Ч а с т ь II: т е к с т ы

Задание 1: Прочитайте и переведите тексты, рассказывающие о пяти

известных песнях «Битлз». При переводе используйте

слова для справок, которые представляют собой русские

эквиваленты наиболее трудных для понимания фраз из

каждого текста. Они даны в том же порядке, в каком

встречаются в текстах.

Текст 1. “I WANT TO HOLD YOUR HAND”

Authorship: Lennon (0.5) & McCartney (0.5)

Instrumentation: McCartney – bass, lead vocal;

Lennon – rhythm guitar, lead vocal;

Harrison – lead guitar, harmony, vocal;

Starr – drums.

LENNON: “We wrote it together, one on one, eyeball to eyeball. I remember when we got the chord that made the song. We were in Jane Asher’s house*, downstairs in the cellar playing on the piano at the same time. And we sang ‘oh, you-u-u … got that something …’ And Paul played this chord and I turned to him and said, ‘That’s it!’ I said, ‘Do that again!’ In those days, we really wrote like that – both playing into each other’s noses.”

This song was part of The Beatles’ repertoire for concerts in 1963 and 1964. EMI** insisted that the Beatles record German version of it for sales in Germany. The song became their first American number one.

Poet Allen Ginsberg, when he first heard “I Want To Hold Your Hand” in a New York City nightclub, was so carried away by the Beatles’ music that he got up and danced – Ginsberg had never before danced in public.

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* Jane Asher – невеста Пола Маккартни.

** EMI – компания, выпускающая записи “Битлз”.

Слова для справок: авторство; один на один; в подвальном помещении; одновременно; “То, что надо!”; репертуар; настояла, чтобы “Битлз” записали; на продажу; так увлекся.

Текст 2. “YELLOW SUBMARINE”

Authorship: McCartney (0.8) & Lennon (0.2)

Instrumentation: McCartney – acoustic guitar, backing vocal;

Lennon – acoustic guitar, backing vocal;

Harrison – tambourine, backing vocal;

Starr – drums, lead vocal.

“Yellow Submarine” is the tale of a boy who listens to the stories of an old sailor about his adventures in the “land of submarines” and decides to go sailing and see for himself.

LENNON: “’Yellow Submarine’ is Paul’s baby. I helped with the lyrics. But it’s Paul’s idea, Paul’s title.”

McCARTNEY: “I wrote that in bed one night. As a kid’s story. I was falling asleep, and the colour yellow came to me, and a submarine came to me, and I thought, ‘Well, that’s nice, like a toy, very childish yellow submarine.’ When we were in Greece we ate sugary sweets, like icing sugar – you drop it into water. It is called submarine. I knew it would get drug connotations, but it really was a children’s song. I just loved the idea of kids singing it. Kids will understand it easier than adults …

I just made up a little tune in my head, then started making a story. I thought of it as a song for Ringo.”

STARR: “It’s simply a children’s song with no hidden meanings. Many people think it is a war song. That’s not the case.”

The song was recorded on May 26, 1966, at Abbey Road*. The result was not only much-loved children’s record but a record of such universal appeal that it was taken up both as an anthem by the peace movement in the USA and as a pub sing-along favourite in Britain.

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* Abbey Road – название улицы, где находилась студия звукозаписи.

Слова для справок: слова песни; название; я засыпал; леденцы; связывали с наркотиками; взрослые; мотив; тайный смысл; это не тот случай; универсального применения; гимн антивоенного движения; любимая застольная песня.

Текст 3. “HELP!”

Authorship: Lennon (0.9) & McCartney (0.1)

Instrumentation: McCartney – bass, backing vocal;

Lennon – acoustic guitar, lead vocal;

Harrison – lead guitar, backing vocal;

Starr – drums, tambourine.

“Help!” is a title song for the Beatles’ second film. At first the film was called “Eight Arms To Hold You”. But then Richard Lester, the film director, realized that it would be difficult for Lennon and McCartney to write a song around that title. So it was changed into “Help!”. Within thirty hours, the Beatles wrote and recorded the song. In fact, they wrote most of it in the back of the car on the way from the studio.

LESTER: “The nice thing about the Beatles was that they were always very disciplined about what they needed to do. When suddenly we had to have a title song for “Help!” it wasn’t, ‘Oh, I don’t feel like it today’, it was, ‘OK, we’ll go do it’. And the next day it was there!”

McCARTNEY: “John wrote that. He went home and thought about it and got the basis of it, then we had a writing session on it. We sat at his house and wrote the song. My contribution is the countermelody to John. If you analyse our songs, John’s are often on one note, whereas mine are often much more melodic. When we finished the song we felt very pleased with ourselves.”

LENNON: “It’s one of my ‘true songs’, the one I wrote from experience. I tried to express what I felt about myself. It’s real. It was just me singing “Help!”, asking for help, and I meant it. I don’t like the recording very much. We quickened the tempo to make the song more commercial. I don’t like it.”

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Слова для справок: режиссер; понял, что Леннону и Маккартни будет трудно; в течение 30 часов; “что-то мне не хочется”; создал основу; моим вкладом была мелодия, звучащая одновременно с темой Джона; тогда как мои песни часто бывают более мелодичны; довольны собой; я написал ее, основываясь на собственном опыте; мы ускорили темп.

Текст 4. ‘THE LONG AND WINDING ROAD”

Authorship: McCartney (1.0)

Instrumentation: McCartney – piano, vocal;

Lennon – bass;

Session musicians – choir, strings, harp, drums.

ALISTAIR TAYLOR*: “Last night the boys had been recording until about three o’clock in the morning. Then they just called a few minutes’ break and went out of the room. But I felt that I’d had enough. All I wanted to do was get my head down for three or four hours. But I was kind of personal assistant to Paul at the moment and I couldn’t leave the studios without seeing him. Where was Paul? I didn’t know. He wasn’t in any of his usual places. I searched them all. At last I found him in the huge Number One studio, where full symphonies are recorded. Paul was sitting at the grand piano, with one hand he was picking out a beautiful melody on the keys. I came up to him. ‘It’s wonderful’, I said, ‘What are you doing?’ ‘This is just an idea I’ve got for a song’, Paul replied. ‘But it’s lovely. The melody line is beautiful’. ‘Hang on a minute’, said Paul. ‘Have you got any tape left?’ he asked the technician in the control room. ‘Yeah’, the guy shouted. ‘Right’, said Paul and turned again to the keyboard. ‘You stand over there and shut up for a minute or two, Alistair’.

I stood there just a few feet away while Paul composed a song out of this lovely melody, full of la-las and hums, but a song with shape and words and all in a few minutes of spare time. In three minutes it had grown from a casual idea into another Beatles song. God, where do they all come from? ‘Right, there you are’, Paul yawned and stretched, ‘I don’t need you any more tonight. You can go home, and thanks for being here’. ‘What do you call it, Paul?’ I asked. ‘”The Long And Winding Road”’, he replied.”

McCARTNEY: “It’s a rather sad song. I like writing sad songs. It’s about the door you never quite reach. This is the road that you never get to the end of.”

The song was recorded “live” for a warm sound on January 31, 1969. A massive orchestral and choir overdub was added on April 1, 1970. But McCartney was very upset with this extensive overdubbing on the song.

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* Alistair Taylor – один из менеджеров «Битлз».

Слова для справок: объявили перерыв на несколько минут; с меня довольно; преклонить голову; что-то вроде личного ассистента Пола; я все их обыскал; огромная студия номер один, где записывались целые симфонии; рояль; наигрывал красивую мелодию; ответил Пол; подожди минуту; спросил он техника в операторской; крикнул парень; помолчи мунуту-другую; там было много “ля-ля-ля” и “м-м-м”; свободное время; случайная идея; зевнул и потянулся; была записана “в живую”; оркестр и хор добавили; Маккарти был расстроен.

Текст 5. “YESTERDAY”

Authorship: McCartney (1.0)

Instrumentation: McCartney – acoustic guitar, vocal;

Session musicians: string quartet.

One morning in May 1965 Paul woke up with a lovely tune in his head.

McCARTNEY: "I just rolled out of my bed, and put my hands on the piano keys (I had a piano by my bedside), found G, found F sharp minor 7th - and that leads you through then B to E minor, and finally back to E. The music was just all there, a complete thing. I liked the melody a lot but because I'd dreamed it I couldn't believe I'd written it. I thought, 'No, I've never written like this before.' But I had the tune, which was the most magic thing. And you have to ask yourself, 'Where did it come from?'"

Paul tried to find out if the tune was already in existence. He asked everyone, "What song is this? Is this like something? I think I’ve written it." And people said to him, "It's lovely, and it's yours."

The melody clearly preoccupied Paul. During the making of "Help!" there was always a piano around on which Paul continually played the melody, slowly perfecting it, adding a middle eight, working it into shape. Dick Lester finally exclaimed, "If I hear that once more, I'll have that bloody piano taken away!"

McCARTNEY: "It had no words. I used to call it "Scrambled eggs". The lyrics were, 'Scrambled eggs, oh, my baby, how I love your legs ...' There was generally a laugh at that point, you didn't need to do any more lyrics."

In Portugal, where he was on holiday that year, Paul went on working at the song.

McCARTNEY: "I was mulling over the tune and suddenly got these little one-word openings to the verse. I started to develop the idea: Scram - ble - d eggs, da-da da. I knew the syllables had to match the melody: da-da da, yes - ter - day, sud - den - ly, that's good. All my troubles seemed so far away. It's easy to rhyme those "a"s: say, today, away, play, stay; there's a lot of rhymes. I think I finished the lyrics about two weeks later, which was quite a long time for me."

LENNON: “Paul wrote the lyrics to ‘Yesterday’. They’re good lines. But if you read the whole song, it doesn’t say anything: you don’t know what happened. She left and he wishes it were yesterday. But they’re good lines. They certainly work.”

Paul played the song for George Martin and the rest of the Beatles.

McCARTNEY: "I played it, just me on acoustic, and sang it. They said, 'Lovely, nice one.' Ringo said, 'I don't think I can really drum on that.' George said, 'Well, I'm not sure I can put much on it either.' And John said, 'I think you should do it yourself. It's very much a solo thing.' So I did, just me and my guitar. Then George Martin had the idea to put the string quartet on it and I said, 'No, I don't think so.' He said, "I've really got a feeling for it. I can hear it working. Let's try it.'"

Paul went to George Martin's house to do the arrangement of "Yesterday" for a string quartet.

McCARTNEY: "We spent a pleasant couple of hours, had a cup of tea, sat there with the manuscript paper on the piano. I remember on that session George explained to me how Bach would have voiced it in a choral voicing or a quartet voicing. He said, 'Okay, G.' And I played it to him. 'These are my chords.' He said, 'That's very nice. The chord G consists of G, B and D. So your G might go down an octave and be on the cello. The B might stay where it is and you take the D up. This is the way Bach would have done it,' and he played my same chords but spread over the piano, rather than closely grouped. It was nice, I was getting lessons. And there was just one point on it where I said, 'Could the cello now play a slightly bluesy thing?' George said, 'Bach certainly wouldn't have done that, Paul, ha ha ha.' I said, 'Great!' I mean, it was my song, my chords, my everything really, but because the voicing now had become Bach's, I needed something of mine again to redress the balance . So I put a 7th in, which we used to call a 'blue note' and this is one of the unusual things in that arrangement."

George Martin booked a string quartet from the London Symphony Orchestra: two violins, a viola and a cello. The recording session took place on 17 June 1965. McCartney sang this sweet, melancholy song a couple of hours after he shouted the larynx-tearing “I’m Down”.

Despite its great popularity “Yesterday” wasn't  released in England as a single, the Beatles didn't want to focus on one member of the group.

McCARTNEY: "I really think  “Yesterday”  is probably my best, it is the most complete thing I've ever written. It's very catchy without being sickly. I was very proud of it. I felt it was an original tune and it was a big tune, it was all there and nothing repeated. I remember George said, 'He's always talking about 'Yesterday' you'd think he was Beethoven or somebody.' But I think if you do a song that lots of people know, like when you're sitting in a bar and the pianist includes it in his repertoire ..."

“Yesterday” is the most played song of all time. By 1980 more than 2.5000 artists – including Frank Sinatra, Ray Charles, Tom Jones and the Supremes - had covered it. Paul received an award for 6.000.000 plays on American radio. It would take twenty-three and a half years to play it that many times non-stop. The record with the second most plays is "Michelle", also written and performed by Paul McCartney.

LENNON: “’Yesterday’ is Paul’s song and Paul’s baby. Well done. Beautiful – and I never wished I’d written it.”

McCartney performed “Yesterday” in the film “Give My Best Regards to Broad Street”. He had to ask permission to use it, since he didn’t own the publishing rights. Michael Jackson now does, after outbidding McCartney for them in the mid-‘80s.

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Слова для справок: скатился с кровати; поскольку она мне приснилась; что было самым удивительным; пытался выяснить, не существует ли такой песни; мелодия полностью поглотила внимание Пола; во время съемок фильма; постоянно совершенствуя ее; средние восемь тактов; придавая ей форму; “яичница-болтунья”; в этом месте обычно смеялись;

все время думал о песне; начало куплета, состоящее из одного слова; стал развивать идею; я знал, что количество слогов должно соответствовать мелодии; все эти “ей” легко рифмовать; для меня это было слишком долго; остальным “Битлз”; я это чувствую; чтобы сделать переложение “Yesterday” для струнного квартета; рукопись; как бы это сделал Бах; Не могла бы виолончель играть немного “блюзово”?; чтобы восстановить равновесие; “блюзовая” нота; пригласил (заказал) струнный квартет; запись состоялась; пару часов спустя после того, как он проорал раздирающую горло “I’m Down”; несмотря на большую популярность, “Yesterday” не была выпущена как сингл; выделять кого-то одного из группы; наиболее законченная вещь; запоминающаяся, но не слащавая; можно подумать, что он; более 2.5000 исполнителей записали свои версии этой песни; получил награду, за то, что песня прозвучала в эфире 6.000.000 раз; без остановки; он вынужден был спрашивать разрешения; издательские права; обошел Маккартни при покупке издательских прав с аукциона.

Задание 2: Прочитайте и переведите следующие тексты музыкальной

тематики. При переводе используйте словарь музыкальных

терминов (С. 51–54) и слова для справок.¹

Текст 6. Mozart (1756–1791)

Mozart was born in Salzburg in 1756. He was a child prodigy, who was playing the Clavier at the age of 3, and was also playing the violin and composing at the age of 5. His father took Mozart, at this young age, to Munich, Vienna, Paris and London. He wrote his first opera at the age of 12 and later he visited Rome. There is a famous story of how he visited the Sistine Chapel in St Peter’s Cathedral and was able to write down the complete musical score to Allergy’s Miserere from memory after hearing it sung in the cathedral.

In 1778 Mozart was in Paris when his mother died. He then returned to Salzburg and worked for two years at the Archbishop’s Palace, as Court and Cathedral organist. After a disagreement with the Archbishop he left Salzburg and went to Vienna, where he married Constance Weber.

During the last 9 years in Vienna he produced an astonishing succession of masterpieces in almost every genre: symphonies, operas, concertos, sonatas, string quartets and chamber music. After hearing his string quartets Haydn declared to Mozart’s father that his son was the greatest living composer Haydn knew. The last work Mozart wrote was a Requiem. He composed it as he lay dying on his death bed, and this is perhaps the greatest Requiem that has ever been written.

The Emperor Leopold was known to have said there were too many notes in Mozart’s music. But we can notice that while there is gaiety on the surface of Mozart’s music, underneath is a dark vein of melancholy which has given a great and enduring fascination to millions of people.

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Слова для справок: вундеркинд; клавишные инструменты; архиепископский дворец; придворный и соборный органист; разногласие (спор); ряд потрясающих шедевров; почти во всех жанрах; император; на поверхности; настроение глубокой грусти; нескончаемое наслаждение.

Текст 7. Debussy (1862–1918)

Debussy was a French composer. “Music,” said Debussy, “is to give pleasure,” and he did not mind breaking any of the conventional rules to write what he considered the best in music. Once a student asked him what rules he followed in writing music, Debussy replied: “My taste.”

Debussy was perhaps the first composer to ever deliberately seek new paths in music. He developed a style of his own from a wide variety of influences. In his early years he championed the music of Wagner, and we can see that much of this influence is in the music of Debussy’s opera Pelleas et Melisande. But Debussy was really influenced more by poetry, the French Impressionist painters, symbolist writers and nature itself, rather than by other men’s music.

Debussy is thought of as one of the composers with whom Modern music started. In his orchestral Prelude to the Afternoon of a Faun, he used no normal development, but used only variation and repetitions of the basic themes. He also used modal and exotic scales, whole tone scales, parallel harmony, chord streams and the layering of sound in his orchestration.

Generations of pianists have played and enjoyed his music, particularly the two books of Preludes and Etudes, but also Pour le Piano and Children’s Corner, for example. One of his biggest works for orchestra is called La Mer (The Sea), in this work we hear Debussy’s rich and imaginative use of the orchestra to describe sea in its many moods.

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Слова для справок: традиционные правила; намеренно; искать новые пути; влияния; был поборником; художники-импессионисты; писатели-символисты; наложение (наслоение) звуков; поколения пианистов; особенно; впечатляющий; в разных настроениях (зд. при разной погоде).

Текст 8. Puccini (1858–1924)

The opera composer, Puccini, came from a long line of Italian church musicians. He studied at Milan Conservatoire, and while he was still a student one of his composition teachers encouraged him to enter an opera competition. Puccini’s entry, the opera Li Villi, was rejected, but the Italian Music publisher Ricordi heard this opera, and had faith in Puccini, and enable him to write operas for the Recordi Publishing House.

Puccini’s first success was the opera Manon Lescant, this is followed in 1898 by the opera La Boheme. The first performance of La Boheme was not a success, but later it was revised by Puccini, and performed to great and lasting success. La Boheme is a masterpiece in characterization, and ranks as one of the most successful operas of all time. Other work that followed from the pen of Puccini, was Madam Butterfly, a story that is associated with Japan. The part of Madam Butterfly is very powerful and dramatic, and difficult to sing. The opera The Girl of the Golden West was written in 1910, but has never been very successful, though it has beautiful music. The Triptych (three one-act operas) followed next. Puccini died before he could complete his last opera Turandot.

In general, the characteristics of a Puccini’s opera centre around great drama and use of realism. Realism means just what it says – stories that are very true to life, and show us all the weakness we know of the human character. We also find examples of the use of Oriental associations in Madam Butterfly and Turandot. Puccini’s melodies have short and memorable phrases and are highly emotional. He achieved continuity by minimizing the difference between aria and recitative. All his operas have a strong female character, with elements of the “little girl” in the characterization; while the male lead often has streaks of cruelty. Character study is strong in all Puccini’s operas, especially in Madam Butterfly. The librettos of his operas were always carefully corrected many times by Puccini, lifting them to a high literary level.

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Слова для справок: происходил из старого рода церковных музыкантов; побудил его принять участие в конкурсе на лучшую оперу; была отвергнута; музыкальный издатель; верил в него и предоставил ему возможность; была переработана; шедевр; считается одной из самых успешных опер всех времен; вышла из-под пера; ассоциируется с; сильная и драматическая; одноактные оперы; концентрируются вокруг; запоминающиеся; он добивается целостности путем уменьшения различий между арией и речитативом; женский образ; главная мужская роль; поднимая их до высокого литературного уровня.

Текст 9. Rachmaninov (1873–1943)

Rachmaninov was a Russian pianist and composer. His musical education was in St Petersburg and Moscow Conservatoires in Russia. His first opera was praised by Tchaikovsky, and staged at the Bolshoy Theatre Moscow, in 1893. His first symphony was a failure but his 2^nd Piano Concerto was a great success, and has remained a great favourite with concert audiences world-wide ever since. Due to political unrest in Russia in 1906, he moved to Dresden, Germany, and there wrote his 2^nd Symphony – a great masterpiece. He returned to Russia and in 1912/13 concert season completed his Choral Symphony, The Bells, also considered a great masterpiece. He was also one of the greatest song writers.

In 1917, Rachmaninov left his beloved Russia forever, fleeing the Russian Revolution. In America he made a living as a concert pianist and travelled widely in concert tours. Later he built a house in Switzerland, where he composed Rhapsody on a Theme of Paganini, which is justly famous for the beautiful melody of the 16^th variation.

However, he never returned to Russia, and throughout his life he remembered the family home in the little country village of Ivanovka, to the east of Moscow, where he had spent many private holidays with his close friends and family. If you listen to the 2^nd Symphony you will hear his longings for that place and the peace, joy and love he knew there. It was there that he wrote, in the summer holiday of 1892, his famous Prelude in c sharp minor.

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Слова для справок: провал (неудача); публика; спасаясь от революции; зарабатывал на жизнь; всю свою жизнь; стремления.

Текст 10. The Romantic Era

This term in music generally applies to music written between the years 1830–1900. Some of the major composers of this period are Weber, Schubert, Schumann, Chopin, Liszt, Berlioz and Wagner. However the lines between Romanticism and other eras of music, such as impressionism and post-romanticism tend to be blurred. And in the works of such composers as Haydn, Mozart and Beethoven, we also see Romantic features.

Literature was at the heart of Romanticism, and composers such as Berlioz and Liszt were inspired by writers such as Byron, Scott, Wordsworth, Goethe, Hugo and Balzac. Chopin, however, was one great composer of the Romantic Movement, who was not influenced by literature.

In this era we see the changing status of the musician from a paid servant in a large house, or King’s Court, to a true independent artist, fully capable, and having the right to express his own personal feelings in music. It was the time of the industrializing of Europe, and there was also a great romantic interest in the countryside, as an escape from the urbanization of the new large industrial cities. Melodies became longer, more emotional and dramatic, harmonies were fuller and more dissonant, tempos more extreme, the form and structure of compositions were expanded, and programs became important to an increasing number of works. Orchestras became larger, and a wide variety of instruments became available, such as the clarinet, and also the valve horn and trumpets.

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Слова для справок: главным образом применяется; границы между … размыты; черты Романтизма; были расширены; стали доступны.

Текст 11. English Folk Music

What is English Folk Music? Technically all folk music, of what ever country it is from, is songs that have been handed from generation to generation orally, and that are sung without accompaniment. These songs are often found in variants of both words and melodies in different parts of the country, or even different variants of the song may be found in another country. England has a very rich variety of folk songs, perhaps one of the most well known is Greensleeves.

There is something universal to all cultures in dancing, and it is in the dances of a culture, that gives that culture’s music its basic character, for the steps, rhythm, tempo, ebb and flow of the dance movements, all affect the style of the music in that place. There are many traditional country dances in Britain, perhaps the most authentically English is what we call Morris Dancing, and not much practiced today. In English country dancing, there is dancing in a straight line, in a circle, and back and forth, and in parallel lines. The more closely the musical accompaniment and melody-line are linked to the rhythm of the dances, the more distinctive will be the folk music. With the industrialization of European countries, folk song moved from the countryside to the urban areas where the factories were.

The words of folk songs in most countries speak of happenings in daily life: birth, death, love, marriage, soldiers going off to war, the bringing in of a harvest from the fields, etc.

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Слова для справок: нарастание и убывание движений танца; аутентичный (подлинный); характерный.

Текст 12. The Orchestra

The main components of a modern orchestra are the woodwind section, brass section, and percussion and string sections, with often a total of over 90 players. But orchestras were large in the past, the Late Romantic composers such as Mahler, Richard Strauss, and the English composer Elgar, wrote for even larger orchestras. However the orchestra that Beethoven wrote his fist symphony for in 1800 consisted of the usual layout of strings, together with double flutes, oboes, clarinets, bassoons, trumpets, horns and timpani. The real development of the modern orchestra came with Berlioz, Wagner and Liszt, when the harp was added, and woodwind, brass and string departments were all enlarged, as new technical developments improved the performance of instruments.

During the Late Romantic era exotic instruments came to be added at times too, for example in some symphonies of Mahler cow bells were used; the English composer Tippett also used the wind machine at times.

As the 20^th century progressed we saw a falling off in the trend for over-size orchestras. There was a reversal to small combinations of instruments, and works for solo instruments. This was brought on with the rise of the Neo-Classical movement, the development of which came from several factors: the financial constraints of the First World War meant large orchestras were getting too expensive, the desire of composers to turn away from the over-emotional works of the Late Romantics and get back to the elegant, clean cut, simpler, less emotional music of the classical period; this trend was also coupled with the rise of the new science of musicology. Stravinsky was a leader in this new development with his work The Soldier Tale, first produced in Lausanne, Switzerland, in 1918. This work, based on a Russian folk tale, is to be read, played and danced, and it is orchestrated for 12 instruments only.

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Слова для справок: обычный подбор струнных; усовершенствовало звучание инструментов; добавлялись время от времени; мы наблюдали ослабление тенденции; изменение в сторону сокращения числа инструментов; это было вызвано; произошло в результате влияния нескольких факторов; финансовые затруднения; эта тенденция также связана с развитием новой науки – музыковедения; впервые исполненной в Лозанне.

Текст 13. Concerto for Orchestra

A concerto is a musical work in which a solo instrument is contrasted and blended with the orchestra. A concerto is usually a three movement work.

The first concertos were written in Venice, Italy, in 1587. Over the centuries they have developed from small church concertos and vocal concertos, to the concerto grosso as composed by Corelli, Handel and Bach. Handel’s organ concertos were the first to provide a cadenza, where the soloist could display his skills at his own invention. The modern concerto really dates from Mozart who wrote over 50 for various instruments.

There were changes in 19^th and 20^th century. In the 19^th century cadenzas started to be written out by the composer and sometimes an accompaniment was added. A 20^th century variation is the concerto for orchestra. In this form of composition, not one soloist is important, but all individual members, or sections of the orchestras have important solo contributions to make to the work.

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Слова для справок: мог продемонстрировать свои возможности посредством импровизации.