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The rapturous reception was not only indicative of the virtuosic performance by the trio, but also an affirmation to the divine sounds made possible by the instruments. Not a surprise. The cello, played by Tanja Tetzlaff, was a wonderfully mellow 1776 Guadagnini. The violin, played by her brother, Christian Tetzlaff, complemented it beautifully, but is provenance was more unexpected. It was made by a modern German luthier, Peter Greiner.
Tanja Tetzlaff
From Passage A:
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1a. Which one word tells us that the performance was very well received? [1m]
1b. Why was the provenance "more unexpected"? [1m]
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Mr. Tetzlaff plays not just one but two Greiner violins. Most string virtuosi perform on instruments made by Italian masters a few hundred years ago, and preferably by Antonio Stradivari, the greatest of them all. Mr. Telzlaff has previously played two Stradivaris. Now he plays with his Greiner more. He thinks that the best modern violin-makers offer outstanding quality in terms of performance but at a fraction of the astronomical costs.
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2. In your own words, explain what are the advantages of modern violins. [2m]
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The past two decades have seen a renaissance of string-instrument-making by luthiers across the world. They can learn their trade at renowned violin-making schools in a number of countries. But many prefer Italy especially in Cremona, home of the most fabled of hte 16th - 18th-century violin-makers: the Amati, Guameri and Stradivari families. Also home of the Scuola Internationale di Liuteria.
Art of violin-making
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3. What does the word "renaissance" imply aobut stringed-instrument-making? [1m]
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The school was founded in 1937. Since then it has produced nearly 800 graduates. Soem 300 were Italian, but most have been foreign. Some take the tradition home. But many subsequently set up shop in Cremona itself. The city has around 150 luthiers, all hoping to benefit from the city's association with the grandest names in violin-making and from the cluster effect. Good violin-makers can earn a decent living. Still, most makers are not in it for the money but because they are passionate about violins.
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4. Why would graduates choose to remain in Cremona after graduation? [2m]
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Peter Beare has made an instrument for Nigel Kennedy, among others. Many famous performers play modern violins alongside their old masters, not only because they are often more resistant to the rigours of air travel, but also because they may be more suitable for certain genres of music. Sometimes the musicians actually prefer them. The cellist Jacqueline du Pre played two Strads and an instrument by Matteo Goffriller, who worked in Venice 300 years ago, but towards the end of her career switched to a modern cello made in Philadelphia.
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5. In your own words, explain why many performers play modern violins alongside their old violins. [2m]
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The highest price yet paid for a contemporary violin, at an auction in 2003, was $130000. Even so, that record price probably had much to do with the previous owner who was none other than Issac Stern. That sort of money will go nowhere fi you want to buy a fine old violin.
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That makes life particularly hard for young ambitious upstarts who harbour hopes of owning one vintage violin. Alternatively they could go to a well-established violin-maker and get a beautifully hand-crafted insrument specially made for them at a price they can afford. It will sound splendid, and few in the audience will know the difference. But most of the truly career-minded will try for an old master, by hook or by crook. Why?
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An element of self-reinforcing snobbery is at work. If everyone thinks that old instruments are best, then a self-respecting virtuoso will want to play one because it is expected of him. Old instruments often have a history that addes to their allure. Stradivari became wealthy by making violins for the rich and powerful. His instruments were highly esteemed, played by teh virtuosi of their day, perhaps heard by famous composers. Only a curmudgeon could deny the romance of it all.
From paragraph 8
6. In what way was the desire to own an old violin "self-reinforcing snobbery"? [2m]
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The difference may not be merely psychological. Even enthusiasts for modern instruments often concede that the finest of hte old are better than the best of the new. That may have something to do with age itself. Among the music instruments, only violins, violas and cellos last hundreds of years if well looked after. They are working antiques: desirable, collectable and most still played every day. Several hundred years off the treee has made the wood dry and light, and constant use may have changed its qualities. Perhaps in another century the finest instruments made today will also have become even better. But the best of the old Italian masters will probably still outdazzle them.
*The viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.
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7a. Does the author believe that old violins are better than new ones? Write down the phrase that supports your answer. [2m]
7b. Which tow consecutive words tell you that the violin is more than just an instrument? [1m]
Passage B
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Some sell for more than $3.5 million. Only seven hundred of them exist, and they are stored in vaults, frequently stolen and often replicated but never replaced. The object in question? Stradivarius violins, constructed by famed violin-maker Antonio Stradivari. Treasured for its sublime acoustic properties, these exquisite instruments have spawned dozens of theories, many of them grounded in folkore, attempting to explain their legendary tone. What, exactly, is it that makes "a Strad a Strad"?
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8a. Quote the phrase that tells you Stradivarius violins are unique. [1m]
8b. "grounded in folklore" What does this suggest about the theories about Stradivarius violins? [1m]
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One of the explanations offered was the exact size of the violins and ratio of the parts of the violin to each other. It was proposed that perhaps the magic lay in some perfect ratio of measurements in the peices of the violin, but instrument makers have disassembled their violins, calibrated every dimension of the pieces and replicated the measurements perfectly in new instruments, but failed to duplicate the Stradivarius magic.
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Some experts suggested the varnish as a possible reason. Varnish is the stuff of legends. Many violin-makers are known to make their own and guard the recipe jealously. The varnish used on Strads could possibly contain secret lost ingredients and Stradivari took its recipe to his grave. However there were many who argued that the recipe for the varnish Stradivari used was common knowledge among violin-makers when he lived.
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Perhaps the wood makes the difference. There are many competing hypotheses that sought to explain the heavenly sounds of Strads. Some people even believe Stradivari used the wood of ancient castles and cathedrals. According to them, Stradivari selected his maple and spruce from local or foreign forests and he treated it in a special, secret way. This of course we know now is not true as equally fine wood is available now, easily obtainable, and the old methods for treating it can be duplicated.
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9. The writer describes the sound produced by Strads as "heavenly". Write down the phrase used in the following paragraph that continues this idea. [1m]
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According to some other experts, it could be the impossible-to-duplicate effects of aging on that marvelous wood, varnish and filter, not to mention two centuries of playing. This to them is what gives Stradivari instruments their extraordinary, unique sound; a sound that causes listeners such as poet Daniel Mark Epstein to envision "little cherubs with halos" fluttering about a Strad while it is being played. However critics were quick to point out that there are old violins that do not sound good.
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"There's no objective answer," said James Lyon, a professor of music. When Stradivari was crafting violins, most musicians performed in churches and courts. Rulers and the wealthy sponsored artists to enhance their prestige. This might have added much glamour to Stradivarius violins whcih were a popular choice of the musicians.
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10. In your own words, explain why would rulers and the wealthy sponsor artists. [1m]
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Some chemical analyses suggest that the smooth, mellifluous tones may have resulted, in part, from an application of an oxidizing mineral such as borax, often used in Stradivari's day to prevent woodworm infestation. Dendrochronology, the study of annual growth rings in trees suggests that the wood Stradivari used grew largely during the Little Ice Age that prevailed in Europe from the mid-1400s tothe mid-1800s. Long winters and cool summers produced very dense wood with outstanding resonance qualities. The dense wood also helps the instruments stand up over hundreds of years of use.
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Whatever theories that had been put forward, the mystique remains, however. Asked if putting aside teh monetary value of the instrument, he would like to have a Stradivarius to play, Lyon said, "Yes, I can't imagine anyone who wouldn't. Partly it's the history and mystique that go with them."
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11. Other than the obvious monetary value, explain why Lyon would like to have a Stradivarius to play with. You must explain in your own words. [2m]
From Passage A and Passage B:
12. For each of the following words or phrases, give one word or short phrase (of not more than seven words) which has the same meaning that the word or phrase has in the passage.[5m]
From Passage A:
[a] fabled
[b] allure
From Passage B:
[c] calibrated
[d] recipe
[e] hypotheses
From Passage B
13. Using your own words as far as possible, summarise the different reasons that try to explain what makes Stradivarius violins so special including counter-arguments against the reasons.
USE THE MATERIAL IN PASSAGE A
Your summary, which must be in continuous writing (not note form), must not be more than 150 words (not counting the words given to help you to begin).
Many people have tried to explain what makes Stradivarius violins... [25m]
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