Text 1
The decision of the New York philharmonic to hire AlanGilbert as its next music director has been the talk of the classical-musicworld ever since the sudden announcement of his appointment in 2009. For themost part, the response has been favorable, to say the least “Hooray! A tlast!” wrote Anthony Tommasini, a sober-sided classical-music critic
One of the reason why the appiontment came as such asurprise, however, is that Gilber is commparatively little known EvenTommasini, who had advocated Gilbert’s appointment in the Times, calls him “anunpretentious musician with no air of the formidable conductor about him.”As adescription of the next music director of an orchestra that has hitherto beenled by musicians like Gustav Mahler and Pierre Boulez, that semms likely tohave struck at least some Times readers as faint prwise
For my part, I have no idea whether Gilbert is a greatconductor or even a good one. To be sure, be performs an impressive variety ofinteresting composition, but it is not necessary for me to visit Avery FisherHall, or anywhere else, to hear interesting orchestral music. All I have to dois to go to my CD shelf, or boot up my computer amd download still morerecorded music form iTumes
Devoted concertgoers who reply that recording are nosubstitute for live performance are missing the point. For the time, attention,and money of the art-loving public, classical instrumentalists must compete notonly with opera houses, dance troupes , theeater companies, and museums, butalso with the recorsed performances of the great classical musicians of the20th century. There recording are cheap, available everwhere, and very oftenmuch higher in artistic quality than today’s choosing. The widespreadavailabilyty of such recording has thus brought about a ctisis in theinstitution of the traditional classical councert
One possible reponse is for classical performers toprogram attravtive new music that is not yet available on recors. Gilbert’s owninterest in new music has been widely noted: Alex Ross , a classical-musiccritic, has described him as a man who is capable of turning the Phiharmonicinto “a markedly different, more vibrant organization” But what will be thenature of that difference? Merely, expanding the orchestra’s repertorre willnot be enough. If Gilbert and thr Philharmonic are to succeed, they must firstchange the relationship between America’a olderest orchestra and the newaudience it hops to attract.
21.We learn from Para 1 that Gilbert’s appointment has
[A]incured criticism
[B]raised suspicion
[C]raceived acclaim
[D]around curiousity
22.Tommasini regards Gilbert as an artist who is
[A]influential
[B]modest
[C]respectable
[D]talented
23. The auther believes that the devoted concertgoers
[A]ingore the expense of live performance
[B]reject most kinds of recorded performance
[C]exaggerate the variety of live performanc
[D]overestimate the variety of live performance
24.According to the text, which of the following istrue of recordings?
[A]They are often interror to live concerts in quality
[B]They are easily accessible to the genral public
[C]They help improve the quality of music
[D]They have only convered masterpieces
25.Regarding Gilbert’s role in revitalixing thePhilharmonic, the authir feels
[A]doubtful
[B]enthusisastic
[C]confident
[D]puzzled
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