Exam preparation reading, translating, retelling. Учебное пособие по английскому языку для студентов музыкальных вузов

6.In piano playing he was allowed to develop a high degree of (individual) ________________.

7.Chopin made his (perform) _____________ debut there in 1829.

8.Hepreparedhimselffor(far)____________(achieve)______________

abroad by writing his Piano Concerto No. 2.

9.His first études were written to enable him and others to master the (technique) __________ (difficult) ___________ in his new style of piano playing.

10.By that time he was already (able) _______ to compose due to the lack of (strong) ______________.

Exercise 2. Match the following words with their antonyms:

Exercise 3. Answer the questions on the text:

1.When and where was Frederic Chopin born?

2.What was he best known for?

3.When did he start taking piano lessons?

4.How old was Chopin when he took part in a charity concert?

5.Why did he gain the reputation of a child prodigy?

6.Where did his family enroll him when he was 16?

7.What did he study at the conservatory?

8.Why did the family decide to send Chopin to Vienna?

9.When did he make his performance debut there?

10.How was he received in Paris?

11.When did Chopin make his last public appearance?

12.Why couldn’t he compose music any more?

13.How and when did Chopin die?

14.What instrument did he mainly compose music for?

Exercise 4. Retell the text about Frederic Chopin.

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Ballade № 3 in A flat major

The piece was first mentioned by Chopin in a letter to Julian Fontana on 18 October 1841. It was composed approximately in the summer of 1841 in France, where he had also finished the Nocturnes Op. 48 and the Fantasia in F minor. The first German edition, published by Breitkopf & Härtel, appeared in January 1842.

The ballade is dedicated to Pauline de Noailles. The inspiration for it is usually claimed to be Adam Mickiewicz’s poem Undine. There are structural similarities with the «Raindrop Prelude» which was in-

The form of the ballade is an arch: ABCBA coda. The first A theme is in two parts; the first part is song-like and the second is dancelike. Out of the four ballades, this ballade has the tightest structure. It also uses development procedures that are successful at heightening the tension.

The ballade opens with a lengthy introduction marked dolce. The introduction is thematically unrelated to a majority of the piece but is repeated at the close and climax of the work. Following the introduction, Chopin introduces a new theme in a section with the performance direction mezza voce; this theme consists of repeated Cs in two broken octaves in the right hand. This theme reoccurs three times

in the ballade, twice on C and once on A b.

chordal section and once again returns to A b. The mezza voce section is repeated, following by a new theme consisting of right hand six-

The mezza voce section soon develops into a furious F minor

teenth-note leggiero runs. The followingb return of the broken octaveb theme is transposed from C to A (the repeated Cs now being A s). The key signature then shifts to C minor. The original «B» theme is then developed, this time using rapid, chromatic left-hand runs in the left hand under large chords in the right. This theme builds to a climax through rapid repetition of broken G octaves (referencing the mezza voce theme) with fragments of the «C» theme in the left hand.

A retransition occurs as the dynamic builds from piano to forte. The figuration in the left hand is chromatic and consists of spans fre- bquently larger than an octave. The key signature then shifts back to A major. In the final section of the arch, the «A» theme from the intro-

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duction bis repeated again in octaves. The ballade ends with a reprise of the A leggiero runs and a second right hand arpeggio. Four chords provide closure to the piece.

Exercise 1. Fill in the missing prepositions:

1.The piece was first mentioned _____ Chopin _____ a letter ___ Julian Fontana.

2.The ballade is dedicated _____ Pauline de Noailles.

3.The inspiration _____ it is usually claimed to be Adam Mickiewicz’s

4.Similiarities include a repetitive A b which modulates _____ a G ________ the C minor section.

5. ______ _____ the four ballades, this ballade has the tightest structure.

6. The ballade opens ______ a lengthy introduction.

7. The introduction is thematically unrelated ____ a majority _____ the piece but is repeated _____ the close and climax ____ the work.

8. The mezza voce section soon develops _______ a furious F minor chordal section.

9. The following returnb ______ the broken octave theme is transposed

_________ C ____ A .

10.This

11.The figuration ____ the left hand is chromatic and consists ____

12.The ballade ends ______ a reprise _____ the A bleggiero runs and a

second right hand arpeggio.

Exercise 2. Translate the following phrases into English, using the Passive voice:

пьеса была впервые упомянута, она была сочинена летом, баллада посвящена, прелюдия, которая была навеяна погодой, вступление тематически не связано с основным произведением, тема транспонируется из до мажора в ля-бемоль мажор, далее развивается оригинальная тема В, тема из вступления повторяется вновь.

Exercise 3: Mark the following statements true or false:

1. The piece was composed approximately in the summer of 1841 in Poland.

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2.The ballade is dedicated to George Sand.

3.The inspiration for it is claimed to be Adam Mickiewicz’s poem Undine.

4.The «Raindrop Prelude» was inspired by the weather in Majorca during Chopin’s vacation there.

5.The form of the ballade is a rondo.

6.Out of the four ballades, this ballade has the lightest structure.

7.The ballade opens with a short introduction marked dolce.

8.The introduction is thematically unrelated to a majority of the piece.

9.The mezza voce section soon develops into a furious F major chordal section.

10.In the final section the «A» theme from the introduction is repeated again in octaves.

11.Two chords provide closure to the piece.

Exercise 4. Give the description of another Romantic piece of music.

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UNIT 4

The Modern Period

The Modern Period in Western music history lasted from approximately 1890 to 1945. As with Romanticism, Modernism is both a historical time period as well as a philosophical aesthetic. In everyday conversation, «modern» typically means current or recent. As a term referencing music, Modernism was first used by critics to describe forms of musical expression adhering to the radical changes happening at the end of the 19th century and into the 20th century. Unlike the terms «Romanticism» or «Classicism», Modernism describes relatively few unifying musical traits, the sounds of Modernism range from the wistful and bucolic, to the bizarre and jarring.

Modernist composers began to challenge what was possible to do with music, experimenting with a variety of ways of constructing music. Modernist composers saw themselves as the «avant-garde» or front-line troops working to advance music through their sound experiments. Many of these composers experimented with musical sound through timbres, rhythms, and tonality. One of the few unifying traits of musical Modernism was the rejection of functional tonality laid out by Jean Philipe Rameau in his 1722 treatise. Composers at the end of the 19th century broke the rules of tonal harmony to explore different sound colors, new ways of organizing sound, polytonality, and even post-tonality. Four of the most prominent styles of Modernism were Impressionism, Primitivism, Neoclassicism, and Atonality.

While each of these styles could be used separately, many Modernist composers would mix and match elements within single pieces, and as well as across their entire careers. Some pieces would include «primitive» rhythms coupled with atonal harmonies nested within a Neoclassical structure. Composers like Igor Stravinsky and Aaron Copland experimented across a myriad of these styles throughout their careers. The musical experimentalism of the first half of the twentieth century exploded in the second half of the century, relying ever more heavily on new technologies and structural procedures for composing music.

Exercise 1. Give English equivalents to the following:

приблизительно, формы музыкальной выразительности, радикальные изменения, экспериментировать с разнообразными способами создания музыки, через тембр, ритм и тональность, ис-

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следовать разные звуковые окраски, в рамках одной пьесы, на протяжении всей своей карьеры, новые технологии сочинения музыки.

Exercise 2. Give Russian equivalents to the following:

a philosophical aesthetic, unifying musical traits, wistful and bucolic, bizarre and jarring, advance music through sound experiments, rejection of functional tonality, most prominent styles, rely more heavily.

Exercise 3. Fill in the missing words:

adhering, throughout, referencing, possible, atonal, everyday with, organizing, match, historical

1)a ____________time period

2)experimented _______musical sound

3)in ____________conversation

4)new ways of _____________sound

5)as a term ___________music

6)mix and ________elements

7)___________to the radical changes

8)coupled with _______harmonies

9)challenge what was ___________

10)___________ their careers

Exercise 4. Fill in the missing phrases:

a)the «avant-garde» or front-line troops

b)most prominent

c)describes relatively few

d)atonal harmonies nested within

e)current or recent

f)across a myriad of these styles

g)through timbres, rhythms, and tonality

h)what was possible to do

i)to describe forms of musical expression

j)lasted from approximately

1.The Modern Period in Western music history __________________

_______ 1890 to 1945.

2.In everyday conversation, «modern» typically means

___________________.

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3.As a term referencing music, Modernism was first used by critics __

_________________________________ adhering to the radical changes happening in the 19th and 20th centuries.

4.Unlike the terms «Romanticism» or «Classicism», Modernism »_________________________ unifying musical traits/

5.Modernist composers began to challenge _____________

________ with music.

6.Modernist composers saw themselves as ____________

____________ working to advance music through their sound experiments.

7.Many of these composers experimented with musical sound

______________________________.

8.Four of the _________________ styles of Modernism were Impressionism, Primitivism, Neoclassicism, and Atonality.

9.Some pieces would include «primitive» rhythms coupled with

__________________________ a Neoclassical structure.

10.Composers like Igor Stravinsky and Aaron Copland experimented

___________________________ throughout their careers.

Dmitry Shostakovich

Shostakovich was 13 when in 1919 he entered the Petrograd conservatoire. His teachers were the splendid Russian musicians Maximilian Steinberg (composition) and Leonid Nikolayev (piano).

Both appreciated the talent of their pupil. Shostakovich completed the full piano course in four years, and composition course in two more. He was only 19 then — an age at which others were only entering a higher school. And what was more, he was embarking on his career with many different works already to his credit.

These included songs for piano (among them his Three Fantastic Dances), a scherzo for orchestra, a trio, pieces for cello and piano and his First Symphony, a remarkably mature work for such a young composer and the one that has made a place for itself in the repertoire of the world’s symphonic music.

Shostakovich wrote twelve symphonies. The Seventh Symphony was spontaneously called The Leningrad Symphony. Created in the first months of the war it reflected the feelings of millions with great artistic force.

Two string quartets (the Seventh and Eighth) stand out among the works of the period between the Eleventh and Twelfth Symphonies. Both were in many ways new to Shostakovich’s chamber music. The

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Eighth Quartet, commemorating the victims of fascism, was a work of great human importance.

Shostakovich’s operetta Moskva-Cheryomushki is full of humour. There are many satirical episodes in it, alternating with clear and radiant lyricism.

The popularity of Shostakovich’s music grew over the years both in the Soviet Union and abroad. The composer never missed an opportunity to establish personal contact with his listeners and so he often attended presentations of his works in different towns. He also frequently appeared before foreign audiences.

Amongst his works have been symphonies, operas, ballets, operettas, cantatas, piano, violin and cello concertos, oratorios, string quartets, 24 preludes and fugues for piano, camber and vocal music and a large number of film music.

Shostakovich was one the most prolific composers of the XXth century, and his name is still one of the most brilliant among Russian composers.

Exercise 1. Give the derivatives to the words in brackets:

1.Shostakovich was embarking on his career with many (differ)

__________ works already to his credit.

2.Created in the first months of the war the symphony reflected the (feel) ________ of millions with great (art) ___________ force.

3.The Eighth Quartet, (memory) ______________ the victims of fascism, was a work of great human (important) ___________________.

4.There are many (satire) ___________ episodes in it, alternating with clear and radiant (lyrics) _______________.

5.The (popular) _____________ of Shostakovich’s music grew over the years both in the Soviet Union and abroad.

6.The composer never missed an opportunity to establish (person)

______________ contact with his listeners and often attended (present) _____________ of his works in (differ) ___________ towns.

7.He also (frequency) __________ appeared before foreign audiences.

8.Shostakovich’s name is still one of the most (brilliance) ___________

among Russian composers.

Exercise 2. Match the following words to their synonyms:

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Exercise 3. Match the following words to their antonyms:

Exercise 4. Answer the questions on the text:

1.When did Shostakovich enter the Petrograd conservatoire?

2.Who were his teachers?

3.How fast did he complete the course of studies?

4.How old was he at that time?

5.Had he written any musical compositions by that time?

6.How many symphonies did Shostakovich write?

7.Why was the Seventh symphony called the Leningrad symphony?

8.Why do the Seventh and Eighth string quartets stand out among Shostakovich’s compositions?

9.What was special about his operetta Moskva-Cheryomushki?

10.Did the popularity of Shostakovich’s music grow over the years?

11.How did the composer establish personal contact with his listeners?

12.What musical compositions does his heritage include?

13.Why could he be called a prolific composer?

14.Is his name still well-known among the musicians?

Exercise 5. Retell the text about Dmitry Shostakovich.

Symphony № 8

The Eighth Symphony came one year after the Seventh, and was heard for the first time at the festival of Soviet Music in Moscow on No-

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vember 4, 1943, with Eugene Mravinsky conducting the State Symphony Orchestra.

Shostakovich explained that this Symphony was an attempt «to look into the future, into the post-war epoch». «Life is beautiful», Shostakovich wrote in explaining the mood of this work, «and all that is dark and ignominious will disappear. All that is beautiful will triumph», But though the composer intended it as an optimistic utterance, the Symphony has a pervading feeling of deep tragedy, as if Shostakovich could not forget the war that was raging so bitterly all around him.

The Eighth Symphony opens with a long and very lyrical Adagio movement. The principal subject is the soaring melody for the first violins, The basic theme is preceded by a pleasing duet for high and low strings which opens and closes the movement. The second movement is a march. The next three movements proceed without interruption. The third (Allegro non troppo) carries on the rhythmic momentum of the second. The fourth (Largo) is in a form suggesting a passacaglia, the bass of which recalls the opening theme of the symphony. The fifth (Allegretto) is pastoral music in which a series of melodic ideas is presented by different solo instruments.

Exercise 1. Fill in the missing prepositions:

1.The Eighth Symphony came one year _____ the Seventh, and was heard ____ the first time ___ the festival ___ Soviet Music ___ Moscow.

2.Shostakovich explained that this Symphony was an attempt «to look

_____ the future, _____ the post-war epoch».

3.«Life is beautiful», Shostakovich wrote ___ explaining the mood ___

this work.

4.The Eighth Symphony opens _____ a long and very lyrical Adagio movement.

5.The principal subject is the soaring melody ____ the first violins,

6.The basic theme is preceded ____ a pleasing duet ____ high and low strings.

7.The next three movements proceed __________ interruption.

8.The third (Allegro non troppo) carries ___ the rhythmic momentum

___ the second.

9.The fourth (Largo) is ___ a form suggesting a passacaglia, the bass ___

which recalls the opening theme ___ the symphony.

10.The fifth (Allegretto)is pastoral music ___ which a series ___ melodic ideas is presented ___ different solo instruments.

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