Добавил:
ivanov666
Опубликованный материал нарушает ваши авторские права? Сообщите нам.
Вуз:
Предмет:
Файл:About Music at the Lessons of English. Хрестоматия по чтению на английском языке для студентов очного и заочного отделений специальностей 070100 «Музы.pdf
On his next album, Bringing It All Back Home (1965), electric instru-
ments were openly brandished – a violation of folk dogma – and only two pro-
test songs were included. His song “Mr. Tambourine Man” from that album
was taken to number one on the singles chart. As Dylan's mainstream audience
increased geometrically, his purist folk fans fell off in droves.
In June 1965, consorting with “hardened” rock musicians, Dylan re-
corded his most ascendant song yet “Like a Rolling Stone”. Devoid of obvious
protest references, set against a rough-hewn, twangy rock underpinning, and
fronted by a snarling vocal that lashed out at all those who questioned his le-
gitimacy, “Like a Rolling Stone” spoke to yet a new set of listeners and
reached number two on the popular music charts. It was the final link in the
chain. The world fell at Dylan's feet. And the album containing the hit single,
Highway 61 Revisited, further vindicated his abdication of the protest throne.
At the 1965 Newport Folk Festival, Dylan bravely showcased his elec-
tric sound. Reams were written about his electric betrayal and banishment
from the folk circle. By the time of his next public appearance, a month later,
the audience had been “instructed” by the press how to react. Dylan and the
band were booed throughout the performance; incongruously, the audience
sang along with “Like a Rolling Stone,” the number two song in the United
States that week, and then booed at its conclusion.
Dylan toured incessantly in 1965 and 1966, always playing to sold-out,
agitated audiences. On November 22, 1965, Dylan married Sara Lowndes.
They split their time between a townhouse in Greenwich Village and a country
estate in Woodstock, New York.
In February 1966, at the suggestion of his new producer, Dylan re-
corded a double album. Containing some of Dylan's finest work,
Blonde on
Blonde peaked at number nine, was critically acclaimed, and pushed Dylan to
the zenith of his popularity. He toured Europe until the summer of 1966, when
a motorcycle accident in Woodstock brought his amazing seven-year momen-
tum to an abrupt halt. Citing a serious neck injury, he retreated to his home in
Woodstock and virtually disappeared for two years.
During his recuperation, Dylan edited film footage from his 1966 Euro-
pean tour.
111
In January 1968 Dylan made his first postaccident appearance at a me-
morial concert for Woody Guthrie in New York City. His image had changed;
with shorter hair, spectacles, and a neglected beard, he resembled a rabbinical
student. At this point Dylan adopted the stance he held for the rest of his ca-
reer: sidestepping the desires of the critics, he went in any direction but those
called for in print. When his audience and critics were convinced that his muse
had left him, Dylan would deliver an album at full strength, only to withdraw
again.
Dylan returned to Tennessee to record
helped launch an entirely new genre, country rock
Nashville Skyline (1969), which
. It charted at number three,
but, owing to the comparative simplicity of its lyrics, people questioned
whether Dylan remained a cutting-edge artist.
Over the next quarter century Dylan continued to record, toured spo-
radically, and was widely honoured, though his impact was never as great or
as immediate as it had been in the 1960s. In 1970 Princeton (New Jersey)
University awarded him an honorary doctorate of music.
In 1975 and 1976 Dylan barnstormed North America with a gypsylike
touring company, announcing shows in radio interviews only hours before ap-
pearing.
Lowndes and Dylan divorced in 1977. In a dramatic turnabout, he con-
verted to Christianity in 1979 and for three years recorded and performed only
religious material, preaching between songs at live shows. Critics and listeners
were, once again, confounded. Nonetheless, Dylan received a Grammy Award
in 1980 for best male rock vocal performance with his “gospel” song “Gotta
Serve Somebody”.
By 1982, when Dylan was inducted into the Songwriters Hall of Fame,
his open zeal for Christianity was waning. In 1985 he participated in the all-
star charity recording “We Are the World”. Dylan toured again in 1986-87.
When Life magazine published a list of the 100 most influential Ameri-
cans of the 20th century in 1990, Dylan was included, and in 1991 he received
a Grammy Award for lifetime achievement. In 1992 Columbia Records cele-
brated the 30th anniversary of Dylan's signing with a star-studded concert in
New York City. Later this event was released as a double album and video. As
112
part of Bill Clinton's inauguration as U.S. president in 1993, Dylan sang
“Chimes of Freedom” in front of the Lincoln Memorial.
As the 1990s drew to a close, Dylan, who was called the greatest poet of
the second half of the 20th century by Allen Ginsberg, performed for the pope
at the Vatican, was nominated for the Nobel Prize for Literature, received the
John F. Kennedy Center Honors Award, and was made Commander in the Or-
der of Arts and Letters (the highest cultural award presented by the
French government). In 1998, in a comeback of sorts, he won three Grammy
Awards – including album of the year – for Time Out of Mind.
Notes:
1. Grammy Award – премия Грэмми – Премия Национальной акаде-
мии звукозаписи за лучшую пластинку и лучший альбом года.
Вручается с 1958. Выполнена в виде миниатюрного золотого
граммофона.
2. “Like a Rolling Stone” – «Сродни катящемуся камню»;
3. to consort – сопровождать;
4. “hardened” rock musicians – зд. «закаленные» рок-музыканты.
YURI BASHMET – A FOUNDER OF THE CHAMBER ORCHESTRA
Born in Rostov-on-Don in 1953, Bashmet grew up in Lvov in the
Ukraine, where – like so many others – he took up the violin at the behest of
his mother, although he actually preferred the guitar! In the 60s it was a new
sound that was energising the youth of the east just as it was in the west, and
Bashmet remains enthusiastic about the Beatles and, more at a distance,
Jimmy Hendrix.
“I started on the violin – I was at music school playing the violin and
that was for my mum. But it was at the time of the Beatles and I played the
guitar for myself. It was the fashion, but because I knew music grammar,
I was better than those from the street who didn't know. Then the music of
Jimmy Hendrix arrived, jazz rock from Chicago, but at that time I didn't un-
derstand Hendrix's style – it was not my style, as you can understand that for
113
one who liked the Beatles! I like jazz rock very much, but it was not possible
to manage with our tradition and instruments and also players, although we
tried!”
Bashmet went on to win a young musicians' competition in the Ukraine
on the violin. The change to viola came soon after, a purely pragmatic deci-
sion, as suggested by a friend: "You would make a talented viola player – you
would need much less time to practise, because if you continue with your vio-
lin you will need five, six, seven hours of practice a day; with the viola you
will need much less time, and then you will have more time for your guitar!"
Thus – even though he was one of the top three violinists at the time in
the school – Bashmet broke against a tradition at music college, which had
always regarded viola as second best (a view Bashmet would meet, and defeat,
across his early career). And yet, he was still more interested in the guitar!
Bashmet plays a Testore viola made in 1758, which he bought in 1971.
It is the same make as Mozart's viola – with just three years difference in the
instruments' ages! Bashmet has actually played Mozart's instrument (housed in
the birthplace museum in Salzburg), the first player since the composer to do
so, performing the Sinfonia concertante at the Mozarteum Salzburg. He was
intrigued at the individual characteristics of each instrument; his the more pro-
jecting, Mozart's more suitable for chamber music, but with a very rich colour.
In 1986 Yuri Bashmet founded the Chamber Orchestra “The Moscow
Soloists”. The orchestra took part in different festivals and concerts in Russian
and abroad.
Bashmet's strongest and most personal connections with composers are,
unsurprisingly, with his Russian compatriots Alfred Schnittke, Sofia
Gubaidulina and Giya Kancheli.
Schnittke wrote two works for Bashmet while the composer was still
living in Russia, including the Viola Concerto which Bashmet premièred in
the Amsterdam Concertgebouw in 1986 (still one of the pinnacles of the reper-
toire as far as Bashmet is concerned). After Schnittke had left Russia, Bashmet
was expecting a Viola Sonata from him.
Tatar-born Sofia Gubaidulina has a special significance for Bashmet, as
he reveals in the liner notes to his latest CD.
114
For him, Sofia Gubaidulina is one of the most important composers of
th
the 20
century. She is very idiosyncratic. She has a highly individual way of
expressing what she wants to say. And at the end of this journey are nothing
more or less than the questions of human experience: birth and death, love and
hatred, the beautiful and ugly, good and evil – as with Shakespeare, but in a
different way. In the process she uses a whole range of expressive devices,
including specific orchestral effects, and draws on an infinite number of
sources such as religious themes, the storehouse of more than 300 years of
Tatar history and so on.
In similar ways, Tbilisi-born Georgian composer Giya Kancheli is
moved by the traditions and community of his birthplace. Again his music
addresses great emotional and universal subjects. For Bashmet Kancheli pro-
vides a leading role for the viola, especially in the work Styx where "the viola
line contains within it the work's essential meaning and message".
Yuri Bashmet has recorded much of the repertoire composed for him by
these Russian composers. Giya Kancheli's
Styx and Sofia Gubaidulina's viola
concerto are coupled on a disc issued by Deutsche Grammophon, performed
with Valery Gergiev, the St Petersburg Mariinsky Theater Orchestra and the
St Petersburg Chamber Choir – nominated for a Grammy Award.
The Symphony Orchestra of New Russia (Novaya Rossiya State Sym-
phony Orchestra) was founded in 1990. In 2002 Yuri Bashmet was appointed
Director of the orchestra, opening a new chapter in its history. He brings to the
orchestra his own inimitable manner of interpretation, and thus every concert
evokes the feeling that the music is being created anew before the very eyes
and ears of the audience.
Such eminent musicians as Valery Gergiev, Vladimir Ashkenazy, Barry
Douglas, Peter Donohoe, Boris Berezovsky, Viktor Tretiakov and Natalia
Gutman are invited to work with this orchestra.
The Symphony Orchestra of New Russia is a frequent guest at festivals
in Russia and abroad, including the Moscow Easter Festival, the Alfred
Schnittke Festival in Moscow, the Besançon Festival in France, the Athens
Festival in Greece and the Festival of Russian Art in Essen, Germany.
115
The orchestra has a regular subscription series under the auspices of the
Moscow Philharmonic Association, with varied programmes aimed at both
adult and younger listeners. It frequently tours abroad, notably to Finland,
France, Great Britain, Italy, Germany, Greece, Turkey, and Russia.
Bashmet has systematically expanded his symphonic repertoire, as well
as his commitments as guest conductor with symphony orchestras in Europe,
Japan and the Far East and North America.
Notes:
1. Sinfonia concertante – концертная увертюра (итал.);
2. behest – приказ, повеление;
3. inimitable – неподражаемый (своеобразный), неповторимый;
4. anew – снова, заново;
5. regular subscription series – ежегодные абонементы.
MADONNA
Madonna, whose original name Madonna Louise Ciccone, is an Ameri-
can singer, songwriter, actress, and entrepreneur whose immense popularity in
the 1980s and '90s allowed her to achieve levels of power and control un-
precedented for a woman in the entertainment industry.
Born into a large Italian-American family, Madonna studied dance at
the University of Michigan and in New York City in the late 1970s before re-
locating briefly to Paris as a member of Patrick Hernandez's disco revue. Re-
turning to New York City, she performed with a number of rock groups before
signing with Sire Records. Her first hit, “Holiday,” in 1983, provided the
blueprint for her later material – an upbeat dance-club sound with sharp pro-
duction and an immediate appeal. Criticized by some as being limited in
range, her sweet, girlish voice nonetheless was well-suited to pop music.
Madonna was the first female artist to exploit fully the potential of the
music video. She collaborated with top designers, photographers, and direc-
tors, drawing inspiration from underground club culture or the avant-garde to
create distinctive sexual and satirical images – from the knowing ingenue of
116
“Like a Virgin” (1984) to the controversial red-dressed “sinner” who kisses a
black saint in “Like a Prayer” (1989). By 1991 she had scored 21 Top Ten hits
in the United States and sold some 70 million albums internationally, generat-
ing $1.2 billion in sales.
Soon afterward Madonna temporarily withdrew from pop music to con-
centrate on a film career that had begun with a strong performance in Desper-
ately Seeking Susan (1985), faltered with the flimsy Shanghai Surprise (1986)
and Dick Tracy (1990), and recovered with Truth or Dare (1991, also known
as In Bed with Madonna), a documentary of one of her tours. She scored mas-
sive success in 1996 with the starring role in the film musical Evita. That year
she also gave birth to a daughter.
In 1998 Madonna released her first album of new material in four years,
Ray of Light. A fusion of techno music and self-conscious lyrics, it was a
commercial and critical success, earning the singer her first musical Grammy
Awards (her previous win had been for a video). Her experimentation in elec-
tronica continued with Music (2000). Despite a brief marriage in the 1980s to
actor Sean Penn and her wedding in 2000 to English director Guy Ritchie
(with whom she had a son), Madonna has remained resolutely independent.
Notes:
1. to sign – подписываться;
2. the breezy innocence – зд. беззаботная наивность (невинность);
3. nonetheless – тем не менее, все же;
4. to give birth to a daughter – родить девочку;
5. starring role – главная роль для известной актрисы.
A SAXOPHONE VIRTUOSO
Igor Butman, saxophone virtuoso, bandleader, club owner and televi-
sion host, is Russia's number one jazz personality. Born in 1961 in Leningrad
(now St.Petersburg), Igor Butman started playing the clarinet at the age of 11.
In 1976 he entered the Rimsky-Korsakov College of Music, where during his
second year he dropped the classical clarinet for the jazz saxophone. Besides
being taught by the remarkable musician and brilliant teacher Gennady Gold-
117
stein, he took unofficial lessons from nightly broadcasts of jazz from
11:15 p.m. to midnight on Voice of America.
In 1983, Igor Butman played in Oleg Lundstrem`s big band – the best
one in the USSR. Next year he was invited by Nick Levinovsky to join the
most well known jazz group "Allegro" and played with them for three years.
In the Soviet Union, a country of over 300 million people, Igor was known as
the best tenor saxophonist, placing first in the Soviet Critics' Polls and re-
cording many albums for Melodiya.
After Igor Butman immigrated to America in 1987, he went on to major
in Performance and Composition at Berklee College of Music in Massachu-
setts. By the time Igor arrived in the United States, he already had a "fan club"
made up of some of America's most respected Jazz artists. While still in the
U.S.S.R., Igor was invited to play with touring American musicians, including
Dave Brubeck, Chick Corea, Pat Metheny, Gary Burton, Louis Bellson and
Grover Washington Jr., who took Igor "under his wing". Igor appeared as
Grover's special guest in concerts at Chautauqua, New York, the Berklee Cen-
ter in Boston and at Great Woods Center in Mansfield, Massachusetts. Igor
has performed as part of Grover's band several times, including at New York's
Blue Note. He is featured on Grover Washington Jr.'s Columbia release Then
& Now (1988) soloing on "Stolen Moments", "Stella By Starlight" and Igor's
own composition "French Connections".
Igor's big sound and boyish exuberance have earned him standing ova-
tions and many new fans, and his US solo career has moved straight ahead. He
led his own group with Rachel Z. at Boston's leading Jazz club, the Regat-
tabar, and has been featured soloist with the Billy Taylor Quartet, the Walter
Davis Jr. Quartet and the Monty Alexander Quintet. He appeared on "The To-
day Show", "Good Morning America" and numerous other international pro-
grams.
Moving to New York in 1989, Butman worked with The Lionel Hamp-
ton Orchestra. In 1992, Igor recorded with actor/musician Michael Moriarty's
Quintet the album Live at the Fat Tuesday`s on DRG Records. In Variety's re-
view of this recording, it was noted that Igor, "Impressed with a round tone
and deft ability at double time efforts and harmonized tightly".
118
In 90`s Igor Butman performed at almost every major jazz festival, such
as JVC Jazz Festival in New York, Boston Globe Jazz Festival in Boston,
Lionel Hampton Jazz Festival in Idaho, Festival Internationale de Jazz de
Montreal in Canada.
That year Igor Butman moved to Russia and during the following years
he became "a jazz bridge between Moscow and New York", bringing to Rus-
sia and playing with Eddie Gomez, Lenny White, John Abercrombie, Joe
Lock and many other musicians.
Especially pleasing to Igor's admirers was his new solo album Nostalgie
which was recorded at RPM Studio in New York and released on Soyuz label
in Russia in 1997 with Ira Gitler commenting that "Butman showed the fire
and depth of his world-class improvisational talent". The Igor Butman's video-
clip Nostalgie has reached the second position on Canadian TV channel
Bravo!Canada.
Butman`s marvelous coalescence of soul, sound and technique drew
praise from American President Bill Clinton, one time tenor man, at a state
dinner hosted by Vladimir Putin at the Moscow Kremlin. Clinton stated that
Igor Butman is "may be the greatest living jazz saxophone player, who hap-
pens to be a Russian".
When Wynton Marsalis performed in Russia in 1998, he invited But-
man to be a guest soloist with the Lincoln Center Jazz Orchestra. Next year
Marsalis was a featured guest with the Igor Butman Big Band at Le Club. On
September 18-20, 2003 Jazz at Lincoln Center opened its 2003-04 season with
a special collaboration between the renowned Lincoln Center Jazz Orchestra
and the Igor Butman Big Band. Two big bands on one stage occasionally
played at the same time, but more often passed the music back and force. In an
interview with Jazz Times magazine, Marsalis said of Butman, "I love Igor's
Butman playing and I love him personally. He has a great feeling for the mu-
sic and for people and he's phenomenal musician. Igor Butman is my main
man!"
One of his accomplishments Butman considers "The Triumph of Jazz",
a tremendous concert that any producer of a three-day festival would be hard
pressed to duplicate. The talent-laden program thrilled the capacity audience
in February 2002 at Moscow's 3,000-seat Rossiya Concert Hall.
119
Igor Butman has performed and recorded with the best world violist
Yuri Bashmet and his The Moscow Soloists Chamber Ensemble. Together
they have created a new video Vocalise on Rachmaninov's music.
Igor Butman is an artistic director at Le Club, Moscow's top jazz venue,
where he appears with his big band every Monday, and has presented such
musicians as Ray Brown, Chick Corea, George Benson, Kenny Garret, Randy
Brecker, Gary Burton and many others.
Igor Butman combines mastery of his chosen instrument with joy and
freedom, yet clearly and unquestionably conveys his experiences through his
music. Ken Franckling in Jazztimes called Igor "A post bop performer with
great stage presence, horn control and emotion... there is a deep resonance to
his up tempo playing and a mature softness to his balladry".
Notes:
1. to take “under his wing” – взять «под крыло»;
2. exuberance – избыток чувств;
3. marvelous – изумительный, чудесный;
4. to praise – хвалить;
5. renown – известность, популярность, слава;
6. mature – зрелый;
7. balladry – народные баллады и их стиль.
THE BEST BARITONE FROM SIBERIA
Dmitri Aleksandrovich Hvorostovsky is a world-class baritone opera
singer from Russia. Gifted with a powerful, yet incredibly rich and beautiful
voice, Hvorostovsky is reckoned by many to be one of the greatest baritones
of the last century.
Hvorostovsky was born in Krasnoyarsk in Siberia. He studied at the
Krasnoyarsk School of Arts under Yekatherina Yofel and made his debut at
Krasnoyarsk Opera House, in the role of Monterone in Rigoletto. He went on
to win First Prize at both the Russian Glinka Competition in 1987 and the
Toulouse Singing Competition in 1988. Hvorostovsky came to international
prominence in 1989 when he won the Cardiff BBC Singer of the World
Competition.
120