8. Why did you go to see that particular play?
9. What impressed you more: the play, the acting of the actors, the atmosphere of the theatre?
b) The first stage appearance:
1. Did you take part in an amateur dramatic or musical circle?
2. What parts did you play?
3. What instrument did you play?
4. What kind of music did you like to play?
5. When did you make your first stage appearance?
6. Were you a success?

37
Part IV. Famous composers and musicians.

NAMES OF SOME FAMOUS COMPOSERS

Bach [bɑ‫׃‬k, bɑ‫׃‬h]˗ Бах (1685-1750) ,немецкий композитор и органист

Bartok [bɑ‫׃‬tↄk]˗Барток (1881-1945),венгерский композитор и пианист
Beethoven ['beithәuvn] —Бетховен (1770-1827), немецкий композитор и музыкант
Berlioz ['bɛәӏiәuz] — Берлиоз (1803-1869), французский композитор
Brahms [brɑ:mz] —Брамс (1833-1897), немецкий композитор, пианист, дирижер
Britten ['brit(ә)n]— Бриттен (1913-1976), английский композитор, пианист, дирижер
Chopin ['ʃↄpɛŋ, 'ʃәupɛŋ] — Шопен (1810-1849), польский композитор и пианист
Debussy [dә'bu‫׃‬si:, dә'bysi(:)] —Дебюсси (1862-1918), французский композитор
Dvorak ['dvo:ʒɑ:k] —Дворжак (1841-1904), чешский композитор, музыкант, дирижер
Grieg [ɡri:ɡ] — Григ (1843-1907), норвежский композитор и пианист
Handel ['hændl] —Гендель (1685-1759), англонемецкий композитор, органист
Haydn ['haidn] — Гайдн (1732-1809), австрийский композитор
Hindemith ['hindәmit] —Хиндемит (1895-1963), немецкий композитор, альтист
Honegger ['hↄniɡә] — Онеггер (1892-1955), французский композитор швейцарского
происхождения
Liszt [list]— Лист (1811-1886), венгерский композитор и пианист
Mendelssohn ['mendlsn] —Мендельсон (1809-1847), немецкий композитор, дирижер,
пианист и органист
Mozart ['mәutsɑ‫׃‬t] — Моцарт (1756-1791), австрийский композитор и музыкант
Mussorgsky [mә'sↄ‫׃‬ɡski] — Мусоргский (1839-1881), русский композитор
Prokofiev [prә'kↄfjef] —Прокофьев (1891-1953), русский композитор
Puccini [pu'tʃi:ni(:)]— Пуччини (1858-1924), итальянский композитор
Purcell ['pә‫׃‬sel] — Перселл (1659-1695), английский композитор
Rachmaninov [ræk'mæninↄf] — Рахманинов (1873-1943), русский композитор и пианист
Ravel [ræ'vel] — Равель (1875-1937), французский композитор
Schubert ['ʃu‫׃‬bәt] —Шуберт(1797-1828), австрийский композитор
Schumann ['ʃu‫׃‬mәn]— Шуман (1810-1856), немецкий композитор и пианист
Shostakovich [ʃↄstә'kәuvitʃ] —Шостакович (1906-1975), русский композитор
trauss [straus] — Штраус (1864-1949), немецкий композитор
38
Stravinsky [strә'vinski] —Стравинский (1882-1971), русский композитор
Tchaikovsky [tʃai'kofski] —Чайковский, русский композитор
Verdi [vɛәdi]— Верди (1813-1901), итальянский композитор
Vivaldi [vi'vældi] —Вивальди (1678-1741), итальянский скрипач и композитор
Wagner ['vɑ:ɡnә] — Вагнер (1813-1883), немецкий композитор и дирижер
Weber ['veibә] — Вебер (1786-1826), немецкий композитор и дирижер

For whom did Vivaldi compose his music?(1678-1741)

Antonio Vivaldi, the Italian composer who lived from 1678 to 1741, composed most of
his music for the pupils of a girls' orphanage in Venice.
His job was to teach the violin, but because the choir and orchestra there were so good,
he composed music for them.
His most famous work includes the Four Seasons concertos — but he wrote hundreds of
other pieces.
Questions:
1) How did Antonio Vivaldi start to compose music?
2) What Vivaldi pieces do you know?
3) What Italian composers do you know?
4) What city is Vivaldi's life connected with?

Выпишите глаголы в Past Simple и кратко перескажите текст, используя эти глаголы.

Points for discussion:

1) A. Vivaldi liked children, didn't he?
2) Do you know anything about Italy? (Find the answer in the text, please.)
3) How can you show that he was fond of nature?
4) Was his job to teach the violin or to compose music?

Joseph Haydn (1732-1809)

Joseph Haydn is a great Austrian composer. He was born in a village not far from
Vienna. He composed more than 80 string quartets, 100 symphonies, 52 sonatas, about 30
operas. Symphonies, quartets and sonatas are considered to be his best musical compositions.
He was called "Papa" of symphonies and quartets, because he made them classical. He lived a

39
long life and knew Mozart, Beethoven, Schubert, who highly appreciated his talent. Haydn's
contemporaries adored his music.

Vocabulary:
A. Vivaldi — А. Вивальди, итальянский скрипач и композитор (1678-1741)
choir — хор
concerto — концерт
famous — известный, знаменитый
orchestra — оркестр
orphanage — приют для сирот
piece — зд. музыкальное произведение
Venice — Венеция
violin — скрипка

Questions:
1) Joseph Haydn is a great Austrian composer, isn't he?
2) Why are symphonies and quartets considered to be his best musical compositions?
3) What films about foreign and Russian composers have you seen and what is your opinion
of them?

Who was Beethoven (1770-1827)

Ludwig van Beethoven has been called the greatest composer who has ever lived — yet
he was deaf for much of his life. Beethoven lived from 1770 to 1827. He was born in Bonn in
Germany. At the age of 17 he went to Vienna to study under Mozart. The teacher and the
student soon became friends.
Later, he studied with Joseph Haydn, but we know he was not satisfied and took extra
lessons in secret.
By the age of 32, he knew he was going deaf. Deeply depressed, he had to give up
playing, but was able to go on composing because he could still hear the sound of the music in
his head. He used to go for long walks, carrying a sketch book in which he wrote down his
musical ideas. We remember him for many great works — including masterpieces such as the

40
Moonlight Sonata and his famous Ninth Symphony, in which he introduced choral music for
the first time in a symphony.

Vocabulary:

be able to — быть в состоянии

be satisfied — быть довольным
Bonn — Бонн
choral — хоровой
compose — сочинять
deaf — глухой
deeply — глубоко
depressed — подавленный, угнетенный
Germany — Германия
give up — отказаться от, бросить
idea — идея, мысль
including — включая, в том числе
masterpiece — шедевр
opinion — мнение
sketch — набросок, заметка
sound — звук
symphony — симфония
"The Moonlight Sonata" — "Лунная соната"
theory — теория
Vienna — Вена

Questions:
1) What other German composers do you know?
2) What Beethoven masterpiece do you know?
3) Who was his teacher?
4) What happened with Beethoven when he was 32?
5) What is your opinion of Beethoven's Moonlight Sonata?

Переведите на русский:
1) "He took extra lessons in secret."
2) "He had to give up playing."
3) "We remember him for many great works."

Выпишите из текста по абзацам следующие грамматические явления и перескажите

кратко каждый абзац:
1) глаголы в Passive Voice,

41
2) глаголы в Past Simple,
3) глаголы в форме Gerund,
4) существительные с определенным артиклем "the".
Points for discussion:
1) No physical defects can make a talented person give up creating, can they? (Give your
arguments, please.)
2) Have you ever heard Beethoven's Moonlight Sonata?
3) Why is his Ninth Symphony so popular for the theory of composing music?
4. Are you sorry or proud for such people as Beethoven? (Give your reasons, please.)
Who was Johann Sebastian Bach?(1685-1750)
Johann Sebastian Bach was a famous German compose Bach was born in 1685. He was
taught music first by his father who was a professional musician, and then, when his father
died, by his brother. He composed 48 preludes and fugue which are studied in every musical
school now.
He also wrote a lot of church music. His music for church choirs includes 200 cantatas.
He led a life full of hardship: Unfortunately, neither his contemporaries nor his sons who also
were talented musicians could understand how talented Васh was. His name became world
famous only in the nineteen century. In 1747, he lost his sight. He died very soon after wards,
in 1750.
Vocabulary:
afterwards — впоследствии, потом
argument — довод, аргумент
cantata — кантата
catholic — католик
choir — хор
conservatoire — консерватория
contemporary — современник
die — умирать
include — включать
musician — музыкант
physical defect — физический недостаток
professional — профессиональный
sight — зрение
talented — талантливый

Questions:
1) Who took Part in teaching Bach music?
2) What other composers were Bach's contemporaries?
42
3) Do you like choral singing?
4) Have you ever heard church music? What can you say about it?
5) Do you often go to the concerts in the Conservatoire?

Переведите на русский. "He was taught music by his brother."

Выпишите глаголы в Passive Voice и кратко перескажите текст,

Points for discussion:

1) Was A. Vivaldi S. Bach's contemporary? (Did they live in the same century?)
2) Why could Bach's father teach him music?
3) Do you like to listen to A. Vivaldi or S. Bach? (Give your arguments, please.)
4) S. Bach was a catholic, wasn't he? (Give your arguments, please.)

Who was Mozart (1756-1791)

Mozart was the greatest Austrian composer. Wolfgang Amadeus Mozart lived only 35
years, but in that time he became one of the world's most famous composers.
Mozart was born in Austria in 1756. He began composing at the age of five. His father
was a musician and he taught his son to play different instruments. As a very young child his
father took him on a tour of Europe, playing before royalty. From the age of six he toured
Europe and gave concerts in Austria, Germany, France, Italy and Switzerland.
As a young man, Mozart settled in Vienna. He wrote symphonies and several great
operas, including "The Marriage of Figaro", and "The Magic Flute".
He died very suddenly after a short illness. Rumour had it that he had been poisoned,
but it is more likely that he had a weak heart. He died so poor that only the gravedigger
attended his funeral. There are many legends around Mozart's death. They say two weeks
before his death a man in black visited him anonymously and ordered him to write a requiem.
Mozart agreed because he needed money badly. He was a romantic and impressionable man.
He felt sure that it was his death. The visitor in black was just a certain count who wanted to
publish the requiem as his own composition.

Vocabulary:
agree — соглашаться
anonymously — анонимно
Austria — Австрия
43
Austrian — австриец
certain — определенный, зд. один
count — граф
death —смерть
France —Франция
funeral — похороны
gravedigger —могильщик
illness —болезнь
impressionable — впечатлительный, восприимчивый
Italy —Италия
legend — легенда
marriage — брак, женитьба
opera — опера
poison —отравлять
poor — бедный
publish — публиковать, издавать
requiem — реквием
romantic —романтичный, романтический
royalty —члены королевской семьи
rumour — слух, молва
settle — поселяться
several —несколько
suddenly — вдруг, внезапно
Switzerland — Швейцария
"The Magic Flute" —"Волшебная флейта"
tour — совершать турне

Questions:
1) What can you tell us about Mozart's childhood?
2) Have you seen any films about Mozart's life?
3) What Mozart operas do you know?
4) What instruments could Mozart play?
5) What do you think of the legends around Mozart's death?

Explain, please: "He died very suddenly."

Выпишите из текста следующие грамматические явления и кратко перескажите текст:

1) глаголы в Past Simple,
2) существительные с неопределенным артиклем "а",
3) сочетания существительных с предлогами.

Points for discussion:

44
1) Mozart was a very talented composer, wasn't he? (Give your reasons, please.)
2) Why is his music so popular all over the world?
3) Have you heard any of his operas?
4) Which music do you prefer: that by A. Vivaldi, S. Bach or Mozart?

Tchaikovsky(1840-1893)
Pyotr llyich Tchaikovsky, an outstanding Russian composer, was born in Votkinsk in
1840. He was fond of music since his early childhood. His mother sang him beautiful songs
and taught him to play the piano. But Pyotr llyich graduated from the Petersburg
Conservatoire only in 1866 because of his poor living conditions. He was the best pupil of
Anton Rubinshtein. When the Moscow Conservatoire was founded Pyotr llyich became a
professor there.
He created wonderful music: ten operas, three ballets, six symphonies, seven large
symphonic poems and many other musical pieces.
"Eugene Onegin", a new type of opera, was a great success all over the world. His
"Swan Lake", "The Nutcracker", "The Sleeping Beauty" are musical masterpieces. Besides,
Tchaikovsky was a great conductor, and he conducted a lot of operas and symphonies
himself.
In his music he used folk melodies for the musical descriptions of Russian nature and
life.
Tchaikovsky became the first Russian doctor of music abroad. He came back from
Cambridge famous all over the world. Tchaikovsky's compositions are full of realism. Though
he wrote his operas and ballets in the 19th century they are real to us now.
Tchaikovsky died in 1893, but his music continues to live; it will live forever. His music
is played by the musicians of all countries and continents. In 1958 at the First International
festival named after Tchaikovsky an American pianist Van Cliburn won the first prize,
brilliantly performing the first concert for the piano and orchestra by Tchaikovsky.
Vocabulary:
Anton Rubinshtein—Антон Рубинштейн
Cambridge— г. Кембридж (Англия)
conductor—дирижер
conservatoire— консерватория
description—описание
doctor of music—доктор (ученая степень) музыки
"Eugene Onegin"— "Евгений Онегин"
folk melody— народная мелодия
45
graduate from—окончить учебное заведение
"Nutcracker"— "Щелкунчик"
perform— исполнять, играть
Petersburg— Петербург
pianist— пианист
"Swan Lake"—"Лебединоеозеро"
"The Romeo and Juliet Overture"—увертюра "Ромео и Джульетта"
"The Sleeping Beauty"— "Спящая красавица"
Van Cliburn— Ван Клиберн (американский пианист)

Questions:
1) What operas by Tchaikovsky do you know?
2) Whose play did Tchaikovsky use for his "The Romeo and Juliet Overture"?
3) Who is your favourite Russian composer?
4) What concert halls do you know in Moscow? (The Tchaikovsky Hall, the Bolshoi
Conservatoire Hall, the Maly Conservatoire Hall)
5) When did you last go to the Tchaikovsky or the Bolshoi Conservatoire Hall?
6) Where does the Tchaikovsky contest take place?

Explain: "P. Tchaikovsky is probably best known as the composer of ballet music.''

Выпишите из текста следующие грамматические явления:

1) глаголы в Passive Voice,
2) глаголы в Past Simple,
3) сочетания существительных с предлогом.

Points for discussion:

1) Why are these works (compositions) so popular? (Look at paragraph 3.)
2) His music is known to all classes (strata, levels) of people (rich and poor, old and young,
common or aristocratic etc.), isn't it? (Give your arguments, please.)
3) Have you seen any ballet by Tchaikovsky? (Was it by TV or at the theatre?)
4) Did Tchaikovsky reflect his love for the nature of his country or any other countries too?

Who was Sergei Prokofiev (1891-1953)

46
 Prokofiev composed his first piece of music when he was five. He entered the St.
Petersburg Conservatoire at the age of 13, he brought to his entrance examination four operas,
a symphony and a number of piano pieces.
After the October Revolution Prokofiev emigrated to America. However he soon
realized that it had been a bitter mistake.
But living abroad Prokofiev remained Russian, a citizen of his country. At the height of
his fame Prokofiev still felt unhappy, homesick and lonely, living far from his native land. He
missed Russia and kept thinking about going back. He believed that a composer who had lost
his roots and musical traditions of his nation would inevitably lose the desire to compose and
to create. It was only his motherland that could give him spiritual strength and be a pure
source of inspiration.
Between 1927 and 1932 Prokofiev took several trips to the Soviet Union. His concerts
in Moscow and Leningrad aroused great interest among the music lovers. People listened to
his music in complete silence. During these concerts Prokofiev felt that he was listened to by
his compatriots.
When he came to Russia in 1927 he wrote: "I have to live in the atmosphere of my
homeland. I have to see Russian winter and its changeable spring. I have to hear the Russian
language and talk to people who are my people, so that they give me back something I lack
here —their songs, my songs. Yes, I am going back!"
In 1932 after his return to the Soviet Union, Prokofiev devoted all his inspiration to his
people. For 20 years until he died in 1953 he served his country. In his new compositions he
strove for clarity. The influence of Prokofiev's music can still be traced in the works of
contemporary musicians. His invaluable heritage includes eight operas, seven cantatas, seven
ballets, seven symphonies as well as numerous piano pieces. Among them there are such
masterpieces as the opera "War and Peace," the ballet "Romeo and Juliet," and the cantata
"Alexander Nevsky.
Vocabulary:
arouse—вызывать
bitter— горький, жестокий
changeable—быстроменяющийся
contest— конкурс
complete— полный
create— творить, создавать
desire— сильное желание
devote— посвящать
dying— умирающий

47
emigrate— эмигрировать
enter—поступать (в)
fame—слава, известность
feel homesick— тосковать по дому, по родине
height— высота
heritage— наследие
homeland—родина, отечество
however—однако
inevitably—неизбежно
miss — скучать по
realize—понимать, осознавать
remain—оставаться
root—корень
strata—слои (общества)
clarity—ясность
compatriot—соотечественник
influence— влияние
inspiration—вдохновение
invaluable—бесценный
lack— испытывать недостаток, не хватать
lover— любитель
motherland— родина, отечество
risk—рисковать
serve—служить
source— источник
spiritual—духовный, одухотворенный
strength— сила
strive (strove, striven) —стараться, стремиться
trace— прослеживать

Questions:
1) What music education did Sergei Prokofiev get?
2) How did it happen that he left Russia?
3) What was his attitude towards Russia?
4) What Russian composers are especially famous abroad?
5) What operas by Prokofiev do you know?
6) Do you like his pieces? Why?

Explain, please.
1) "Soon he realized that it had been a bitter mistake."
2) "It was only his motherland that could be a source of inspiration."
3) "He was listened to by his compatriots."

48
4) "I lack my songs."

Выпишите из текста по абзацам следующие грамматические явления:

1) существительные с неопределенным артиклем "а",
2) глаголы в Past Simple,
3) существительные с предлогами,
4) глагол have to в его модальном значении.

Points for discussion:

1) S. Prokofiev could find inspiration to write music only in his native land, couldn't he?
(Give your arguments, please.)
2) Did he really love Russia? Have you heard any pieces of his music?
3) Why do many composers take ideas for their compositions from folk music? (Give your
arguments, please.)
4) Do you like classic or jazz music? (Give your arguments, please.)

Дискуссия на тему «Известные композиторы».

1. Выберите композитора из тех, о ком вы только что прочитали, и расскажите о нём,
используя следующие слова и словосочетания.
1) well-known, professional, great, famous, best-known, popular
2) to like, to be fond of, to adore
3) a musician, a composer
4) an opera, a composition, a ballet, a cantata, a piano piece, a masterpiece, a concert
5) musical traditions (of...), spiritual strength, invaluable heritage, to have inspiration
6) to compose, to write music, to create, to listen to, to write down musical ideas, to trace the
influence, to inspire, to introduce

2. Используйте в описании известных музыкантов:

1) синонимы: well-known, famous, best-known.
2) глаголы: to like, to adore, to be fond of,
3) прилагательные: talented, gifted, creative,
4) словосочетания: musical traditions of, spiritual strength, invaluable heritage, to have
inspiration,

49
5) существительные: composition, ballet, cantata, a masterpiece, a musician, a composer, an
opera, a symphony, a piano piece, inspiration, a concert.

3. Выпишите из текстов наиболее часто встречающиеся глаголы.

to compose, to create, to listen to (music), to trace (the influence).
4. Выделите особые черты каждого композитора.

HANDEL AND BACH, THE GREAT TWO OF THE 18TH CENTURY

In 1959 the whole world celebrated the 200th Anniversary since the death of the great
composer George Frederic Handel. Handel was born in Germany in 1685. He had a long and
successful career of a composer first in Italy, then in Britain. He composed operas and
oratorios, making the chorus his main instrument. Handel's first oratorio in English «Esther»
began the tradition of oratorio-singing in England which has been carried down to the present
day. But it was Handel's ambition to write operas. For 20 long years he kept on composing
and staging operas, but none of them was a success with the public. Only when Handel gave
up writing operas and devoted himself to oratorios, he finally won general acclaim. Handel
has breathed a new life into the old oratorial genre. In 1742 he composed his most inspired
work «Messiah», which was very well received at the Covent Garden Theatre. His English
oratorios in general have been recognized as the height of the oratorial style ever since.
John Sebastian Bach, Handel's compatriot and contemporary was also born in 1685. But
how different their lives were!
Handel was already a celebrated composer when Bach was only a modest violinist in
the Weimar orchestra. When Handel was applauded to in Italy and England, Bach was an
organist in a small German town. Handel lived at the English court, having the best chorus,
orchestra and soloists, while Bach was a schoolteacher, teaching school-children to perform
his music. In his lifetime Bach was recognized mainly as a virtuoso harpsichordist and
organist but his music has been appreciated only after his death. Bach was a well-educated
man. He had a rare gift for languages, he could speak a number of them and even taught Latin
at school. He was very good at poetry as well. He had never been taught to play either the
harpsichord or the organ and had had a teacher neither in the harmony nor composition.
However he knew different instruments very well and took great interest in their mechanisms.

50
It always took him a long time to compose a piece of music as he was perfecting it again and
again. His music is perfectly artistic, highly emotional, plastic and truly romantic.

Vocabulary:
acclaim n шумное приветствие
ambition n честолюбие, мечта, стремление, цель ambitious
ambitious а честолюбивый
anniversary n годовщина
applaud v аплодировать
appreciate v оценивать, понимать
breathe v дышать
breath n дыхание
celebrate v праздновать; ~ ed а прославленный, знаменитый
compatriot n соотечественник
death n смерть
finally adv окончательно, наконец, в заключение
general а общий, всеобщий
gift n дар, талант
harpsichord n клавесин
height n вершина
however cj однако
Inspire v вдохновлять; ~ ed а вдохновенный
lifetime n целая жизнь
none n ни один
perfect v совершенствовать
rare а редкий
receive v принимать, получать
success n успех; ~ ful а успешный
truly adv поистине
virtuoso n виртуоз
to be a success with the public — иметь успех у публики
to breathe life into — вдохнуть жизнь в
to carry down — зд. сохраниться, дойти
to give up — перестать, бросить, оставить
in general — вообще
to keep on (doing smth.) — продолжать (делать что-либо)
a number of — большое количество, много
to take an interest in — интересоваться (чем-либо)
to win general acclaim — завоевать всеобщее признание

Proper Names
George Frederic Handel — Георг Фридрих Гендель
Johann Sebastian Bach — Иоганн Себастьян Бах
Messiah — Мессия
Esther — Эсфирь

51
Weimar — Веймар

Pronunciation Drill
[ai]: 'either, 'neither, 'violinist, while, height, style, lives
[ei]: main, stage, great, ac'claim, 'famous, 'educated
[ou]: e'motional, 'poetry, 'soloist, com'poser, ,ora'torio, 'only, de'vote
[o:]: ap'plaud, taught, court, 'organist, 'orchestra, per'form, ora'torio, George
[i:]: piece, 'even, 'teacher, keep, 'recent
[æ]: 'plastic, ro'mantic, 'Latin, com'patriot, 'language, 'carry, outstanding, am'bition
[dз]: 'general, o'riginal, 'legend, stage, 'language, George
[g]: great, 'organ, 'gallery, 'recognise, 'gave 'up
[tƒ]: 'teacher, 'children, 'charming, chance, choose
[k]: 'character, 'chorus, 'orchestra, 'mechanism, school, 'architecture
[ŋ]: long, 'England, 'language, strong, 'singing

Exercise 1
Dramatise the dialogue filling the blanks with the phrases given below:
A.: Have you heard that N. has given up ... ? (1)
B.: Has he? I have seen him a number of times. His gift is .... (2)
A.: He has devoted himself to ... . (3)
B.: Not a bad idea. I believe it has always been his ambition to do it.
1) stage career; singing at concerts; playing the organ; composing operas; painting
2) truly rare; highly appreciated; generally recognized; perfectly original; truly versatile
3) writing plays; teaching vocal ism; composing oratorios; conducting; etching

Exercise 2.
Translate the sentences:
1. Neither Bach's music nor his teaching methods were appreciated during his lifetime.
2. Bach as a composer was known neither to his compatriots nor to music-lovers abroad for a
long time.
3. Neither Marchand nor any other contemporary harpsichordist could compete with Bach in
virtuosity.
4. Neither success nor general acclaim meant much to the old composer.

52
5. Most of Bach's successful contemporary musicians are now remembered neither in
Germany nor in other countries while Bach's music will live for ever.
6. Bach has never been taught either harmony or composition.
7. This year celebration of Handel's birthday will take place either at the Moscow
Conservatoire or in the Tchaikovsky Concert Hall.
8. A musician must either devote all his life to music or give up his ambition.
9. If you keep on working at your picture much longer, you will either make it perfect or spoil
it altogether.
10. I am sure that this film will receive either the gold or the silver prize at the festival.

Exercise 3.
Translate the words and word combinations in brackets in English:
The great German composer J. S. Bach was known as one of the best (клавесинистов и
органистов) of his time. His contemporaries and (соотечественники) highly (ценили его
редкий дар) of an improvisator. One episode from Bach's artistic life can give us an idea of
his (поистине) (редкой виртуозности). In 1717 a (знаменитый) French harpsichordist and
organist Louis Marchand came to Dresden. He gave (большое количество концертов) at the
Court. As usual his concerts (имели большой успех у публики). One day Bach (получил)
an invitation to take part in a competition with the French musician. At the concert Marchand
performed а (совершенно) original music piece, which he had composed himself, and (ему
много аплодировали). When Bach took his seat at the harpsichord and started to play,
everybody held their (дыхание). Bach (продолжал играть) the piece which had just been
performed by the French composer. Bach managed (вдохнуть новую жизнь) into the little
piece and his (вдохновенные) improvisations (завоевали всеобщее шумное признание).
Marchand had to (признать) Bach's superiority. On the following day the two (виртуоза)
were to meet again. But the night before the competition Marchand left Dresden secretly,
(оставив всякую надежду) to win. Bach was not an (честолюбивый) man and never liked to
talk about his (успех).

Exercise 4.

53
Translate the text into English:
Бах—современник и соотечественник Генделя, и поэтому в творчестве этих двух
музыкантов есть внутреннее сходство: их музыка серьезна и вдохновенна; оба
обращались к одним и тем же жанрам и сумели вдохнуть в них новую жизнь, оба
успешно использовали хор в своих произведениях. Но если мы посмотрим более
внимательно, мы увидим насколько различны эти художники и их методы.
Музыка Генделя более проста и эффектна (spectacular), что является результатом его
длительной работы в оперном театре. Гендель написал более 40 опер. Он продолжал
писать их в течение 20 лет, хотя ни одна из них не имела успеха у публики. Вот почему
ему в конце концов пришлось оставить свою мечту и посвятить себя сочинению
ораторий.
Музыка Баха более эмоциональна и психологична (psychological). Бах никогда не писал
опер. Бах посвятил много лет преподаванию музыки. Однако ни педагогическая, ни
композиторская деятельность Баха не были оценены при его жизни. Творчество Баха,
малоизвестное при его жизни, было надолго забыто и после его смерти. Музыка Баха
положила начало полифонии, и этот музыкальный стиль сохранился до наших дней. В
настоящее время Бах получил всеобщее признание. Через несколько лет весь мир будет
праздновать трехсотлетнюю годовщину со дня рождения двух великих композиторов
— Генделя и Баха.

Exercise 5.
Correct the following statements using the phrases:
«It is wrong to say that ... because ...», «but as for ... it is true that…»
1. Handel has managed to breathe a new life both into the opera and oratorical genre.
2. Neither Handel's operas nor his oratorios were appreciated during his lifetime.
3. We can compare neither Handel's and Bach's music nor their careers.
4. During his lifetime Bach was recognized neither as a composer nor as a virtuoso
harpsichordist.
5. Both Handel and Bach were composers of great ambition.
6. Both Handel and Bach were essentially German composers.
7. Neither ambition nor inspiration alone bring success and general acclaim to an artist.

54
Exercise 6.
Give full answers to the questions:
1. Why can we compare the lives and music of Handel and Bach?
2. What was Handel's ambition?
3. Why did he have to give up composing operas?
4. What is an oratorio?
5. Why did oratorios finally bring Handel success and general acclaim?
6. Which of Handel's oratorios has been recognized as the height of oratorial style?
7. How did Bach's career differ from Handel's?
8. How can you prove that Bach was a well-educated man and had versatile interests? 9. What
was Bach's contribution to the history of world music?
10. What can you say about his music?

Exercise 7.
a) Answer the questions, then speak about Mozart (1756— 1791) and Salieri (1750—1825):
1. What countries did these two composers come from?
2. What can you say about Mozart's career and his music?
3. What can you say about Mozart's versatility? (pianist, organist, violinist, conductor,
composer).
4. What genres of music did Mozart try his hand at? (opera, symphony, concerto, choral
music, etc.)
5. Was Mozart appreciated during his lifetime or only after his death?
6. Was Salieri's career as successful as that of Mozart's?
7. Why are their names often pronounced together?
8. What legend about Mozart and Salieri did Pushkin use in his tragedy?
9. What was Salieri's ambition? Why was he envious ['envias] of Mozart according to the
legend?
10. Is Salieri's name as popular nowadays as that of Mozart's?
11. What artists, poets, composers, and film directors were inspired by this legend in their
works?

55
 SERGEI PROKOFIEV

«It is the people who create music,

we composers only arrange it». Glinka

Sergei Prokofiev (1891 — 1953) composed his first piece when he was five. He entered
the St. Petersburg Conservatoire at the age of thirteen, appearing at the entrance examination
with the manuscripts of four operas, two sonatas, a symphony and a number of piano-pieces.
Rimsky-Korsakov, who was one of the examiners cried happily: «Here is a pupil after my
own heart!» At the age of nineteen making his first public appearance in St. Petersburg he
showed definite taste and a vivid personal style. Graduating from the Conservatoire, he
received the first prize for piano-playing. In 1918 the premiere of his «Classical» Symphony
was given in Petrograd. Lunacharsky, who was present at the performance, was deeply
impressed by it. In the same year Prokofiev left the Soviet Union for America. Later he wrote:
«Once walking in the park in the centre of New York I thought with anger of the splendid
American orchestras that were indifferent to my music...» and Prokofiev decided to try Paris.
1
He was luckier in Paris, where his ballet «The Buffoon» was soon produced. He stayed in
Paris making tours to the musical centres of Europe and the United States to perform his
music.
So he lived abroad composing and touring. But all these years he was thinking of
returning to the USSR. He wrote: «I have got to live in the atmosphere of my homeland. I
have got to see Russian winter and spring that comes so suddenly. I have got to hear the
Russian language and talk to people who are my people, so that they give me back something
I lack here — their songs, my songs. Here I risk dying of academism. Yes, I am going back»!
When Prokofiev returned to his homeland, his intention was to serve his people. He
strove for clarity, though he never stopped experimenting: «This is what makes lucid music so
difficult to compose — the clarity must be new, not old».
Living in the USSR Prokofiev became one of the leading composers of the Soviet
school known all over the world as one of the greatest composers of the twentieth century.

1
«Buffoon» – «Петрушка»

56
Give full answers to the questions:
1. What was Prokofiev's musical career like before he went to live abroad?
2. Why did Prokofiev finally wish to return to the USSR?
3. In what way did Prokofiev serve his people with his music?
4. What are Prokofiev's most famous operas and ballets?
5. What can you say about Prokofiev's popularity in the Soviet Union and abroad?

TCHAIKOVSKY IN NEW YORK

In April 1891 Tchaikovsky went to America. He is known to have been invited to

inaugurate the newly-built concert hall in New York—the largest in America—Carnegie Hall.
Tchaikovsky happened to be the first Russian composer who was offered a tour in America.
On coming there Tchaikovsky was surprised to learn that he was more popular in America
than in Europe. American musicians were happy to play under his baton not only because
Tchaikovsky was considered to be a great composer but because he was also thought to be a
talented conductor. On the 5th of May, the day of the inauguration of Carnegie Hall,
Tchaikovsky seemed to be excited. The hall was too big, the richly-dressed crowd packing the
hall seemed to be noisy and strange. The music of Beethoven, Berlioz and Tchaikovsky was
on the programme of the concert. When the audience saw Tchaikovsky come on to the stage
there was a storm of applause, the audience warmly greeted the famous composer. The
ceremonial march he conducted sounded solemn and victorious. After the concert people
surrounded the composer, they did not want to let him go.
The next day the concert was reported to have been a great success, and no wonder—the
greatest concert hall in America was inaugurated by the greatest of the living composers.

Exercise 1. Give full answers to the questions:

1. When did Tchaikovsky go to America?
2. Why did he go there?
3. Did any other Russian composer happen to be invited to America at that time?
4. Why were American musicians happy to play under his baton?
5. How did Tchaikovsky feel on the day of the inauguration?

57
6. Why did the audience seem strange?
7. What music was on the programme?
8. Was the concert reported a success?

Exercise 2. Complete the sentences using the Complex Subject:

1. Tchaikovsky is known ....
2. He happened ... .
3. He was thought ... .
4. He was considered ....
5. On the day of the inauguration Tchaikovsky seemed ....
6. The richly-dressed crowd in Carnegie Hall seemed ... .
7. The next day the concert was reported ....

PORTRAIT OF AN ARTIST

Our country is rich in excellent pianists. There are too many to name and all of them are
different. To me the question: "Who's best?" seems to be an idle one. "Who's best?" — Bach,
Mozart, Beethoven or Brahms? Pushkin, Dante, Goethe, Shakespeare? Raphael, El Greco or
Titian? As for me, I don't know. How can we measure exactly the qualitative differences of
phenomena in the spiritual world? For art is understood not only intellectually but is also felt
emotionally. The emotional approach to art is not a debatable subject because of the famous
maxim that "tastes differ".
My taste tells me: "I know and like, appreciate and respect a number of splendid
modern pianists, but my first choice goes to Svyatoslav Richter. A combination of a powerful
spirit with depth, purity of soul and admirable skill, is indeed a unique phenomenon. His
popularity with different audiences and their admiration for him are well known to all. This is
explained in the first place, by his creative power, by the striking, harmonious combination of
those qualities which are commonly known as "intellect", "soul" and "heart" — and finally by
his gigantic virtuoso talent. Whether he is playing Bach or Shostakovich, Beethoven or
Scriabin, Schubert or Debussy, the listener seems to hear the living, resurrected composer,
and becomes completely indivisible from his unique, enormous world. Only a pianist who is
the composer's brother, comrade and friend can play like that. I can't help repeating here what

58
I have said in my article "Composer-Performer" dedicated to Sergei Prokofiev: there are
wonderful performers who do not display their creativity, although potentially they could be
outstanding composers. I must admit that when I was writing this I meant Richter in the first
place. And this is the secret of his magnificent talent. His own musical world is like the world
of the great musicians he plays. I know his childhood and boyhood compositions and I have
heard his superb improvisations.
Richter is not just a musician, he is also a most gifted artist who had drawn and painted
a lot, having received no professional education. It is true to say that he is as much a man of
seeing as he is of hearing and this is a rather rare combination. For him all music is filled with
images which are quite original sometimes. I recall that once he said that the third part of
Prokofiev's Second Concerto made him think of "the dragon devouring children" (!) and that
the first part of Prokofiev's Sixth Sonata represented "Industrialisation". Not long ago, I
listened to Schumann's novelettes following Haydn's Sonata in C minor at the House of
Scientists. Having played Haydn Richter began to play Schumann and everything changed —
it was a different piano, a different sound, a different rhythm, a different character of
expression, and the change was so easy to understand: that was Haydn and this was
Schumann, and Richter was at his best conveying not just the features of each composer but
the features of their epoch as well. This is the "universality" which, I think, is the pianist's
highest achievement. And this "universality" makes Richter so unique for me.

Answer the questions:

1. Why is it difficult to name the best pianist, composer or artist?
2. What is the reason for Richter's popularity?
3. Is music filled with images for all people as it is for Richter? How is it with you? 4. Do you
know that Richter generally insists on playing only one composer at each concert, saying that
"Chopin after Beethoven is like water-colours after oil painting"? Do you agree with this
point of view?

CHALIAPIN IN FRONT OF THE CAMERA

The great Russian opera singer F. I. Chaliapin was well known for his extraordinary
dramatic talent. Not only could he identify himself with the character he was representing, but
he seemed to disappear in it. That’s why when the director Ivanov-Gai in 1915 decided to

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make the silent film "The Daughter of Pskov", he suggested that Chaliapin should play the
part of Ivan the Terrible. Chaliapin agreed, it was his first screen appearance. Though
Chaliapin had been playing this part on the stage for a long time with great success, he found
it necessary that he should make a thorough study of the character of Ivan again. Chaliapin
always insisted that historical material should be studied alongside with masterpieces of world
art depicting the time and the character he was going to play.
And though Chaliapin came to play in the film with a clear conception of the character
his first film experience turned out to be unpleasant. Chaliapin couldn't accept the
peculiarities of film shooting which interfered with his acting. He couldn't understand why he
was interrupted every time after having begun playing. "When I started to play, the sun was
shining, the wind was blowing, everything was so true of life, I was just carried away, and
suddenly a voice demanded that the acting should break off, because the sun was gone, and
the scene was spoilt."
The film as a whole turned out to be a failure. There was no intelligent direction, no
truly creative cast, the crowd scenes looked poor and thin. But the film still reflected the
artistry of the great actor. The great realistic actor managed without partners, practically
without a director, to play some scenes with great psychological insight. Every gesture, every
look and movement was precise and perfect.
Chaliapin's second screen appearance took place eighteen years later in 1933 in France.
The sixty-year-old singer appeared this time in a musical film (in two languages — French
and English) as Don Quixote ['don'kwiks9t] in the film of the same name. Despite the
mediocrity of the film plot Chaliapin gave a colorful and convincing portrayal of Don
Quixote.

ARTURO TOSCANINI

It is essential that every great conductor should have a quality of subordinating to his will
not only the orchestra but the audience as well. This quality which is a mark of a really great
personality was obvious in Toscanini's performances.
Many people were interested to know how he achieved such a high degree of perfection of
his orchestra and many wished they were allowed to be present at his rehearsals. But only
some of his most intimate friends were given this opportunity and they understood why
Toscanini insisted that no other people should attend his rehearsals.

60
 It is a pity no sculptor embodied in stone Toscanini at his rehearsals. He would have found
in Toscanini a most wonderful model.
At the rehearsals Toscanini would begin very politely and quietly to make his conceptions
clear, but then, dissatisfied with the orchestra playing, he grew disappointed. Feeling so he
demanded the orchestra should stop playing so that he might explain what should be accented.
And then in a few minutes he would again break the playing off. And again he would insist
that every musician should try to penetrate into his inner vision which he conveyed by
emotional, expressive and precise gestures and facial expressions.
Passionately and every moment more passionately he begged, he gesticulated, he sang, he
transformed himself into every instrument in order that the musicians might understand him
properly.
However if the orchestra didn't reach his vision he began to suffer. He forgot all about
politeness but he moved forward working on and on until the musicians gave way to his will.
Toscanini knew how to bring out the variety of music colours, how to stress the necessary
accents, how to render the spirit of the work, as he belonged to music and music belonged to
him.

Vocabulary:
accent n акцент; v акцентировать
embody v воплощать, олицетворять
embodiment n воплощение, олицетворение
gesticulate v жестикулировать
obvious а очевидный
penetrate v проникать (into)
perfection n совершенство
precise а точный
stress v подчеркивать
suffer v страдать
suffering n страдание
subordinate v подчинять (to)
temperament n темперамент
transform v преображаться) (into)
to be interested to know — хотеть знать
to break off—внезапно прекращать, прерывать
to give way to — уступать, дать путь
it is a pity that — жаль, что
a most wonderful detail — весьма примечательная деталь
to reach his vision — зд. проникнуться его видением

Pronunciation Drill

61
[ei]: su'bordinate (v), 'penetrate, ges'ticulate, im'personate, con'vey, 'facial
[e]: ac'cent, 'temperament, 'gesture, 'penetrate, 'necessary, conception
[ә]: 'accent, ac'cent, 'temperament, 'personal, su'bordinate,
[i]: pre'cise, pre'cision, 'vision, em'body, em'bodyment, su'bordinate (adj)
[æ]: 'accent, ,personality, 'passion
[]: 'audience, su'bordinate, 'orchestra
[]: 'properly, 'model, ,oppor'tunity

Exercise 1.
Fill in the blanks with the words given below and translate the sentences:
temperament; to penetrate into; precise; to embody; encouragement; to subordinate; to
transform; personality; conception; obviously; to bring out; to be interested; variety
1. It is essential that every musician in the orchestra... the inner vision of the conductor. 2. It is
essential that the orchestra... to the conductor's will- 3. The conductor's gestures were
emotional, expressive and ... .
4. He breaks off their playing to make his ... clear.
5. Toscanini knew how. . . the variety of colours.
6. He .. . himself into every instrument in order that every musician... his idea precisely. 7. His
facial expression showed inspiration and... .
8. He was romantic by his... .
9. The quality of subordinating the audiences to the conductor's will mark a really great...
10. His playing is marked by the ... of colours.
11. His temperament was . . . romantic.
12. Many were. . . to know how he achieved such perfection in his orchestra playing.

Exercise 2. Correct the following statements, beginning your answer with the phrase "It's a
pity that you have missed the point,"...
1. It is essential that conductors, stage-directors or film-directors shouldn't subordinate the
players to their will.
2. Toscanini felt flattered when all interested in his method of work attended his rehearsals.
3. He allowed any person to be present at his rehearsals if this person wasn't his close friend.

62
4. Nobody could understand why Toscanini insisted that only his most intimate friends should
see him at work.
5. Toscanini was such a wonderful model for sculptors, that they made lots of his portraits.
6. Toscanini always came to the rehearsals in a bad mood, but satisfied with the orchestra
playing immediately became happy.
7. He never stopped the orchestra playing as it knew very well what should be accented.
8. Toscanini's face was so unexpressive that he could explain and convey his understanding of
musical piece they were rehearsing only in words.
9. Toscanini was far from being able to transform himself into every instrument, that's why
his musicians never understood him properly.
10. Toscanini was such kind of a conductor who never suffers if the orchestra doesn't reach
his vision.
11. If he saw that the orchestra couldn't reach his vision he gave up playing.

Exercise 3. Give full answers to the questions:

1. What is it essential that every great conductor should have?
2. Why did Toscanini insist that his rehearsals shouldn't be attended by people?
3. How would he begin his rehearsals?
4. When did he grow dissatisfied?
5. Why did he stop the playing of the orchestra so often?
6. How did he convey his inner vision?
7. What were his gestures and facial expressions?
8. Why do many people wish Toscanini had been used as a model by a sculptor?
9. How did he make the orchestra give way to his will?
10. Why did he begin to suffer while rehearsing?
11. How did he show his suffering?
12. How did the music sound when performed by Toscanini's orchestra?

Exercise4. Speak on the following topics:

1. Toscanini's qualities of a conductor.
2. Toscanini at rehearsals.

63
 "Sviatoslav Richter at the piano"
(a part of the interview)
Yakov Milstein: "Your repertoire is really large. It's truly remarkable."
Sviatoslav Richter: "The fewer the better--isn't that right?"
(..Plenty of laughter...)
Y.M.: "No, that's not true! Is it because you believe in all of these pieces?"
S.R.: "Yes, I do. Believing is essential to my performance. That's most important."
Y.M.: "How so? What it means is your power to digest."
S.R.: "No, I'm in no mood to play what's bad. All the same, the pieces that I do like to
play, I like to perform. How would I perform it..."
Y.M.: "But you like to play many pieces."
S.R.: "Yes, there are many pieces that interest me. Is it greediness, do you think?"
Y.M.: "No such thing!"
S.R.: "There are people who like the piece, there are those who say 'this is good, this is
bad'...in everything there's something good."
Y.M.: "Yes."
S.R.: "In saying this I don't mean that the entire work is good necessarily...the problem
is not the school or the style...the most important thing is the work as a whole. The most
talented person is involved. In the arts what is important above all is how one employs the
talent; participation is everything."
Y.M.: "What is your most recent performance trend? Is it the classical or modern style?
You play few pieces from the mid-romantic period. Will you tell me about this?"
S.R.: "I've played a few pieces from the romantic period...I've gotten tired of it. My
performances of these works are not outstanding. They are to be played from the point of
view of emotional expression. I find it especially difficult to perform these works. In
performing modern and classical pieces, the intellect is the most important element. But in
romantic style, the physical and powerful aspects are important. The great majority of the
people unneccessarily think that it is only because of this that the piece is difficult. For me in
this sense, it is impossible to perform these pieces. So, the young people are misled, and what
is actually the difficult part gets ignored and is seen as unneccessarily. The public demand is
an intensity which surpasses this. Also, the public is always the right judge."
to digest усваивать, переваривать
greediness жадность
to involve вовлекать
64
to employ зд. применять, употреблять
trend тенденция
mislead (misled) сбивать с пути
to surpass превосходить, превзойти
judge судья

Cellist and Conductor

(a part of the interview with Mstislav Rostropovich)
‘We carry out a divine service with our music’
Born in 1927, the son of a ’cellist and a pianist, Rostropovich took in music “with his
mother’s milk,” so to speak. As a child, he received a thorough education on both piano and
’cello, until, in accordance with his father’s wishes, he concentrated entirely on the
violincello. He debuted as a soloist when he was only 13 years of age—at the “advanced” age
of 14, following the early death of his father, he had to concern himself with supporting his
family—and, owing to his outstanding accomplishments, within three years he entered the
renowned Moscow Music Conservatory. He immediately began a meteoric career as the
leading ’cellist of the former Soviet Union, which very quickly led him abroad. At the
beginning of the 1960’s, he conducted his first public concert, together with his friend, the
composer Dmitri Shostakovich, and in 1968 he premiered a sensational “musically new
production” of Tchaikovsky’s opera Eugene Onegin at the world-renowned Bolshoi Theater,
in which his wife, the soprano Galina Vishnevskaya, held the position of Primadonna
assoluta.
At the time of this interview, Mstislav Rostropovich was on tour, concertizing as both
’cellist and conductor on the occasion of his 70th birthday. At the end of November 1997, two
of these Jubilee concerts took place with the Vienna Philharmonic, in the concert hall of the
tradition-rich Vienna Music Association. There, on November 20, Mr. Rostropovich was
interviewed for Fidelio, and its German-language sister publication Ibykus, by Hartmut
Cramer.

Fidelio: Mr. Rostropovich, for nearly forty years, you—the world-famous ’cellist—have
also experienced an equally great career as a conductor. Does this mean that you became a
conductor without ever having properly learned conducting?
Rostropovich: Of course not. I’ll tell you how my conducting career came about.

65
 Since my youth, it was my dream to become a conductor and not a ’cellist. When I was
somewhere between eight and nine years old, my father, who also was a ’cellist—by the way,
he played much better ’cello than I—played often in the orchestra at a resort during the
summer; I believe he did that only so that we—his wife and two children—might have a
vacation, since we simply had no money for “normal” vacations.
Unfortunately, my father died of a heart attack when he was very young; that was 1942,
and he was just 50 years old. He was an unusually strong personality, and always said: “If the
people need me, then they will come to me.” He was that certain of his ability—and yet, no
one came.
Fidelio: Was he very much embittered when he died?
Rostropovich: Yes, he was. I believe that my father, where he is now, must be very
pleased that God has enabled me to have so beautiful an artistic life, because he had no luck in
his. He was as musically gifted as I, he was highly gifted. He could play the piano—an entire
orchestral score, in fact, by heart—, he composed ...
Fidelio: ... Your father was a pianist too, not just your mother?
Rostropovich: Oh, my father was the best pianist in the family. He played Chopin’s
entire piano oeuvre, by heart; all the ballades, the études, sonatas, the concertos, all. And
detailed study of a full score, this I learned from my father. So too, the ability to play a piece
by heart after having played it through only two or three times. But the “prima vista”—to play
at first sight, to sight-read, in that, my father held complete sway. That he did like no one else.
When I put together my first piano concert—I was then a good 13 years old, and a year later
my father died—he took the score and sight-read the entire concert. It was inconceivable, but
true. That was my father and first teacher.
Now, because our family was very poor, my father accepted a position every summer in
a small resort orchestra; that was in southern Russia, in Zaporozhye, and also in Slavyansk. It
was there in Slavyansk, in 1940, that I played as a soloist with an orchestra for the first time—
it was the ’cello concerto by Camille Saint-Saëns.
Fidelio: And with that began, at 13 years of age, your career as a ’cellist?
Rostropovich: Yes. Before, my father had always taken me to rehearsals—even the
concerts in Zaporozhye. I was at every rehearsal and sat in the orchestra, somewhere between
the first and second violins, and listened. The people were very nice to me; I learned a lot. I
had already composed my first piece at age four (which my father preserved in its entirety!).

66
 From the start, the conductors fascinated me a great deal. One of the first taught me
transposition, at age six or seven; that is, reading the clarinet voice, the brass instruments, and
so on. And, from that time on, I dreamt of becoming a conductor. Up until age 13, I would
conduct old recordings; for example, the symphonies of Tchaikovsky. But, my father insisted
that I become a ’cellist, and he also taught me. So I became a ’cellist, and not a conductor—
but I never gave up my old dream. At first, in fact, I had no time for it, and also I wanted to
finish up my musical education quickly. As a rule, students come to the Conservatory at age
18, and study there for five years. Now, I had difficulties with the final examination for the
first term; of course not with ’cello playing, but in the theoretical division ...
Fidelio: ... Music theory, harmony? ...
Rostropovich: ... No, no—with that I had no problem. But we were also tested on
Marxism-Leninism, the history of workers’ movements, and so forth; and about these I really
knew nothing at all. But—my father had been dead over a year, I had to provide for my
family, for my mother and older sister—so I mastered all these requirements during the next
year, so that it went better at the end of the term. I could do the ’cello playing anyway, of
course, which my father had taught me. And, naturally, I perfected my technique at the
Conservatory, broadened the repertoire, improved intonation still further; in all modesty, I can
say, that I played very well in the examination at the end of the second term. I had sought out
the most difficult things from the literature—pieces by Paganini, for example—and played
them absolutely cleanly and technically perfectly.
Fidelio: So, you were what Mozart called a “solid ’cellist”?
Rostropovich: Yes, one could say that. The professors were so pleased, that they
promoted me at once from the second year to the fifth and last; so I had to study at the
Moscow Conservatory for only two years, instead of five. By then I had completed nineteen
years of study, and stood ready to begin a great career as a ’cellist. Yet, at the same time—and
this quite seriously—I immediately began a career as a conductor.
thorough всесторонний, скурпулезный
in accordance with в соответствии с…
owing to благодаря
accomplishment достижение
resort курорт
embitter озлоблять, ожесточать
hold sway держать в подчинении
inconceivable немыслимый, непостижимый
entirety целостность
to insist настаивать
to fascinate изумлять
67
 The tenor with a golden voice takes a look backward and forward.
(interview with Luciano Pavarotti)
By Thomas May

Luciano Pavarotti has become as recognizable a presence as Bill Clinton or the Pope.
He has introduced more people--millions of them--to opera than all of his predecessors
together. Pavarotti, born in 1935, began his career as an opera singer in 1961 in his native
Italy, and within a few years had catapulted to the top of every opera lover's list the world
over. His sound is gorgeous: bright, sunny, easily produced up to the highest notes that tenors
sing. The metal you might compare it to most is gold. His impeccable diction and natural
warmth make him a great communicator. When, in association with the soccer World Cup in
1990, Pavarotti sang the tenor's passionate third-act aria from Puccini's Turandot ("Nessun
dorma"), few knew or cared that the character who sang wanted to win the hand of a cruel
princess in legendary Peking. What they heard was the aria's final word, "Vincero!"--"I shall
win!" It spoke to soccer fans, lovers, and strivers all over the world, and Pavarotti has been
"our tenor" ever since.

T.M.: How would you describe this particular phase in your career--with its mix of
traditional operatic performance, stadium-style extravaganzas like the Three Tenors tours, and
crossover efforts?

Luciano Pavarotti:
For me, this mix is perfect. Of course, I am first and foremost an opera singer, and am
never happier than when I am on stage performing a role. I do believe that an opera
performance itself should be strictly limited to the opera stage--operas are more often than not
an intimate expression of the story, of emotion, of the voice. However, I've now been taking
part in the stadium concerts for a long time; it's always been incredibly important for me to
take the music that has been written for the tenor to large audiences. For whatever reason, not
everyone has the chance to attend operas at formal opera houses. Although I have always
believed that opera should be for everyone, many people are not able to attend staged operatic
performances. This might be a question of intimidation; of economics; of geography; in
certain countries, of social access. However, arena concerts, concerts in parks, on television--
these are concerts that everyone can appreciate. It is wonderful that so many people want to

68
enjoy beautiful arias, duets, ensembles, Neapolitan songs: this was, after all, some of the most
popular music in its day. An audience is an audience--it is almost the most important part of a
performance. An opera singer is driven to perform because of the love of the voice, but it is
all about sharing the music with an audience.

T.M.: One of your most definitive roles in your legendary career--now in its 40th
season--was Rodolfo from La Bohème, and your recording remains a bestseller. What are
your own favorites among the opera roles that you've performed? Are there some that you
think haven't been adequately recognized by the public? (I'm thinking of your extraordinarily
moving Otello--a role that tends to be associated with your colleague Plácido Domingo, but
which is one of the high points in your own recorded catalog, under Solti).

Pavarotti: As an opera singer, it's wonderful to be able to acknowledge that a role

changes as one progresses through life and performs the same role many times. At the heart of
the role, there is always the truth of that character, a truth that dictates the interpretation of the
role. Rodolfo is one of the great roles for a tenor and certainly one of the most important roles
for me. As for Otello--this was an important role for me to record, if not perform on stage. It
is simply one of the great tenor roles. Of course, I love Verdi, and his music is a passion for
me. He is simply the greatest opera composer of all time. Verdi was actually a baritone. He
was jealous of the tenor voice and therefore never liked tenors! I know this because he
punishes us with such difficult music; the tenor voice is paramount in his operas: Ernani,
Trovatore, Traviata, Rigoletto, Ballo, Otello, Aïda, etc. The music is profound, and, when you
sing Verdi, it is important for the tenor--any singer--to understand that what he has written he
very definitely wants. Every instruction is there clearly in the music: every note, every
expression as he intends it to be sung. The more closely you obey him, the better your
interpretation.

T.M.: Which have you not performed that you would like to have tackled?

Pavarotti: I am a very superstitious person--there are still roles I might perhaps tackle, at
least on a recording, so I am keeping silent about it.

69
 T.M.: What is it you most want to be known for today, for your fans and for those just
discovering your art? How do you most want to be remembered?

Pavarotti: I want to reach as many people as possible with the message of music, of
wonderful opera. It is a great honor for me to be able to take the music of the tenor to a great
number of people and also to feel that perhaps I might just have introduced some people to
this music. As for being remembered in history: above all, I am an opera singer and,
hopefully, this is how people will remember me, in the roles I perform best on stage.
predecessor предшественник
gorgeous великолепный
impeccable безупречный
first and foremost прежде всего
intimidation запугивание, угрозы
access доступ
share делить, разделять
to acknowledge признавать
passion страсть
paramount первостепенный
profound глубокий
to obey повиноваться
to tackle приняться за что либо
superstitious суеверный

Useful Language for a presentation

I. Introduction (state the topic /problem, you talk generally about the topic, you may ask a
question or start with a quotation)
- As a rule... It is popularly believed that... It is often suggested... People often claim that... A
lot of people think that... Many people are in favour of... I am convinced that...
- We all know that...
- Can you imagine...? Isn't it amazing...? Have you ever thought of..? Isn't it strange... ?
- There are both advantages and disadvantages...Let's begin with...
II. Main Body (points For and Against, along with your justification, appear in two separate
paragraphs)
• To introduce points
- The main /most important J greatest advantage of... is that...
-Another advantage/disadvantage of... A further advantage / disadvantage of...
- One point of view in favour of/ against... The best /worst thing about...is...

70
• To list points
- In the first place...
First of all... To start with... To begin with...
- Secondly... Thirdly... Finally...
Last but not least...
• To add more points to the same topic
- What is more... Furthermore... Moreover...
- In addition to this... Besides...
Apart from this...
• To make contrasting points
- on the other hand... however... in spite of the fact that ... despite the fact that...
- while ... nevertheless ... even though ... although ... it can be argued that...
• To introduce examples
—for example ...for instance... such as ... in particular...
III. Conclusion (you give either your opinion or a balanced consideration of the topic, or give
the reader something to consider, or to end with a quotation)
• To conclude
- to sum up ... all in all...
on the whole ... in conclusion...
- taking everything into account .../as was previously stated
-All things considered, although there are some disadvantages ..., / believe it is...
-All in all. I believe that there are more advantages than disadvantages...

Useful Language (OPINION Essay)

I. Introduction (state the topic/problem; you may ask a question or start with a quotation;
state your opinion)
• state the topic/problem
- Is there too much emphasis placed on...?
- Nowadays, we are often told... Every day...
There is no doubt that...
- Over the past few years,... Are you among those who...? Why has...become...?
- The British poet... once said that "..."
- There are various facts that support this opinion.

71
• To express opinion
- In my opinion... I believe...
It seems to me... The way I see it...
II. Main Body (each paragraph should present a separate viewpoint supported by your
reason, another paragraph should present the opposing viewpoint)
• To list points
- In the first place... First of all...
To start with...
To begin with...
-Secondly...
Thirdly...
Finally...
Last but not least...
• To add more points to the same topic
- What is more... Furthermore... Moreover...
- In addition to this... Besides...
Apart from this...
• To introduce contrasting viewpoints
- It is argued that... People argue that... Opponents of this view say...
- There are people who oppose... Contrary to what most believe...
• To introduce examples —for example...
for instance...
such as...
in particular...
III. Conclusion (you restate your opinion using different' words)
• To conclude
- to sum up... all in all...
all things considered... on the whole...
- in conclusion...
taking everything into account.../as was previously
stated
-All in all, I still feel that the benefits of..outweigh the
disadvantages.

72