IX. Make up short situations using the following gerundial phrases?

on hearing the news; before reaching the city; on arriving at the cottage; after consulting with smb; before starting on a journey; on boarding the train; after making inquiries; on resuming one's work

X.Think of Russian sentences with деепричастный оборот that can be translated into English with the help of the structural patterns - before, after, on + gerund. Ask your fellow-students to translate them.

XI. Make up situations suggested by the following sentences paying careful attention to the word combinations in bold type:

1. John felt ashamed. He had told his father a hundred times that he ought to wear his good clothes when he went out. 2. Grace put down their quarrel to the hot weather. 3. Betsy didn't take heart even when her mother suggested a party. She knew she would feel miserable with Merry Ann around. 4. Mrs. Clowes was so determined to have her tooth out that she would not listen to the dentist's reasoning. 5. Mrs. Thayer was greatly concerned about their guests' comfort. 6. "How can you have the heart to leave so abruptly?" Mrs. Drake said to her husband. "Our hostess will be o'ffended." 7. The Worm didn't want to put up with the Senior Lieutenant's jokes any longer. 8. John Perkins felt put out when he discovered that his wife was not at home. 9. Enid's thoughts were on-the coming holiday and she couldn't concentrate on the work in the shop. 10. As the consul listened to the Kid's story, a scheme was taking shape in his mind.

XII. Read the following sentences and suggest Russian equivalents for the parts in bold type:

1. Fired with this, spirit, he went down to an early breakfast, then got down to work. 2. How long he waited beside the car, Roger never knew. He avoided consulting his watch and simply concentrated his mind on keeping warm. 3. Regular old skinflint he is. What she has to put up with! 4. "I saw it," she said. "I was as wide awake as you are!" 5. Since Bob had died and Nancy had got married, Mum and Dad didn't seem to have the heart to leave the farm. 6. He flushed and looked distressed, but I was determined to know the truth. 7. "It is a mystery which has not yet been solved. Perhaps you will solve it." I was surprised to hear myself say: "I hope so." "You will if you are determined to." 8. Father looked worried and I knew that he was wishing that Uncle Dick were at home so that he could consult him... After a while Father said that as I seemed determined, he supposed I must have my way. 9. "Come, lie down... It was only your dream." "But I know when I am awake and when I'm asleep. There was something in my room. Itcame and stood at thebottomofmy bed.""You have had a nightmare." "I was awake, I tell you. I was awake. I woke up and saw it. It must have awakened me." 10. Even now I cannot think I was altogether unreasonable in jumping to the conclusion that Norton had seen through those glasses of his something that he was determined to prevent my seeing. 11. "You think, madam, that you may have had a little nap and -er-" the doctor broke off tactfully. "I have had a nap, but if you think this was a dream, you're quite wrong - I saw it, I tell you." 12. Sergeant Weatherall remarked meaningly: "He didn't like those questions - didn't like them at all. Put out he was." 13. He loves me. I simply shouldn't have the heart to leave him. He'd be lost without me. 14. I began to read my papers

again, but I found it difficult to concentrate on them. 15. I lay in bed, getting hotter and hotter, and more wide awake, till I didn't know what to do with myself. 16. Though the heat was oppressive, it wasn't the heat that kept him awake. 17.... he was unpopular with his party,... and yet his management of affairs was so brilliant that they had to put up with him. 18. When you come back we'll go out together and see a show or two, shall we? 19. "You haven't been to see your people yet, have you?" he asked. She let go of his hand. It was for the first time that Lionel suggested that she should see her family. 20. Almost immediately Lori'sensed that her sweet mother, usually so concerned about frilly dresses and hair ribbons and Lori's every comfort, had abandoned her for the smiles of her new husband. 21. Supposing she should come seriously to lose her heart to him? Allerton, I knew, was a real bad lot. 22. Afterwards, thinking it over, I was inclined to put everything down to the atmosphere of the house. 23. My hands shaking a little, I adjusted the glasses to my eyes. 24. He made a joke or two and seemed far more cheerful and wide-awake than usual. 25. When Jim didn't come back, she was a little concerned. 26. "It is my house - and I am more concerned about the problems it holds than I am about the boards and the chandeliers!"

XIII. Render into English:

1. "Свадьба Фигаро" произвела сенсацию в Праге. Все горели желанием познакомиться с господином Моцартом (Herr Mozart). Граф Тун (Count Thun), гордившийся своим музыкальным вкусом, сказал Вольфгангу:. "Это самое примечательное событие в жизни Праги, с тех пор как я приехал сюда". Он оказал Моцартам радушный прием и предоставил в их распоряжение несколько комнат во дворце. Отведенные им апартаменты были просторны, и им хотелось отдохнуть и насладиться покоем; но у хозяина была большая программа для почетных гостей.

2. На балу в тот же вечер Вольфганг был центром внимания. Он вошел в зал под гром аплодисментов. Многие молодые красавицы горели желанием потанцевать с прославленным композитором. Разговор вертелся исключительно вокруг "Фигаро", другие темы никого не интересовали. Граф Тун познакомил его с синьором Бондини, антрепренёром пражского театра, который поставил "Фигаро" на пражской сцене. Бондини воскликнул: "Господин Моцарт! Во всем мире нет оперы, равной "Фигаро"! Спектакль спас наш театр! И при этом опера написана немцем. Невероятно!" Вольфганг поклонился. Ему было приятно, хотя эти слова показались ему немного забавными.

3. Где бы Вольфганг ни появлялся в Праге, повсюду говорили только о "Фигаро". Ничего другого не исполняли, не пели и не насвистывали, кроме мотивов из его оперы. Он узнал, что "Фигаро" шел в Праге беспрерывно весь зимний сезон и спас Национальный театр от разорения.

Однажды Вольфганг сидел в городском парке и долго слушал,,как слепой арфист играл мелодии из "Фигаро". Вольфганг подал

бродячему арфисту гульден, а ему сказали: "Зачем так много! Бедняга не оценит Вашу щедрость". Но Вольфганг лишь горько улыбнулся про себя. Он знал, что это значило, когда твой труд оценивали слишком низко. Успех "Фигаро" в Праге пока что не принес ему ни единого крейцера.

XIV. Read the following excerpt and retell it in brief:

The funeral took place the afternoon after Wolfgang died. The small coffin was carried out of the house on the Rauhensteingasse, and borne on a small cart to St. Stephen's. There were only a few mourners. Constanze was unable to come, she was still in bed suffering from shock.

It was a quiet day and there were the usual monks and nuns from the provinces visiting the wonder of Christendom, the most famous church in the Empire, and none of them turned a head as the coffin was borne inside. Funerals were commonplace and this was that of a poor, unimportant person, that was obvious from the bare wooden box and the lack of mourners.

After the corpse was blessed, the coffin was put back on the little open cart and the driver and his horse turned towards the cemetery.

St. Marx's was just five years old, an insignificant cemetery that had been created by the parish of St. Stephen's for those who could not afford a churchyard for the mourners - that would have been an extra expense - and, by the-time the cart reached the cemetery there was no one with it. The sky had grown dark, there was the threat of snow in the air, and it was far to walk.

There was only one grave-digger in the cemetery. It was a slow day, he explained to the driver, and he was finishing the common grave.

The grave-digger was elderly, hard of hearing, and he had a number of coffins stacked in the long, narrow, straight pit. He was proud that he was neat and orderly. He didn't hear the name, but he knew it was a little man, he could tell by the smallness of the coffin, and that it was a third-class funeral. Only such a funeral would have no mourners. No one wanted to pay for anything. Not a gulden.

The driver dumped the coffin onto the ground alongside a number of other coffins, and hurried away. He detested this kind of funeral, it barely paid for the cost of the horse and the cart.

Wolfgang's body went into the common grave, stacked three deep with a hundred other corpses.

(From "Sacred and Profane" by David Weiss)

ADDITIONAL TEXTS

I

JAZZ, SOUND OF SURPRISE

Jazz is a rhythmic, vital music that originated in the United States towards the end of the nineteenth century. Two main characteristics define jazz: the use of improvisation, and a unique rhythmic

propulsion or drive called 'swing'. Unlike classical music, jazz is a performer's music; every piece is a personal statement by the musician playing it. Composers do exist in jazz, writing complete pieces of music, but they are always personally involved in the performance of their music.

Beyond basic musical considerations, jazz has few rules; it is, as jazz writer Whitney Balliett aptly put it, 'the sound of surprise'. This is why jazz and modern classical music have had practically no influence on each other. The formal classical musician and composer cannot function in the freer atmosphere of jazz, and he does not appreciate the rhythmic qualities needed for swing. The jazz musician and composer cannot tolerate the rigidity and lack of rhythmic vitality of most classical music.

Jazz is associated with commercial popular music by most people, in spite of the fact that it has been a remarkably unpopular music for much of its life and (like classical music) is essentially uncommercial. The ability to play jazz is a very rare quality, probably because it demands a good musical ear and feeling for rhythm.

Jazz differs from other kinds of music in its sound, its structure, and in its use of improvisation and rhythm. But jazz also sounds different, because several different instruments are used, and in different combinations. The wind instruments of jazz play the melody - the trumpet, trombone, saxophone, the clarinet and flute. The other instruments to be heard are the piano, guitar (usually amplified), double bass, vibraphone and drums. These instruments form the rhythm section of the band, and are played percussively to create swing, although all of them except the drums may also be played melodically. Instruments such as the oboe, bassoon, harp, and the violin, viola, and cello are rarely heard in jazz.

Most jazz pieces have a very simple structure. A theme or tune is played at the beginning; improvised solos by the musicians follow, and the theme is repeated to end the piece. These themes are of two basic lengths. Many are blues (characteristic Negro melodies), which are 12 bars long; others are 32 bars long, often songs from musical shows of the 1920s and 1930s. Musicians also compose their own themes, but many stick to the 12 or 32 bar formula. In traditional jazz, marches or hymns form a staple part of the repertoire.

The improvised solos make up the central and longest part of a performance. Musicians improvise in turn, and every member of a band may play a solo. Sometimes the length of the solo is determined beforehand, and the order in which the soloists play is also often worked out in advance. In traditional jazz and in the most recent form of jazz, free jazz, soloists often improvise together, but in other forms this collective improvisation is only occasionally practised by the players.

(From "Music, Song and Dance". The Marshall Cavendish Learning System. London, 1969)

II

FOLK MUSIC

What exactly is folk music?

Answer: Simple answers that come to me are: folk music is of the folk. It is by and for the people, ordinary people, you and me. After that the answers get more complicated, more qualified.

Folk music is often thought of as basically rural and therefore peasant or country music. But today we also speak of urban folk music and songs. Folk music is said to be music and song which has anonymous authorship and is performed informally, essentially for social employment of the participants. In this sense it can be thought of as being in contrast to concert music, piano, orchestra, violin, etc, major compositions such as symphonies, operas, ballets, instrumental and vocal "recitals" of formally highly developed works.

But there are also, obviously, folk-song and folk-music performers, playing folk instruments (in solo or in groups), and singing rural and urban songs, topical and love songs, labor songs, songs of sorrow, of celebration of events, of tragedies, of struggle, of defeats and of victories. This could be described as folk music at the "first remove". For it to be worthy of the designation of true folk music it must be performed either by folk musicians, or by performers who have absorbed and identified themselves with complete honesty to being people's artists.

In Germany there is generally (I believe) a broader view of the term "Folks Musik" or "Folklied" which doesn't worry so much about whether the music of the song is composed by a famous musician or poet, or whether it is an anonymous product, rural or city, but just that it is music that people want to identify themselves with, to whistle, hum, and call their own. So for them it can be said that Mozart or Shubert or Brahms may be the composer of a "folklied", or again a famous poet like Heinrich Heine. Who is to deny that many of today's topical songs, blues and jazz are not folk music and songs? For me the determining guidelines could be:

1. That it be a relatively simple music or song."

2. That it express or convey honest sentiments - that we can readily identify ourselves with if we are genuine folk.

3. That the music or song not be commercially motivated in its origin (this is not to say that it may or may not be commercially used - or even successful).

4. That it be performed by a capable artist who understands and is able to protect the true meanings of the music and (or) song.

(From "Moscow News", No. 18, 1978)

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