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A Note of Thanks (within 2 or 3 days after you return home):
Dear Mrs. Bush,
I’d like you to know how much the weekend at your lovely house in
Washington has meant to me. I not only enjoyed myself immensely, but I
feel relaxed and refreshed as I have not felt in months.
Many thanks to you and Mr. Bush for asking me.
Sincerely,
Dick Brown
* * *
Dear Mrs. Wise,
Thank you very much for those 5 wonderful days at White Cat! It
was good of you and Mr. Wise to invite me, and I deeply appreciate Your
hospitality.
Best wishes,
Mike Thatcher.
Letters of Invitation and Replies:
Mr. and Mrs. Peter William Hudson
Request the pleasure of your company
at dinner on Wednesday, November the seventh at six o’clock
107 Kensington Road
R.S.V.P.
(R.S.V.P. – respondes s’il vous plait: Please, reply)
* * *
14 Park Lane
Mr. and Mrs. Ben Goodmann
Accept with pleasure
Mr. and Mrs. Peter R. Knight’s kind invitation for dinner
On Wednesday, October the twelfth at six o’clock
* * *
Mr. and Mrs. Ben Goodmann
Regret that a previous engagement
Prevents their accepting
Mr. and Mrs. Peter R. Knight’s kind invitation for dinner
On Wednesday, October the twelfth.
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4. Read for fun and reproduce in indirect speech:
Dear Dad,
$chool i$ really great. I am making lot$ of friend$ and $tudying
very hard. With all my $tuff, I $imply can't think of anything I need, $o
if you would like, you can ju$t $end me a card, a$ I would love to hear
from you.
Love,
Your $on
The Reply:
Dear Son,
I kNOw that astroNOmy, ecoNOmics, and oceaNOgraphy are
eNOugh to keep even an hoNOr student busy. Do NOt forget that the
pursuit of kNOwledge is a NOble task, and you can never study
eNOugh.
Love, your father.
Lesson Five
MOZART: POVERTY AND GENIUS
(continued)
Part III
Two weeks after Die Entfiihrung was performed, he married Con-
stanze, who was Aloysia Weber's younger sister. But, according to the
custom of the time, the composer received no royalty for Die Entfiih-
rung, except for its first performance, so he received very little money
from it. He needed money desperately and tried to earn it by composing
countless sonatas, concertos, and serenades. Still, poverty haunted him.
Once some friends came to see the couple and found them dancing together to keep warm; they had no firewood.
No one in Vienna seemed to think anything of Mozart's music now.
Gluck had come there from Paris, and the Italian composer Antonio Salieri was performing to great audiences. Still Mozart's expenses kept mounting. Constanze was sick and needed very expensive medicines.
After mixed good and bad times, Mozart was given the libretto for
Le Nozze di Figaro (The Marriage of Figaro). It was written by Lorenzo
da Ponte after a play by the French writer Pierre Augustin Beaumarchais,
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and it dealt with the relations between aristocrats and common people—a
very combustible subject in those days just before the French Revolution.
Mozart was immediately inspired by it. In six weeks he composed the
magnificent opera with its exquisite melodies and wonderful human characterization.
The Marriage of Figaro has been called the ideal "opera bufja," or
comic opera. Mozart had heard Gluck's Iphigenie en Tauride, but he was
not influenced by Gluck's intellectual approach. Instinctively he seemed
to blend dramatic truth with the supreme magic of his music.
The Marriage of Figaro is witty, yet it is tender and filled with elusive charm. When it was performed in 1786 it was greeted enthusiastically. Its reception must have helped Mozart's spirit, but it did not help his
finances much. "I am still obliged to give lessons to earn a trifle," he
wrote. It was not long before Figaro was dropped from the Vienna repertory.
That year he was invited by some amateurs to visit Prague. And
in Prague he, who had been so neglected in Vienna, was feasted and
dined and made much of. In Prague people talked of nothing but Figaro.
They were whistling snatches of it in the streets—not only the cultured
people, but the kitchen maids and the cafe singers loved it; it was heard
everywhere.
As a result of the success of Figaro, Da Ponte was asked for another libretto, and he wrote the text of Don Giovanni. This opera, too, was
quickly composed. The overture was written in a single night just before
the performance in Prague, while Con-stanze kept Mozart awake by talking to him and bringing him glasses of punch.
When the night of Don Giovanni's opening arrived, October 29,
1787, there had been no time to rehearse the overture, and the audience
waited nearly an hour for Mozart to appear on the podium, where he
was to conduct. But when the opera finally began they were overwhelmed by the lovely flow of its music, by the combination of light and
serious moods, of popular and symphonic music.
Don Giovanni in some respects heralded romantic opera. Its hero
was wicked yet charming, in the style of the romantic heroes of the nineteenth century. The opera tells the story of a man freed |from all restraints
who fashions his life according to his own ideas. He is at odds with the
laws of morality, of religion, of the state. He is a philanderer and a villain
who combines rollicking humor and haughty tragedy. The music that
73
describes him throbs with a sense of grandeur, and seems somehow to be
a reflection of life itself.
After the performance, when Mozart turned to face his audience, he
was greeted by a triple flourish of trumpets. Don Giovanni was a rapturous
success.
Even Don Giovanni brought him hardly any money, however, and
he returned to Vienna and went on with his composing. Within six
weeks he wrote three of his finest symphonies: the E Flat Major, the G
Minor, and the Symphony in С Major, which has been called the Jupiter
Symphony.
The grand and dignified Jupiter was the last symphony he wrote,
and he composed it in fifteen days, setting down its last note August 10,
1788. In it he incorporated a fugue in the sonata form of a symphony.
The music is as spontaneous and lovely as any he ever wrote. It seemed to
pour out of him effortlessly. And though it appeared deceptively simple, it
was actually subtle and complex.
Alfred Einstein, the eminent musicologist, writes in A Short History
of Music:
What distinguishes him [Mozart] from Haydn is a greater wealth of
half-shades and transitions, a sensitiveness to sound that had remained altogether unique and was never again to be attained, and above all an entirely
different sphere of emotion, at once sensuous and non-sensuous, hovering between grace and melancholy, indeed often changing color with a lightninglike abruptness. Mozart draws from a deeper well than the more earthy
Haydn, a well at the bottom of which romantic lights begin to gleam.
(to be continued)
VOCABULARY NOTES
1. according to … – согласно чему-то, в соответствии с …
2. royalty – зд. авторский гонорар
3. he needed money desperately – он крайне нуждался в деньгах
4. poverty haunted him- бедность преследовала его
5. it was written after a play … – опера была написана по пьесе…
6. deal with – иметь дело с.., рассматривать, изучать
7. a combustible subject – взрывоопасная(горячая) тема
8. in six weeks – через 6 недель
within six weeks – за 6 недель
9. witty – остроумный
10. be obliged to… – быть обязанным кому-л.
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11. neglect – пренебрегать, не обращать внимание
like
dislike
hate
love
enjoy
mind
can’t bear
can’t stand
keep
stop
start
try
intend
begin
remember
continue
12. People talked of nothing but Figaro. – Люди ни о чем, кроме Фи-
гаро не говорили.
13. ask for – просить о чем-либо
14. in some respects – в некоторых отношениях
15. herald – возвещать, сообщать
16. he is at odds with the laws of morality – он был не в ладах с зако-
нами нравственности
17. philanderer – волокита, ухажёр
18. villain – негодяй, злодей
19. go on – продолжать
20. a well – колодец
21. at the bottom – на дне.
Serenade; exquisite melodies; comic opera; dramatic truth; reperto-
TERMINOLOGY
ry; amateurs; overture; rehearse; podium; conduct; rollicking humor;
haughty tragedy; a triple flourish of trumpets; E Flat Major; G Minor;
fugue; musicologist.
GRAMMAR COMMENTARY
1. Mozart’s expenses kept mounting.
Глагол, следующий за глаголами
употребляется с окончанием -ing.
E.g. Stop talking!
It has started raining.
John intends buying a house.
I clearly remember locking the door before I left.
I like playing tennis.
He enjoys being alone.
She loves meeting people.
Do you mind playing the violin?
Continue singing, please.
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I hate lying on the beach in the sun.
2. He found them dancing together. – Он застал их танцующими вместе
СЛОЖНОЕ ДОПОЛНЕНИЕ
(COMPLEX OBJECT)
Существительное/косвенное местоимение + инфинитив глагола
Употребляется после глаголов, выражающих:
1) желание, потребность – want wish desire should like:
I should like her to play Bach.
He desired his daughter to speak English fluently.
2) предположение, мнение, суждение – suppose expect consider as-
sume prove believe understand know think:
They expect the ship to arrive tonight.
3) физическое восприятие и ощущение – watch observe notice see
hear feel
После этих глаголов, а также после глаголов make, cause в значении
заставлять, вынудить инфинитив употребляется без частицы to:
Have you heard him play the piano?
4) знание, осведомленность, утверждение – know note find claim
state:
We know him to have taken part in that competition.
5) принуждение, разрешение, запрет – make cause force allow
permit order command enable:
Our teacher makes us speak English at the lessons
EXERCISES
A. COMPREHENSION.
MOZART: POVERTY and GENIUS
1. Answer the questions:
What kind of opera was his The Abduction from the harem? Was
it a success?
What can you say about Mozart’s wife Constanze and their family
life? Was he a wealthy man?
He was neglected in Vienna, wasn’t he?
Why was Mozart so much inspired by the play of Beaumarchais?
What kind of opera did he produce?
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Was Mozart and his opera popular in Prague? Was his opera Don
Giovanni well received by the people of Prague? What was its plot, its
music?
Did the rapturous success of Don Giovanni bring the composer
any money?
What symphonies did Mozart compose? How long did he compose his last symphony Jupiter?
What is characteristic of Mozart’s music and sound (according to
musicologists’ view)?
2. Say in English:
Он женился на Констанции, они крайне нуждались в деньгах, которые он пытался заработать, сочиняя бесчисленные сонаты, концерты
и серенады. Тем не менее бедность преследовала его. Однажды друзья
пришли навестить семейную пару и застали их танцующими для того,
чтобы согреться: у них не было дров. Расходы Моцарта росли. Констанция была больна и нуждалась в дорогих лекарствах.
Его пригласили посетить Прагу. И в Праге его, так незаслуженно
забытого в Вене, встретили по-королевски, устраивая приемы и обеды
и придавая большое значение его визиту. В Праге ни о чем, кроме Фи-
гаро не говорили. Фрагменты из оперы насвистывали на улицах, - и не
только образованные людям, но и кухаркам и певцам в кафе очень нравилась музыка. Она была слышна повсюду.
В результате успеха Фигаро Была быстро написана опера «Дон
Жуан», которая имела оглушительный успех. После исполнения, когда
Моцарт повернулся лицом к залу, в его честь трижды прозвучали фанфары.
Однако даже опера «Дон Жуан» едва ли принесла ему какой-то
доход, и Моцарт возвращается в Вену, где продолжает сочинять музыку. Всего лишь за шесть недель он написал три из своих самых прекрасных симфоний: ми-бемоль мажорную, соль минорную и симфонию До мажор, которую назвал «Юпитер».
B. COMMUNICATION
Improve your speech habits.
1. Change the orders into polite requests.
Model: Answer the telephone.
(a) Will you answer the telephone, please?
(b) Answer the telephone, will you?
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1. Pick me up at the office. 2. Show me round. 3. Fix it right away.
4. Drop me at Trafalgar Square. 5. Clear the table. 6. Wash up. 7. Air the
bed. 8. Do the rooms. 9. Run the bath. 10. Develop the pictures. 11. Buy
some slides. 12. Put on the kettle. 13. Water the flowers. 14. Show me to
my room. 15. Hold the line.
2. Ask someone to do things for you and let him (her) reply. Start with:
I hate to bother you, but could you ...? Could you do me a favour?
Could you help me with ...?
The things you want someone to do:
give you a lift; put in a word for you; see you home; keep a seat for
you; remind you to call up Jane; call you up at the office; show you
round; do the translation; fix the radio set
3. React to the following requests using:
Certainly! Here you are.
Of course! All right (I will).
Most willingly.
Say why you want things done for you.
1. Could you do me a favour? 2. Could you spare me a t moment?
3. Will you put our names on the list? 4. Will you strike out my name
(from the list)? 5. May I have a word with you? 6. Will you give me a
word of advice? 7. Will you please have the prescription filled? 8. Will
you please apologize to... for me? 9. Will you please call an ambulance?
10. Will you please pass me the reference book? 11. Could you give me
a form to fill in? 12. Could you keep a seat for me? 13. Give me the telephone directory, will you? 14. Let me have a look at the journal. Where
is it? 15. Will you give me a lift to the station? 16. Will you set me down
at the corner? 17. Will you call me at six? 18. Will you let me know
when Edward shows up?
4. Give your comments on the saying and proverb:
The greater the name
The greater the blame.
Don’t judge a man until you’ve walked in his boots.
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C. CONVERSATION AND DISCUSSION
Talk on familiar topics:
TWO LANGUAGES OR ONE?
A student is learning to speak British English. He wonders: Can I
communicate with Americans? Can they understand me? Learners of
English often ask: What are the differences between British and American English? How important are these differences?
Certainly, there are some differences between British and American English. There are a few differences in grammar. For example,
speakers of British English say "in hospital" and "Have you a pen?"
Americans say "in the hospital" and "Do you have a pen?" Pronunciation
is sometimes different. Americans usually sound the r's in words like
"bird" and "hurt." Some speakers of British English do not sound the r's
in these words. There are differences between British and American
English in spelling and vocabulary. For example, "colour" and "honour"
are British. "Color" and "honor" are American.
These differences in grammar, pronunciation, spelling, and vocabulary are not important, however. For the most part, British and American
English are the same language.
A. Answer the following questions:
1. What questions do students of English often ask?
2. Are there many differences in grammar between British and
American English?
3. Who says "in hospital"? Who says "in the hospital"?
4. Do Americans say "Have you a book?"
5. Is the word "colour" American English?
6. What is the answer to the question in the title of the reading?
B. Which sentence best expresses the main idea of this reading?
1. Speakers of British and American English share the same lan-
guage.
2. There are many differences between British and American Eng-
lish.
3. British and American English are two separate languages.
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C. Study the following sentence from the reading:
"These differences in grammar, pronunciation, spelling, and vo-
cabulary are not important."
Which word is the subject of this sentence?
These, differences, grammar, pronunciation, spelling, vocabulary
D. Complete the following statements in your own words:
1. There are a few ______
2. There are many differences between ______
3. We can certainly ______
E. Discussion.
1. Do people in our country usually learn to speak British or Amer-
ican English?
2. The reading lists several differences between British and Ameri-
can English. Do you know of any other differences between the two?
3. In what countries do people speak your language as their first
language? Do people in these countries speak the language differently
from you? Give some examples.
ENGLISH “WORLD LANGUAGE” FORECAST
A third of people on the planet will be learning English in the
next decade, says a report.
Researcher David Graddol says two billion people will be learning
English as it becomes a truly «world language». This growth will see
French declining internationally, while German is set to expand, particularly in Asia.
But the UK Education Secretary, Charles Clarke, has warned
against the «arrogance» of English speakers who fail to learn other languages.
Learning in English
The Future of English report, launched in Edinburgh at a British
Council conference on international education, has used computer modelling to forecast the onset of a «wave» of English-learning around the
world.
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