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route home from one of his frequent visits to Paris, was not present at the
premiere, but he was gratified to receive reports that the performance
had been well received. He was finally presented to the royal couple the
following year, when Alexander ordered a performance in St. Petersburg
of Eugene Onegin, claimed by the monarch to be his favorite opera, at
which the composer deemed it prudent to be present.
Make a report on Tchaikovsky’s music.
Lesson Four
MOZART: POVERTY AND GENIUS
(continued)
Part II
So the years passed, and Mozart was leaving his boyhood behind
him and beginning to grow up. His father realized-that he was no longer
a child prodigy, that he must somehow find a patron; at that time this was
the only way a distinguished musician could exist. Such a position
would give Mozart an opportunity to compose, for nearly all music then
was commissioned for special occasions.
Before long Mozart was given a minor position in the archbishop's
orchestra in Salzburg. But his father dreamed of greater things than this
for him. He felt that his son needed to be in a bigger city and in a more
cosmopolitan court.
In 1777, Wolfgang set out again, this time in search of some duke
or prince who would employ him. His mother went with him, for the
archbishop refused to give his father leave.
They traveled to Munich, and to Augsburg, and then to Mannheim,
and in that latter city he heard the famous Mannheim Orchestra. The
Czech Johann Stamitz had founded it, and it was said to be the best in
continental Europe. "Their forte is a thunder," one writer said of the
players in this orchestra, "their diminuendo a crystal streamlet bubbling
away into the far distance."
After many months of waiting and hoping at the ducal court in
Mannheim, Mozart was unable to secure an appointment, and he decided
to go to Paris. But he could not find a patron there either. Gluck was the
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rage in Paris at that time, and it was hard for a newcomer, no matter how
talented, to attract any notice. There were, besides, the usual intrigues and
jealousies.
To add to the youth's misfortunes, his mother died in Paris and,
greatly saddened, he decided to return to Mannheim. For in Mannheim
lived the pretty Aloysia Weber, the daughter of the prompter of the
opera, and he had fallen in love with her. He called upon her with black
buttons sewed to his coat as a sign of mourning for his mother, but she
would not have him, and before long he went back to Salzburg.
All this time he was producing music. In Paris he had written his
Symphony in D, which was played by a famous French orchestra. And
there also he had composed a concerto for flute and harp, accompanied
by orchestra. This was commissioned by a French aristocrat who never
paid for it. He was trying new ideas now, new combinations of instruments, new tonal shadings. He composed in a dozen different styles, writing little symphonies, sonatas, and even whole oratorios and operas. The
exquisite Eine Kleine Nachtmusik with its utter clarity, its melodic flow,
and transparency of texture belongs to this period.
Though he wrote so much distinguished music, nevertheless Mozart
could find no patron, and he' returned to Salzburg. In 1781 the grand
opera for the carnival in Munich was put in his hands. After he finished,
he received a summons from the new archbishop, and returned to Vienna.
Hieronymus von Colloredo, who had succeeded the old archbishop, criticized Mozart for composing secular music and insisted that he sit at table with his valets, cooks, and confectioners.
"I don't want to talk about it," he wrote his father. "I don't even
want to think about it."
The archbishop left Vienna, but Mozart stayed, determined to support himself as best he could without a patron. In Vienna he gave music
lessons and arranged little concerts of chamber music in his room to
which he charged admission.
He was one of the first to compose for the piano, and to have a piano in his room. His playing was miraculous, not for its technique, but
for its exquisite clarity and wonderful, singing tone. He despised exaggerated speed in playing and improvised little flourishes and cadenzas
that were gems of spontaneous creation. He crystallized the form of the
piano concerto and achieved a perfect balance between the piano solo
and the symphonic orchestra. He wrote twenty-odd piano concertos, and
all of them are beautiful. Some of these he played or had friends or pu-
52
pils perform in private houses, but for some he hired an orchestra and
rented a concert hall. The task of getting subscribers for these latter
concerts bore heavily on him. "Viennese people are not much interested
in serious music," he wrote in one of his1 letters. Eventually he gave
them up.
Mozart had been struggling along for some time when he received a
commission to write an opera for the National Singspiel Theater in Vienna. He had already written a good many operas, bediming with Bastien
and Bastienne when he was still a boy. None of them had been a great
success, yet composing for the National Singspiel Theater appealed to
him strongly. For in this opera house, which the Emperor Joseph II had
founded, the operas were to be given not in Italian or French, but in
German, and the costumes were to be the modern ones of that time.
Here was an opportunity for sincerity and a fresh approach, and he was
enthusiastic as he wrote Die Entfiihrung aus dem Serail (The Abduction
from the Harem). It was lighthearted, romantic, gay, and it was in German. It had lovely arias and lusty comic scenes, and the audience loved it.
Buoyed up by his success, Mozart decided that he would write more operas.
(to be continued)
VOCABULARY NOTES
1. before long = soon – в скором времени
long before – задолго до
2. this was the only way – это был (один) единственный способ
(only - прилагательное)
3. a distinguished musician – выдающийся музыкант
4. commission (music) – заказать (музыку)
5. in search of… – разыскивать, искать что-л.
6. employ – использовать, пользоваться услугами, держать на
службе
7. for – 1) для (for you and me)
2) в течение времени (for two weeks)
3) потому что (for the archbishop refused to give his father
leave)
8. dream of – мечтать
9. latter – последний, второй (из упомянутых): in that latter city
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10. either – тоже, также (при отрицании): He could not find a patron
there either.
11. be all the rage – быть очень модным : Gluck was the rage in Paris.
12. no matter how talented – зд. каким бы талантливым он не был
13. besides – кроме того, сверх того
except – кроме, исключая
beside – рядом, около
14. the prompter of the opera – суфлер в опере
15. fall in love (with smb) – влюбиться
fall asleep – заснуть
fall ill – заболеть
16. call on/upon – заходить, навещать
17. dozen – дюжина, зд. множество
18. though = although – хотя, несмотря на
19. nevertheless – тем не менее, несмотря на
20. summons – вызов, приглашение явиться
21. exaggerate – преувеличивать
22. twenty-odd concertos – двадцать с лишним концертов
23. hire – нанимать
rent – нанимать, сдавать в аренду
24. subscribe – зд. приобретать абонемент на концерты
25. be interested in – интересоваться чем-л.
26. be a success – иметь успех
27. none of them – ни один из них
28. appeal – быть привлекательным
29. buoy up – поддерживать, поднимать (настроение)
TERMINOLOGY
A distinguished musician; prompter of the opera; flute; harp;
tonal shadings; musical style; melodic flow; utter clarity; transparency of texture; carnival; secular music; chamber music; exquisite
clarity; singing tone; flourishes; cadenzas; spontaneous creation;
crystallize the form; achieve a perfect balance; piano solo; concert
hall; serious music; a fresh approach; lovely arias; lighthearted and
romantic music; lusty comic scenes.
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GRAMMAR COMMENTARY
Положительная
Сравнительная
Превосходная
The music is great
He dreamed of greater
things
He was the greatest
composer of his age.
The court was cosmopolitan
His son needed to be
in a more/less cosmo-
politan court
It was the most/less
cosmopolitan city of
the century.
good
bad
many much
little
better
worse
more
less
(the) best
(the) worst
(the) most
(the) least
1. Подлежащее
1. Smoking is not allowed here.
1. Курить (курение)
здесь не разрешается.
2.Именная часть
сказуемого
2. His hobby is driving a
car.
2. Его любимое занятие – водить (вождение) машину.
3.Дополнение:
а) прямое
3.
а)The car needs repair-
ing.
3.
Машина нуждается в
ремонте.
1. His father dreamed of greater things than this for him.
His son needed to be in a bigger city and in a more cosmopolitan
court.
It was said to be the best in continental Europe.
СТЕПЕНИ СРАВНЕНИЯ ПРИЛАГАТЕЛЬНЫХ
2. months of waiting and hoping – месяцы ожидания и надежды
a sign of mourning – знак траура/скорби
exaggerated speed in playing – преувеличенный темп в иг-
ре/исполнении
ГЕРУНДИЙ (THE GERUND)
Герундий – неличная форма глагола с признаками как глагола,
так и существительного. Выражает действие как процесс.
СИНТАКСИЧЕСКИЕ ФУНКЦИИ ГЕРУНДИЯ
И СПОСОБЫ ЕГО ПЕРЕВОДА НА РУССКИЙ ЯЗЫК
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б) предложное
б)They spoke about their
traveling to the North.
Они говорили о поездке на север.
4. Определение
4. There are different
ways of playing music.
4. Есть разные способы исполнять (исполнения) музыку.
5. Обстоятельство
5. After receiving good
results they stopped experiments.
5. Получив (после того как получили) хорошие результаты,
они прекратили эксперименты.
После глаголов to want, to need, to deserve, to require, а также
после слова worth употребляется active gerund, хотя по значению он
passive.
E.g. My watch needs repairing (а не being repaired).
3.He insisted that Mozart sit at table with cooks. – Он требовал,
чтобы Моцарт сидел за столом с кухарками.
ФОРМЫ СОСЛАГАТЕЛЬНОГО НАКЛОНЕНИЯ
(THE SUBJUNCTIVE MOOD)
I wish you would speak rationally.
should + Infinitive
It is necessary (important) that he (should) go there.
He orders
suggests
proposes (- ed) that everything (should) be ready by 5 o’clock.
demands
desires
insists
She insisted that they (should) open a bottle of wine and toast his
success.
I proposed that my handkerchief should be spread upon the
horse’s back.
would + Infinitive may/might + Infinitive
Wherever she might live, she will always find friends.
No matter how tired (However tired) he might be, he will go to the
concert.
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He got up so that he might not wake the sleeping boy.
Тип условных предложений
Условие
Следствие
I. относятся к буд. времени
– осуществимые предпо-
ложения
На русский переводится
условным предложением с
глаголами в изъявительном
наклонении
If he comes,
Если он придет,
I shall be glad.
я буду рад.
II. относятся к наст. или
будущ. времени – малове-
роятные предположения
На русский переводится
условным предложением с
глаголами в сослагатель-
ном наклонением
If he came,
If he should come,
Should he come,
If he were to come,
Were he to come,
Если бы он пришел,
I should be glad.
я был бы рад.
III. относятся к прошедше-
му времени, поэтому являются невыполнимыми пред-
положениями
На русский переводится
условным предложением с
глаголами в сослагатель-
ном наклонением
If he had come,
Had he come,
Если бы он пришел,
I should have
been glad.
я был бы рад.
He wished Bing would stop, but Bing went on.
were – для всех лиц и чисел после глагола wish
I wish you were ten years older.
She wished he were less remote.
4. Mozart had been struggling along for some time when he re-
ceived a commission to write an opera … - форма сказуемого в Past
Perfect Continuous Active
5. Mozart decided that he would write more operas.
Функции глагола would
вспомогательный глагол в формах сослагательного наклонения:
He would answer the question if he knew it.
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вспомогательный глагол для образования глагольных форм
Future-in-the-Past (2 и 3 лицо ед. и мн. числа):
Mozart decided that he would write more operas.
выражение повторных действий в прошлом:
In summer she would go swimming.
6. СОГЛАСОВАНИЕ ВРЕМЕН (SEQUENCE OF TENSES)
Если глагол-сказуемое главного предложения стоит в про-
шедшем времени, то действует правило согласования времен, которое состоит в том, что сказуемое придаточного предложения тоже
должно стоять в одном из прошедших времен:
He said that he was busy.
When he returned his brother was having tea in the sitting-room.
She said she had read that book.
He said he would be busy tomorrow.
A. COMPREHENSION
MOZART. POVERTY and GENIUS
1. Answer the questions:
How did the musicians in Mozart’s time earn their living?
Why did Mozart leave Salzburg for Munich in 1777? What did he
search for?
Did he manage to secure an appointment at the ducal court in Mann-
heim?
Was he a success in Paris? Why?
What made him return to Mannheim?
What do you know about his first love-story?
What musical pieces did he produce in Paris?
He was much dissatisfied with his position in Vienna, why?
EXERCISES
Mozart was one of the first to compose for the piano, wasn’t he? What
did he think of this instrument? What was characteristic of his pianoplaying?
Why did composing for the National Singspiel Theater appeal to him?
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2. Say in English:
Шли годы, и Моцарт взрослел. Его отец понимал, что сын его уже
не чудо-ребенок, что так или иначе ему надо искать покровителя, – в то
время это был единственный способ существования для выдающегося
музыканта.
После многих месяцев ожидания и надежд при дворе герцога в
Мангейме Моцарту так и не удалось получить должность, и он решил
ехать в Париж. Но и там он не смог найти покровителя. Ко всем несчастьям юноши у него в Париже умерла мать, и, опечаленный, он решил
вернуться в Мангейм. И он все время создавал музыку.
Он пробовал воплощать новые идеи, новые сочетания инструментов, новые оттенки звука. Он сочинял во множестве разных стилей, создавая небольшие симфонии, сонаты и даже целые оратории и оперы.
Невзирая на такое количество замечательной музыки, Моцарт не
нашел покровителя и вернулся в Зальцбург.
Он был одним из первых, кто сочинял музыку для фортепиано, и
у которого дома был этот инструмент. Его игра была изумительной, не
столько из-за техники, сколько из-за ее утонченной чистоты и удиви-
тельного мелодичного звука.
B. COMMUNICATION
Improve your speech habits.
The English are reluctant to complain, and when they do so it
is often in a rather apologetic manner. All the examples given here
are rather strong.
1. A.: I wish you wouldn't have your TV so loud.
В.: Sorry! Were you trying to sleep?
A.: Yes, and while I think of it – please ask when you borrow
the iron.
В.: I really ought to have known better. Sorry!
2. A.: Do you think you could keep the noise down a bit?
В.: Sorry! Have I been keeping you awake?
A.: Yes, and another thing – would you mind not using my
toothpaste?
В.: I'm sorry. I thought you didn't mind.
3. A.: That radio's terribly loud. Could you turn it down a fraction?
В.: Sorry! Is it disturbing you?
59
A.: Yes, and something else — wouldn't it be an idea to buy
your own soap?
В.: Sorry! I didn't realize you felt so strongly about it.
4. A.:Do you have to have that record on quite so loud?
В.: Sorry! Is it bothering you?
A.: Yes, and while I'm about it — please don't use the
phone without asking.
В.: So sorry! I meant to ask you, but you were out.
Produce your own dialogues to practice these apologetic manners.
С. CONVERSATION AND DISCUSSION
Read the text, learn the phrases:
Alice Elliott is at present specializing in the field of applied sociology known as normative secular (as opposed to religious) ethics. Her
work consists mainly in formulating prescriptive statements as to what
the average, socially well-integrated individual ought to do when he or
she is faced with the necessity of making a choice between two/or more
than two/lines of action. Although she concentrates on what the average
person ought to do, she does not neglect the related disciplines which
deal with what one may or may not, must or must not, do under certain
circumstances. Alice, for whom life is a great adventure, is first of all interested in real life situations well set in the social and psychological
context of the epoch. For example, a married man brought up in the atmosphere of the full acceptance of monogamy suddenly becomes emotionally involved with two women who are not his wives. The two eruptions of feeling occur simultaneously. What ought he to do? Ought he to
get divorced? If so, which of the two women ought he to marry if his
emotion is in both cases reciprocated? Ought he perhaps to try and forget
both or ought he to emigrate to a country where polygamy is customary?
Another example, an honest man who has a well paid job suddenly realizes that his boss, is mentally retarded or that his employer is rather unintelligent. What ought the honest man to do? Ought he to desert his poor
superior (or employer as the case may be) or ought he to try and help
him? Ought he to pretend that he has noticed nothing or ought he to be
absolutely frank? Alice has accepted a number of principles which she
treats as axioms in formulating her ethical theories and in working out
solutions to real life situations. Here are some of the axioms:
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