Аракин 4 курс полностью

and Russian interpretation. After the two national anthems the rustling, atmospheric 
opening movement of the suite from Rimsky-Korsakov's Invisible City ofKitezh, with 
some particularly expressive strands of oboe tone, was sufficiently promising to make 
the thought of even a familiar piece of Tchaikovsky seem exciting.
Nobody, at any rate, could have called the Rimsky familiar. Though it was performed 
in an arrangement by Maximilian

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Практический курс английского языка. 4 курс под ред. В.Д. Аракина
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Steinberg, this did not prevent the brazen battle scene, with its ferocious side-drum, 
from being a sensational display of Russian strength, or the woodwind passages in other 
movements from being an exquisite display of Russian sweetness. 
The account of the symphony was quite remarkable. It was played with thrilling 
velocity (yet with sufficient breathing-space where Tchaikovsky asked for it), with 
beautifully characterized woodwind, keenly defined textures and a penchant for 
highlighting inner parts, especially if they happened to involve the horns. The conductor, 
Mark Ermler was more in his element in Tchaikovsky's fifth symphony. 
Whether or not one actually liked the horn tune was beside the point. It was 
authentically Russian, and though, at the start of the slow movement, it sounded like an 
amplified saxophone, its eloquence was not to be gainsaid. In small details — such as the 
effect of the cellos and basses doing entirely different things at points in the finale — just as 
in the symphony's grand design, this was a stunning performance and perhaps, after all, a 
Festival event. 
What one did expect and received was a performance of massive vocal integrity and a