Meet the Famous Composers

7/24/2019 Meet the Famous Composers

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Е. Н. Борисова, П. П. Ростовцева

M E ET T H E F AM OU S

C O M P O S E R S

P a r t 1

МоскваИздательство «Согласие» 2015



УДК 811ББК 81.2 Англ. Б 82

Рецензенты:

О. Р. Рякина, доктор педагогических наук, профессор,заведующая кафедрой языковой коммуникации РАМ им. Гнесиных

М. Б. Ясинская , кандидат филологических наук,профессор кафедры философии, культурологии и политологии МосГУ

Борисова Е. Н., Ростовцева П. П.Meet e Famous Composers. Part 1. Учебно-методическое пособие по англий-

скому языку. — М.: ООО «Издательство «Согласие», 2015 — 88 с.

ISBN 978–5–906709–25–7

Учебно-методическое пособие предназначено для развития профессиональ-но ориентированной иноязычной компетенции студентов музыкальных специ-альностей вузов и ссузов.

Материалы пособия подобраны с учетом требований уровней владения язы-ком А2 и В1 (CEFR), а также программных требований дисциплин «Иностран-ный язык» и «Профессиональное общение на иностранном языке».

Цель пособия – овладение профессионально ориентированным иностран-ным языком.Пособие состоит из 8 уроков, каждый из которых включает 3 тематических

текста, контрольно-обучающие и творческие задания.

УДК 811ББК 81.2 Англ.

e textbook is intended for music students developing their foreign language for

professional purposes.e education materials meet the requirements of CEFR Levels A2 / B1, as well as

those of Russian academic programmes for disciplines «Foreign language» and «Foreignlanguage for professional communication».

e textbook consists of 8 units. Each unit presents three texts on music followed bycommunication activities.

ISBN 978–5–906709–25–7 © Борисова Е. Н., 2015© Ростовцева П. П., 2015



СОДЕРЖАНИЕ

ПРЕДИСЛОВИЕ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

UNIT 1 Johann Sebastian Bach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

SUPPLEMENTARY TEXTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Text 1DID BACH’S WIFE WRITE SOME OF HIS BEST-KNOWN WORKS?. . . . . . . . . . . . . . . . . . . . . . . . . 1 1

Text 2IF YOU PUT BEETHOVEN, MOZART AND BACH IN A ROOM,WHAT WOULD THEY DISAGREE ON? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

UNIT 2Domenico Scarlatti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

SUPPLEMENTARY TEXTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Text 1ALESSANDRO SCARLATTI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Text 2THE MERCURIAL MAESTRO OF MADRID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

UNIT 3George Frideric Handel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22


Text 1

GEORGE FRIDERIC HANDEL: LIFE AND MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Text 2INTERESTING FACTS ABOUT HANDEL’S MESSIAH! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

UNIT 4Franz Joseph Haydn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30


Text 110 FACTS ABOUT FRANZ JOSEPH HAYDN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Text 2JOHANN MICHAEL HAYDN: A SHORT BIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36



MEET THE FAMOUS COMPOSERS

UNIT 5 Muzio Clementi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

SUPPLEMENTARY TEXTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Text 1MUZIO CLEMENTI: BIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Text 2MUZIO CLEMENTI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

UNIT 6Wolfgang Amadeus Mozart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

SUPPLEMENTARY TEXTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Text 1THE FEUD THAT NEVER WAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Text 268 INTERESTING FACTS ABOUT MOZART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

UNIT 7Ludwig van Beethoven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61


Text 1LUDWIG VAN BEETHOVEN. BIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Text 2WHAT IF BEETHOVEN GAVE YOUR COMMENCEMENT SPEECH? . . . . . . . . . . . . . . . . . . . . . . . 72

UNIT 8Frederic Chopin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

SUPPLEMENTARY TEXTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Text 1QUOTES BY CHOPIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Text 2QUOTES ABOUT CHOPIN DURING HIS TIME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

СПИСОК ЛИТЕРАТУРЫ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87



ПРЕДИСЛОВИЕ

Учебно-методическое пособие «Meet the Famous Composers» (Part 1) предназ-начено для студентов музыкальных специальностей высших учебных заведений,а также для студентов ссузов.

Материалы пособия могут быть использованы для формирования професси-онально ориентированной иноязычной компетенции студентов уровней владе-ния языком А2 и В1 в соответствии с Общеевропейскими компетенциями владе-ния иностранным языком (CEFR).

Цель учебного пособия – формирование умений и готовностей к осмыслениюи анализу профессионально ориентированного текста на иностранном языке. Наоснове материалов пособия развиваются основные виды речевой деятельности,необходимые при овладении студентами иностранным языком.

Учебно-методическое пособие состоит из 8 уроков, каждый из которых вклю-

чает материалы музыкальной тематики (основной и два дополнительных текста),контрольно-обучающие и творческие задания.

Пособие может быть использовано как в процессе аудиторной работы, таки самостоятельной работы студентов.

Дидактические материалы пособия обеспечивают развитие иноязычной ком-петенции студентов в информативном пространстве музыкального искусстваи культуры.



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UNIT 1

Joh a n n Se ba s t i a n B a c h Johann Sebastian Bach was born in Eisenach, Germany, into

a large family of musicians in 1685. His father played the violin.Other relatives were fiddlers, music copyists, town pipers, andplayed the oboe or organ. It was no wonder that Bach grew uploving music.

Bach’s parents died when he was 10 years old. He wentto live with his oldest brother, Christoph, who taught him to

play the harpsichord and organ. During this time Bach went toschool where his boy soprano voice was admired. When his voice

changed, he studied the violin, but soon became interested in the organ

and decided to pursue church music. At the age of 18, he became organist at Arnstadtand began composing.When he was 22, Bach moved to Muhlhausen and married Maria Barbara Bach. ey

had seven children. He was known as an outstanding church musician and excellentorganist and was appointed court organist and violinist to the Duke of Weimar. Hestayed in Weimar for nine years, and during this time Bach composed some of hisfinest organ music, including the great occata and Fugue in D Minor as well as churchcantatas and keyboard suites.

In 1717, when he was 32, Bach accepted the post of master of music to Prince Leopoldof Anhalt-Cothen. While there he composed much of his orchestral music includingthe six popular Brandenburg Concertos and works for the clavichord and harpsichord.Bach’s wife, Maria, died in 1720, and in 1721 he married the beautiful Anna MagdalenaWulken, who was a good singer and musician. Bach had 13 more children with her andtaught most of his children to play a musical instrument. He composed a Little Book

for the Keyboard for his nine-year-old son, Wilhelm Friedemann. Wilhelm grew up tobe a respected performer and composer in his own right, as did several of Bach’s sons.

In 1723, Bach accepted the post of music director of St. omas’s School in Leipzig.Here he composed many of his most famous choral works, including his Christmas

Oratorio and the St. Matthew Passion.



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Johann Sebastian Bach

Bach was deeply religious and a devoted family man. His music was signed«S.D.G». (Soli Deo Gloria) which means «to the glory of God». He spent many musicalevenings with his family, and boasted he could form a vocal and instrumental ensemble just from his family alone.

Bach became blind in 1749 and died in 1750. Johann Sebastian Bach is consideredto be one of the greatest masters of the Baroque period.

1. Read and translate the text using a dictionary if necessary.

2. Match the following Russian words and phrases with the English equivalents.1. родиться в большой семье a. a music copyist2. играть на скрипке b. boy soprano voice3. уличный скрипач c. to be appointed court organist4. переписчик нот d. an outstanding church musician5. неудивительно e. a keyboard suite

6. дискант f. a deeply religious man7. восхищаться g. to be born into a large family 8. заняться церковной музыкой h. an ensemble9. в возрасте 18 лет i. to pursue church music10. выдающийся церковный музыкант j. to boast11. получить пост (2 варианта) k. a fiddler12. сюита для клавира l. to be considered to be one of the greatest

masters of the Baroque period13. произведения для клавикорда и клаве-сина

m. to become blind

14. произведения для хора n. a devoted family man

15. глубоко религиозный человек o. to play the violin16. преданный семьянин p. choral works17. хвастаться q. to accept the post of master of music18. ансамбль r. to admire19. ослепнуть s. at the age of 1820. считаться одним из величайших ком-позиторов барочной музыки

t. no wonder

u. works for clavichord and harpsichord

3. Give the synonyms and antonyms.

Words and word combinations Synonyms Antonyms1. to love music2. to admire3. to become interested in4. outstanding5. excellent6. including7. devoted8. to boast9. popular10. to marry



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4. Complete the table.

Infinitive present Past Simple Participle II1. to bear bore born2. grew 3. gone

4. to teach5. became6. began7. to know 8. done9. to spend10 been

5. Unscramble the following words.

1. cimunais

2. drefild3. booe4. psihadorchr5. nagor6. niovli7. tatanac8. tiseu9. gufue10. viclodrach

6. Check your comprehension by filling in the blanks with suitable words or word

combinations.

1. Johann Sebastian Bach was born in __________ .А. France B. Russia C. Germany D. Holland

2. Bach’s parents died when he was 10 years old. He went __________ .А. to the boarding school B. to live with his oldest brotherС. for a walk D. shopping

3. At the age of 18, he __________ .А. began composing В. married Maria BarbaraC. wrote his great occata and Fugue in D Minor D. stopped composing music

4. When Bach was 22, he __________ .A. went to Weimar to study law B. was appointed court organist and violinistC. divorced from his wife D. stopped composing music

5. Being master of music to Prince Leopold of Anhalt-Cothen, Bach __________ .A. formed a vocal and instrumental ensemble B. moved to another country C. composed much of his orchestral music D. went to live with his oldest brother



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6. He composed a Little Book for the Keyboard __________ .A. to sell it and earn money B. for his youngest daughterC. for his pupils D. for his nine-year-old son, Wilhelm Friedemann

7. Bach became __________ in 1749.

A. fat B. blind C. deaf D. a singer

7. Choose the correct form.

1. It was no wonder that Bach __________ loving music.A. grew up B. was grownC. grew up to be D. has grown up to be

2. Bach __________ the organ and decided to pursue church music.A. became interested in B. became interested atC. became interesting in D. became interesting at

3. Bach __________ as an outstanding church musician and excellent organist.A. has been known B. has knownC. was known D. knew

4. Johann Sebastian Bach lived in Weimar for nine years where he composed some ofhis finest organ music, __________ the great occata and Fugue in D Minor .

A. excluding B. included C. excluded D. including

5. Bach’s son grew up to be a __________ performer.

A. respecting B. respect C. respectable D. respected6. In Leipzig Bach composed many of his __________ choral works.

A. more famous B. most famous C. less famous D. the famousest

7. Johann Sebastian Bach __________ one of the greatest masters of the Baroque period.A. consider to be B. is considered to beingC. is considered be D. is considered to be

8. Complete the sentences with necessary prepositions.

1. Johann Sebastian Bach was born _____ a large family _____ musicians _____ 1685.

2. It was no wonder that Bach grew _____ loving music.

3. When his voice changed, he studied the violin, but soon became interested _____ theorgan and decided to pursue church music.

4. _____ the age _____ 18, he became organist _____ Arnstadt and began composing.

5. _____ the age _____ 22, Bach moved _____ Muhlhausen and married _____ MariaBarbara Bach.

6. He was known _____ an outstanding church musician and excellent organist.



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7. He stayed _____ Weimar _____ nine years.

8. _____ 1717, when he was 32, Bach accepted the post _____ master _____ music_____ Prince Leopold _____ Anhalt-Cothen.

9. He composed a Little Book _____ the Keyboard _____ his nine-year-old son, Wilhelm

Friedemann.

10. He spent many musical evenings _____ his family.

9. Complete the sentences.

1. Bach’s relatives were _________________________________________________ .

2. Bach lived with _____________________________________________________ .

3. Johann Sebastian Bach was interested in ___________________________________ .

4. In Anhalt-Cothen Bach wrote __________________________________________.

5. His wife Anna Magdalena Wulken was ___________________________________ .

6. Wilhelm Friedemann grew up _________________________________________ .

7. Johann Sebastian Bach was the music director ______________________________ .

8. Bach signed ______________________________________________________ .

9. Bach formed an ____________________________________________________.

10. Johann Sebastian Bach became ____________ and ____________________ .

10. Translate the following sentences into English.

1. Иоганн Себастьян Бах родился в большой музыкальной семье в 1685 году.

2. Когда Баху было 10 лет, его родители умерли.

3. Старший брат научил Баха играть на клавесине и органе.

4. В школе Бах научился играть на скрипке и позже занялся церковной музыкой.

5. В возрасте 22 лет Иоганн Себастьян Бах женился на Марии Барбаре, и они пе-реехали в Мюльхаузен.

6. Получив пост придворного органиста и скрипача, Бах прожил в Веймаре де-вять лет.

7. В возрасте 32 лет Бах был назначен придворным капельмейстером князя Лео-польда Ангальт-Кётенского.

8. Для своего сына Иоганн Себастьян Бах сочинил «Органную книжечку».

9. Бах был глубоко религиозным и преданным семьянином.

10. Иоганн Себастьян Бах считается одним из величайших композиторов эпохиБарокко.



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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 a dialogue.

a) Between Johann Sebastian Bach and a modern composer (performer, conductor,etc.).

b) You have played Bach’s works and is to explain to your fellow-student theperformance features.

13. Imagine what if …

a) … Bach didn’t write some of his works (* for intermediate level students andabove: see Supplementary Text 1)

b) … you put Beethoven, Mozart, and Bach in a room, 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 generallyaccepted that Anna Magdalena assisted her husband in transcribingmusic scores. But Martin Jarvis, a professor of music at CharlesDarwin University in Australia, is making the bomb-shell claimthat J. S. Bach’s second wife was far more than just a copyist.

Aer conducting forensic analysis of the ink and handwritingstyle in Bach manuscripts, Jarvis has concluded that three of Bach’s

most celebrated works were actually penned by Anna Magdalena, whowas his second wife: the aria from the Goldberg Variations; the first Prelude from Te

Well-empered Clavier (Book 1) and possibly some of the Cello Suites.

Heidi Harralson, a forensic document examiner, backed Jarvis’s view, saying she issure «within a reasonable degree of scientific certainty» that Anna Magdalena was mostlikely the composer of these works.

e researchers believe that, due to the nature of the corrections and the fact that thewriting is light, she was actually composing the works as she wrote them down. eysay that someone copying music would write in a heavy, slow style.

eir findings are presented in a new documentary called Written By Mrs Bach,which was screened at BAFTA in London on Wednesday 29 October. British composerSally Beamish, who presents the documentary, said: «What I found fascinating is the




questions it raises about the assumptions we make: that music is always written by oneperson and all the great masters were male by definition».

Text 2

IF YOU PUT BEETHOVEN, MOZART AND BACH IN A ROOM,

WHAT WOULD THEY DISAGREE ON?

Tom Breton, composer: Composer, Programmer for Rosegarden:As it happens, one meeting actually happened. Beethoven, as a young man, sought

Mozart as a teacher and played for him. ey both agreed that they had very differentmusical visions and parted company; Beethoven was primarily taught by Haydn. It wasaer this meeting that Mozart predicted of Beethoven, «ere is a young man who willmake a great noise in the world». By all accounts, they had a great deal of respect foreach other.

Both were born aer Bach’s death, but Mozart was good friends with Johann ChristianBach (e London Bach, JS Bach’s son). It was JC Bach who taught Mozart the Gallantstyle. is doesn’t necessarily mean that Mozart would have agreed with the fatherabout everything on earth, but Mozart loved JS Bach’s music. Loved may actually be tooweak a term — on first discovering JS Bach’s music at a concert, Wolfgang proceeded toignore everything and everyone and intently study the sheet music for hours.

So according to the historical record, what did they disagree on? Not much. Gallantstyle (Mozart’s) vs transitional Romantic (Beethoven’s). If they had non-musicaldisagreements, history doesn’t record it AFAIK1. But that doesn’t account for what JSBach might say — what’s German for «you young whippersnappers”?

Wouter Stekelenburg, researcher:• ey had different ideas about what music was for.• For Bach music was a way 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 a means of

escape. Bach and Beethoven wanted to confront the listener, either with the suffering ofChrist or with the failure of the French revolution to bring freedom, or something likethat. Some of their music was meant to be confrontational.

• Beethoven wasn’t as productive as Bach or Mozart, probably because he was more

of a perfectionist.I think they would find a lot to disagree on in music alone.

1 As far as I know



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UNIT 2

D om e n i c o Sc a r l a t t i In 1685, the same year that Johann Sebastian Bach and

George Frideric Handel were born in Germany, DomenicoScarlatti was born in Naples, Italy. His father, AlessandroScarlatti, was an important composer of operas and wascredited with developing the form of Italian opera thatprevailed in the 18th century.

Taught at first by his father, Domenico followed inhis father’s footsteps and began to compose opera. His

first operas, Ottavia ristituita al trona and Giustino wereperformed when Domenico was 18 years old.

In 1705, his father sent him to Venice to study with Gasparini who was musicaldirector 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 operasfor 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 thereseems to have been no more contact between the two friends, though they continued toadmire and respect each other.

In 1720, Scarlatti became court harpsichordist to the King of Portugal and teacher ofPrincess Maria Barbara in Lisbon. e keyboard music he composed for Princess MariaBarbara turned out to be his greatest contribution to music literature. He returned toNaples in 1725 when his father died. In 1728, he married Maria Catalina Gentili, andtogether they had five children. In 1729, Princess Maria Barbara married the Spanishcrown prince who became King of Spain. Scarlatti followed her to Spain and spent the



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rest of his life in Maria Barbara’s service. Many of his keyboard sonatas reflect 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 single-

movement sonatas as well as innovative compositions foreshadowing the sonataform. 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.


2. Match the following Russian words and phrases with the English equivalents.

1. вменять в заслугу, приписывать a. to follow in his father’s footsteps2. преобладать, превалировать b. a patron of the arts3. пойти по стопам отца c. to become friends4. служить, работать d. greatest contribution to music5. стать друзьями e. chamber music6. восхищаться друг другом f. to win the organ honours7. покровитель искусства g. to follow Queen to Spain8. организовать конкурс h. to be credited with9. заслужить славу на органе i. a crown prince10. быть непобедимым j. to respect each other11. поселиться k. to arrange a contest12. камерная музыка l. a single-movement sonata

13. быть высланным из страны m. to serve14. уважать друг друга n. to be exiled from the country 15. величайший вклад в музыку o. to foreshadow the sonata form16. наследный принц p. to establish oneself in17. последовать за королевой в Испанию q. to be unbeatable18. провести оставшуюся часть жизни наслужбе у королевы

r. to spend the rest of the live in Queen’sservice

19. одночастная соната s. to admire each other20. предопределять сонатную форму t. to prevail

3. Give synonyms and antonyms.

Words and word combinations Synonyms Antonyms1. to develop2. to become friends3. to respect4. important5. to win6. to continue7. vivid colours8. innovative9. famous10. to leave



15

Domenico Scarlatti


Infinitive present Past Simple Participle II1. to send sent sent2. met3. won

4. to leave5. spent6. taught7. to bear8. begun9. to have10. stricken


1. smoocper

2. raope

3. pemforr4. teconst

5. kybardeo6. nasota7. klof 8. vemoment9. poscomtiion10. guefu

6. Check your comprehension by filling in the blanks with suitable words or wordcombinations.

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 first by his __________, Domenico followed in his father’s footsteps and

began to compose opera.

A. mother B. brother C. friend D. father3. While in Venice, Domenico met __________ and they became good friends.

A. George Frideric Handel B. Antonio VivaldiC. Queen Maria Casimira D. King of Portugal

4. A patron of the arts, Cardinal Ottoboni, arranged a contest between them on the

harpsichord and organ. Handel won the __________ honors, but Scarlatti was

unbeatable on the __________ .A. violin, guitar B. organ, harpsichordC. organ, violin D. harpsichord, guitar



16


5. Scarlatti established himself in Rome. First he composed chamber music and operasfor the miniature opera theater of __________.

A. his wife B. King of PortugalC. Princess Maria Barbara D. Queen Maria Casimira

6. e keyboard music he composed for __________ turned out to be his greatestcontribution to music literature.A. his wife B. King of PortugalC. 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 PortugalC. 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»


1. Domenico Scarlatti’s father was __________ developing the form of Italian operathat prevailed in the 18th century.

A. crediting by B. credited with C. credit D. crediting

2. __________ at first by his father, Domenico followed in his father’s footsteps andbegan to compose opera.

A. Being teaching B. Teaching C. Teach D. Taught

3. A patron of the arts, Cardinal Ottoboni, arranged a contest __________ them on theharpsichord 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 respectC. 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 becamewidely ______ .

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



17

Domenico Scarlatti


1. _____ 1685, the same year that Johann Sebastian Bach and George Frideric Handelwere 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 18thcentury.

3. _____ 1705, his father sent him _____ Venice to study _____ Gasparini.

4. Cardinal Ottoboni arranged a contest _____ 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 _____ MariaBarbara’s service.

10. Scarlatti’s cat walked _____ the keyboard striking notes that Scarlatti used _____ thesubject _____ the fugue.


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 a patron 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 _____________________________________________ .


1. Доменико Скарлатти родился в Неаполе, Италия, в 1685 году.

2. Отец Доменико был известным оперным композитором.

3. Первая опера Доменико была поставлена, когда ему было 18 лет.

4. В 1705-м Доменико уехал учиться в Венецию, где работал Антонио Вивальди.



18


5. Скарлатти сочинял музыку для небольшого оперного театра королевы МарииКазимиры.

6. В 1720 году король Португалии назначил Доменико придворным клавесини-стом.

7. У Доменико и его жены Марии Каталины было пятеро детей.8. В своих произведениях Скарлатти использовал испанскую народную музыку.

9. Его новаторские композиции предопределили сонатную форму.

10. Доменико Скарлатти считается одним из величайших композиторов эпохиБарокко.


a) in the name of the King of Portugalb) in the name of Queen Maria Casimira

12. Make up a dialogue:

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.


a) … Domenico was not born into Alessandro Scarlatti’s family? (* for intermediatelevel 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 first large-scale oratorio-operatic works were performed there

the following year when he was only 19. His patrons from theoutset were of the highest rank, among them the exiled QueenChristina of Sweden, the musically indefatigable CardinalOttoboni and Prince Ferdinando de Medici.

In 1684 at the age of 24 Scarlatti moved to Naples, wherehe was appointed Maestro di Cappella at the vice-regal court

of Naples, at the same time as his brother Francesco was madeFirst Violinist.



19

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’ incorporatedthree-movement sinfonias which soon became standard for all Italian operas. It wasin 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 withhis family for Florence, where he hoped to find employment for himself and his sonDomenico with Prince Ferdinando de Medici. When these hopes failed, he moved backto Rome at the end of 1703, seeking a quieter life.

Alessandro’s last years were spent in Naples, teaching, composing cantatas (which

ultimately numbered over 600, mostly for soprano and continuo), a set of Sonatas forFlute and Strings, probably composed for Quantz, who wrote: «I heard Scarlatti playon the harpsichord, which he knew how to play in a learned style although he did notpossess as much finesse as his son. Aer this he accompanied me in a solo. I had thegood fortune to win his favor, in fact so much so that he composed a few flute solos forme». is comment would almost prove to be an epitaph, for Alessandro Scarlatti diedon 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 bygood fortune that most of a magical 18th-century sound worldwas preserved at all. When Queen Maria Barbara of Spainprevailed on her Italian-born music master, Domenico Scarlatti,to supervise the copying of his 550 or so keyboard sonatas, there’sno 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 sheensured that they were captured on paper, for otherwise the majority might well havedisappeared into the Iberian air from which the mercurial improviser had first pluckedthem. Although Maria Barbara and her husband Ferdinand VI surrounded themselveswith 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 overa year later, and that of the totally distressed king a year aer that; both were in theirmid-40s. e royal music stopped, and the Scarlatti manuscripts found their way intothe outside world.



20


Very little is known of the character or life of the Madrid musician. e most strikingobservation comes from his English champion omas Roseingrave, who noted howthe 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 a very genialsoul, too, as Handel readily acknowledged.

ese judgments chime with the music historian Charles Burney’s assessment ofScarlatti’s sonatas towards the end of the century: «Original and happy freaks … thewonder and delight of every hearer who had a spark of enthusiasm about him». us itwas at the harpsichord, organ or fortepiano that sometimes troubled Scarlatti was at hismost confident — not just carefree, but sometimes recklessly capricious. is qualityshines through at the start of the second of a sonata’s repeated halves, where he oenembarks in directions quite impossible to anticipate.

e harpsichord’s awakening from its 19th-century slumber coincided with therecognition 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, wherehis family had relocated aer leaving the Sicilian capital of Palermo. Both cities layin Spain’s then extensive Italian territories, and the great Scarlatti of the day was theelebrated 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 Lisbonas the composer and music director to King John V. It was in Lisbon that Scarlattiperhaps obtained the idea of incorporating folk elements into his keyboard music froma 16-year-old student, Carlos de Seixas. Teaching another student, the king’s daughterMaria 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 first four years, they were based in and aroundSeville, as courtiers sought diversion for Ferdinand’s father, the deeply melancholicPhilip V. Scarlatti thus got to know the colourful, major-to-minor music of Andalusia,influenced, like that of Portugal, by the centuries-long domination of the Moors, andapplied his highly inventive ear to harmonies from beyond the conventional palette ofthe baroque. When Scarlatti arrived in Madrid at the end of 1733, he might have hopedfor the sort of platform appropriate to a leading musician of his age. In the event, he

was kept to the sidelines in an extraordinary fashion that does much to account for hisbiographical 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, ElisabettaFarnese, could not leave him on his own, in case he found a pen and tried to abdicate;and all the while she had to govern on his behalf. In 1737, at her wits’ end, she hatcheda plan for her husband to overhear the visiting Farinelli (stage name of the Italiancastrato Carlo Broschi), whose singing overcame his normal indifference to music.Schooled by Elisabetta, Farinelli insisted that the only reward that he sought from theking was that he should be shaved and dressed, and attend the council of ministers.



Domenico Scarlatti

e singer retired as an operatic superstar, and sang Philip the same four or five ariaseach night for the remaining 10 years of his reign. Ferdinand and Maria Barbara soughtsolace from the troubles of Philip’s court in the musical evenings that Scarlatti devisedfor them, with the universally popular Farinelli also taking part. Aer Philip’s death, thenew monarchs promoted opera under the direction of the singer, but no opportunitywent to Scarlatti to revive the theatrical career of his youth. Maybe he had no financialalternative but to focus on his sonatas, since he had gambling debts that were paid offby the queen and Farinelli. As soon as Ferdinand was succeeded by his half-brotherCharles III, Farinelli retired to Italy with instruments le to him by Maria Barbara andher volumes of Scarlatti sonatas.

e harpsichordist Jane Clark has suggested that Scarlatti’s empathy with folk material,striking but melodically fragmentary, points to why his operas never took off. e sortof tunes that the audiences of the day wanted did not come to him so easily. It shouldbe no surprise that he was drawn to the extremes of the Iberian, especially Andalusian,

soul: its music could express both elation and despair, and provide distraction throughthe spinning of fascinating patterns.

If such a combination of circumstances was needed to enable just one great composerto put the harpsichord before all else, and so develop its single most distinctive voice,then we can only be thankful. is once royal music came from everyday roots — andnow it’s truly everyone’s.



22

UNIT 3

Ge org e F ri d e r i c H a n d e l George Frideric Handel was born in Halle, Germany. His

father, wanting Handel to have a social position better than hisown, determined that he should be a lawyer. Handel’s fatherwent so far as to forbid any music or musical instruments intheir home. Legend says that a small clavier was smuggledinto the attic for Handel, complete with muffled strings, sothat his father could not hear him as he taught himself toplay.

When he was seven years old, he accompanied his fatherto Weissenfels where his playing on a chapel organ attracted the

attention of the duke. e duke was so impressed by his skill that heinsisted that Handel be allowed to study music, because it would be a crime to rob theworld of such a great genius.

Handel returned to Halle to study with Friedric Wilhelm Zachau. Handel soonbecame a virtuoso on the organ and was widely known for his outstanding skill.

By the time he was 11 years old, Handel could play the harpsichord, oboe, organ and violin. He had already composed six sonatas and he served as assistant organist at HalleCathedral. He entered Halle University in 1702 and began studying law, although hecontinued serving as a church organist.

In 1703 he quit his job at the cathedral, le the university and moved to Germany’soperatic center, Hamburg. He joined an orchestra there, playing second violin, and in1705 he composed his first opera, Almira.

He visited Italy in 1707 and composed his first Italian opera. Soon aerward a productionin Venice of his opera, Agrippina, brought him fame throughout Italy. In 1710 Handelreturned to Germany to serve as choirmaster to the Elector of Hanover (an elector is animportant German prince). Shortly aerward he visited London, where his opera Rinaldo was so successful he was asked to remain in England. He wrote Ode for the Birthday of

Queen Anne which won such favor from the public and the royal family that the queenawarded him an annual salary of several hundred pounds.



23

George Frideric Handel

In 1714, Queen Anne died and George Ludwig, Elector of Hanover, became KingGeorge I of England. Handel composed the Water Music for a festival on the Riverames. e king liked this music so much that he gave Handel a yearly salary for therest of his life.

Handel began composing oratorios aer he was 53 years old. Known as «Master ofthe Oratorio,» no composer before or since Handel has surpassed his ability in writingoratorios. Handel became a British citizen and when he died in 1759, he was buried inEngland’s most sacred place, Westminster Abbey.



1. решить, постановить a. to forbid any music2. юрист b. to be so impressed

3. запретить музыку c. to become a virtuoso on the organ4. тайно проносить на чердак d. to win favour from the public5. приглушенные струны e. to accompany his father6. сопровождать своего отца f. to be buried7. игра на церковном органе g. to award an annual salary 8. привлечь внимание h. to determine9. быть под сильным впечатлением i. outstanding skills10. позволить изучать музыку j. to bring somebody fame11. стать виртуозом на органе k. muffled strings12. выдающиеся способности l. to allow to study music

13. бросить работу m. a lawyer14. бросить обучение в университете n. playing on a chapel organ15. принести славу o. a sacred place16. завоевать расположение публики p. to quit a job17. назначить годовое жалование q. to smuggle into the attic18. превзойти чьи-либо способности r. to surpass one’s abilities19. быть похороненным s. to leave the university 20. святое место t. to attract the attention


Words and word combinations Synonyms Antonyms1. to forbid2. to attract attention3. impressive4. to allow 5. outstanding6. to join7. sacred8. small9. important10. to enter



24



Present Infinitive Past Simple Participle II1. to go went gone2. forbade3. said

4. to hear5. knew 6. le7. to bring8. won9. to give10. written


1. wyerla

2. muneinsttr3. grinst4. pelcha5. tenioattn6. sugeni7. sovituro8. raldtheac9. chearorts10. remast


combinations.

1. George Frideric Handel was born in __________ .A. Holland B. Great Britain C. Germany D. Russia

2. Handel’s father wanted him to be a(n) __________ .A. musician B. lawyer C. organist D. violinist

3. Handel attracted the attention of the duke by __________ .A. playing the clavier B. reading his own poemsC. playing on a chapel organ D. being sound asleep

4. Handel soon became a virtuoso on the organ and was widely known __________ .A. for his father B. for his good mannersC. for his outstanding skill D. for his cats

5. In 1703 he _________ and moved to Germany.A. le his family B. le his wifeC. quit his job D. quit his job at the cathedral, le the university



25


6. In 1707 he composed his first opera which __________ .A. brought him fame throughout Italy B. brought him money in Italy C. made him lonely in Great Britain D. let him marry in Italy

7. In London he was very popular with __________ .

A. poor people B. the royal family and the publicC. the Elector of Hanover D. the public

8. No one __________ Handel’s ability in writing oratorios.A. has beaten B. has won C. has lost D. has surpassed


1. Handel’s father, __________ him __________ a social position better than his own,forbade any music.

A. wanted, have B. wanting, to have

C. wants, has D. wants, having2. When Handel was seven years old, his __________ on a chapel organ attracted theattention of the duke.

A. play B. playance C. playment D. playing

3. e duke was so __________ by his Handel’s skill.A. impressed B. impressing C. being impressed D. having impressed

4. Handel entered Halle University in 1702 and began __________ law.A. to study B. study C. studied D. studying

5. _________ aerward Handel visited London.A. Short B. Shorter C. Shortly D. Shorted

6. In 1714, Queen Anne __________ and George Ludwig, Elector of Hanover,__________ King George I of England.

A. die, become B. died, became C. dies, becomes D. died, become

7. No composer before or since Handel __________ Handel’s ability in writing oratorios.A. surpasses B. surpassed C. had surpassed D. has surpassed


1. Legend says that a small clavier was smuggled _____ the attic _____ Handel, complete

_____ muffled strings, so that his father could not hear him as he taught himself to play.

2. When he was seven years old, he accompanied his father _____ Weissenfels where hisplaying _____ a chapel organ attracted the attention _____ the duke.

3. Handel returned _____ Halle to study _____ Friedric Wilhelm Zachau.

4. Handel soon became a virtuoso _____ the organ and was widely known _____ hisoutstanding skill.

5. _____ the time he was 11 years old, Handel could play the harpsichord, oboe, organand violin.



26


6. _____ 1703 he quit his job _____ the cathedral, le the university and moved _____Germany’s operatic center, Hamburg.

7. Soon aerward a production _____Venice _____ his opera, Agrippina, brought himfame _____ Italy.

8. _____ 1710 Handel returned _____ Germany to serve as choirmaster _____ theElector _____ Hanover.

9. Handel composed the Water Music _____ a festival _____ the River ames.

10. Known as «Master of the Oratorio,» no composer _____ or _____ Handel hassurpassed his ability _____ writing oratorios.


1. Handel’s father forbade any music or musical instruments in their home because ___.

2. When Handel accompanied his father to Weissenfels _______________________ .

3. Studying at university Handel _________________________________________ .4. When Handel quit his job ____________________________________________ .

5. e production of Handel’s opera Agrippina ____________________________ .

6. Having composed Ode for the Birthday of Queen Anne ____________________ .

7. When Elector of Hanover became King George I of England, he gave ____________.

8. Handel surpassed __________________________________________________ .

9. Before his death in 1759 Handel ______________________________________ .

10. Handel was buried _______________________________________________ .


1. Георг Фридрих Гендель родился в Германии в один год с Иоганном Себастья-ном Бахом и Доменико Скарлатти.

2. Отец наметил для Георга Фридриха карьеру юриста и всячески противился еготяготению к музыке.

3. В возрасте четырех лет Гендель научился играть на клавесине.

4. В период обучения у Цахау Гендель сформировался как композитор и испол-нитель.

5. Учебу в университете Гендель совмещал с работой органиста в соборе.

6. В 1705 году Гендель написал свою первую оперу «Альмира».

7. Вторая итальянская опера Генделя «Агриппина» имела оглушительный успех.

8. В 1714 году королева Анна скончалась, и ее место на престоле занял Георг IГанноверский.

9. Гендель приступил к сочинению ораторий, когда ему было 53 года.

10. Гендель был похоронен в Вестминстерском аббатстве.



27



a) in the name of George Frideric Handelb) in the name of King George I


a) Between Handel and King George I of England who didn’t like his Water Music.b) You have played Handel’s works and is to explain to your fellow-student the



a) Handel had not led such a passionate, eventful and occasionally tragic life?b) Handel had written operas today, which libretto could have attracted him? Why?c) … (make your own assumption)* For intermediate level students and above: see Supplementary Texts 1, 2

SUPPLEMENTARY TEXTS

Text 1

GEORGE FRIDERIC HANDEL: LIFE AND MUSIC

George Frideric Handel (1685–1759) wasa German-British baroque composer, famousfor his operas, oratorios, anthems and organ

concertos. Most music lovers have encounteredGeorge Frideric Handel through holiday-timerenditions of the Messiah’s «Hallelujah» chorus orhis Music for the Royal Fireworks. Even though hewas German-born and educated, the Brits like toclaim Handel for their own.

Handel was born in the German city of Halleon February 23, 1685 (the same year as Bach).

Handel’s lawyer father was not a huge fan of his

son’s musical ambitions. In fact, when he was a boy, Handel had to sneak to the attic toplay a clavichord that had been hidden up there.

Wilhelm Zachow, organist at the Liebfrauenkirche, and for a time he seemed destinedfor a career as a church organist himself.

In 1703 he took a post as violinist in the Hamburg opera orchestra, he fought a duelthe following year with the composer Mattheson over the accompaniment to one ofMattheson’s operas. A bizarre incident in 1704 might have seen Handel’s composingcareer cut tragically short aer a set-to with fellow composer Johann Mattheson. Forreasons apparently unknown, the two had a fierce quarrel in which Mattheson almost



28


killed Handel with his sword, which fortunately struck a button on Handel’s chest ratherthan the chest itself.

Handel was a hit in London, as evidenced by the very generous salary of £200 he received

from Queen Anne when he moved there in 1712. Handel’s successes in London continued,

and he was eventually made the musical director of Te Royal Academy of Music.English audiences took to his 1711 opera Rinaldo, and several years later Handelmoved to England permanently. He impressed King George early on with the Water

Music of 1716, written as entertainment for a royal boat outing. Handel’s successesin London continued, and he was eventually made the musical director of e RoyalAcademy of Music.

rough the 1720s Handel composed Italian operatic masterpieces for Londonstages: Ottone, Serse (Xerxes), and other works oen based on classical stories. Handelwas such a popular opera composer that he was allowed to pick his own leading ladies.However, this perk led to an almighty bust-up between sopranos Faustina Bordoni andFrancesca Cuzzoni, two rival singers of the day, who ended up having a scrap on stageduring a performance of Bononcini’s Astianatte. ey both had to be dragged off stageto stop them pulling bits off each other’s costumes.

His first work in the English language might not be his most well-known, but duringhis lifetime it was Handel’s most popular work by some distance. It even received thehonour of a little re-write by none other than Mozart in 1788.

In the 1730s and 1740s Handel turned to the oratorio which displayed to maximumeffect Handel’s melodic gi and the sense of timing he brought to big choral numbers.

In 1737 Handel suffered a stroke, which caused both temporary paralysis in his rightarm and some loss of his mental faculties.

Blind in old age, Handel continued to compose. Handel’s final oratorio, Jephtha, wasa heartbreaking experience for the composer. He was going rapidly blind as he wroteit, eventually leading him to write on the score: «Reached here on 13 February 1751,unable to go on owing to weakening of the sight of my le eye».

He died in London on April 14, 1759. When, aer a life of tumult and incrediblemusic, Handel succumbed to his afflictions in 1759, his funeral was attended by 3,000people and was a huge state affair.

Praise doesn’t come much higher than from Ludwig Van Beethoven, who said of

Handel’s works: «Go to him to learn how to achieve great effects, by such simple means».Considering Handel the greatest of all his predecessors, Beethoven once said, «I wouldbare my head and kneel at his grave».

Text 2

INTERESTING FACTS ABOUT HANDEL’S MESSIAH!

1. Although the words in Handel’s Messiah were taken from Christian scripture,it was not intended for religious worship; rather, it was first performed in a theatre asa piece of entertainment. On the eve of its London premiere, one critic wrote, «I ask if




the Playhouse is a fit Temple to perform it, or a Company of Playersfit Ministers of God’s Word».

2. Handel’s Messiah is an oratorio — or simply, a musicaltheatre piece presented in a concert setting without acting,costumes or sets. His fortunes as a composer of once popularItalian operas had waned and, as a result, he championed theoratorio because it was simply less expensive to produce.

3. Handel composed the entire work in just 24 days. Despiteits huge success, Charles Jennens, who provided the libretto by

compiling lines from the King James Bible, was initially upset becausehe felt that Handel should have put in more effort for such an important subject.

4. Performances of the Messiah were so popular that advertisements had to bepublished in the newspapers requesting ladies to come «without their hoops’ (hoop-framed skirts) and gentlemen «without their swords».

5. King George II of England was reportedly so overcome by emotion when he firstheard the Hallelujah Chorus that he spontaneously rose to his feet — and when the Kingstands, everyone stands! is incident supposedly started the tradition of standing upfor the Hallelujah Chorus that has carried to this day.

6. Messiah became so popular that unauthorised performances using pirated copiesof the score became commonplace. To defeat the pirates, the shrewd businessman inHandel created «new, expanded editions’ and publicized the availability of these in thepress.

7. In 1750, Handel started the tradition for the Messiah to be for charitable causes.

In his time, he personally conducted more than 30 performances for the benefit ofa children’s orphanage and hospital, as well as a fund for retired musicians.

8. e last piece of music that Handel heard was a performance of Messiah at theConvent Garden on April 6, 1759. He died eight days later.

9. Aer Handel’s death, Messiah continued to gain popularity and to this day, remainsone of the most performed choral pieces. Over the years, it has been revised to meetperformance fashions of different eras by no less than the likes of Wolfgang AmadeusMozart, who translated the text into German and re-orchestrated the work for thelarger orchestras of his time. In 1857, a Great Handel Festival was held at the Crystal

Palace in Britain where a chorus of 2,000 singers and an orchestra of 500 performed themasterpiece!10. Sing-along Messiahs have been popular since the 18th century and also common

then was Handel’s Messiah party which, smaller in scale, involved a group of friendsand family gathered around a piano in someone’s home to sing the work. Messiah from

Scratch, the largest regular sing-along in the UK, has been held annually at the RoyalAlbert Hall since 1974. In recent years, the event has attracted more than 3,000 people!



30

UNIT 4

F ra n z Jos e p h H a y d n Franz Joseph Haydn was born in Austria in 1732. Haydn grew

up in a musical home, and at the age of five he was sent tostudy with a relative who lived near Vienna. When Haydnwas eight, he became a member of the famous boys choir atVienna’s St. Stephen’s Cathedral. Here he sang for nine yearsbut then had to leave when his voice changed.

Haydn then supported himself by playing in smallensembles, teaching the harpsichord, playing the organ

in churches and accompanying singers. He also studiedcomposition and began composing keyboard works, a mass and

string quartets.Haydn’s reputation grew and when he was 29 he was hired as the Kapellmeister

(director of a choir or orchestra) by a wealthy Hungarian noble family by the name ofEsterhazy. e orchestra he conducted became known as one of the finest of that time.

Haydn oen used his sense of humor to his advantage. Once the prince decided to

stay two months longer than usual at his country home, making the orchestra stay with

him. Te players were unhappy because they were anxious to leave the country and return

to their families in Vienna. Haydn championed their cause in a humorous manner. He

composed a symphony called Te Farewell. During the symphony, one of the players

picked up his instrument and le the stage. Other players gradually followed the first.Te audience watched in astonishment until there were no players le. Haydn had made

his point with the prince, and the next day the players were permitted to leave for home.

In 1790, Haydn visited London where he conducted a series of concerts

featuring his symphonies. He was enthusiastically received and Oxford University

awarded him an honorary doctorate of music. Some of his finest string quartets

and symphonies were composed during this time including Symphony No. 94 in

G Major (Te Surprise) and Symphony No. 101 in E-flat Major (Te Clock). Haydn

is considered the Father of the String Quartet. Some of his best-known quartets



31

Franz Joseph Haydn

are Te Joke, Op. 33 No. 2; Te Bird , Op. 33, No. 3; Te Frog , Op. 50, No. 6; and Te

Sunrise, Op. 76, No. 4.

Soon aer Haydn returned to Austria in 1795 he composed Te Emperor’s Hymn,which became the Austrian national anthem, and Te Creation, one of his best-known

oratorios.«Papa Haydn», as he was called by his friends in appreciation of his good senseof humor and likable disposition, was one of the greatest composers of the Classicalperiod.


2. Match the following Russian words and phrases with the English equivalents.1. вырасти в музыкальной семье a. a sense of humour2. родственник b. a relative3. хоровая капелла c. to watch in astonishment

4. богатая, знатная семья d. to leave the stage5. дирижировать оркестром e. to champion one’s cause6. чувство юмора f. to award an honorary doctorate of music7. себе на пользу g. to feature his symphonies8. обеспокоенный h. a wealthy noble family 9. отстоять чье-либо дело i. a national anthem10. брать инструмент j. to pick up the instrument11. покинуть сцену k. anxious12. смотреть с удивлением l. to permit to leave for home13. отстоять свою точку зрения m. to grow up in a musical home14. разрешить уехать домой n. to be considered the Father of the String

Quartet15. представлять свои симфонии o. to one’s advantage16. присвоить титул почетного доктора му-зыки

p. in appreciation

17. считаться родоначальником струнногоквартета

q. a boys choir

18. национальный гимн r. likable disposition19. в признательность s. to make one’s point20. милый характер t. to conduct an orchestra


Words and word combinations Synonyms Antonyms1. famous2. to change3. to hire4. fine5. advantage6. to permit7. to receive8. national9. known10. friend



32



Infinitive present Past Simple Participle II1. to grow grew grown2. sent3. sung

4. to know 5. made6. bore7. to leave8. taught9. to begin10. been


1. simucal

2. rioch3. thedcalar4. sembenle5. canypamco6. sasm7. cocodurnt8. rutaqte9. neinrusttm10. yrealp


combinations.

1. Franz Joseph Haydn was born in __________ in 1732.A. Hungary B. Germany C. Austria D. Great Britain

2. When Haydn was eight, he became a member of the famous __________ at Vienna’sSt. Stephen’s Cathedral.

A. boys ensemble B. string quartet C. string duet D. boys choir

3. Haydn’s reputation grew and when he was 29 he was hired as the __________ bya wealthy Hungarian noble family by the name of Esterhazy.

A. Servant B. Kapellmeister C. Assistant D. Host

4. Once his orchestra and he had to __________ with the prince at his country home.A. live B. fight C. stay D. play

5. Some of his finest string quartets and symphonies were composed during _______ .A. his time in Vienna B. his time in LondonC. his time in New York D. his time in Hamburg



33

Franz Joseph Haydn

6. Haydn composed __________ .A. the British national anthem B. the Polish national danceC. the German national ballet D. the Austrian national anthem

7. «Papa Haydn» had __________ .

A. a happy life and many children B. a good sense of humor and likable dispositionC. two wives D. his own boys choir


1. Franz Joseph Haydn __________ to study with a relative who lived near Vienna.A. had sent B. is sent C. was sent D. has been sent

2. Haydn supported __________ by playing in small ensembles, teaching theharpsichord, playing the organ in churches and accompanying singers.

A. him B. oneself C. one’s D. himself

3. e orchestra Haydn __________ became known as one of the finest of that time.A. conducted B. was conducted C. was conducting D. conducts

4. Once the prince decided to stay two months longer than usual at his country home,_________ the orchestra stay with him.

A. having made B. made C. make D. making

5. __________ e Farewell symphony, one of the players picked up his instrument andle the stage.

A. In B. At C. During D. Since

6. In London Haydn conducted a __________ of concerts featuring his symphonies.A. serial B. serious C. cereal D. series

7. Haydn composed Te Emperor’s Hymn, __________ became the Austrian nationalanthem.

A. who B. whose C. which D. one


1. Haydn grew _____ _____ a musical home, and _____ the age _____ five he was sent

to study _____ a relative who lived _____ Vienna.2. Haydn then supported himself _____ playing _____ small ensembles, teaching theharpsichord, playing the organ _____ churches and accompanying singers.

3. When Haydn was 29 he was hired as the Kapellmeister _____ a wealthy Hungariannoble family _____ the name _____ Esterhazy.

4. Haydn oen used his sense _____ humor _____ his advantage.

5. Haydn had made his point _____ the prince, and the next day the players werepermitted to leave _____ home.



34


6. Soon _____ Haydn returned _____ Austria.

7. _____ 1795 he composed Te Emperor’s Hymn, which became the Austrian nationalanthem, and Te Creation, one _____ his best-known oratorios.

8. «Papa Haydn,» as he was called _____ his friends _____ appreciation _____his good

sense _____ humor and likable disposition, was one _____ the greatest composers_____ the Classical period.


1. Haydn studied in Vienna because _____________________________________ .

2. Becoming a member of the famous ______________________________________ .

3. A wealthy Hungarian noble family noticed Haydn and ____________________ .

4. Once his sense of humour helped him __________________________________ .

5. e first performance of his Te Farewell Symphony was ________________ .

6. e purpose of his visit to London was ________________________________ .

7. Oxford University ________________________________________________ .

8. Haydn also composed ________ which is considered to be the Austrian nationalanthem.

9. All his friends liked Haydn because ________________________________ .

10. Haydn is considered to be _________________________________________ .


1. Йозеф Гайдн в течение девяти лет пел в хоре собора святого Стефана в Вене, гдеобучался также игре на инструментах.

2. Йозеф Гайдн сочинял произведения для клавира, а также мессы.

3. В возрасте 29 лет Гайдн получил должность капельмейстера.

4. Оркестр, которым дирижировал Гайдн, стал самым лучшим.

5. Гайдн сочинил «Прощальную симфонию», чтобы помочь своему оркестру.

6. В 1790 Гайдн посетил Лондон, где представил свои симфонии.

7. Гайдн получил титул почетного доктора музыки.

8. Гайдн считается создателем струнного квартета.

9. Гайдн сочинил национальный гимн Австрии.


a) in the name Franz Joseph Haydn.b) in the name of Prince of Esterhazy.



35

Franz Joseph Haydn


a) Between Franz Joseph Haydn and orchestra players anxious to return to theirfamilies in Vienna (the prince, you, etc.).

b) You have played Haydn’s works and is to explain to your fellow-student the

performance features.13. Imagine what if …

a) Haydn had had time for teaching Beethoven? What do you thing the latter wouldhave learned from the former? *

b) Franz Joseph Haydn had toughly competed with his younger brother, composerJohann Michael Haydn?

c) … (make your own assumption)*For intermediate level students and above: see Supplementary Texts 1, 2

SUPPLEMENTARY TEXTS

Text 1

10 FACTS ABOUT FRANZ JOSEPH HAYDN

1. Franz Joseph Haydn was an Austrian born composer whospent his life as a court musician somewhat secluded from the

rest of the musical world, but nonetheless was one of the mostcelebrated composers of his time and is equally revered today.

2. at other Haydn, Michael Haydn also a prolificcomposer, was indeed related to Franz Joseph Haydn. eywere brothers.

3. Haydn was famous for his pranks. While studying at St.Stephens Cathedral, he cut off the ponytail of a fellow chorus

member. He was caned and summarily dismissed with no home togo to. While on the street, Haydn became a «street serenader» and was soon discoveredby a successful composer who took him in as a student.

4. Haydn’s favorite of his compositions, Gott erhalte Franz den Kaiser (Emperor’sHymn), has been used throughout history by famous composers Tchaikovsky,

Czerny, Rossini, Paganini, Smetana, and many others and is currently used for theGerman National Anthem.

5. Franz Joseph Haydn was affectionately called «Papa» Haydn by many people andfor many reasons. e title originated from his care for his oen mischievous orchestramusicians who frequently needed saving from trouble while in the court of PrinceEsterhazy. Mozart continued the torch and affectionately referred to him as «Papa»Haydn.

6. Another important layer to the «Papa» Haydn nickname comes from his reputationas the «Father of the Symphony» and the «Father of the String Quartet». Haydn was notthe inventor of the symphony or quartet but rather respected for perfecting them.



36


7. During an unexpectedly extended stint of summer concerts away from home,Haydn wrote his Farewell Symphony on behalf of his musicians. e final Adagio movement calls for each musician at one point to stop playing, blow out their candleand leave the performance until only 2 players are le playing (Haydn and his

Concertmaster in this case). e joke and message was received as the next day PrinceEsterhazy decided it was finally time for them all to return home.8. Aer serving as Kapellmeister for the Esterhazy family for many years, Haydn le

his position and went to London to study music from English composers and experiencetheir larger orchestras. While there he wrote his final 12 symphonies and some of hisbest-known works.

9. In the late 1700s Beethoven attempted to study with Haydn but Haydn was toopre-occupied with his own works and travelling to give Beethoven his due attention.Upon Haydn’s second trip to London, Beethoven began studying with other teachersand lessons with the «Papa» Haydn never resumed. Beethoven famously recalled, «Ilearned nothing from Haydn».

10. Upon Haydn’s tragic death, phrenologists took his head from his grave andbrought it back for study. Aer quite a series of extraordinary events, Haydn’s headmade its way safely to the wonderful display in the Esterhazy estate where the rest of hisbody lay peacefully then and to this day.

Text 2

JOHANN MICHAEL HAYDN: A SHORT BIOGRAPHY

Michael Haydn was born on September the 14th 1737 in Rohrau,Lower Austria, as one of twelve children born to wheelwrightMathias Haydn and his wife Anna Maria, who had been a cookat the Harrack Castle. Most of their children died in infancy.e oldest surviving, Franz Josef was born on March 31st 1732.Michael, called Hanssmichl by his father, received his first

musical training in Rohrau, and in nearby Hainburg, where hewas a choirboy.

In 1745 he followed in brother Josephs footsteps and becamea chorister in St.Stephen’s Cathedral, Vienna. e choir was led by Kapellmeister Georg von Reutter, who both of the boys had quite some trouble with and oen were punishedby. On his first appearance before Empress Maria eresia, she was so moved by hisbeautiful voice, that she presented him with 24 ducats. He sent half of the money backto his father. e other half he gave Reutter for safekeeping and never saw them again.

At St.Stephens he received rudimentary instruction in theory and practice of music.He studied violin and organ with Reutter. And equally important, he had the opportunityto hear and perform music of the leading composers of that time. He became skilledenough in playing the organ to act as deputy organist of St.Stephen’s. He attended theJesuit Seminary, studying history, geography and the classics and was well educated.



37

Franz Joseph Haydn

He taught himself composition from Fux’s «Gradus ad Parnassum» and soon showedunusual promise. His first known work came in 1754, the brilliant Missa in honorem

Sanctissimae rinitatis, which by far outshines brother Josef ’s first works of the genre.In 1760 he was appointed Kapellmeister to the Bishop of Grosswardein, then

Southern Hungary, today Oradea in Northwestern Rumania. Here he apparently had torely on supplemental earnings from his works to make a living, and he le in April 1762.At some point during the next year he appeared in Salzburg, where he was to remainuntil his death.

On August 14, 1763 he was appointed concertmaster and court composer tothe archiepiscopal establishment, under Prince-Archbishop Siegmund, Count vonSchrattenbach. He quickly rose to a position of prominence in the Salzburg Kapelle,surpassing by far the abilities of his older colleagues.

On August 17th 1768 he married Maria Magdalena Lipp, daughter of the secondorganist of the Cathedral. Maria Magdalena was a singer at the Salzburg Court, known

to have taken part in Mozart’s early operas. eir daughter, Aloisia Josefa, died onlya few days before her first birthday.

Michael’s relationship with the young Mozart, seems to have been very fine.Although Mozart occasionally made some rude remarks about Michael in his letters,he was very impressed with Michael’s music. ere is little evidence of a teacher/pupilrelationship, but Mozart oen studied Michael’s works and on several occasions founddirect inspiration in them. ey cooperated on a couple of occasions.

e relationship with Mozart senior (Leopold), was a little more tricky. Michaelwas a highly qualified competitor to the posts in Salzburgs music life. Leopold was

generally both positive and supportive towards Michael, but from time to time, andwhen Wolfgang was in need for a position, Leopold could become equally negative andwithdraw his support. is is not so surprising. Family comes first and Leopold alwaysworked hard for the sake of his beloved children.

In December 1800 Salzburg was taken by the French and Michael had some of hisproperty seized. To help him, Joseph sent him money and a gold watch. And EmpressMaria eresia commissioned a mass and later a Requiem. Around this time, he visitsJoseph in Eisenstadt, where he was offered the position as second Kapellmeister. is herefused however, hoping that conditions would improve in Salzburg. ey did, but not

nearly as he had expected and in a letter to his brother dated February 1804, Michaelclearly regrets having turned down the Prince’s «generous offer».His reputation as a composer grew far beyond the confines of Salzburg and Austria

and in 1804 he became a member of the Royal Swedish Academy of Music.Michael died on August 10th 1806 in Salzburg. He was buried at St.Peter’s Churchyard,

where a monument today can be seen. is place of honour is maintained by membersof the St.Peter’s community.

Michael maintained a lifelong friendship with the Benedictine brothers of the Abbeyof St.Peter in Salzburg. A relationship that still today remains one of the monastery’sproudest distinctions. He lived in one of the abbey houses. e following description of




Michael was given by one of the monks of St.Peter, Gabriel Hutter. «His character wasquiet, discreet modesty. Drink and gambling were far removed from him, moderation inthinking, speaking, even in judging other musical works, were what made him belovedand valued».



39

UNIT 5

M u zi o C l e m e n t i In 1752 Muzio Clementi was born in Rome, Italy. He had musical

training as a boy, and his musical talents were so remarkable thatwhen he was nine years old he was appointed organist at hischurch. At the age of 12, he composed his first oratorio.

His playing caught the attention of an English traveler,Peter Beckford, nephew of the Lord Mayor of London.Beckford persuaded Clementi’s father that Muzio should study

in England. ey arrived in England, and Clementi spent sevenyears at Beckford’s country estate outside of London studying and

practicing the harpsichord.

In 1770 Clementi made a sensational London debut as pianist and composer andwas hailed as a brilliant performer. Clementi lived mainly in London, although hespent several years touring the European continent as a concert pianist. In Vienna inDecember 1781, Clementi took part in a famous piano competition against Mozart.e contest was arranged by Emperor Joseph II, the brother of Marie Antoinette. Bothmusicians had to perform selections of their own compositions, and improvise andsight-read sonatas of Paisiello. Even though Mozart was not very complimentary aboutClementi’s playing, Clementi was very impressed with Mozart and said that he hadnever heard someone play with such spirit and grace.

is was before Clementi had developed a mastery of the legato and singing stylethat later made him famous.

It is difficult to overestimate the influence that Clementi has had in the area ofstudies and compositions for teaching piano. His collection of 100 studies, Gradus ad

Parnassum, remains a foundation of piano technique today. He composed over 100piano sonatas and many sonatinas that have become a part of almost every student’srepertoire. His Introduction to the Art of Playing on the Piano Forte, Op. 40, was usedby Ludwig van Beethoven. Beethoven held Clementi in very high esteem and endorsedand recommended this method.



40


Clementi was an influential teacher. Among his students were John Field and JohannCramer. He also established a firm to publish music and manufacture pianos. He wasa prosperous businessman who toured countries to promote his fine pianos, and heeven successfully negotiated with Beethoven to be the publisher of Beethoven’s music.

In later years, Clementi was called the «Father of Modern Piano Writing» andthe «Father of the Pianoforte». His studies and performance did much to help in thetransition from the harpsichord to the piano. When he died at 80 years of age, he washonored by a funeral and burial at Westminster Abbey in London.


2. Match the following Russian words and phrases with the English equivalents.1. обучаться музыке a. to arrive in England2. выдающийся b. to spend seven years at a country estate3. привлечь внимание c. the contest was arranged by Emperor

4. прибыть в Англию d. to play with such spirit and grace5. провести семь лет в загородном поместье e. to hold in high esteem6. дебютировать в качестве пианиста f. to sight-read sonatas7. славиться в качестве великолепногоисполнителя

g. a prosperous businessman

8. принимать участие в конкуре h. to be hailed as a brilliant performer9. конкурс был организован императором i. to negotiate with10. играть с листа сонаты j. to overestimate the influence11. лестный, похвальный k. to have musical training12. играть с душой и изяществом l. a transition from the harpsichord to the

piano

13. преувеличить влияние m. to be honoured14. являться частью любого репертуара n. to endorse15. питать уважение, относиться с почтением o. remarkable16. поддерживать, продвигать p. to be a part of every repertoire17. преуспевающий бизнесмен q. to make a sensational debut as a pianist18. вести переговоры, договариваться с кем-то r. complimentary 19. переход от клавесина к фортепиано s. to catch the attention20. удостоиться чести t. to take part in a competition


Words and word combinations Synonyms Antonyms1. remarkable2. attention3. to persuade4. sensational5. brilliant6. to arrange7. complimentary 8. to develop9. to overestimate10. influential



41

Muzio Clementi


Infinitive present Past Simple Participle II1. to catch caught caught2. made3. taken

4. to hear5. sang6. held7. to spend8. read9. to find10. become


1. mekararleb

2. itsgorna3. hcuhcr4. betud5. ruignot6. nasitip7. tomenocitip8. hitgs-dare9. telago10. nietuhecq


combinations.

1. Muzio Clementi had musical training as a boy, and his musical talents were _______ .A. ordinary B. bad C. remarkable D. influential

2. Clementi’s playing __________ an English traveler, Peter Beckford, nephew of theLord Mayor of London.

A. caught the attention of B. frightened C. displeased D. pleased

3. In 1770 Clementi made a sensational London debut as __________ .A. builder B. chef C. nurse D. pianist and composer

4. In Vienna in December 1781, Clementi took part in a famous piano competitionagainst ________ .

A. Paisiello B. Mozart C. Beethoven D. Handel

5. A mastery of the __________ later made him famous.A. painting B. composingC. legato and singing style D. counterpoint



42


6. More than his 100 piano sonatas and many sonatinas have become a part of almost__________ .

A. every student’s repertoire B. every student’s compositionsC. every student’s work D. every student’s essay

7. He established a firm __________ .A. to copy music B. to help poor musiciansC. to publish music and manufacture pianos. D. to cook meals


1. Beckford persuaded Clementi’s father that Muzio should __________ in England.A. to study B. studying C. study D. be studied

2. Clementi lived __________ in London.A. main B. mainly C. mostly mainly D. most main

3. Clementi was very __________ with Mozart.A. impressing B. impressive C. impressless D. impressed

4. His Introduction to the Art of Playing on the Piano Forte, Op. 40, __________ byLudwig van Beethoven.

A. used B. was used C. was using D. had used

5. _________ his students were John Field and Johann Cramer.A. Among Between C. Within D. rougout

6. Clementi successfully negotiated with Beethoven __________ the publisher of

Beethoven’s music.A. be B. being C. having been D. to be

7. His studies and performance did __________ to help in the transition from theharpsichord to the piano.

A. many b. a little C. much D. a few


1. ____ the age _____ 12, Clementi composed his first oratorio.

2. Clementi and his father arrived _____ England, and Clementi spent seven years_____ Beckford’s country estate _____ _____ London studying and practicing theharpsichord.

3. Clementi lived mainly _____ London, although he spent several years touring _____the European continent _____ a concert pianist.

4. _____ Vienna _____ December 1781, Clementi took part _____ a famous pianocompetition _____ Mozart.

5. e contest was arranged _____ Emperor Joseph II, _____ the brother _____ MarieAntoinette.



43

Muzio Clementi

6. It is difficult to overestimate the influence that Clementi has had _____ the area_____ studies and compositions _____ teaching piano.

7. Clementi composed _____ 100 piano sonatas and many sonatinas that have becomea part _____ almost every student’s _____ repertoire.

8. _____ his students were John Field and Johann Cramer.

9. He was a prosperous businessman who toured _____ countries to promote his finepianos, and he even successfully negotiated _____ Beethoven to be the publisher _____Beethoven’s music.

10. When Clementi died _____ 80 years _____ age, he was honored _____ a funeraland burial _____ Westminster Abbey _____ London.


1. Clementi’s musical talents were so remarkable that _________________________ .2. Clementi’s playing caught the attention of ______________________________ .

3. In 1770 Clementi made ______________________________________________ .

4. In Vienna in December 1781, Clementi __________________________________ .

5. Clementi was very impressed ________________________________________ .

6. Clementi had developed ____________________________________________ .

7. Clementi influenced _______________________________________________ .

8. Beethoven recommended ___________________________________________ .

9. Clementi’s students _________________________________________________ .

10. Muzio Clementi did ________________________________________________ .


1. В 1766 году Питер Бекфорд пригласил 14-летнего пианиста в Англию.

2. С начала 1780-х Клементи много гастролировал в Европе как пианист-виртуозс исполнением собственных фортепианных сочинений.

3. В 1781 году посетил Вену, где в присутствии императора Иосифа II состязалсяс Моцартом.

4. Клементи занимался и коммерческой деятельностью: был основателем и совла-дельцем фабрик музыкальных инструментов и музыкально-издательских пред-приятий, в которых издавал сочинения современных ему композиторов, в томчисле Бетховена.

5. Наиболее значительный вклад композитор внес в развитие фортепианногоискусства; современники называли его «отцом фортепианной музыки».



44


6. Муцио Клементи основывает в Лондоне филармоническое общество и дири-жирует симфоническими оркестрами, вносит большой вклад в развитие форте-пианного искусства.

7. Муцио Клементи умер в Лондоне в 1832 году, оставив после себя большое со-

стояние.


a) in the name of an English traveler, Peter Beckfordb) in the name of Mozart


a) Between M. Clementi and Mozart (Beethoven, a modern orchestra player,

etc.).

b) You have played M. Clementi’s works and is to explain to your fellow-student theperformance features.


a) Clementi’s works had not been admired by Beethoven?b) Clementi had not been a prosperous businessmanc) … (make your own assumption)*For intermediate level students and above: see Supplementary Texts 1, 2

SUPPLEMENTARY TEXTS

Text 1

MUZIO CLEMENTI: BIOGRAPHY

Muzio Clementi was lauded as the first

virtuoso of the pianoforte, influenced several of

the 19th century’s greatest performers, and was

praised as a composer by none other than Ludwig

van Beethoven. Born in Rome, Italy on January24, 1752, the eldest of seven children, Clementi’s

musical talents were recognized early. His father,

a silversmith, encouraged Clementi to study

music and arranged for his son to study with

a relative, Antonio Baroni, maestro di capella at St. Peter’s Basilica. In 1766, Sir Peter

Beckford, a wealthy Englishman, visited Rome and was impressed with Clementi’s

talent. Beckford arranged with Clementi’s father to take the young musician back

with him to England and to provide for his musical education until he was 21. Once



45

Muzio Clementi

in England, Clementi provided musical entertainment in return for Beckford’s

patronage and spent the next seven years at the Englishman’s estate.

In 1774 and no longer bound to Beckford’s service, Clementi le for London,

which would become his base of operations for much of his life. His reputation

and frame, both as a performer and composer, grew over the subsequent years. In1780, he began a three year tour of the European continent. It was during this tour,

when he visited Vienna that he engaged in a famous contest with Mozart for the

entertainment of Holy Roman Emperor Joseph II in which both composers were

required to improvise and perform selections from their own compositions. Joseph II

declared a tie. Following the contest, Mozart was unimpressed with Clementi’s

playing, stating to his father that it was devoid of «taste or feeling,» however his

attitude toward Clementi changed over time. On the other hand, Clementi praised

Mozart’s performance.

Returning to England in 1783, Clementi focused on performing, conducting andteaching. Several of his students went on to be prominent musical figures in the

19th century and included, Johann Baptist Cramer, Ignaz Moscheles, Ludwig Berger

(who later taught Felix Mendelssohn) and John Field. In 1790, Clementi gave up

his performing career and turned his focus more upon composing. Later in 1798,

he established himself as a music publisher. As a publisher, he was instrumental

in bringing Beethoven’s music to the British public, having struck a deal with

him to have full publishing rights to all of his music in England. Clementi also

began manufacturing pianos and his skill as an inventor and mechanic resulted in

innovations that have become standard on modern instruments. In 1813, Clementialong with other prominent musicians in England founded the Philharmonic Society

of London, which in 1912 became the Royal Philharmonic Society.

ough he remained primarily in London, Clementi traveled to the European

continent in 1816 to promote his new works, and again in 1826 to oversee the

simultaneous publication of his famous Gradus ad Parnassum in Paris, London and

Leipzig. In 1830, he moved outside Lichfield, Staffordshire and on March 10, 1832

passed away aer a short illness.

Clementi was regarded as one of the foremost virtuosos of his day and credited

with being the first to compose works taking advantage of the capabilities of thepianoforte. His compositions were highly praised, particularly by Beethoven, who

considered them the finest examples of writing for the piano. Carl Czerny (1791–

1857), a student of Beethoven, also had the highest regard for Clementi’s piano

sonatas and used them successfully in his teaching of Franz Liszt. Czerny referred

to Clementi as «the foremost pianist of his time».

ough his reputation hinges mostly on the pedagogic uses of his piano music,

in recent years his other works, including symphonies, have begun to receive a more

favorable reputation.



46


Text 2

MUZIO CLEMENTI

Born: 24-Jan-1752Birthplace: Rome, Italy

Died: 10-Mar-1832Cause of death: unspecified

Remains: Buried, Westminster Abbey, London, EnglandGender: MaleReligion: Roman CatholicRace or Ethnicity: WhiteSexual orientation: StraightOccupation: Composer

Nationality: Italy

Father: Nicolò Clementi (silversmith)Mother: Magdalena Kaiser

Wife: (married three times)Italian pianist and composer, considered by some the «father of the

piano», was born in Rome between 1750 and 1752. His father, a jeweller, encouragedhis son’s early musical talent. Buroni and Cordicelli were his first masters, and at the ageof nine Clementi’s theoretical and practical studies had advanced to such a degree thathe was able to win the position of organist at a church. He continued his studies underSantarelli and Carpani, and at the age of fourteen wrote a mass which was performed in

public. About 1766 Beckford, the author of Vathek, persuaded Clementi to follow himto England, where the young composer lived in retirement at one of the country seats ofhis protector in Dorsetshire until 1770. In that year he first appeared in London, wherehis success both as composer and pianist was rapid and brilliant.

In 1777 he was for some time employed as conductor of the Italian opera, but he soonaerwards le London for Paris. Here also his concerts were crowded by enthusiasticaudiences, and the same success accompanied Clementi on a tour about the year 1780to southern Germany and Austria.

At Vienna, which he visited between 1781 and 1782, he was received with high

honor by the emperor Joseph II, in whose presence he met Mozart, and fought a kindof musical duel with him. His technical skill proved to be equal if not superior to thatof his rival, who on the other hand infinitely surpassed him by the passionate beauty ofhis interpretation. It is worth noting that one of the finest of Clementi’s sonatas, that inB flat, shows an exactly identical opening theme with Mozart’s overture to the Flauto

Magico.In May 1782 Clementi returned to London, where for the next twelve years he

continued his lucrative occupations of fashionable teacher and performer at theconcerts of the aristocracy. He took shares in the pianoforte business of a firm whichwent bankrupt in 1800. He then established a pianoforte and music business of his own;



Muzio Clementi

under the name of Clementi & Co. Other members were added to the firm, includingCollard and Davis, and the firm was ultimately taken over by Messrs. Collard alone.Among his pupils on the pianoforte during this period may be mentioned John Field,the composer of the celebrated Nocturnes. In his company Clementi paid, in 1804,a visit to Paris, Vienna, St. Petersburg, Berlin and other cities. While he was in Berlin,Giacomo Meyerbeer became one of his pupils. He also revisited his own country aeran absence of more than thirty years.

In 1810 Clementi returned to London, but refused to play again in public, devotingthe remainder of his life to composition. Several symphonies belong to this time, andwere played with much success at contemporary concerts, but none of them seem tohave been published. His intellectual and musical faculties remained unimpaired untilhis death, on the 9th of March 1832, at Evesham, Worcester.

Of Clementi’s playing in his youth, Moscheles wrote that it was «marked by a mostbeautiful legato, a supple touch in lively passages, and a most unfailing technique».

Mozart may be said to have closed the old and Clementi to have founded the newerschool of technique on the piano. Among Clementi’s compositions the most remarkableare sixty sonatas for pianoforte, and the great collection of Etudes called Gradus ad

Parnassum.



48

UNIT 6

W ol f g a n g A m a d e u s M oza r t Wolfgang Amadeus Mozart was born in the beautiful town of

Salzburg, Austria, in 1756. He was four years old when hebegan studying keyboard with his father, Leopold, a respectedcourt musician. His father, his only teacher, also taught himmathematics, Latin and German. Wolfgang’s older sister,Nannerl, was also a musician, and they oen enjoyed playingduets.

Mozart was six when his father took him to Vienna wherehe played for the Austrian emperor and was introduced to

the public as a child prodigy. He dazzled court patrons with his

ability to improvise in many styles and sight-read as well as any adult.During this time he taught himself to play the violin and the organ.e next year Leopold took his family to Paris where Mozart’s

first compositions were published. When he was eight, he visited London and played for King George III and QueenCharlotte. While in London, he met Johann Christian Bach,J. S. Bach’s youngest son, who had a great influence onMozart’s first symphonies. Mozart composed many keyboardpieces and sonatas for violin and keyboard.

While visiting Rome in 1770, Mozart heard the choir

in the Sistine Chapel singing the famous Miserere of Gregoris

Allegri. Aer returning home, he wrote down the entire work from

memory. Because of this amazing accomplishment, the Pope made the 14-year-old

Mozart a Knight of the Golden Spur. While in Paris in 1778, he composed a set of

variations for piano on the folk tune known today as «Twinkle, Twinkle, Little Star».

Mozart traveled a great deal and by the time he was 25, he had visited most of the great

European cities.

In 1782, when he was 26, Mozart married Constanze Weber, the cousin of thecomposer Carl Maria von Weber. ough they were very poor, these years spent with



49

Wolfgang Amadeus Mozart

Constanze were important. It was during the time that he composed three of his greatestoperas, Don Giovanni, Te Marriage of Figaro and Te Magic Flute. Unlike any othercomposer in music history, Mozart wrote in every medium of musical composition ofhis day and excelled in every one!

Mozart’s travels took him to London where he met Franz Joseph Haydn. eybecame friends and even played in a string quartet together. Mozart honored Haydn bycomposing six string quartets and dedicating them to him in 1785.

Mozart’s last years were filled with financial difficulties and health problems. His

final work, the Requiem, was not completed when he died in Vienna in 1791. Penniless

and in debt, he was buried in a common grave, the exact location of which is unknown.



1. уважаемый придворный музыкант a. to dazzle2. читать с листа b. to write the entire work from memory 3. император c. a Knight of the Golden Spur4. быть представленным публике d. poor5. необыкновенно одаренный ребенок e. to honour somebody 6. поразить f. a respected court musician7. способность импровизировать g. to dedicate one’s composition to somebody 8. записать все произведение h. to sight-read9. играть по памяти дуэтом i. to be buried10. восхитительное исполнение j. to be introduced to the public11. рыцарь ордена «Золотой шпоры» k. a cousin

12. много путешествовать l. to excel13. двоюродная сестра m. to play a duet14. бедный n. a child prodigy 15. превосходить o. a common grave16. чтить кого-либо p. an ability to improvise17. посвятить свои произведения кому-то q. penniless and in debt18. без гроша и в долгах r. to travel a great deal19. быть похороненным s. an amazing accomplishment20. общая могила t. an emperor


Words and word combinations Synonyms Antonyms1. beautiful2. respected3. adult4. memory 5. amazing6. to tune7. poor8. to travel9. difficulty 10. complete



50



Infinitive present Past Simple Participle II1. to take took taken2. sight-read3. heard

4. to write5. made6. set7. to know 8. won9. met10. to forgive


1. hateerc

2. tude

3. rydopig

4. bylatii

5. meropisiv

6. mosynyhp

7. kolf nute

8. rsnitg ratuteq

9. cidedaet

10. muqieer


combinations.

1. Wolfgang Amadeus Mozart was taught by __________ .

A. his older sister, Nannerl B. his mother

C. the Austrian Emperor D. his father

2. Mozart enjoyed playing duets with __________ .A. his friends B. his teachers C. his sister D. his father

3. Mozart was introduced to the Austrian emperor and to the public __________ .

A. as a child prodigy B. as a pianist

C. as a court musician D. as a naughty boy

4. While in London, Mozart met __________ .

A. George Handel B. Constanze Weber

C. the Austrian emperor D. J. S. Bach’s youngest son



51


5. Having heard the famous Miserere of Gregoris Allegri in the Sistine Chapel, Mozartreturned home and __________ .

A. told everybody about it B. wrote down the entire work from memory C. started composing his own pieces D. fell asleep

6. His wife, Constanze Weber, was __________ .A. his cousin B. his studentC. the cousin of the composer Carl Maria von Weber D. his servant

7. Mozart honored Haydn by composing six string quartets and __________ .A. stealing all other his compositions B. selling them to himC. performing them D. dedicating them to him

8. Mozart’s final work, the Requiem, __________ when he died in Vienna in 1791.A. was sold B. was not completed C. was hidden D. was stolen


1. Leopold, Mozart’s father, was a __________ court musician.A. respectable B. respected C. respecting D. respect

2. Mozart dazzled court patrons with his ability __________ in many styles.A. in improvising B. improvising C. to improvise D. by improvise

3. While _________ Rome in 1770, Mozart heard the choir in the Sistine Chapel singingthe famous Miserere of Gregoris Allegri.

A. having visiting B. having visited C. to visit D. visiting

4. Because of Mozart’s __________ accomplishment, the Pope made the 14-year-oldMozart a Knight of the Golden Spur.

A. amazing B. amazed C. amaze D. amazable

5. __________ they were very poor, these years spent with Constanze were important.A. ought B. ough C. Despite D. However

6. Mozart’s last years were __________ with financial difficulties and health problems.A. filling B. fill C. filled D. fallen


1. Wolfgang Amadeus Mozart was born _____ the beautiful town _____ Salzburg,Austria, _____ 1756.

2. Mozart was six when his father took him _____ Vienna where he played _____ theAustrian emperor and was introduced _____ the public _____ a child prodigy.

3. He dazzled court patrons _____ his ability to improvise _____ many styles and sight-read as well as any adult.

4. _____ _____ London, he met Johann Christian Bach, J. S. Bach’s youngest son, whohad a great influence _____ Mozart’s first symphonies.



52


5. _____ visiting Rome _____ 1770, Mozart heard the choir _____ the Sistine Chapelsinging the famous Miserere _____ Gregoris Allegri.

6. _____ returning home, he wrote _____ the entire work _____ memory.

7. _____ _____ this amazing accomplishment, the Pope made the 14-year-old Mozart

a Knight _____ the Golden Spur.

8. _____ _____ Paris _____ 1778, he composed a set _____ variations _____ piano_____ the folk tune known today _____ «Twinkle, Twinkle, Little Star».

9. Mozart honored Haydn ___ composing six string quartets and dedicating them ___him _____ 1785.

10. Penniless and _____ debt, he was buried _____ a common grave, the exact location_____ which is unknown.

9. Complete the sentences.1. Wolfgang Amadeus Mozart was four years old when his father, Leopold,__________________ .

2. At the age of six Mozart ______________________________________________ .

3. Mozart’s ability to _________________________________________________ .

4. Being successful in London, Mozart _____________________________________.

5. Being impressed by the Miserere of Gregoris Allegri, Mozart _________________ .

6. Using the folk tune, Mozart composed ___________________________________ .7. His wife was ______________________________________________________ .

8. Mozart surpassed any composer of his time ____________________________ .

9. Mozart’s meeting with Haydn ________________________________________ .

10. Because of his financial difficulties, Mozart ______________________________ .


1. Моцарт является одним из самых популярных классических композиторов.

2. Учителем Моцарта был его отец.

3. В возрасте шести лет Моцарт был представлен публике как необыкновенно ода-

ренный ребенок.

4. Во время визита в Лондон Моцарт познакомился с сыном Иоганна СебастьянаБаха.

5. За исполнение «Помилуй мя, боже!» Моцарт был награжден папским рыцар-ским орденом «Золотой шпоры».

6. В 1782 году Моцарт женился на племяннице композитора Карла Марии Вебера.



53


7. Совместные годы с Констанцией были самыми счастливыми.

8. Моцарт посвящает Гайдну свой сборник из шести квартетов.

9. В последние годы жизни у Моцарта были финансовые трудности.

10. Без гроша и в долгах Моцарт умер в 1791.


a) in the name of his fatherb) in the name of Constanze Weber


a) Between Mozart and Salieri (Marie Antoinette, you, etc.).b) You have played Mozart’s works and is to explain to your fellow-student the



a) Mozart were alive today… What would he be doing?)b) Wolfgang Amadeus Mozart and Antonio Salieri were rivals today?c) … (make your own assumption)* For intermediate level students and above: see Supplementary Texts 1, 2

SUPPLEMENTARY TEXTS

Text 1

THE FEUD THAT NEVER WAS

Tradition and the love of a good yarn havelong cast Antonio Salieri as the murderer ofMozart and a musical hack. Erica Jeal explodesthe myth.

It’s hard to say which view of AntonioSalieri is more firmly embedded: that he wasthe tormentor who drove Mozart to an early

grave — perhaps even using a spot of arsenic just to make sure — or that he was a lousycomposer. A few clunky numbers on the

soundtrack of Amadeus, Milos Forman’s 1984 film of Peter Shaffer’s play, are all mostof us will have heard of Salieri’s music. Was there any more to him as a composer thanthat?

ere are influential musicians who say that there was. Indeed, Salieri’s operas havebeen undergoing a slow but steady exhumation. Next year the renovated La Scala inMilan is to reopen its doors with the work Salieri wrote for its very first performanceback in 1778. And now Cecilia Bartoli has recorded an album devoted to his music.



54


With an artist of Bartoli’s clout on his side, it’s safe to say that we’re going to be hearinga lot more of Salieri the composer. And Salieri the poisoner? Sadly for those who likea good conspiracy theory, there’s no evidence that he was any such thing. It’s time toreappraise the man as well as his music.

If Salieri wasn’t the enviously wrathful schemer of Forman’s imagination, whowas he? We have frustratingly little first-hand information. But the picture drawn byVolkmar Braunbehrens’s 1989 biography is of a serious, steady, occasionally irascibleman. ere are, however, mentions of him as friendly and cheerful, and the Irish singerMichael Kelly, a good friend of Mozart, assures us that Salieri «would make a joke ofanything». What is certain is that by 1781, when the 25-year-old Mozart set up home inVienna, Salieri, six years his senior, was an established star.

Born in the northern Italian town of Legnano in 1750, he had been brought toVienna aged 15, where he was introduced to his later mentor, Gluck, and to the emperor,Joseph II. Salieri was invited to join in chamber music sessions with the emperor, andsoon found himself launched on a career in the imperial court. His appointment in1774 as court composer and conductor of the Italian opera made him one of the mostinfluential musicians in Europe.

An ambitious young composer such as Mozart could conceivably have wished Salieriout of the way, but the other way round? Hardly. So what if Mozart collaborated on Le

Nozze di Figaro with Beaumarchais, the doyen of the Paris stage? Salieri was alreadyworking on Tarare, to a libretto by Beaumarchais himself, a work that would be a hit inParis. And if Mozart’s collaborations with the librettist Lorenzo da Ponte bore greaterfruit than Salieri’s? Well, no matter — it was Salieri, aer all, who could claim credit forbringing Da Ponte to Vienna. True, aer their first opera together flopped the composerswore he would rather have his fingers chopped off than work with him again, but herelented in time to write several that were far more successful.

However, if what Mozart’s wife Constanze reported was true, there was one incidentthat might conceivably have sparked a rivalry. She claimed that Salieri had been offeredDa Ponte’s libretto for Cosi Fan utte — and had rejected it as being not worth setting.When Mozart got his hands on it, a humiliated Salieri had to eat his words.

Otherwise, though, any tensions between the two seem more like office politics.Salieri had to turn down the prestigious commission for La Clemenza di ito, but had noreal reason to resent Mozart for being the second choice. For his part, Mozart complainsin letters to his father of being thwarted by Italian «cabals», but it oen seems that hefelt he had to make excuses to his grumpy, overambitious parent for any small failure.Far from blocking its performance, Salieri frequently conducted Mozart’s work. AndMozart’s death, as one respected musical journal wrote, was almost certainly caused notby poison but by «arduous work and fast living among ill-chosen company».

It was only aer Mozart’s demise that Salieri began to have any real reason to hatehim. Unlike that of any before him, Mozart’s music kept on being performed. Cut downat the peak of his powers — and with the added frisson of whispered rumours that he



55


might have been murdered — he became the first composer whose cult of celebrityactually flourished aer his death.

Salieri, however, had outlived his talent. He wrote almost no music for the last twodecades of his life. Instead he spent time revising his previous works. He did have

an impressive roster of pupils: Beethoven, Schubert, Meyerbeer and Liszt — not tomention Franz Xaver Mozart, his supposed adversary’s young son. But the composerwho had once been at the vanguard of new operatic ideas was not necessarily teachinghis students to be similarly innovative; we can only be grateful that Schubert ignored hisdiatribes against the «intolerable» genre of Germanic lieder.

So how did this respected musician become the rumoured murderer of the greatMozart? Nobody knows for certain. But in his final weeks Mozart is reported to havebelieved he had been poisoned, and had gone so far as to blame hostile Italian factionsat the Viennese court. People put two and two together and pointed the finger at Salieri.

And who could resist a story this good? Certainly not his fellow composers. ere arementions of it in Beethoven’s Conversation Books. Weber, Mozart’s father-in-law, hadheard it by 1803, and cold-shouldered Salieri ever aer. And 20 years later it was stilldoing the rounds; Rossini joked about it when he met Salieri in 1822.

As the rumour gathered strength, all denials only served to reinforce it. en, in1823, Salieri — hospitalised, terminally ill and deranged — is said to have accusedhimself of poisoning Mozart. In more lucid moments he took it back. But the damagewas done. Even if few believed the ramblings of a confused old man, the fact that Salierihad «confessed» to Mozart’s murder gave the rumour some semblance of validity.

Today, although we know it’s almost certainly false, the image of Salieri as poisonerpersists. It’s largely because so many artists have been drawn to it — and their responsescan reveal more about themselves than about the story. Pushkin, who wrote his Little

ragedy on the subject just five years aer Salieri’s death, made him unambiguouslya murderer. But still, there’s a sense of identification with both the deep-thinking Salieriand the light-hearted Mozart. Rimsky-Korsakov, writing about it 67 years later, mostlyimitated classical styles, except when Mozart plays something Salieri hails as «genius’ —which is where, funnily enough, we get our only real taste of pure Rimsky.

And then, of course, there’s Amadeus. e success of the film has done more than

anything to promote the image of Salieri as malefactor, even though the play on whichit is based rests on the fact that he wasn’t actually a murderer. But in identifying withSalieri, Shaffer has made the composer’s little tragedy into something far, far bigger:something that holds up a mirror to a side of human nature we’d rather not confront.

All these works, though, miss out one important point: that Shaffer’s «patron saintof mediocrities’ wrote some fine music. It’s true that his output is inconsistent, that herarely reaches the same heights Mozart scaled. But, equally, some of it is original andinventive — and the best is very good indeed. Salieri may have made a great cinematic villain, but perhaps in the future we can remember him for something he actually did.



56


Text 2

68 INTERESTING FACTS ABOUT MOZART

1. In 2002, on the one-year anniversary of the September 11thattacks, choirs around the world sang Mozart’s Requiem Mass

in D minor for 24 hours in a global effort to honor those whodied.

2. By the age of 3, Mozart had learned to play a clavier,which was an old-fashioned stringed instrument that hada keyboard. By the age of 5, he was playing the harpsichord

and violin as well as a professional. He was playing in front ofroyalty when he was just 6 years old. Mozart was a rare musical

genius.3. Mozart could write music before he could write words.

4. Mozart wrote half the number of total symphonies he would create between theages of 8 and 19.

5. Mozart’s nickname was «Wolfie».6. Ludwig von Köchel (1800–1877) produced the first scholarly catalog of the works

of Mozart.7. Mozart composed his last symphony (no. 41) in 1788. It is known as the «Jupiter»

symphony.8. In the largest-ever recording project devoted to a single composure, Philips Classic

produced 180 compact discs in 1991 containing the complete set of authenticated

works by Mozart. It comprises over 200 hours of music and would take over 6.5 feet ofshelving.9. e soundtrack to the1984 film Amadeus made it to #56 on the Billboard album

charts, making it one of the most successful classical music albums ever.10. Composer Gustav Mahler’s (1860–1911) last word before he died was «Mozart».11. Wolfgang Mozart was baptized Johannes Chrysostomus Wolfgangus eophilus

Mozart.12. Mozart could listen to music just once and then write it down from memory

without any mistakes.

13. e only country that begins with the same first three letters at Mozart isMozambique.14. One anagram of «Wolfgang Mozart» is «A famous German waltz god».15. Mozart’s sister Maria Anna (1751–1829) was a talented pianist, but aer she

reached marriageable age, she was not allowed to perform in public. In contrast toMozart, who disobeyed his father’s wishes about his career and marriage, Maria Annawas very obedient to her father.

16. Mozart was a master of every type of music he wrote. He was a child star, one ofthe greatest pianists of his generation, and the most well-known composer in Europe bythe age of 20. However, even with all this, he spent most of his life searching for a job.



57


17. Wolfgang Amadeus Mozart (1756–1791) died in his 36th year, at the peak of hismusical power — without any money.

18. Mozart wrote more music in his short career than many other composers wholived much longer.

19. Mozart’s father, Leopold, described Mozart’s birth as a «miracle from God»because he seemed too small and weak to survive.20. Count Hieronymus von Colloredo (1732–1812), archbishop of Salzburg, is

famous for being one of Mozart’s patrons and employers. He eventually became annoyedwith Mozart’s frequent absences and dismissed him with the famous words: «Soll erdoch gehen, ich brauche ihn nicht!» (“He may leave, I don’t need him!)»

21. At one time, Mozart was an employee of the archbishop of Salzburg. Relationswith his employer ended when the archbishop’s secretary gave Mozart a kick in thebehind.

22. Debate surrounds the temperament of Mozart’s father, Johann Georg LeopoldMozart (1719–1787). Some scholars cast him as being tyrannical, mendacious, andpossessive, while others argue Leopold was a sensible guide for an irresponsibleWolfgang.

23. Wolfgang Mozart’s second name, eophilus, means «loved by God» in Greek.He liked to use the Latin translation, «Amadeus».

24. Mozart, his father, and his sister traveled around the noble courts of Europe toperform music. Travel was difficult in those days, and all three Mozarts suffered seriousillnesses on the road. Wolfgang never grew to be a strong man, and researchers believehis many illnesses as a child le him small, pale, and delicate.

25. e music Mozart played as a child was called the «gallant style,» which wasa part of a larger artistic movement known as Rococo. It was noted for its more jocular,florid, and playful style. Mozart would later move away from the gallant style to becomean archetype of the classical style.

26. Mozart traveled extensively. He spent 14 of his 36 years away from home.27. When Mozart was just 14, he composed the opera Mitridate re di Ponto (Mithridates,

King of Pontus). It was a triumph when it was performed in December 1770 in Milan.28. e term «Mozart’s ear» describes a defect of the ear. Researchers believe Mozart

and his son, Franz, had a congenital ear defect.29. Mozart was born in Salzburg, Austria, in 1756. He died in Vienna, Austria, in

1791 at the age of 35.30. In addition to composing perfect fugues and operas, Mozart also has a sense

of humor that frequently included references to scatology (feces). In one letter to his19-year-old cousin Marianne, the 21-year-old Mozart wrote, «I now wish you a goodnight, shit in your bed with all your might». However, it appears the entire Mozartfamily «wrote strange things to each other».

31. First coined in 1993, the «Mozart Effect» is the belief that listening to Mozart’smusic can improve a person’s IQ.



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32. Mozart’s music has been credited with helping those with epilepsy, boostingthe milk production of cows, and boosting the IQ of unborn babies. A Swiss sewagetreatment center has now claimed that Mozart can help microbes break down sewagewaste. e center’s preferred composition is Te Magic Flute.

As a child, Mozart asked Marie Antoinette to marry him33. While in Vienna as a child, Mozart performed for EmpressMaria eresa. He amused her when he asked one of her

young daughters to marry him. She was Marie Antoinette,the future queen of France.

34. No one is sure where Mozart’s body is. He wasburied according to the custom of the time in a simplegrave. He had no graveside ceremony or even a gravemarker.

35. Mozart had six children, but only two survivedinfancy. Neither of his two sons, Karl omas and Franz

Xaver, married or had children.36. Mozart was the first person to compose piano concertos as

we know them today. Piano concertos are like lively conversations between the pianoand orchestra.

37. While Mozart earned substantial money from his successful operas, he was anextravagant spender and oen ended up in financial straits.

38. Count Franz von Walsegg commissioned Mozart to write his famous requiem.However, he wanted Mozart to leave his name off of the requiem mass so that the countcould pass it off as his own work.

39. Mozart composed over 600 works, and most of them are pinnacles of symphonic,concerto, chamber, operatic, and choral music.

40. Among Mozart’s prolific musical creations are 41 symphonies, 27 piano concertos,5 violin concertos, 27 concert arias, 23 string quartets, 18 masses, and 22 operas.

41. While Mozart was in Rome as a child, the pope awarded him the Order of theGolden Spur, a very high honor.

42. Mozart’s impact on Western music is profound. Joseph Haydn noted «posteritywill not see such a talent again in 100 years».

43. Mozart was the youngest of seven children; however, five of his siblings diedin infancy. e only other sibling to survive was Maria Anna (1751–1829), who wasnicknamed «Nannerl».

44. When he was young, Mozart’s only teacher was his father. Along with music,Mozart’s father also taught his children languages and other academic subjects.

45. Mozart wrote his first symphony when he was just 8 years old.46. When Mozart visited the Sistine Chapel as a child, he astonished everyone when

he remembered and wrote down, note for note, Allegri’s Miserere. is compositionhad been previously kept a secret.



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47. Much to his father’s horror, Mozart married 19-year-old Constanze on August4, 1782. Some scholars depict her as flighty; others view her more sympathetically.Eighteen years aer Mozart’s death, she married again and helped her new husbandwrite a book about Mozart.

Constanze Mozart was a trained a musician48. Mozart’s famous partnership with Lorenzo Da Ponteresulted in the Marriage of Figaro, which is based on a play by

Beaumarchais. eir partnership is one of the most famousin the history of music.

49. Mozart’s main rival was the Italian composerAntonio Salieri, who wrote more than 40 operas. Yearslater, Salieri claimed that he had poisoned Mozart, thoughmost people believe it was the ramblings of a confused oldman.

50. When Mozart died, his wife Constanze was so upsetthat she crawled into bed with her dead husband so she could

catch his illness and die with him.51. Mozart studied Johann Sebastian Bach and George Frideric

Handel, both of whom influenced his music — specifically the fugal passages in Die

Zauberflöte (Te Magic Flute) and the finale of Symphony No. 41.52. Mozart’s Mass in C Minor was largely prompted by his father’s and sister’s cool

reception of his wife, Constanze.53. When Mozart met Joseph Haydn in Vienna in 1784, they became friends. ey

would sometimes play together in impromptu string quartets. Mozart dedicated sixquartets to his friend.

54. Te Marriage of Figaro (1786) and Don Giovanni (1787) are two of Mozart’s mostimportant works and are still opera mainstays today. At their premieres, their musicalcomplexity was surprising for both listeners and performers.

55. While Mozart was working under Emperor Joseph II in 1787, a young Ludwig van Beethoven spent several weeks in Vienna, hoping to study under Mozart. No one issure whether the two famous composers ever met.

56. Mozart fell ill while in Prague for the September 6, 1791, premier of his operaLa clemenza di ito. He died in his home on December 5, 1791. Even while ill, he wasoccupied with the task of finishing his Requiem.

57. Mozart was buried in a «common grave» at the St. Marx Cemetery. A «commongrave» is not the same as a pauper’s grave or a communal grave, but a grave for peoplewho were not the aristocracy. One main difference is that common graves were subjectto excavation aer 10 years while the graves of aristocrats weren’t.

58. Researchers have hypothesized at least 118 causes of death for Mozart, includingrheumatic fever, influenza, trichinosis, mercury poisoning, kidney ailment, andstreptococcal infection.




59. Aer Mozart’s death, his wife, Constanze, successfully petitioned the emperorfor widow’s pension for herself and her two children. She also organized a series ofconcerts of Mozart’s music and the publications of his works.

60. According to Mozart’s wife, Constanze, at the end of Mozart’s life, he believed hewas being poisoned and that he was composing his Requiem for himself. He died beforefinishing it. His student Franz Süssmayr completed the work, and it is this version thatis most oen heard today. Scholars still debate which parts Mozart truly wrote.

61. Mozart became increasingly popular aer his death. In fact, as 20th centurybiographer Maynard Solomon notes, there was an «unprecedented wave of enthusiasm»for his work postmortem.

62. In 1801, gravedigger Joseph Rothmayer allegedly dug up Mozart’s skull froma cemetery in Vienna. However, even aer various testing, it remains uncertain whetherthe skull is, in fact, Mozart’s. For now, it is locked away at the Mozarteum Foundationin Salzburg, Austria.

63. Mozart was born a Catholic and remained a member his entire life. Some of hisgreatest works are religious.

64. According to several biographers, Mozart was a small man with intense eyes. Hehad small pox when he was a child, which le some facial scars. He was thin and palewith fine hair and he loved elegant clothes.

65. Mozart was a tenor. He was also le-handed.66. Mozart once said, «I pay no attention whatever to anybody’s praise or blame.

I simply follow my own feelings».67. Mozart’s wife destroyed many of his sketches and dras aer his death.

68. Mozart had several pets, including a dog, a starling, a canary, and a horse.



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UNIT 7

L u d w i g v a n B e e t h ov e n Ludwig van Beethoven was born in Bonn, Germany in 1770.

Bonn is located in the heart of Germany’s lovely Rhineland.

Like Bach and Mozart, Ludwig came from a musical family.

His father and grandfather were employed as musicians in thecourt of the elector in Bonn. Ludwig started lessons in piano,

violin and composition with his father when he was four

years old. By the time he was 11, he was performing and sight-

reading with great expertise, and his talent for improvising was

favorably compared to the great child prodigy Mozart.

Early in his career, Beethoven met some of the famous composersof the time. On a trip to Vienna in 1787 when he was 17, Beethoven met and played forMozart.

Mozart was impressed with Beethoven’s skill at improvising on the piano. In 1792,Beethoven met Franz Joseph Haydn who passed through Bonn on his way from Englandto Vienna. Haydn complimented Beethoven on some of his works. is impressed theelector so much that he sent Beethoven to Vienna to study with Haydn.

In 1792, Beethoven moved to Vienna where he spent the rest of his life. He loved

nature and spent many holidays in the country where he took long walks. He always kept

a notebook handy to jot down musical ideas that came to him. His love of the countryside

inspired him to compose his famous Symphony No. 6, the «Pastoral» symphony. In this

symphony one can hear birds singing, a tumbling waterfall and a thunderstorm.

In 1801, Beethoven composed his Sonata quasi una Fantasia (“Moonlight Sonata”),Op. 27, No. 2, one of the best-loved sonatas. It was dedicated to the young CountessGiulietta Guicciardi, one of Beethoven’s piano students. Beethoven is believed to haveproposed marriage to the countess who inspired this piece — a marriage that wasopposed by her father on the grounds that Beethoven was a man not worthy of hisdaughter because he was seen as being without rank, money, or permanent employment.

Around 1800, Beethoven noticed that he was becoming deaf and by 1820 he couldno longer hear well enough to conduct an orchestra. He was totally deaf the last sevenyears of his life, yet continued to compose music. Some of his greatest compositionswere written during this period, including Symphony No. 9, completed in 1824.



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Beethoven is considered to be one of the greatest composers of the Classical period.His later music was more characteristic of the Romantic period, and many scholarsbelieve he bridged the gap between the Classical and Romantic periods.


2. Match the following Russian words and phrases with the English equivalents.1. находиться в центре Германии a. to employ 2. нанимать на работу b. a tumbling waterfall3. искусно исполнять и читать с листа c. worthy 4. талант к импровизации d. to spend the rest of one’s life5. хвалить кого-либо e. a scholar6. провести остаток жизни f. without rank, money and permanent

employment7. долго гулять g. to perform and sight-read with great

expertise8. держать записную книжку под рукой h. to jot down9. бегло, кратко записать i. to propose to the countess10. любовь к природе вдохновила его нанаписание

j. to be located in the heart of Germany

11. грохочущий водопад k. his love of the countryside inspired him tocompose

12. гроза l. to become deaf 13. делать предложение графине m. to compliment somebody 14. возражать, исходя из соображений n. to conduct an orchestra15. стоящий, подходящий o. to take long walks

16. без социального положения, денеги работы p. a thunderstorm

17. глохнуть, становится глухим q. a talent for improvising18. дирижировать оркестром r. to bridge the gap between the Classical and

Romantic periods19. ученый s. to oppose on the grounds20. соединить классический и романтиче-ский период в музыке

t. to keep a notebook handy


Words and word combinations Synonyms Antonyms

1. favourably 2. to compliment3. to impress4. to notice5. marriage6. to oppose7. worthy 8. employment9. talent10. child



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Ludwig van Beethoven


Infinitive present Past Simple Participle II1. to come2. met3. sent

4. to take5. kept6. heard7. to see8. lay 9. cut10. to put


1. coerelt

2. myraneg3. xepesrtie4. moviiprse5. plecommitn6. tusirycnoed7. sopatlar8. sunocets9. afde10. lachros


combinations.

1. Ludwig van Beethoven’s father and grandfather __ in the court of the elector in Bonn.A. were employed as lawyers B. were employed as musiciansC. were employed as teachers D. were employed as doctors

2. Beethoven’s talent for improvising and sight-reading was favorably compared to thegreat child prodigy __________ .

A. Haydn B. Clementi C. Bach D. Mozart

3. Mozart was impressed with Beethoven’s skill at __________ .A. improvising on the piano. B. playing the violinC. improvising on the organ D. playing the harpsichord

4. In 1792, Beethoven moved to __________ where he spent the rest of his life.A. Paris B. Hamburg C. London D. Vienna

5. His famous Symphony No. 6, the «Pastoral» symphony was inspired by __________ .A. his love to the city B. his love to the countrysideC. his love to a woman D. his love to children



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6. Beethoven proposed to the countess who inspired him to compose «MoonlightSonata» and her father __________ .

A. was happy B. opposed it C. was sad D. agreed

7. Aer becoming deaf, Beethoven __________ .

A. le Vienna B. continued to composeC. married the countess D. argued with Haydn

8. Beethoven’s latest music was more characteristic of __________ .A. the Baroque period B. the Classical periodC. the Impressionistic period D. the Romantic period


1. Beethoven’s talent for __________ was favorably compared to the great child prodigyMozart.

A. improvisation B. improvisingC. improvise D. improvision

2. Beethoven’s talent impressed the elector __________ that he sent him to Vienna tostudy with Haydn.

A. such much B. such many C. so many D. so much

3. In Beethoven’s Symphony No. 6 one __________ birds singing, a tumbling waterfalland a thunderstorm.

A. can to hear B. can hear C. can hears D. cans hears

4. Beethoven __________ to have proposed marriage to the countess who inspired«Moonlight Sonata».

A. believed B. believes C. was being believed D .is believed

5. By 1820 Beethoven could no longer hear _________ to conduct an orchestra.A. well enough B. good enough C. enough good D .

enough well

6. Beethoven’s later music was __________ of the Romantic period.

A. characteristicer B. most characteristicC. highly characteristic D. more characteristic


1. Bonn is located _____ the heart _____ Germany’s lovely Rhineland.

2. Ludwig started lessons _____ piano, violin and composition _____ his father whenhe was four years old.

3. _____ a trip _____ Vienna _____ 1787 when he was 17, Beethoven met and played_____ Mozart.



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4. Mozart was impressed _____ Beethoven’s skill _____ improvising _____ the piano.

5. _____ 1792, Beethoven met Franz Joseph Haydn who passed _____ Bonn _____ hisway _____ England _____ Vienna.

6. Beethoven is believed to have proposed marriage _____ the countess who inspired

_____ this piece — a marriage that was opposed _____ her father _____ the groundsthat Beethoven was a man _____ not worthy _____ his daughter because he was seen_____ being _____ rank, money, or permanent employment.

7. Some _____ his greatest compositions were written during this period, includingSymphony No. 9, completed _____ 1824.

8. His later music was more characteristic _____ the Romantic period, and manyscholars believe _____ he bridged the gap ______ the Classical and Romantic periods.

9. Complete the sentences.1. Beethoven’s first music teacher was _____________________________________ .

2. Beethoven was favourably compared to _________________________________ .

3. At the age of 17 Beethoven ___________________________________________ .

4. In late 1790 Beethoven was first introduced to ____________________________ .

5. With the Elector’s help, Beethoven le Bonn for __________________________ .

6. Moving to Vienna, Beethoven liked ___________________________________ .

7. Beethoven proposed to the countess, but ________________________________.8. At the age of 26, Beethoven began _______________________________________ .

9. Despite his deafness _________________________________________________ .

10. Beethoven bridged ________________________________________________ .


1. Людвиг ван Бетховен родился в Бонне 16 декабря 1770.

2. В 1787 году Бетховен посетил Вену, где познакомился с Моцартом.

3. Бетховен решает ехать в Вену, чтобы брать уроки у прославленного компози-тора.

4. Переехав в Вену, Бетховен полюбил прогулки по лесу.

5. Бетховен посвятил «Лунную сонату» одной из своих студенток.

6. Говорят, что Бетховен делал предложения графине, но был отвергнут ее отцом.

7. В 1796 году Бетховен заметил, что начинает терять слух.

8. Потеряв слух, Бетховен продолжает сочинять.



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9. Главным произведением его последних лет стала Симфония № 9 с хором.

10. Бетховен — ключевая фигура западной классической музыки в период меж-ду классицизмом и романтизмом, один из наиболее уважаемых и исполняемыхкомпозиторов в мире.


a) in the name of Mozartb) in the name of Countess Giulietta Guicciardi


a) Between Beethoven (Brahms, Haydn, you, etc.).b) You have played Beethoven’s works and is to explain to your fellow-student the


13. Imagine what if …a) Beethoven were alive today. What music would he be doing?b) What art would he prefer and why?c) … (make your own assumption)*For intermediate level students and above: see Supplementary Texts 1, 2

SUPPLEMENTARY TEXTS

Text 1

Ludwig van Beethoven. Biography Pianist, Composer (c. 1770–1827)Ludwig van Beethoven was a deaf German composer and the predominant musical

figure in the transitional period between the Classical and Romantic eras.

quotes

«Never shall I forget the time I spent with you. Please continue to be my friend, asyou will always find me yours».

«Anyone who tells a lie has not a pure heart and cannot make good soup».«Love demands all and has a right to all».«Recommend to your children virtues that alone can make them happy. Not gold».«I shall seize fate by the throat».«Music is the mediator between the spiritual and sensual life».«To play without passion is inexcusable!»«Ever thine, ever mine, ever ours».«Don’t only practice your art, but force your way into its secrets, for it and knowledge

can raise men to the divine».«Music is a higher revelation that all wisdom and philosophy».— Ludwig van Beethoven



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Synopsis

Composer Ludwig van Beethoven was baptized on December 17, 1770, in Bonn,Germany. He was an innovator, widening the scope of sonata, symphony, concerto andquartet, and combining vocals and instruments in a new way. His personal life was

marked by a struggle against deafness, and some of his most important works werecomposed during the last 10 years of his life, when he was quite unable to hear.

Early Years

Composer and pianist Ludwig Van Beethoven, widelyconsidered the greatest composer of all time, was born on or

about December 16, 1770 in the city of Bonn in the Electorate ofCologne, a principality of the Holy Roman Empire. Althoughhis exact date of birth is uncertain, Beethoven was baptizedon December 17, 1770.

Since as a matter of law and custom, babies were baptizedwithin 24 hours of birth, December 16 is his most likelybirthdate. However, Beethoven himself mistakenly believed that

he was born two years later, in 1772, and he stubbornly insisted on the incorrect dateeven when presented with official papers that proved beyond any reasonable doubt that1770 was his true birth year.

Beethoven had two younger brothers who survived into adulthood, Caspar, born in1774, and Johann, born in 1776. Beethoven’s mother, Maria Magdalena van Beethoven,was a slender, genteel, and deeply moralistic woman. His father, Johann van Beethoven,

was a mediocre court singer better known for his alcoholism than any musical ability.However, Beethoven’s grandfather, godfather and namesake, Kapellmeister Ludwig vanBeethoven, was Bonn’s most prosperous and eminent musician, a source of endlesspride for young Ludwig.

Sometime between the births of his two younger brothers, Beethoven’s father beganteaching him music with an extraordinary rigor and brutality that affected him for therest of his life. Neighbors provided accounts of the small boy weeping while he playedthe clavier, standing atop a footstool to reach the keys, his father beating him for eachhesitation or mistake.

On a near daily basis, Beethoven was flogged, locked in the cellar and deprivedof sleep for extra hours of practice. He studied the violin and clavier with his fatheras well as taking additional lessons from organists around town. Whether in spite ofor because of his father’s draconian methods, Beethoven was a prodigiously talentedmusician from his earliest days and displayed flashes of the creative imagination thatwould eventually reach farther than any composer’s before or since.

Hoping that his young son would be recognized as a musical prodigy à la Mozart,Beethoven’s father arranged his first public recital for March 26, 1778. Billed as a «littleson of six years,» (Mozart’s age when he debuted for Empress Maria eresia) althoughhe was in fact seven, Beethoven played impressively but his recital received no press



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whatsoever. Meanwhile, the musical prodigy attended a Latin grade school namedTirocinium, where a classmate said, «Not a sign was to be discovered of that spark ofgenius which glowed so brilliantly in him aerwards».

Beethoven, who struggled with sums and spelling his entire life, was at best anaverage student, and some biographers have hypothesized that he may have had milddyslexia. As he put it himself, «Music comes to me more readily than words». In 1781, atthe age of 10, Beethoven withdrew from school to study music full time with ChristianGottlob Neefe, the newly appointed Court Organist. Neefe introduced Beethoven toBach, and at the age of twelve Beethoven published his first composition, a set of piano variations on a theme by an obscure classical composer named Dressler.

By 1784, his alcoholism worsening and his voice decaying, Beethoven’s father wasno longer able to support his family, and Ludwig van Beethoven formally requested anofficial appointment as Assistant Court Organist. Despite his youth, his request wasaccepted, and Beethoven was put on the court payroll with a modest annual salary of

150 florins.In an effort to facilitate his musical development, in 1787 the court decided to send

Beethoven to Vienna, Europe’s capital of culture and music, where he hoped to studywith Mozart. ere is only speculation and inconclusive evidence that Beethovenever met with Mozart, let alone studied with him. Tradition as it that, upon hearingBeethoven, Mozart was to have said, «Keep your eyes on him; some day he will give theworld something to talk about». In any case, aer only a few weeks in Vienna, Beethovenlearned that his mother had fallen ill and he returned home to Bonn. Remaining inthere, Beethoven continued to carve out his reputation as the city’s most promising

young court musician.When the Holy Roman Emperor Joseph II died in 1790, a 19-year-old Beethoven

received the immense honor of composing a musical memorial in his honor. For reasonsthat remain unclear, Beethoven’s composition was never performed, and most assumedthe young musician had proven unequal to the task. However, more than a centurylater, Johannes Brahms discovered that Beethoven had in fact composed a «beautifuland noble» piece of music entitled Cantata on the Death of Emperor Joseph II. It is nowconsidered his earliest masterpiece.

Composing for Audiences

In 1792, with French revolutionary forces sweepingacross the Rhineland into the Electorate of Cologne,Beethoven decided to leave his hometown for Viennaonce again. Mozart had passed away a year earlier,leaving Joseph Haydn as the unquestioned greatestcomposer alive.

Haydn was living in Vienna at the time, and itwas with Haydn that the young Beethoven nowintended to study. As his friend and patron Count



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Waldstein wrote in a farewell letter, «Mozart’s genius mourns and weeps over

the death of his disciple. It found refuge, but no release with the inexhaustible

Haydn; through him, now, it seeks to unite with another. By means of assiduous

labor you will receive the spirit of Mozart from the hands of Haydn».

In Vienna, Beethoven dedicated himself wholeheartedly to musical studywith the most eminent musicians of the age. He studied piano with Haydn, vocal

composition with Antonio Salieri and counterpoint with Johann Albrechtsberger.

Not yet known as a composer, Beethoven quickly established a reputation as

a virtuoso pianist who was especially adept at improvisation.

Beethoven won many patrons among the leading citizens of the Viennese

aristocracy, who provided him with lodging and funds, allowing Beethoven, in

1794, to sever ties with the Electorate of Cologne. Beethoven made his long-

awaited public debut in Vienna on March 29, 1795. Although there is considerable

debate over which of his early piano concerti he performed that night, most

scholars believe he played what is known as his «first» piano concerto in C Major.

Shortly thereaer, Beethoven decided to publish a series of three piano trios as

his «Opus 1,» which were an enormous critical and financial success.

In the first spring of the new century, on April 2, 1800, Beethoven debuted his

Symphony No. 1 in C major at the Royal Imperial eater in Vienna. Although

Beethoven would grow to detest the piece — «In those days I did not know

how to compose,» he later remarked — the graceful and melodious symphony

nevertheless established him as one of Europe’s most celebrated composers.

As the new century progressed, Beethoven composed piece aer piece that

marked him as a masterful composer reaching his musical maturity. His «Six

String Quartets,» published in 1801, demonstrate complete mastery of that most

difficult and cherished of Viennese forms developed by Mozart and Haydn.

Beethoven also composed Te Creatures of Prometheus in 1801, a wildly popular

ballet that received 27 performances at the Imperial Court eater.

Around this time Beethoven, like all of Europe, watched with a mixture of awe

and terror as Napoleon Bonaparte proclaimed himself First Consul, and later

Emperor, of France. Beethoven admired, abhorred and, to an extent, identified

with Napoleon a man of seemingly superhuman capabilities, only one year older

than himself and also of obscure birth.

In 1804, only weeks aer Napoleon proclaimed himself Emperor, Beethoven

debuted his Symphony No. 3 in Napoleon’s honor. Later renamed the «Eroica

Symphony» because Beethoven grew disillusioned with Napoleon, it was his

grandest and most original work to date — so unlike anything heard before

that through weeks of rehearsal, the musicians could not figure out how to play

it. A prominent reviewer proclaimed Eroica, «one of the most original, most

sublime, and most profound products that the entire genre of music has ever

exhibited».



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Losing Hearing

At the same time as he was composing these great and immortal works, Beethovenwas struggling to come to terms with a shocking and terrible fact, one that he trieddesperately to conceal. He was going deaf. By the turn of the century, Beethoven

struggled to make out the words spoken to him in conversation.Beethoven revealed in a heart-wrenching 1801 letter to his friend Franz Wegeler, «Imust confess that I lead a miserable life. For almost two years I have ceased to attendany social functions, just because I find it impossible to say to people: I am deaf. If I hadany other profession, I might be able to cope with my infirmity; but in my professionit is a terrible handicap». At times driven to extremes of melancholy by his affliction,Beethoven described his despair in a long and poignant note that he concealed his entirelife.

Dated October 6, 1802 and referred to as «e Heiligenstadt Testament,» it readsin part, «O you men who think or say that I am malevolent, stubborn or misanthropic,how greatly do you wrong me. You do not know the secret cause which makes me seemthat way to you and I would have ended my life — it was only my art that held me back.Ah, it seemed impossible to leave the world until I had brought forth all that I felt waswithin me».

Almost miraculously, despite his rapidly progressing deafness, Beethoven continuedto compose at a furious pace. From 1803–1812, what is known as his «middle» or«heroic» period, he composed an opera, six symphonies, four solo concerti, five stringquartets, six string sonatas, seven piano sonatas, five sets of piano variations, fourovertures, four trios, two sextets and 72 songs. e most famous among these weresymphonies No. 3–8, the «Moonlight Sonata,» the «Kreutzer» violin sonata and Fidelio, his only opera. In terms of the astonishing output of superlatively complex, originaland beautiful music, this period in Beethoven’s life is unrivaled by any of any othercomposer in history.

Despite his extraordinary output of beautiful music, Beethoven was lonely andfrequently miserable throughout his adult life. Short-tempered, absent-minded, greedyand suspicious to the point of paranoia, Beethoven feuded with his brothers, hispublishers, his housekeepers, his pupils and his patrons. In one illustrative incident,Beethoven attempted to break a chair over the head of Prince Lichnowsky, one of hisclosest friends and most loyal patrons. Another time he stood in the doorway of PrinceLobkowitz’s palace shouting for all to hear, «Lobkowitz is a donkey!»

For a variety of reasons that included his crippling shyness and unfortunate physicalappearance, Beethoven never married or had children. He was, however, desperatelyin love with a married woman named Antonie Brentano. Over the course of two daysin July of 1812, Beethoven wrote her a long and beautiful love letter that he never sent.Addressed «to you, my Immortal Beloved,» the letter said in part, «My heart is full of somany things to say to you — ah — there are moments when I feel that speech amountsto nothing at all — Cheer up — remain my true, my only love, my all as I am yours».



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e death of Beethoven’s brother Caspar in 1815 sparked one of the great trials of his

life, a painful legal battle with his sister-in-law, Johanna, over the custody of Karl van

Beethoven, his nephew and her son. e struggle stretched on for seven years during

which both sides spewed ugly defamations at the other. In the end, Beethoven won the

boy’s custody, though hardly his affection.

Acclaimed Works and Death

Somehow, despite his tumultuous personal life, physical infirmity and complete

deafness, Beethoven composed his greatest music — perhaps the greatest music ever

composed — near the end of his life. His greatest late works include Missa Solemnis,

a mass that debuted in 1824 and is considered among his finest achievements, and

String Quartet No. 14, which contains seven linked movements played without a break.

Beethoven’s Ninth and final symphony, completed in 1824, remains the illustriouscomposer’s most towering achievement. e symphony’s famous choral finale, with

four vocal soloists and a chorus singing the words of Friedrich Schiller’s poem «Ode to

Joy,» is perhaps the most famous piece of music in history.

While connoisseurs delighted in the symphony’s contrapuntal and formal complexity,

the masses found inspiration in the anthem-like vigor of the choral finale and the

concluding invocation of «all humanity».

Beethoven died on March 26, 1827, at the age of 56. An autopsy revealed that the

immediate cause of death was post-hepatitic cirrhosis of the liver. e autopsy also

provided clues to the origins of his deafness. While his quick temper, chronic diarrheaand deafness are consistent with arterial disease, a competing theory traces Beethoven’s

deafness to contracting typhus in the summer of 1796.

Recently, scientists analyzing a remaining fragment of Beethoven’s skull noticed

high levels of lead and hypothesized lead poisoning as a potential cause of death, but

that theory has been largely discredited.

Ludwig van Beethoven is widely considered the greatest composer of all time. He is

the crucial transitional figure connecting the Classical and Romantic ages of Western

music. Beethoven’s body of musical compositions stands with Shakespeare’s plays at theouter limits of human accomplishment.

And the fact Beethoven composed his most beautiful and extraordinary music

while deaf is an almost superhuman feat of creative genius, perhaps only paralleled in

the history of artistic achievement by John Milton writing Paradise Lost while blind.

Summing up his life and imminent death during his last days, Beethoven, who was

never as eloquent with words as he was with music, borrowed a tag line that concluded

many Latin plays at the time. «Plaudite, amici, comoedia finita est,» he said. «Applaud

friends, the comedy is over».



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Text 2

WHAT IF BEETHOVEN GAVE YOUR COMMENCEMENT1 SPEECH?

Ludwig van Beethoven, Commencement Address, SalzburgA & M (Art & Music)

I am honored to be with you today, although it might haveoccurred to someone at A & M to front me the money for thetrip from Vienna. Generally speaking, I don’t do freebies, whichis the first and best piece of advice I can give you. And forheaven’s sake, don’t fall for that line the fat cats so love, «Ooh,Herr Beethoven, you’re so lucky to be doing what you love. I’ll

bet you’d do it for free!» Bad bet, Kimosabe. Does anyone ever use that line on hisbarber? Do you expect free stuff from your wig maker, your gardener, from the cableguy? No. Point in fact: you’re worth whatever you say you’re worth.

Anyway, I’m thrilled to be here. Personally, I never graduated from college. I nevereven went to college. It wasn’t an option when I was growing up, although I have doneextensive course work at the school of hard knocks. You don’t actually graduate fromthat school; you just survive and move on. So this is the closest I’ve ever come to a realcollege graduation.

Today I’m going to tell you three stories from my life. at’s it: just three stories.

Te first story is about growing up hard.

My dad beat used to the crap out of me. I was something of a musical prodigy,and my father — who was a singer, a tenor — figured, whoa, here’s money-in-the-

bank waiting to happen. So he did everything he could to make me practice, includingphysical abuse and sleep deprivation. Now my grandfather Ludwig — for whom I wasnamed — there was a real musician. But my dad was a drunken mediocrity. He wantedme to be the next Mozart, but all he did was make me hate him and, looking back,anyone or anything I might identify as an authority figure. When mom died of TBin 1787 — I was just 16 — I became head of the household and guardian of my twoyounger brothers because my dad was too sloshed to do so himself. Me and my brothersused to hunt for him at night. We’d find him passed out somewhere and carry him backhome and put him to bed.

is is what passed for my domestic life as a child. Nevertheless, I had my musicaltalent, a hecka work ethic and, eventually, the support of some local heavyweights. Itall combined to buy me what turned out to be a one-way ticket to the big time — toVienna — in November of 1792. I’ve lived in Vienna ever since, despite the fact that theViennese are absolutely worthless, total losers. Yes, I said that. I know Vienna gave memy fame, but if that jerk Napoleon hadn’t made such a muck of Europe I would havemoved out long ago.

1 День присуждения университетских степеней / церемония вручениядипломов в Кембридже и др. учебных заведениях



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What can we take from my abbreviated description of my childhood? is: life isa struggle; a struggle with which you must engage if you want to grow and survive. Self-pity and victimization will get you nowhere; frankly, the world doesn’t give a rat’s rumpabout your needs and life is unfair. e sooner you figure that out the better off you’ll

be. You’re on your own, compadres. Deal with it.Story number two: hearing loss and reinvention.

Okay: so I’m living and working in Vienna. I initially built my rep as a piano player,but soon enough I began to attract a following as a composer as well. Life was good.And then life started being not good. Sometime in 1796 — I would have been around25½ years old — I started hearing a buzzing and crackling in my ears and I began losingmy hearing from the highest sounds down. By 1802 I had come to realize that this thingwas incurable and I was probably going deaf. Well, I freaked. In October I wrote out mywill, thought about suicide, the whole depressive nine yards.

And then I put two and two together. I was living in a Napoleon–inspired environmentwhere most all undertakings took on an air of grandeur and heroism. I had also come tobelieve that my talent ennobled me and that my only creative limits were ones I placedon myself. I realized that the ideal of fateful struggle and victory over fate that hadempowered me since my childhood could be portrayed in musical terms. I saw my«new path» before me: as an artist for whom heroic struggle and redemptive victorywould be the expressive gist of a new, highly personalized sort of music. Talk abouta new lease on life! e next «big» piece I composed was my ird Symphony, whichI eventually dubbed the Eroica, the heroic symphony. It is a long and gnarly piece, and

most folks didn’t get it. But I knew I had found my voice and I ran with it for all it wasworth.Kids, I built a better musical mousetrap, one that allowed me to channel my own joys

and demons as well as those of my environment into a music the likes of which no onehad ever heard before. It was, in the end, a matter of self-expression: I had to composefor myself. I figured that the rest of the world would catch up when it was ready, and inthis I was correct.

Story number three: you’re going to need to decide whether you want a family or arebest off living entirely for your art.

Growing up, I had a pretty miserable example of «wedded bliss», as my parents’marriage was a nightmare. Nevertheless, I wanted to be married for the longest time,though in the end things didn’t work out that way.

Much as I love the ladies, I will admit that I’ve had my problems with them. I’m notmuch of a fashionista; my pals tell me that I oen look downright shabby, which youcan’t tell right now because I’m wearing this fancy graduation robe. Despite the fact thatI can play the piano like nobody’s business, I am incredibly uncoordinated, a real klutz.I bump into chairs; I knock over glasses and inkwells; I’m an awful dancer; I cut myhands when I sharpen my pencils, and I cut my face while shaving. To tell you the truth,I avoid shaving whenever I can, which means that I can get pretty scruffy looking. I also




speak — as I’m sure you’ve noticed — with a strong Rhineland accent, which drives thesnotheaded sophisticates in Vienna absolutely loony. I’m pretty short; I’ve got small-poxscars on my neck and chin; well, there you have it: I’m not going to attract a wife basedon my good looks or charming disposition.

I found to my dismay that most chicks only dug me as a musician, and as soon asI showed them a little personal sugar, they backpedaled faster than Deion Sanders. Forexample, soon aer I arrived in Vienna I was smitten by a singer named MagdalenaWillmann. I admit, I might have taken things a bit fast when one day, out of the blue,I proposed to her. She stared at me and told me I was «ugly and half crazy».

(I should have asked her «which half?», but at moments like that you never think ofthe right thing to say.)

I had this unfortunate tendency to fall in lust with tall, blonde cheerleader types:engaged or married aristocratic ladies who, when push-comes-to-shove (if you knowwhat I mean) would never consider mixing their fluids with mine. No doubt these

crushes were a defense mechanism to avoid any genuine romantic entanglement. Soimagine my surprise when one of these ladies actually returned my love back in 1812.No, I won’t tell you her name, but I will tell you that I was crazy about her. She offeredto leave her husband and her children in order to shack up with me in Vienna. Dang.It was show time; it was the toughest decision of my life. And what did I do? I «DearJohned» her; I broke her heart; I just couldn’t pull the matrimonial trigger. I had myfreedom and my art, and I understood that in the end all we would do was make eachother miserable.

I grieved for my «Immortal Beloved» for the next seven, eight years, easy. at’s

the main reason why I wrote so little music in the late eighteen-teens and why I wentso crazy what with my nephew and such between 1816 and 1820. But I emerged frommy funk, and have been writing some of my best music since, including my NinthSymphony, the Solemn Mass and some very cool piano sonatas and string quartets. emessage here is clear: you MUST follow your gi. It will oen take you places you don’twant to go and force you to make decisions you’d rather not make. But even more thanyour school, you must be true to yourself.

Let’s put this all together, from my lips to your ears.If you don’t believe in yourself, no one else will.

Change is good. Run with it. Embrace it. Make it your own.When opportunities arise, always say «yes». e word «no» is the refuge of the fearful.



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UNIT 8

F re d e r i c C h op i n

Frederic Chopin was born in a small town near Warsaw, Poland,in 1810. His father, a teacher, was French and his mother was

Polish. Frederic grew up in a cultured, educated family.When he was six years old he began studying piano and heplayed a concerto in public at the age of eight. While stillyoung, Frederic performed in many German cities.

Frederic developed a passionate love for Poland eventhough he lived most of his adult life in Paris, France. When

he le Poland, he took with him a goblet filled with the soil of

his beloved native land.In 1817, when Chopin was seven, his first work, Polonaise in G Minor , was published.

He attended the Warsaw Conservatory of Music. In 1829, he began a concert tour toLondon by way of Vienna, Munich and Paris. He was so successful in Paris that hedid not go to London. At this time, the Russians invaded Warsaw, making it difficultfor Chopin to return to Poland. Chopin remained in Paris the rest of his life where hebecame friends with Franz Liszt and other famous musicians living in Paris at that time.

Chopin preferred to perform for small gatherings of friends and society people inprivate homes. In 1839, Robert Schumann wrote a glowing review of some of Chopin’s

piano works saying, «Hats off, gentlemen! A new genius!»Chopin met a woman, the French writer George Sand, and fell in love with her

(she was the talk of Paris because although she was a woman, she dressed as a man).She did much to inspire Chopin. It was at this time that Chopin composed some of hismost famous compositions such as «Raindrop» Prelude, Op. 28, No. 15, the Polonaise

Militaire, Op. 40, No. 105 and the «Minute Waltz», Op. 64, No. 1. Later, he ended hisrelationship with George Sand and in 1848 le for London. In need of money, he gaveconcerts in Glasgow, Manchester, Edinburgh and London. He was exhausted when he



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returned to Paris and died there in October of 1849. e soil from Poland that he hadkept with him was sprinkled over his grave.

Chopin helped make the piano a successful solo instrument. Most of his delicate,poetic compositions were written for solo piano. His beautiful melodies sang with

his feelings of love, sadness and longing. His lively, happy mazurkas and polonaisesexpressed his love for his native land.


2. Match the following Russian words and phrases with the English

equivalents.

1. концерт (музыкальное произведение) a. to attend the Conservatory 2. страстная, пылкая любовь b. the talk of 3. горячо любимая отчизна c. to sprinkle over one’s grave

4. посещать консерваторию d. to remain in Paris the rest of his life5. вторгаться в Польшу e. exhausted6. остаться в Париже на всю оставшуюсяжизнь

f. to fall in love with

7. блистательное ревю g. to end the relationship with8. «Честь и слава, джентльмены!» h. to dress as a man9. влюбиться i. a concerto10. у всех на устах j. sadness and longing11. одеваться как мужчина k. to express12. вдохновить l. a beloved native land

13. завершить отношения m. delicate, poetic compositions14. нуждающийся в деньгах n. a love for one’s native land15. измученный, изможденный o. «Hats off, gentlemen!»16. разбросать над могилой p. to inspire17. тонкие, поэтические композиции q. a passionate love18. печаль и тоска r. in need of money 19. выражать s. a glowing review 20. любовь к родной земле t. to invade Poland


Words and word combinations Synonyms Antonyms1. educated2. passionate3. to fill4. native5. friend6. private7. to fall in love with8. to end the relationship9. solo10. sadness



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Frederic Chopin


Infinitive present Past Simple Participle II1. to grow 2. began3. le

4. to take5. said6. fallen7. to give8. felt9. sought10. to think


1. ucededat

2. sotisapena3. datul fiel4. nosepoial5. woligng verewi6. penisri7. hesutaxed8. olso tenuinsmrt9. zarukam10. myloed


combinations.

1. Frederic Chopin was born in a small town near __________, in 1810.A. Munich, Germany B. Warsaw, PolandC. Bonn, Germany D. Paris, France

2. Frederic developed a ______ love for Poland even though he lived most of his adultlife in __________.

A. deep; Berlin, Germany B. negative; Paris, FranceC. passionate; Paris, France D. awful; Warsaw, Poland

3. Having finished his concert tour in Paris, he could not return to Poland because__________ .

A. he got married B. he got illC. he had to go to London D. the Russians invaded Warsaw

4. Chopin fell in love with __________ .A. the French writer George Sand B. the polish girlC. his cousin D. the polish princess



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5. Having ended his relationships with George Sand, he le for London, where__________ he gave concerts.

A. just for fun B. in need of money C. helping the poor D. teaching small children

6. When Chopin died __________ was sprinkled over his grave.A. the sand from the Sahara B. the money C. the water from Poland D. the soil from Poland

7. Chopin’s compositions expressed __________ .A. his love for George Sand B. his love for the Polish princessC. his love for his native land D. his love for his parents.


1. Frederic Chopin __________ in a cultured, educated family.

A. grew into B. has grown up C. grew up D. was grown up2. Frederic developed a passionate love for Poland __________ he lived most of hisadult life in Paris, France.

A. even though B. despite C. therefore D. and

3. In 1830s the Russians invaded Warsaw, __________ it difficult for Chopin to returnto Poland.

A. made B. make C. making D. having made

4. In 1839, Robert Schumann wrote a glowing review of some of Chopin’s piano works

___________, «Hats off, gentlemen! A new genius!»A. say B. saying C. said D. has said

5. He was __________ when he returned to Paris and died there in October of 1849.A. exhausting B. exhaust C. exhaustable D. exhausted

6. e soil from Poland that he had kept with him was __________ over his grave.A. sprinkled B. sprinkling C. being sprinkled D. been sprinkled

7. Chopin helped __________ the piano a successful solo instrument.A. making B. made C. make D. to have made


1. Frederic Chopin was born _____ a small town _____ Warsaw, Poland, _____ 1810.

2. Frederic developed a passionate love _____ Poland even though he lived most _____his adult life _____ Paris, France.

3. When he le Poland, he took _____ him a goblet filled _____ the soil _____ hisbeloved native land.

4. _____ 1829, he began a concert tour _____ London _____ way _____ Vienna, _____Munich and _____ Paris.



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Frederic Chopin

5. _____ this time, the Russians invaded Warsaw, making it difficult _____ Chopin toreturn _____ Poland.

6. Chopin remained _____ Paris the rest _____ his life where he became friends _____Franz Liszt and other famous musicians living _____ Paris _____ that time.

7. Chopin preferred to perform _____ small gatherings _____ friends and societypeople _____ private homes.

8. Later, he ended his relationship _____ George Sand and _____ 1848 le _____London.

9. e soil _____ Poland that he had kept _____ him was sprinkled _____ his grave.

10. Most _____ his delicate, poetic compositions were written _____ solo piano.


1. Chopin’s first public performance was ___________________________________ .2. Chopin’s passionate love _____________________________________________ .

3. He studied _______________________________________________________ .

4. Aer complited his concert tour, Chopin could not __________________________ .

5. Chopin preferred to _______________________________________________ .

6. Chopin fell ______________________________________________________ .

7. Having ended his relationships with __________________________________ .

8. When he died ____________________________________________________ .

9. Chopin composed a lot of ________________________________________ .

10. His compositions _________________________________________________ .


1. Уже в детские годы Шопен проявил необыкновенные музыкальные способно-сти.

2. Окончив консерваторию в Варшаве, Шопен начинает концертную деятель-

ность.

3. Гастроли в Дрездене, Вене, Мюнхене были успешными и, в 1831 году Шопенприезжает в Париж.

4. В Париже Шопен знакомится с французской писательницей Жорж Санд.

5. Жорж Санд вдохновила Шопена на создание многих величайших произведе-ний.

6. После разрыва с Жорж Санд в 1848 году Шопен уезжает в Лондон — концерти-ровать и преподавать.



80


7. Вернувшись в Париж, Шопен умирает 17 октября 1849 года.

8. Произведения Шопена отражали его большую любовь к своей родине, Поль-ше.

9. Шопен является одним из основных композиторов в репертуаре многих пиа-

нистов.


a) in the name of Frederic Chopinb) in the name of George Sand


a) Between Frederic Chopin and George Sand (you, etc.).b) You have played Chopin’s works and is to explain to your fellow-student the



a) Chopin had lived more. What music style would he have prefered and why?b) How would he have been dressed? How would our century have influenced his

disposition?c) … (make your own assumption)* For intermediate level students and above: see Supplementary Texts 1, 2

SUPPLEMENTARY TEXTS

Text 1

QUOTES BY CHOPIN

About life and philosophy

«Simplicity is the highest goal, achievable when you haveovercome all difficulties. Aer one has played a vast quantity

of notes and more notes, it is simplicity that emerges as thecrowning reward of art».

«When one does a thing, it appears good, otherwise one

would not write it. Only later comes reflection, and onediscards or accepts the thing. Time is the best censor, and

patience a most excellent teacher».«Every difficulty slurred over will be a ghost to disturb your

repose later on».«I wish I could throw off the thoughts which poison my happiness. And yet I take

a kind of pleasure in indulging them».«Sometimes I can only groan, suffer, and pour out my despair at the piano!»«Put all your soul into it, play the way you feel!»



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Frederic Chopin

« I tell my piano the things I used to tell you».«If I were still stupider than I am, I should think myself at the apex of my career; yet

I know how much I still lack, to reach perfection; I see it the more clearly now that I liveonly among first-rank artists and know what each one of them lacks».

«Having nothing to do, I am correcting the Paris edition of Bach; not only theengraver’s mistakes, but also the mistakes hallowed by those who are supposed tounderstand Bach (I have no pretensions to understand better, but I do think thatsometimes I can guess)».

«I’m a revolutionary, money means nothing to me».

About concerts and performance

«Yesterday’s concert was a success. I hasten to let you know. I inform your Lordshipthat I was not a bit nervous and played as I play when I am alone. It went well… andI had to come back and bow four times».

«All the same it is being said everywhere that I played too soly, or rather, toodelicately for people used to the piano-pounding of the artists here».«ey want me to give another concert but I have no desire to do so. You cannot

imagine what a torture the three days before a public appearance are to me».«ere are certain times when I feel more inspired, filled with a strong power that

forces me to listen to my inner voice, and when I feel more need than ever for a Pleyelpiano».

«A strange adventure befell me while I was playing my Sonata in B flat minor beforesome English friends. I had played the Allegro and the Scherzo more or less correctly.I was about to attack the March when suddenly I saw arising from the body of mypiano those cursed creatures which had appeared to me one lugubrious night at theChartreuse. I had to leave for one instant to pull myself together aer which I continuedwithout saying anything».

«One needs only to study a certain positioning of the hand in relation to the keys toobtain with ease the most beautiful sounds, to know how to play long notes and shortnotes and to achieve certain unlimited dexterity. A well-formed technique, it seems tome, can control and vary a beautiful sound quality».

About places and people

«I don’t know where there can be so many pianists as in Paris, so many asses and somany virtuosi».«I haven’t heard anything so great for a long time; Beethoven snaps his fingers at the

whole world…»«I have met a great celebrity, Madame Dudevant, known as George Sand… Her

appearance is not to my liking. Indeed there is something about her which positivelyrepels me… What an unattractive person La Sand is… Is she really a woman? I’minclined to doubt it».

«Te Official Bulletin declared that the Poles should be as proud of me as the Germansare of Mozart; obvious nonsense».



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«I don’t know how it is, but the Germans are amazed at me and I amamazed at them for finding anything to be amazed about».

«Among the numerous pleasures of Vienna the hotelevenings are famous. During supper Strauss or Lanner play

waltzes…Aer every waltz they get huge applause; and ifthey play a Quodlibet, or jumble of opera, song and dance,the hearers are so overjoyed that they don’t know what to do

with themselves. It shows the corrupt taste of the Viennesepublic».«Here, waltzes are called works! And Strauss and Lanner, who

play them for dancing, are called Kapellmeistern. is does not meanthat everyone thinks like that; indeed, nearly everyone laughs about it; but only waltzesget printed».

«Kalkbrenner has made me an offer; that I should study with him for three years,and he will make something really — really out of me. I answered that I know howmuch I lack; but that I cannot exploit him, and three years is too much. But he hasconvinced me that I can play admirably when I am in the mood, and badly when I amnot; a thing which never happens to him. Aer close examination he told me that I haveno school; that I am on an excellent road, but can slip off the track. at aer his death,or when he finally stops playing, there will be no representative of the great piano-forteschool. at even if I wish it, I cannot build up a new school without knowing the oldone; in a word: that I am not a perfected machine, and that this hampers the flow of my

thoughts. at I have a mark in composition; that it would be a pity not to become whatI have the promise of being…»

«Aer a rest in Edinburgh, where, passing a music-shop, I heard some blind manplaying a mazurka of mine…»

«England is a country of pianos, they are everywhere».«Here, whatever is not boring is not English».«England is so surrounded by the boredom of conventionalities, that it is all one to

them whether music is good or bad, since they have to hear it from morning till night.For here they have flower-shows with music, dinners with music, sales with music…»

About health and death

«My manuscripts sleep, while I cannot, for I am covered with poultices».«e three most celebrated doctors on the island have been to see me. One sniffed

at what I spat, the second tapped where I spat from, and the third sounded me andlistened as I spat. e first said I was dead, the second that I was dying and the thirdthat I’m going to die».

«e earth is suffocating… As this cough will choke me, I implore you to have mybody opened, so that I may not be buried alive».

«Play Mozart in memory of me».



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Frederic Chopin

Text 2

QUOTES ABOUT CHOPIN DURING HIS TIME

by Robert Schumann

”Hats off gentlemen, a genius!»«It was an unforgettable picture to see Chopin sitting at the

piano like a clairvoyant, lost in his dreams; to see how his visioncommunicated itself through his playing, and how, at the endof each piece, he had the sad habit of running one finger overthe length of the plaintive keyboard, as though to tear himselfforcibly away from his dream».

«If the mighty autocrat of the north knew what a dangerousenemy threatened him in Chopin’s works in the simple tunes of his

mazurkas, he would forbid this music. Chopin’s works are canons buried in flowers».«We may be sure that a genius like Mozart, were he born today, would write concertoslike Chopin and not like Mozart».

by Felix Mendelssohn

«ere is something fundamentally personal and at the same time so very masterlyin his playing that he may be called a really perfect virtuoso».

by Franz Liszt

«Music was his language, the divine tongue through which he expressed a whole

realm of sentiments that only the select few can appreciate… e muse of his homelanddictates his songs, and the anguished cries of Poland lend to his art a mysterious,indefinable poetry which, for all those who have truly experienced it, cannot becompared to anything else… e piano alone was not sufficient to reveal all that lieswithin him. In short he is a most remarkable individual who commands our highestdegree of devotion».

by George Sand

«His music was spontaneous, miraculous. He found it without seeking it, withoutprevious intimation of it. It came upon his piano sudden, complete, sublime, or it sang

in his head during a walk, and he was impatient to hear it himself with the help ofthe instrument. But then began the most desperate labor that I have ever witnessed. Itwas a succession of efforts, hesitations and moments of impatience to recapture certaindetails of the theme he could hear; what he had conceived as one piece, he analyzedtoo much in trying to write it down, and his dismay at his inability to rediscover it inwhat he thought was its original purity threw him into a kind of despair. He would lockhimself up in his room for whole days, weeping, pacing back and forth, breaking hispens, repeating or changing one bar a hundred times, writing and erasing it as manytimes, and beginning again the next day with an infinite and desperate perseverance.



84


He sometimes spent six weeks on one page, only in the end to write it exactly as he hadsketched at the first dra».

«Chopin has written two wonderful mazurkas which are worth more than fortynovels and are more eloquent than the entire century’s literature».

by Hector Berlioz

«Chopin had the fortunate idea of playing the Adagio [Romance, Larghetto]

from his last Concerto. Placed between two orchestral compositions maintained in

a turbulent style, this enchanting work, in which irresistible charm is combined with

most profound religious thoughts, submerged the listeners into a specific joy — serene

and ecstatic — to which we have not become accustomed in a similar situation. All

this differs greatly from the endless adagios, which usually fill the middle movement

of a piano concerto; in this case, there is so much simplicity used with such freshness

of imagination, that when the last note was heard, in the manner of a pearl cast into

a golden vase, the audience, immersed in contemplation, continued to listen, and for

a few moments restrained itself from applauding. In the same way, while observing

the harmonious descent of twilight semi-shadows, we remain motionless in the

darkness, with our eyes still focused on that point of the horizon, where the light has just faded».

by Ignace Moscheles

«Now, for the first time, I understood his music, and could also explain to myselfthe great enthusiasm of the ladies. e sudden modulations that I could not grasp whenI myself played his works no longer bother me. His piano is so ethereal that no forte isneeded to create the necessary contrast. Listening to him, one yields with one’s wholesoul, as to a singer who, oblivious of accompaniment, lets himself be carried away by hisemotion. In short, he is unique among pianists».



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Frederic Chopin

by Wilhelm Lenz

«Every single note was played with the highest degree of taste, in the noblest senseof the word. When he embellished, which he rarely did, it was a positive miracle ofrefinement».

«I learnt about many general issues concerning piano playing by working togetherwith Liszt on Mazurkas in Bb major and in A minor from Op. 7 by Chopin. […] Hetreated them very seriously, especially the at the first glance easy bass in maggiore in theMazurka in A minor. What a lot of work he took upon himself for my sake. «Only an asscould think that this is easy, but you can tell a virtuoso in those ties. Play it this way toChopin, and he will certainly notice and be pleased. ose foolish French editions spoileverything; the slurs in the bass must be placed thus. If you play to him in this fashion,he will give you a lesson».

«is should be a question. Chopin taught, and it was never question enough for him,

never played «piano» enough, never sufficiently falling away (tombé), as he said, never«important» enough. is must be a charnel house, he once said. He was also heard tosay that this is the key to the whole composition. He was equally demanding as to thesimple, quaver accompaniment to the cantilène and the cantilène itself. One shouldimagine the Italian canto and not the French vaudeville, he once declared mockingly».

by Karol Mikuli, Chopin’s pupil

«Chopin’s rubato possessed an unshakeable emotional logic. It always justified itselfby a strengthening or weakening melodic line, by exaggeration or affectation».

by Antoni Orlowski, Chopin’s friend

«Chopin is full of health and strength; all the French women are aer him, and allthe French men are jealous. He is the rage; the world will soon see people wearing new-fashioned gloves — gloves à la Chopin».

by C.E. & M. Halle

«e marvelous charm, the poetry and originality, the perfect freedom and absolutelucidity of Chopin’s playing cannot be described. It is perfect in every sense».

«He felt very unhappy when he heard the grande polonaise in A flat major playedfast, as it spoilt the whole grandeur and majesty of that noble inspiration».

by La France Musicale

«Chopin is a pianist of conviction. He composes for himself, plays for himself andeveryone listens with interest, with delight, with infinite pleasure. Listen how he dreams,how he weeps, with what sweetness, tenderness and melancholy he sings, how perfectlyhe expresses the gentlest and loiest feelings».

«Chopin is the pianist of sentiment par excellence. He may be said to have createda school of playing and a school of composition. Nothing indeed equals the lightness andsweetness of his preluding on the piano, nothing compares with his works in originality,distinction and grace».




«Chopin has done for the piano what Schubert has done for the voice. Chopin isunique as a pianist: he should not and cannot be compared with anyone».

by La Revue Musicale

«Chopin has broken new trails for himself. His playing and his composition, from

the very beginning, have won such high standing that in the eyes of many he has becomean inexplicable phenomenon… No one as yet has tried to define the special characterand merit of those works, what distinguished them from others, and why they occupysuch a high place».

«Here is a young man, abandoning himself to his natural impressions and withouttaking a model, has found, if not a complete renewal of pianoforte music, at least a partof what has been sought in vain for a long time — namely an abundance of originalideas of which the type is to be found nowhere».

«e enchanting pianist speaks a seductive language with his fingers and discloseshis soul through his playing, which in turn leaves nothing to be desired. It is as thoughthe piano had been transformed in some way and had become a totally differentinstrument, responding to the fiery touch of a genius, at once gentle and passionate».



СПИСОК ЛИТЕРАТУРЫ

1. Alessandro Scarlatti. http://www.baroquemusic.org/bqxascarl.html2. Burns F. Did Bach’s wife write some of his best-known works? http://www.

classicfm.com/composers/bach/news/magdalena-cello-suites-goldberg-variations/

3. Cuzio Clementi. http://www.nndb.com/people/403/000093124/4. George Frideric Handel: life and music. http://www.classicfm.com/composers/

handel/5. Greenberg R. What if Beethoven gave your commencement speech? http://

bigthink.com/experts-corner/what-if-beethoven-gave-your-commencement-speech6. If you put Beethoven, Mozart and Bach in a room, what would they disagree on?

http://www.quora.com/If-you-put-Beethoven-Mozart-and-Bach-in-a-room-what-would-they-disagree-on

7. Interesting facts about Handel’s Messiah! https://www.google.ru/#newwindow=1&q=interesting+facts+about+handel

8. Jeal E. e feud that never was. http://www.theguardian.com/music/2003/dec/19/classicalmusicandopera.italy 9. Johann Michael Haydn: a short biography. http://www.haydn.dk/mh_biog.php10. Ludwig van Beethoven. http://www.biography.com/people/ludwig-van-

beethoven-920486211. Montgomery J., Hinson M. Meet the great composers, Alfred Publishing Co.,

Inc., 199512. Muzio Clementi: biography. http://www.classicalconnect.com/composer/

muzio-clementi13. Quotes by Chopin. http://www.ourchopin.com/quotes.html

14. Quotes about Chopin during his time. http://www.ourchopin.com/quotes.html15. 68 interesting facts about Mozart. http://facts.randomhistory.com/mozart-facts.html

16. 10 facts about Franz Joseph Haydn. http://blog.sheetmusicplus.com/2013/05/30/10-facts-about-franz-joseph-haydn/

17. White R. e mercurial maestro of Madrid. https://www.google.ru/search?q=https://e.mail.ru/messages/inbox/&rlz=1I7WQIA_ruRU581&gws_rd=cr, ssl&ei=vuZIVbKXCsL-ygOxjoCIAg#newwindow=1&q=http:%2F%2Fwww.theguardian.com%2Fmusic%2F2007%2Fjul%2F20%2Fclassicalmusicandopera2



Елена Николаевна БорисоваПолина Петровна Ростовцева


Part 1

Учебно-методическое пособие по английскому языку

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