Добавил:
ivanov666
Опубликованный материал нарушает ваши авторские права? Сообщите нам.
Вуз:
Предмет:
Файл:Meet The Famous Composers. Part 1. Учебно-методическое пособие по английскому языку
.pdf
Johann Sebastian Bach
11. Retell the story:
a) in the name of Johann Sebastian Bach.
b) in the name of his wife, Anna Magdalena Wulken.
12. Make up adialogue.
a) Between Johann Sebastian Bach and amodern composer (performer, conductor,
etc.).
b) You have played Bach’s works and is to explain to your fellow-student the
performance features.
13. Imagine what if …
a) … Bach didn’t write some of his works (* for intermediate level students and
above: see Supplementary Text 1)
b) … you put Beethoven, Mozart, and Bach in aroom, what would they disagree
on? (* for intermediate level students and above: see Supplementary Text 2)
c) … (make your own assumption)
SUPPLEMENTARY TEXTS
Text 1
DID BACH’S WIFE WRITE SOME OF HIS BEST-KNOWN WORKS?
A new documentary claims that Anna Magdalena was the real
composer of her husband Bach’s best-known pieces. It is generally
accepted that Anna Magdalena assisted her husband in transcribing
music scores. But Martin Jarvis, aprofessor of music at Charles
Darwin University in Australia, is making the bomb-shell claim
that J.S.Bach’s second wife was far more than just acopyist.
Aer conducting forensic analysis of the ink and handwriting
style in Bach manuscripts, Jarvis has concluded that three of Bach’s
most celebrated works were actually penned by Anna Magdalena, who
was his second wife: the aria from the Goldberg Variations; the rst Prelude from e
Well-Tempered Clavier (Book 1) and possibly some of the Cello Suites.
Heidi Harralson, aforensic document examiner, backed Jarvis’s view, saying she is
sure «within areasonable degree of scientic certainty» that Anna Magdalena was most
likely the composer of these works.
e researchers believe that, due to the nature of the corrections and the fact that the
writing is light, she was actually composing the works as she wrote them down. ey
say that someone copying music would write in aheavy, slow style.
eir ndings are presented in anew documentary called Written By Mrs Bach,
which was screened at BAFTA in London on Wednesday 29 October. British composer
Sally Beamish, who presents the documentary, said: «What I found fascinating is the
11
MEET THE FAMOUS COMPOSERS
questions it raises about the assumptions we make: that music is always written by one
person and all the great masters were male by denition».
Text 2
IF YOU PUT BEETHOVEN, MOZART AND BACH IN AROOM,
WHAT WOULD THEY DISAGREE ON?
Tom Breton, composer: Composer, Programmer for Rosegarden:
As it happens, one meeting actually happened. Beethoven, as ayoung man, sought
Mozart as ateacher and played for him. ey both agreed that they had very dierent
musical visions and parted company; Beethoven was primarily taught by Haydn. It was
aer this meeting that Mozart predicted of Beethoven, «ere is ayoung man who will
make agreat noise in the world». By all accounts, they had agreat deal of respect for
each other.
Both were born aer Bach’s death, but Mozart was good friends with Johann Christian
Bach (e London Bach, JS Bach’s son). It was JC Bach who taught Mozart the Gallant
style. is doesn’t necessarily mean that Mozart would have agreed with the father
about everything on earth, but Mozart loved JS Bach’s music. Loved may actually be too
weak aterm— on rst discovering JS Bach’s music at aconcert, Wolfgang proceeded to
ignore everything and everyone and intently study the sheet music for hours.
So according to the historical record, what did they disagree on? Not much. Gallant
style (Mozart’s) vs transitional Romantic (Beethoven’s). If they had non-musical
1
disagreements, history doesn’t record it AFAIK
. But that doesn’t account for what JS
Bach might say— what’s German for «you young whippersnappers”?
Wouter Stekelenburg, researcher:
• ey had dierent ideas about what music was for.
• For Bach music was away to worship God. Mozart and Beethoven would have
found that silly and old fashioned.
• For Mozart, who probably had the hardest live of the three, music was ameans of
escape. Bach and Beethoven wanted to confront the listener, either with the suering of
Christ or with the failure of the French revolution to bring freedom, or something like
that. Some of their music was meant to be confrontational.
• Beethoven wasn’t as productive as Bach or Mozart, probably because he was more
of aperfectionist.
I think they would nd alot to disagree on in music alone.
1
As far as Iknow
UNIT 2
Domenico Scarlatti
In 1685, the same year that Johann Sebastian Bach and
George Frideric Handel were born in Germany, Domenico
Scarlatti was born in Naples, Italy. His father, Alessandro
Scarlatti, was an important composer of operas and was
credited with developing the form of Italian opera that
prevailed in the 18th century.
Taught at rst by his father, Domenico followed in
his father’s footsteps and began to compose opera. His
rst operas, Ottavia ristituita al trona and Giustino were
performed when Domenico was 18 years old.
In 1705, his father sent him to Venice to study with Gasparini who was musical
director at the Ospedale della pieta, where the composer Antonio Vivaldi also served.
While in Venice, Domenico met George Frideric Handel and they became good
friends. Scarlatti and Handel admired each other, and once traveled to Rome together.
A patron of the arts, Cardinal Ottoboni, arranged a contest between them on the
harpsichord and organ. Handel won the organ honors, but Scarlatti was unbeatable on
the harpsichord.
Scarlatti established himself in Rome. First he composed chamber music and operas
for the miniature opera theater of Queen Maria Casimira who was exiled from Poland.
In 1715, he became music director of St. Peter’s in Rome. Handel le Rome and there
seems to have been no more contact between the two friends, though they continued to
admire and respect each other.
In 1720, Scarlatti became court harpsichordist to the King of Portugal and teacher of
Princess Maria Barbara in Lisbon. e keyboard music he composed for Princess Maria
Barbara turned out to be his greatest contribution to music literature. He returned to
Naples in 1725 when his father died. In 1728, he married Maria Catalina Gentili, and
together they had ve children. In 1729, Princess Maria Barbara married the Spanish
crown prince who became King of Spain. Scarlatti followed her to Spain and spent the
13
MEET THE FAMOUS COMPOSERS
rest of his life in Maria Barbara’s service. Many of his keyboard sonatas reect the vivid
colors and vital rhythms of Spanish folk music and dances.
In 1738, Scarlatti’s 30 Essercizi per Gravicembalo (Studies for Harpsichord)
were published in London and became widely used. He composed over 500 singlemovement sonatas as well as innovative compositions foreshadowing the sonata
form. One of his most famous keyboard pieces is called «e Cat’s Fugue,» K. 30, L.
499. Scarlatti’s cat walked over the keyboard striking notes that Scarlatti used for the
subject of the fugue. Scarlatti’s keyboard sonatas alone place him among the great
Baroque composers.
1. Read and translate the text using adictionary if necessary.
2. Match the following Russian words and phrases with the English equivalents.
1. вменять взаслугу, приписывать a. to follow in his father’s footsteps
2. преобладать, превалировать b. apatron of the arts
3. пойти по стопам отца c. to become friends
4. служить, работать d. greatest contribution to music
5. стать друзьями e. chamber music
6. восхищаться друг другом f. to win the organ honours
7. покровитель искусства g. to follow Queen to Spain
8. организовать конкурс h. to be credited with
9. заслужить славу на органе i. acrown prince
10. быть непобедимым j. to respect each other
11. поселиться k. to arrange acontest
12. камерная музыка l. asingle-movement sonata
13. быть высланным из страны m. to serve
14. уважать друг друга n. to be exiled from the country
15. величайший вклад вмузыку o. to foreshadow the sonata form
16. наследный принц p. to establish oneself in
17. последовать за королевой вИспанию q. to be unbeatable
18. провести оставшуюся часть жизни на
службе укоролевы
19. одночастная соната s. to admire each other
20. предопределять сонатную форму t. to prevail
r. to spend the rest of the live in Queen’s
service
3. Give synonyms and antonyms.
Words and word combinations Synonyms Antonyms
1. to develop
2. to become friends
3. to respect
4. important
5. to win
6. to continue
7. vivid colours
8. innovative
9. famous
10. to leave
14
Domenico Scarlatti
4. Complete the table.
Innitive present Past Simple Participle II
1. to send sent sent
2. met
3. won
4. to leave
5. spent
6. taught
7. to bear
8. begun
9. to have
10. stricken
5. Unscramble the following words.
1. smoocper
2. raope
3. pemforr
4. teconst
5. kybardeo
6. nasota
7. klof
8. vemoment
9. poscomtiion
10. guefu
6. Check your comprehension by lling in the blanks with suitable words or word
combinations.
1. In 1685, the same year that Johann Sebastian Bach and George Frideric Handel were
born in Germany, Domenico Scarlatti was born __________ .
A. in Paris, France B. in Rome, Italy
C. in Naples, Italy D. Moscow, Russia
2. Taught at rst by his __________, Domenico followed in his father’s footsteps and
began to compose opera.
A. mother B. brother C. friend D. father
3. While in Venice, Domenico met __________ and they became good friends.
A. George Frideric Handel B. Antonio Vivaldi
C. Queen Maria Casimira D. King of Portugal
4. Apatron of the arts, Cardinal Ottoboni, arranged acontest between them on the
harpsichord and organ. Handel won the __________ honors, but Scarlatti was
unbeatable on the __________ .
A. violin, guitar B. organ, harpsichord
C. organ, violin D. harpsichord, guitar
15
MEET THE FAMOUS COMPOSERS
5. Scarlatti established himself in Rome. First he composed chamber music and operas
for the miniature opera theater of __________.
A. his wife B. King of Portugal
C. Princess Maria Barbara D. Queen Maria Casimira
6. e keyboard music he composed for __________ turned out to be his greatest
contribution to music literature.
A. his wife B. King of Portugal
C. Princess Maria Barbara D. Queen Maria Casimira
7. Scarlatti followed her to Spain and spent the rest of his life in __________ service.
A. his wife B. King of Portugal
C. Princess Maria Barbara D. Queen Maria Casimira
8. One of his most famous keyboard pieces is called __________ .
A. «e Bird’s Song» B. «e Bird’s Fugue»
C. «e Cat’s Song» D. «e Cat’s Fugue»
7. Choose the correct form.
1. Domenico Scarlatti’s father was __________ developing the form of Italian opera
that prevailed in the 18th century.
A. crediting by B. credited with C. credit D. crediting
2. __________ at rst by his father, Domenico followed in his father’s footsteps and
began to compose opera.
A.Being teaching B. Teaching C. Teach D. Taught
3. Apatron of the arts, Cardinal Ottoboni, arranged acontest __________ them on the
harpsichord and organ.
A. among B. for C. between D. to
4. In 1715, Domenico Scarlatti __________ music director of St. Peter’s in Rome.
A. became B. had become C. has become D. becomed
5. Handel and Scarlatti continued __________ each other.
A. admiring and respecting B. admire and respect
C. to admire and respect D. to admiring and continuing
6. e keyboard music he composed for Princess Maria Barbara turned out to be his
__________ contribution to music literature.
A. great B. greatest C. the most great D. greater
7. In 1738, Scarlatti’s 30 Studies for Harpsichord were published in London and became
widely ______ .
A. used B. using C. useless D. use
8. One of his most famous keyboard pieces __________ «e Cat’s Fugue», K. 30, L.
499.
A. called B. calles C. being called D. is called
16
Domenico Scarlatti
8. Complete the sentences with necessary prepositions.
1. _____ 1685, the same year that Johann Sebastian Bach and George Frideric Handel
were born _____ Germany, Domenico Scarlatti was born _____ Naples, Italy.
2. His father, Alessandro Scarlatti, was an important composer _____ operas and was
credited _____ developing the form _____ Italian opera that prevailed _____ the 18th
century.
3. _____ 1705, his father sent him _____ Venice to study _____ Gasparini.
4. Cardinal Ottoboni arranged acontest _____ them _____ the harpsichord and organ.
5. First he composed chamber music and operas _____ the miniature opera theater
_____ Queen Maria Casimira who was exiled _____ Poland.
6. _____ 1715, he became music director _____ St. Peter’s _____ Rome.
7. e keyboard music he composed _____ Princess Maria Barbara turned _____ to be
his greatest contribution _____ music literature.
8. He returned _____ Naples _____ 1725 when his father died.
9. Scarlatti followed her _____ Spain and spent the rest _____ his life _____ Maria
Barbara’s service.
10. Scarlatti’s cat walked _____ the keyboard striking notes that Scarlatti used _____ the
subject _____ the fugue.
9. Complete the sentences.
1. In 1685 Domenico Scarlatti was born ____________________________________ .
2. His father, Alessandro Scarlatti, _______________________________________ .
3. In 1705 Domenico Scarlatti ___________________________________________ .
4. While in Venice, Domenico __________________________________________ .
5. Taking part in the contest arranged by apatron of the arts, Cardinal Ottoboni,
Scarlatti _________ .
6. In Lisbon Scarlatti taught ____________________________________________ .
7. When his father died Domenico _______________________________________ .
8. Domenico Scarlatti spent the rest of his life _____________________________ .
9. In 1738, Scarlatti’s _________________________________________________ .
10. Scarlatti used notes _____________________________________________ .
10. Translate the following sentences into English.
1. Доменико Скарлатти родился вНеаполе, Италия, в1685 году.
2. Отец Доменико был известным оперным композитором.
3. Первая опера Доменико была поставлена, когда ему было 18 лет.
4. В1705-м Доменико уехал учиться вВенецию, где работал Антонио Вивальди.
17
MEET THE FAMOUS COMPOSERS
5. Скарлатти сочинял музыку для небольшого оперного театра королевы Марии
Казимиры.
6. В1720 году король Португалии назначил Доменико придворным клавесини-
стом.
7. УДоменико иего жены Марии Каталины было пятеро детей.
8. Всвоих произведениях Скарлатти использовал испанскую народную музыку.
9. Его новаторские композиции предопределили сонатную форму.
10. Доменико Скарлатти считается одним из величайших композиторов эпохи
Барокко.
11. Retell the story:
a) in the name of the King of Portugal
b) in the name of Queen Maria Casimira
12. Make up adialogue:
a) Between Scarlatti son and Scarlatti father (depressed Phillip V, Farinelli, etc.).
b) You have played Scarlatti’s works and is to explain to your fellow-student the
performance features.
13. Imagine what if …
a) … Domenico was not born into Alessandro Scarlatti’s family? (* for intermediate
level students and above: see Supplementary Text 1)
b) … Queen Maria Barbara of Spain wouldn’t have had D.Scarlatti’s keyboard sonatas
captured on paper? (* for intermediate level students and above: see Supplementary Text 2)
c) … (make your own assumption)
SUPPLEMENTARY TEXTS
Text 1
ALESSANDRO SCARLATTI
Sicilian-born in 1660, Alessandro Scarlatti was trained in Rome.
His rst large-scale oratorio-operatic works were performed there
the following year when he was only 19. His patrons from the
outset were of the highest rank, among them the exiled Queen
Christina of Sweden, the musically indefatigable Cardinal
Ottoboni and Prince Ferdinando de Medici.
In 1684 at the age of 24 Scarlatti moved to Naples, where
he was appointed Maestro di Cappella at the vice-regal court
of Naples, at the same time as his brother Francesco was made
First Violinist.
18
Domenico Scarlatti
For the next two decades over half the new operas given at Naples were by Scarlatti,
producing over 40 works. From 1695 his operas and «musical dramas’ incorporated
three-movement sinfonias which soon became standard for all Italian operas. It was
in his last operas that he began experimenting with instrumental color in the modern
sense.
While resident in Naples, Scarlatti occasionally returned to Rome to supervise
carnival performances of new operas.
By 1700 the War of the Spanish Succession began to undermine the privileged status
of the Neapolitan nobility, rendering Scarlatti’s position insecure. In 1702 he le with
his family for Florence, where he hoped to nd employment for himself and his son
Domenico with Prince Ferdinando de Medici. When these hopes failed, he moved back
to Rome at the end of 1703, seeking aquieter life.
Alessandro’s last years were spent in Naples, teaching, composing cantatas (which
ultimately numbered over 600, mostly for soprano and continuo), aset of Sonatas for
Flute and Strings, probably composed for Quantz, who wrote: «I heard Scarlatti play
on the harpsichord, which he knew how to play in alearned style although he did not
possess as much nesse as his son. Aer this he accompanied me in asolo. Ihad the
good fortune to win his favor, in fact so much so that he composed afew ute solos for
me». is comment would almost prove to be an epitaph, for Alessandro Scarlatti died
on October 24, 1725.
Text 2
THE MERCURIAL MAESTRO OF MADRID
It’s the music they didn’t want you to hear— and it’s only by
good fortune that most of a magical 18th-century sound world
was preserved at all. When Queen Maria Barbara of Spain
prevailed on her Italian-born music master, Domenico Scarlatti,
to supervise the copying of his 550 or so keyboard sonatas, there’s
no indication that she had publications in mind. As he advanced
in years, she was probably more concerned that she would still
be able to enjoy their exclusive use aer his death. But at least she
ensured that they were captured on paper, for otherwise the majority might well have
disappeared into the Iberian air from which the mercurial improviser had rst plucked
them. Although Maria Barbara and her husband Ferdinand VI surrounded themselves
with great operatic, vocal and instrumental opulence, it was not to last for long.
Scarlatti’s death at the age of 71 on July 23, 1757 was followed by the queen’s just over
ayear later, and that of the totally distressed king ayear aer that; both were in their
mid-40s. e royal music stopped, and the Scarlatti manuscripts found their way into
the outside world.
19
MEET THE FAMOUS COMPOSERS
Very little is known of the character or life of the Madrid musician. e most striking
observation comes from his English champion omas Roseingrave, who noted how
the quiet, grave young man dressed in black, whom he met in Italy in or aer 1710,
played the harpsichord «like ten hundred devils». However, he could be avery genial
soul, too, as Handel readily acknowledged.
ese judgments chime with the music historian Charles Burney’s assessment of
Scarlatti’s sonatas towards the end of the century: «Original and happy freaks … the
wonder and delight of every hearer who had aspark of enthusiasm about him». us it
was at the harpsichord, organ or fortepiano that sometimes troubled Scarlatti was at his
most condent— not just carefree, but sometimes recklessly capricious. is quality
shines through at the start of the second of asonata’s repeated halves, where he oen
embarks in directions quite impossible to anticipate.
e harpsichord’s awakening from its 19th-century slumber coincided with the
recognition that Spanish musical nationalists, led by Falla, gave Scarlatti in capturing
the country’s traditional sounds. It did not deter them that he came from Naples, where
his family had relocated aer leaving the Sicilian capital of Palermo. Both cities lay
in Spain’s then extensive Italian territories, and the great Scarlatti of the day was the
elebrated vocal composer Alessandro. Domenico, the sixth of Alessandro’s 10 children,
started his career with music for the stage and the Vatican. In 1719 he went to Lisbon
as the composer and music director to King JohnV. It was in Lisbon that Scarlatti
perhaps obtained the idea of incorporating folk elements into his keyboard music from
a16-year-old student, Carlos de Seixas. Teaching another student, the king’s daughter
Maria Barbara, proved so agreeable that Scarlatti continued in her service for the second
half of his life, and in 1729 she married Ferdinand, heir to the Spanish throne.
So the Neapolitan master and Portuguese pupil entered the tempestuous
world of Spanish court life. For the rst four years, they were based in and around
Seville, as courtiers sought diversion for Ferdinand’s father, the deeply melancholic
PhilipV.Scarlatti thus got to know the colourful, major-to-minor music of Andalusia,
inuenced, like that of Portugal, by the centuries-long domination of the Moors, and
applied his highly inventive ear to harmonies from beyond the conventional palette of
the baroque. When Scarlatti arrived in Madrid at the end of 1733, he might have hoped
for the sort of platform appropriate to aleading musician of his age. In the event, he
was kept to the sidelines in an extraordinary fashion that does much to account for his
biographical obscurity.
Everything was thrown into the shade by Philip V’s manic depression. He decreed
that each court day should start at 5pm, with dinner at 3am. His queen, Elisabetta
Farnese, could not leave him on his own, in case he found apen and tried to abdicate;
and all the while she had to govern on his behalf. In 1737, at her wits’ end, she hatched
a plan for her husband to overhear the visiting Farinelli (stage name of the Italian
castrato Carlo Broschi), whose singing overcame his normal indierence to music.
Schooled by Elisabetta, Farinelli insisted that the only reward that he sought from the
king was that he should be shaved and dressed, and attend the council of ministers.
20
Соседние файлы в предмете [НЕСОРТИРОВАННОЕ]