I. Read the text. Make sure you understand it. Mark the following statements true or false.The principal conductor of an orchestra or opera company is sometimes referred to as bandmaster. 2. Communication is non-verbal during a performance 3. Respected senior conductors are sometimes called by the Italian word, maestro. 4. The primary responsibilities of the conductor are to check if all the musicians are present. 5. The conductors prefer to speak during the direction. 6. The beat of the music is typically indicated with the conductor's right hand, with or without a baton. 7. Conductors tries not to look at the musicians, he looks at his score. 8. Conductor’s facial expressions sometimes encourage the players.
II. How well have you read? Can you answer the following questions? 1Why do musicians need conducting? 2. How can the conductors be called? 3. What does it depend on? 4. What can you say about the styles of conducting? 5. What are the duties of conductor? 5. How can conductor communicate with musicians? 6. What education should a conductor have?
III. Give Russian equivalents of the following phrases: a musical performance, a music director, senior, sophistication of the conductor, the primary responsibilities, non-verbal communication, the beat of the music, without a baton, facial expression, to encourage the players.
IV. Give English equivalents of the following phrases: Репетиция, ободрять музыкантов, задать темп, жесты, объединить исполнителей, уважаемые дирижеры, капельмейстер, хор, военный оркестр, официальные правила, дирижерская палочка, характер музыки. V. Summarize the text.
ANCIENT MUSIC During the antiquity, music played an extremely important function in the worship services, and in most cases gradual transference to more secular use of bands, chorus es, and dancers led to a decline which affected the whole cultural structure of each section. The Greeks played the most important role in the development of music. Pythagoras,about 560 BC1, created an elaborate system of musical intervals in the octave, systematizing the octave into the perfect fifth and forth. Today our tempered scale consists of seven tones, the eighth tone, being a repetition of the first, but one octave higher or lower. Due to the interest of Pythagoras in music we find in Greece the first awareness of the link between music and mathematics. While the Grecian culture was the optimistic one, mainly concerned with the good and the beauty of the world, the importance of music in emphasizing dramatic effects in the ancient plays with musical background was thoroughly realized. Interval s of various length, played on a variety of instruments, string and winds, occurred in the plays aside from actual accentuation of the drama. These intervals, which denoted a change of time of scene, or which were intend ed as a relief from speaking or singing, were called Symphonies. Any two notes sound ed together as a unit can accurately be called a symphony, the original meaning of the word. The most commonly used instrument was the Lyre, of which there were many varieties; but flute- like Aulos, and a mouth organ called the Syrinx, resembling Pan’s Pipe, were frequently used. Music played an important part in festivals; and music contests were frequent, the winner being awarded a hero’s honor. It was felt that music education would produce moral sturdiness in the youth of the country. Relics display the fusing of the arts evidenced by the presentation of instruments, choruses, and dancers in the ornamentation of architecture, pottery and reliefs. In Medieval times, the greatest percentage of music was that of the religious purpose. Guido d’Arezzo, a musical revolutionist, devised a scale system which utilized the singing of syllables fitting each note of the scale, a process which made vocal work considerably more accurate. Guido may have been responsible for the first great step toward practical music notation with his invention of the four line staff. In any event, his musical prowess was of sufficient impact to assure him a place in our present day crossword puzzles, generally as a two-letter word defined as, “a note in Guido’s scale”. Note: A.D. anno Domoni – нашей эры B.C. before Christ – до нашей эры Tasks I. Read the text. Make sure you understand it. Mark the following statements true or false. 1. During the antiquity, music played an extremely important function in secular life. 2. The Greeks played the most important role in the development of music. 3. Today our tempered scale consists of eight tones. 4. The Grecian culture was the pessimistic one, mainly concerned with the bad and horror. 5. Guido d’Arezzo created an elaborate system of musical intervals in the octave. 6. The most commonly used instrument was the Lyre. 7. Any four notes sounded together as a unit can be called a symphony. 8. Music played an important part in festival and music contests. 9. In Medieval times, the greatest percentage of music was that of the religious purpose. 10. Guido invented five line staff.
II. How well have you read? Can you answer the following questions? 1. When and where did music play an important role? 2. Who played the most important role in the development of music? 3. What did Pythagoras create? 4. How many tones does our today’s scale consist of? 5. How can you describe the Grecian culture? 6. What was the role of intervals played on different instruments? 7. How were these intervals called? 8. What is the original meaning of the word ‘symphony’? 9. Can you call the most commonly used instruments of that time? 10. Were there music contests and festivals at that time? 11. What was the purpose of music in medieval times? 12. What is the role of Guido d’Arezzo?
III. Give Russian equivalents of the following phrases: Antiquity, secular music, musical intervals in the octave, “a note in Guido’s scale”, the original meaning of the word, tempered scale, musical prowess, music contests and festivals, one octave lower, to consist of seven tones, a mouth organ, fusing of the arts and music, ornamentation of architecture, moral sturdiness in the youth, vocal art, to sound together.
IV. Give English equivalents of the following phrases: Каждая нота гаммы, паузы различной длины, музыкальное сопровождение, флейта Пана, одной октавой выше, хор, нотная запись, связь между музыкой и математикой, древняя музыка, повторение первого тона, музыкальное образование, в средневековье, оптимистическая греческая культура, губная гармошка, церковная служба.
V. Summarize the text. MUSIC BEFORE 1600
The study of music before 1600 is a complicated matter because of the great variety of scales used and customs in each particular locale. There are many reasons for this, probably the strongest being the lack of transportation and communication between different centers of culture, to say nothing of the disorganized condition of the world in general. In the 4th century, music became established in the Catholic Church; and it became, for practical purposes, the only organized music existent. The only important exceptions were the troubadours, travelling minstrels, singers, and musicians who made use of secular music, often times bearers of news items in song. Singing schoolswere established, since the church eventually decreed that congregational singing be curtailed, and it became necessary to have trained voices for church choirs. Before the decree abolishing congregational singing in the church service, the choir or the priest and the congregation sang alternate portions of the ceremony, a type of service referred to as a responsive ritual. Folk music of the period, 500 to 1600 AD, is rather obscure. It did exist in abundance, but it does not emerge important in comparison with the church music of the time. Whereas, the church music was record ed, mostly by, monks, the folk song and dances were handed down through generations by memory. Consequently, as a period changed in styles, customs and artistic media, the folklore changed along with it. In secular music, therefore, the important agencies were minnesingers in Germany, the Meistersingers (also in Germany), the troubadours in France, and the minstrels in England and the northern countries. Most of these traveled about, performing feats of juggling and tricks with trained animals, both of which were often more important than the music perform ed, all of them entirely dependent upon donations of the observers for a livelihood. The beginning of writing one melody against another led to a movement which developed into the highest form of polyphonic writing. When a set of rigid rules governing this style of writing had been perfected, it became known as “counterpoint”. The names of the composers begin to spring into attention. In the Netherlands, the seat of the Contrapuntal School,there was perhaps the most outstanding writer of this school was Orlandus Lass us (1535-1594), a prolific writer, who left over 2500 compositions to influence and guide later writers. Among his works are mass es, motet s, madrigals and musical jokes. Among the secular compositions of this period are madrigals, villanelles, canzonettas, and dances with vocal accompaniment called ballet s and barcaroles. One of the first truly great names in the history of music is that of Giovanni Pierluigi (1525-1594), who is called “Palestrina”, the name of the village he was born. He remains to this day the greatest writer of the Catholic Church Mass. Approval of “Palestrina” is seen in the act of the church heads naming the composer the “ Savior of music”. As a writer of masses he remained maestro of St. Peters until his death. The style of “Palestrina” is purely polyphonic. There were many English composers in the period. Some of the most famous of these are John Dunstable (1400-1453), Thomas Tallis (1530-1585), William Byrd (1543-1623), Orlando Ribbons (1583-1625), Thomas Morley (1558-1603), Thomas Weelkes (1575-1623) and John Wylbye (1574-1638). Music became a prominent part of the Protestant Movement with Martin Luther, whose “A Mighty Fortress is our God” is still one of the most frequently used hymns. This type of compositions was called a chorale. On the instrumental scene, the organ was the only instrument which had achieved, by this time, any degree of standardization or usable perfection. From 1500 the clavichord, a simple forerunner of the piano was in use. The clavichord was actually a direct outgrowth of the zither, a string instrument played with hammers held in the hands. Theharpsichord was certainly the direct offspring of the lute, lyre, and harp. These instruments are classified under the general title of clavier, which means “keyboard”. It is natural development that, when instruments reach a stage where they can present variety and virtuosity, there will follow very soon many performers and composers to utilize the possibilities of these instruments and also cause more development in the mechanical efficiency of the instrument and the proficiency of the performer.
Tasks I. Read the text. Make sure you understand it. Mark the following statements true or false. 1. A great variety of scales helps to study the music. 2. The only organized music was the music used in the worship services. 3. Singing schools were established when the church abolished congregation singing. 4. Folk music was recorded by troubadours. 5. The Meistersingers and minnesingers played and important role in secular music. 6. Juggling and tricks with trained animals were more important than the music performed. 7. The seat of the Contrapuntal School was in England.8. Orlandus Lassus wrote only chorales. 9. The church heads highly appreciated Giovanni Pierluidgi. 10. His name “Palestrina” is connected with name of the church holiday. 11. Zither is a keyboard instrument. 12. The organ was the only perfect instrument of that time.
II. How well have you read? Can you answer the following questions? 1. Why is it very difficult to study music before 1600? 2. When were Singing Schools established? 3. Who and how brought the news to people? 4. What can you say about folk music of that period? 5. Was secular music highly used than? 6. What is “counterpoint”? 7. Who was a prolific composer? What did he write? 8. What is ballet? 9. How did the people call Giovanni Pierluidgi? 10. How did his name appear? 11. Do the church heads appreciate the composer? 12. Who made music a prominent part of the Protestant movement? 13. What instrument is considered to be a forerunner of the piano? 14. What does the tittle clavier mean? 15. Can you name keyboard instruments?
III. Give Russian equivalents of the following phrases: The great variety of scales, in comparison with church music, the lack of transportation and communication, by memory, artistic media, writing one melody against another, musical jokes, the “Savior music”, a simple forerunner of the piano, with hammers held in hands, outstanding composer, performed music, a set of rigid rules, chorale, to achieve a high degree of standardization.
IV. Give English equivalents of the following phrases: Народная музыка, светская музыка, пение прихожан, записывать музыку, передавать из поколения в поколение, гимн, высшая форма полифонической музыки, плодовитый композитор, чисто полифонический стиль, маэстро, клавесин, умение исполнителя, клавишные, танцы с вокальным сопровождением, балет, виртуозность.
V. Summarize the text.
THE BEGINNING OF OPERA AND ORATORIO
It must be assumed that opera is an outgrowth of the “Mystery” and “Morality” plays of the church, plays which included jugglers and musicians as an extra feature; and it must also be realised that the Greek tragedies which used musical interludes, (symphonies), as a relief, also played an important role. The Greek tradition of declamatory chanting with an occasional chord on the lute had much influence on the development of a style called monody (one voice), and cantata (from “cantare”: to sing). The word opera, itself, literally means “works”, being the plural of opus (work). Vincenzo Galilei is responsible for much experimentation in the field of monody, a fact which helped to lead to the production of the first practical opera ever presented on the stage, this particular event in celebration of the marriage of Henry IV and Maria de Medici at Florence in the year 1600. It was a combination of two separate opera based upon Rinuccini’s poem “Euridice”, and the composers were Jocopo Peri and Guilio Caccini. From the two settings the performed version was devised and produced. Claudio Monteverdi (1567-1643), a madrigal writer, was attracted to this new field of writing, having heard the Peri-Caccini olio. Monteverdi’s first opera was based upon the same theme, the story of “Orfeo et Euridici”, and it was a great success and it still performed today. The genius of Monteverdi is apparent in the innovations found in his orchestration. He is sometimes called “Father of Modern Orchestration”. The works of Monteverdi includes: canzonettas (light pieces of music), madrigals, motets, vespers, and masses. Psalms, hymns, magnificats, and the operas: “Orfeo”, “Arianna”, “Ballo del Ingrate”, “Bradamante”, “Dido”, “Prosperina Rapita”, “Lavinia”, “Ulisse”, “Poppea”, and “Adone”. Oratorio is generally classified as sacred opera, but performed without action, costume or scenery. Allessandro Scarlatti (1659-1725), once famous as an opera composer, wrote many oratorios which he conducted and produced himself. For some time opera completely dominated the musical scene in Italy. When oratorio spread to Germany and England, it practically disappeared in Italy and the country became abundant with opera composers, compet ing with each other. While composers hunted for plots, they sent spies to discover what other composers were writing. The singer, at this point became the dominant factor in the situation, because the use of the best and the most popular singers in the leading roles insure d success of the opera to the composer. As a result the opera degenerated into a mere showcase for vocal display, leaving the singer free to add whatever trill s or embellishment s he or she desired. One of the outstanding composers of this period was Francesco Durant (1684-1755), the teacher of Jommeli, Vinci, Piccini, Paisiello, and Pergolesi. In France there was Jean Baptiste de Lully (1632-1687), Jean Philippe Rameau (1683-1764). In England, Henry Purcell (1664-1695) stands alone as the greatest writer of English opera. Tasks I. Read the text. Make sure you understand it. Mark the following statements true or false. 1. Opera is an outgrowth of the “Mystery” and “Morality” plays of the church. 2. Monody is a style in which many singers take part. 3. The word “opera” is the plural of the word “opus”. 4. The word “opus” means ‘to sing’. 5. The first opera was a combination of two separate opera based upon Rinuccini’s poem “Euridice”. 6. Claudio Monteverdi is sometimes called “Father of Modern Opera”. 7. Oratorio is generally classified as secular music. 8. Allessandro Scarlatti, once famous as an opera composer, wrote many oratorios which he conducted and produced himself. 9. The best and the most popular singers in the leading roles insured success of the opera to the composer. 10. The singer couldn’t add any thrills or embellishments he or she desired without permission of the author.
II. How well have you read? Can you answer the following questions? 1. What extra features were included in the plays? 2. What became an outgrowth of the opera? 3. What does the word ‘opera’ mean? 4. What is the origin of the word ‘cantata’? 5. How did the first practical opera ever presented on the stage appear? 6. How is Claudio Monteverdi called and why? 7. What were the peculiar features of oratorio? 8. Who wrote many oratorios? 9. What has happened to opera in Italy? 10. Who became the dominant factor in the opera and why? III. Give Russian equivalents of the following phrases: A sacred opera, to leave the singer free, to perform without action, costume and scenery, an outstanding composer, a mere showcase for vocal display, to include jugglers and musicians, chanting with an occasional chord, musical interludes, a madrigal writer, to be based upon the same thing, to hunt for plots, the opera degenerated. IV. Give English equivalents of the following phrases: Ведущая роль, изобиловать оперными композиторами, греческая трагедия, иметь большой успех, доминирующий фактор, обеспечивать успех опере, трели и украшения, соединение двух отдельных опер, новшества в оркестровке, господствовать на музыкальной сцене, сочинял и дирижировал сам, одноголосое, исчезнуть в Италии.
V. Read and guess. What are the names of famous Classical composers? 1. He was the prince of Classical music. Movies, plays, musicals, and countless books have been written in honor of him. He was the prodigy to end all prodigies. He wrote his first symphony when he was 5. He toured Europe as a novelty act with his father and sister. Luckily his natural skill with music carried him. A student of Haydn, he blossomed into a top notch opera writer, which was his bread and butter for many years. But a man doesn't live by bread and butter alone: his later teaching carrier was not sufficient to support him, and he died a poor man. 2. He was another child prodigy. At the age of 14 he became an assistant teacher and the organist at Hanover. A disturbed, angry person himself, his
3. From the age of 13 he studied music abroad. His greatest talent was with the piano, which he excelled at. His pieces for the piano were ground breaking, pushing the limits of what a piano was thought to be capable of. He completely changed how the piano was treated in music. 4. He was undoubtedly one of the most talented pianists in the world history. He played in concerts at the age of nine. In his time he was a master showman. His shows were almost always sold out. He was so grandiose with his concerts that he ordered a second piano be on stage in case he were to break the first one while playing. VI. Summarize the text.
RUSSIAN MUSIC
During the eighteenth century Russian musical tastewas mainly under the influence of Italian opera, and there was no Russian style as such, except, of course, the folk music of the countryside. The reaction in music, against the Italian influence in particular, and the European influence in general, began with Mikhail Glinka (1804-1857). Brought up on his father’s country estate, Glinka heard a great deal of Russian folk music, and concerts given by his uncle’s privately-owned house-orchestra. Glinka had his predecessor, who endeavour ed more or less purposefully to approach a national spirit of musical art. As Glinka’s predecessors an important position in the development of the Russian opera was occupied by A.N. Verstovsky, with his opera “Vadim” (1822) and “Ascold’s Tomb” (1835). Glinka not only treat ed in a very refined musical style the basic elements of Russian folk music, but created completely new prerequisite s for the Russian national opera. His “Ivan Susanin” or “A Life for the Tsar” (1836) and “Ruslan and Ludmilla” (1842) are based on the atmosphere of the democratic endeavour of the Russian revolutionaries as well as purposefully and consciously on the popular elements. “A Life for the Tsar” contains a strong influence of Russian folk music and examples of Russian melodic phraseology and rhythm. It also contains the Polish rhythms of the mazurka and polonaise. Glinka’s next opera “Ruslan and Ludmilla” was based on Pushkin’s poem. It was this opera which laid the foundation of a truly Russian national style. He is recognized as the “Father of Russian Music” and as one of the founders of the Romantic Movement. On the foundations formed by these two operas by Glinka was built the powerful movement of the neo-Russian school, which was centered at the beginning of its existence around A.S. Dardomizhsky and later on around M.A. Balakirev. To this school belonged also M.P. Mussorgsky, N.A. Rimsky-Korsakov, A.P. Borodin and C.A. Cui. These composers were members of the so called The Five (“moguchaya kuchka”, “the powerful handful”), and they were to establish firmly, once and for all time, the Russian national school of music which had been pioneered by Glinka. In his “The Stone Guest” Dargomizhsky attained quite independently a conception of the opera in which the music is based exclusively on the text and is not bound by the current tradition of separate numbers. Outstanding also is the operatic achievement of Rimsky-Korsakov, an orchestrator of genius and a composer of extraordinary lively fantasy and invention, who reached far back into Russian history with his “The Tsar’s Bride”, “The Maid of Pskov” and others. A.P. Borodin in his only opera “Prince Igor” succeed ed in characterising and expressing in excellent music the atmosphere of old Russia as well as the intoxicating and sensuous charm of oriental exoticism. The focal point of the musical expression lies in the extraordinarily plastic and dramatically effective melody. The greatest personality of the neo-Russian school was Modest Petrovich Mussorgsky, a highly original and revolutionary character, rebelling against any banality and artistic convention. In his “Boris Godunov” he gave Russian opera a grandiose national drama which, with its importance, artistic values and ideological trenchancy, has no equal. At the same time Mussorgsky’s music is richly imbued with the characteristic elements of Russian folk music. One cannot think of the last quarter of the century without connecting the personality of Pyotr Ilyich Tchaikovsky with the situation which arose in the cultural atmosphere of Russia. He was the first important composer educated at Rubinstein’s conservatoire: perfectly prepared for the career of a composer. He combined technical mastery and classical firmness of form. Tchaikovsky’s music is both nationalistic and international. He captured the spirit of Russian folk song but was also influenced by Italian opera, French ballet, and German symphonies and songs. His music is tuneful, accessible, sometimes exciting, sometimes sentimental, and tremendously popular to this day. It is music full of beautiful melodies, striking contrasts, powerful climaxes, and passionate emotions. His best known works include the violin and piano concertos, his symphonies, a symphonic overture-fantasia “Romeo and Juliet”, the ballets “Swan Lake”, “Sleeping Beauty”, “The Nutcracker”, and many others. The most popular and the most frequently performed of Tchaikovcky’s operas is “Eugene Onegin”, composed to the well-known novel in verse by Pushkin. In these “lyrical scenes” Tchaikovsky, with extraordinary mastery, depicts in his music all the charm and sensitivity of Pushkin’s work, the characteristic features of Russian life of the twenties of the 18th century, and with refined psychology portrays the emotional movements of the characters.
Tasks I. Read the text. Make sure you understand it. Mark the following statements true or false. Part I 1. During the 18th century Russian musical taste was mainly under the influence of the so called Russian style. 2. Mikhail Glinka was the first who began to fight with the Italian influence in Russian music. 3. A.N.Verstovsky tried to approach a national spirit to musical art. 4. “A Life for the Tsar” was greatly influenced by Polish rhythms and contains no one Russian folk melody. 5. “Ruslan and Ludmila” was based on Lermontov’s poem. 6. Glinka is considered to be “Father of Russian music”. 7. Glinka organized the group called The Five. 8. The members of the group established the Russian national school of music. 9. Rimsky-Korsakov composed some operas based on the plots from Russian history. 10. A.P.Borodin is famous for his three historic operas. 11. The atmosphere of ancient Russia is truly shown in “Prince Igor”. 12. M.P.Mussorgsky was a vivid representative of the old Russian music school. Part II. 1. P.I. Tchaikovsky graduated from Moscow conservatoire. 2. He combined technical mastery and classical firmness of the form. 3. Tchaikovsky’s music is of pure nationalistic style. 4. He was greatly influenced by West European music. 5. His best known works include operas, ballets, symphonies, concertos, chamber and vocal music. 6. His opera “Eugene Onegin” is not very popular with Russian lovers of music. 7. In his “Eugene Onegin” Tchaikovsky couldn’t depict all the charm and sensitivity of Pushkin’s work.
II. How well have you read? Can you answer the following questions? 1. What was Russian music influenced by during the 18th century? 2. What atmosphere was M.Glinka brought up in? 3. Who was the first among the Russian composers to approach a national spirit to musical art? 4. What are Glinka’s operas “Ruslan and Ludmila” and “Ivan Susanin” based on? 5. What group was formed on the foundations laid by Glinka? 6. Who is one of the founders of the Romantic Movement in Russia? 7. Whom did The Five consist of? 8. Who of the composers created his operas based on the history of ancient Russia? What are they? 9. What music school did M.P.Mussorgsky present? 10. What is the most famous Mussorgsky’s opera? 11. What conservatoire did Tchaikovsky graduate from? 12. What can you say about the character of Tchaikovsky’s music?
III. Give Russian equivalents of the following phrases: The folk music of the country side, the Italian influence, in particular, predecessor, a very refined musical style, to catch the spirit of Russian folk songs, new prerequisites, Russian melodic phraseology and rhythm, a truly national style, the neo-Russian school, The Five, to be based exclusively on the text, the operatic achievement, his only opera, sensuous charm, a grandiose national drama, the focal point, tuneful music, exciting melody, tremendously popular.
IV. Give English equivalents of the following phrases: Национальный дух музыкального искусства, русская народная музыка, польские ритмы мазурки и полонеза, выражать в прекрасной музыке атмосферу древней Руси, под влиянием итальянской оперы, восстать против банальности и художественных условностей, пытаться, быть богато окрашенным, консерватория, мастерство техники и классическая твердость формы, поражающие контрасты, страстные чувства, отображать в музыке, очарование и чувственность.
V. Read and guess. What are the names of Russian composers? 1. Son of an upper-middle class family in Russia earned the title "Father of Russian Music." With training in Russia, Italy, and Germany he wrote many pieces that absolutely drip the essence of folk songs of the Russian peasants. His music served as an example for most every Russian composer that came after him. 2. He was born the son of a mining engineer and learned the piano at an early age. But he did not choose music as his vocation. He studied and became a lawyer. But, shortly thereafter, he quit the practice and went to write music. His music was powerful and infused with folk elements. A troubled person, he tried to commit suicide in 1877. It was 11 years later that he wrote his finest pieces before dying of cholera in 1893. 3. He was the epitome of the Russian patriotic composer. Coming from a well-off family, "Rocky" studied at the St. Petersburg conservatory, and received the highest grade possible. He battled lifelong depression, made worse by his bouts of writer's block. He alleviated his block with hypnotism and dedicated his 2nd Piano Concerto to his hypnotist. VI. Summarize the text.
TCHAIKOVSKY, PYOTR ILYICH (1840 – 1893)
The eminent Russian composer Pyotr Ilyich Tchaikovsky was born on May 7, 1840. At home he heard folk songs, popular arias, and romances sung by his mother, and pieces played by a mechanical organ, among them Mozart’s Don Giovanni. (Mozart would remain Tchaikovsky most beloved composer.) Piano lessons, started about the age of five, continued in Saint Petersburg, where he entered boarding school in 1848. From 1850 to 1859 he graduated from the School of Jurisprudence, where he assisted in a choir and studied piano. Assigned on graduation to the Ministry of Justice, Tchaikovsky continued to be drawn to music, and in 1861 he began classes sponsored by the Russian Music Society. The year after, he left his job and entered the just-founded Saint Petersburg Conservatory. Working zealously under Anton Rubinstein and Nikolai Zaremba, he received a Silver Medal for his graduation cantata. Tchaikovsky taught theory in Moscow, joining the faculty of the new Moscow Conservatory when it opened in September 1866. During his 11 years there, he composed his Piano Concerto no. 1 (1875), the ballet Swan Lake (1876), four operas, three symphonies, and many smaller works. He also established close ties with the composers of the nationalist group known as “The Five,” especially Mily Balakirev and Nikolai Rimsky-Korsakov; the critic Vladimir Stasov called him the “sixth member of their circle.” Marriage in July 1877 to Antonina Miliukova triggered an emotional crisis, perhaps related to his homosexuality that brought him near suicide. He fled Moscow in a state of turmoil but managed to finish three masterpieces – the Fourth Symphony, the Violin Concerto, and the opera Eugene Onegin – before May 1878, when his wife agreed to separation (they were never divorced). An annuity from Nadezhda von Meck, granted during his crisis, allowed him to quit (1878) teaching. His association with von Meck, begun in an exchange of letters about a commission in 1876, was sustained in voluminous correspondence over 13 years, although they never met. From 1878 to1885, Tchaikovsky lived sometimes in Russia, sometimes in Western Europe. His reputation grew with the Capriccio Italien (1880), the 1812 Overture (1880), and two more operas. During his last years he lived in or near Moscow. In 1888 Tsar Alexander III granted him a yearly pension. Tchaikovsky’s fame, as both conductor and composer, spread as the result of a series of international tours, which brought him to the United States in 1891. He continued to compose – the ballets Sleeping Beauty (1889) and Nutcracker (1892), the Fifth (1888), Sixth (1893), and Manfred (1885) Symphonies, and three final operas, including the powerful and theatrical The Queen of Spades (1890). Younger composers emulated him, among them Mikhail Ippolitov-Ivanov and, later, Sergei Rachmaninov. On November 6, 1893, a few days after conducting the premiere of his Sixth Symphony, Tchaikovsky died in Saint Petersburg. Although it was reported that he died of cholera, some scholars now believe that his death was in fact a suicide, the result of a threat to reveal his liaison with a young Russian nobleman. Tchaikovsky’s lyric gift owes much to Russian folk song, which he quotes or imitates a lot in his works, and to the 19th century Russian salon song, whose traits permeates his vocal melody and even infuses his instrumental themes. The expressive pathos of his themes depends on abundant use of suspensions and anticipations, which also pervade his rich harmonies.
Tasks I. How well have you read? Can you answer the following questions? 1. What can you say about Tchaikovsky’s childhood? 2. What conservatoire did he graduate from? 3. What circle did the critic Vladimir Stasov call Tchaikovsky the “sixth member” of? 4. What can you say about Tchaikovsky’s family life? 5. Whom was he in correspondence with over 13 years? 6. Did he meet that woman? 7. Was Tchaikovsky abroad and where? 8. What was his creative work greatly influenced by? 9. What operas did the composer wrote? 10. What Tchaikovsky’s ballets do you know?
II. Read these short texts and fill in the gaps: Pyotr Il’yich Tchaikovsky (1840-1893). His strong sense of melody, personal expression, and brilliant orchestration are clear throughout his many Romantic works, which include symphonies, _______________ concertos, a violin concerto, operas (for example _______________), ballets (for example _______________), and chamber vocal music. Modest Petrovich Mussorgsky ( 1839-1881). He was a member of the group of five composers The Five. The other four composers were _______________________. Myssorgsky’s opera masterpiece was Boris __________, written in 1869 and revised in 1871-1872. He wrote Khovanshchina in _________. His other works include Pictures at an _______________ for piano.
III. Insert the right words (symphony, elegy, overture, ballet, operetta, concerto, opera) 1.___________is a short, light musical comedy. 2.___________ is a dramatic composition with music, in which the words are sung. 3.___________is a musical composition played as an introduction to an opera, or as a separate item at a concert. 4.___________is a musical composition for one or more solo instruments supported by an orchestra. 5.___________is a long and large-scale musical composition in three or four parts (called movements) for usually a large orchestra. 6.___________is a dramatic performance, without dialogue or singing, illustrating a story by a group of dancers. 7.___________ a mournful or plaintive poem or song, esp a lament for the dead.
V. Put it together: the sentences below are not in the correct order.
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