IELTS Matching Headings 23

Playing in a big international orchestra is one of life's most exciting experiences, yet it is also a very tough job. Players are part of a team of eighty or more musicians playing some of the world's greatest music. They work very long hours - turning up early for rehearsals on dark, cold, winter's mornings in a chilly, empty hall; working till late in the evening on the night of a concert; travelling on trains and planes at all hours of the day and night; eating and sleeping when they can; trying to play well when they are tired or hungry or have a headache. There's not much time left for home, family or friends. In fact, their 'family' is the rest of the orchestra. The musicians share the hectic pace and the worries, but they also share the wonderful moments when they are all playing together and feel on top of the world.

• The highs and lows of being a member of an orchestra

• Formalities at the beginning of the concert

• Pre-concert arrangements

Much of an orchestra's time is spent in rehearsal. The players may already know the music by heart, but every conductor has his or her own ideas about how a piece of music should be played. That is one reason why rehearsals are necessary. Another reason is the problem of orchestral balance of sound. With the rest of the orchestra around them, players cannot always hear themselves properly (sometimes not at all), and so they cannot gauge the balance of sound between their own instruments or section and the rest of the orchestra. At rehearsals this is something that the conductor is able to put right.

• The need for detailed rehearsal

• Poor and ineffective conducting method

• The need for detailed rehearsal

Some conductors like to go through a piece of music bar by bar, stopping the orchestra each time they want to make a comment. Others let an orchestra play for long stretches at a time, then go back to a particular point they want to rehearse again. Whatever the conductor's method, it is important that the musicians are happy with it. If the players don't like the conductor they can become very difficult, interrupting the session with questions or complaints. At one time conductors, such as Toscanini, used to get such fine performances out of an orchestra by shouting at the musicians and almost frightening them into playing well. That sort of behaviour would not work with most orchestras today. After all, orchestral musicians are highly trained and experienced people and they should be treated with respect.

• Correct adjustment of each instrument

• The importance of the conductor's management style

• Poor and ineffective conducting method

If a rehearsal is held in the morning of a concert, it probably takes place in the concert hall. In the morning, everybody will still be in casual clothes but in the evening they will change into formal dress. Most will arrive at least an hour early to unpack and inspect their instruments - violinists to check their strings and bow, woodwind players to check their reeds and change them if need be, and everyone to run over any difficult passages of music. If they want a bit of peace and quiet some members of the orchestra may even hide themselves away in the toilets or creep down to the boiler room! Players whose instruments are too big for them to carry, such as timpani, harps and double-basses, will arrive on the platform before the rest to make their last minute checks.

• The need for a high quality instrument

• Pre-concert arrangements

• Correct adjustment of each instrument

About five minutes before the concert is due to start, everybody except the leader or concert master, files on and takes their place. Then the leader comes on to a round of applause from the audience and calls for silence, while the oboist sounds the note A. The rest of the orchestra tune their instruments to this note. Finally, on comes the conductor, to more applause, and, when there is quiet once more, the concert begins.

• Correct adjustment of each instrument

• Problems with changes in sound in the hall

• Formalities at the beginning of the concert

Musicians, like actors, are aware of the audience; they notice whether the audience is a good one or not. A good audience will listen and respond to the music, whereas a difficult audience coughs and fidgets throughout the performance. Above all, the musicians are also aware of whether they are playing well, not just individually but as a team. Knowing they are giving a good performance makes all the difference at the end of a long, hard day.

• The response of the audience

• The need for detailed rehearsal

• The importance of the conductor's management style

When the US explorer and academic Hiram Bingham arrived in South America in 1911, he was ready for what was to be the greatest achievement of his life: the exploration of the remote hinterland to the west of Cusco, the old capital of the Inca empire in the Andes mountains of Peru. His goal was to locate the remains of a city called Vitcos, the last capital of the Inca civilisation.

Cusco lies on a high plateau at an elevation of more than 3,000 metres, and Bingham’s plan was to descend from this plateau along the valley of the Urubamba river, which takes a circuitous route down to the Amazon and passes through an area of dramatic canyons and mountain ranges.

• A new route

• The aim of the trip

• A dramatic description

When Bingham and his team set off down the Urubamba in late July,they had an advantage over travellers who had preceded them: a track had recently been blasted down the valley canyon to enable rubber to be brought up by mules from the jungle. Almost all previous travellers had left the river at Ollantaytambo and taken a high pass across the mountains to rejoin the river lower down, thereby cutting a substantial corner, but also therefore never passing through the area around Machu Picchu.

• Bingham’s lack of enthusiasm

• A dramatic description

• A new route

On 24 July they were a few days into their descent of the valley. The day began slowly, with Bingham trying to arrange sufficient mules for the next stage of the trek. His companions showed no interest in accompanying him up the nearby hill to see some ruins that a local farmer, Melchor Arteaga, had told them about the night before. The morning was dull and damp, and also seems to have been less than keen on the prospect of climbing the hill. In his book Lost City of the Incas, he relates that he made the ascent without having the least expectation that he would find anything at the top.

• Bingham’s lack of enthusiasm

• A common belief

• A dramatic description

Bingham writes about the approach in vivid style in his book. First, as he climbs up the hill, he describes the ever-present possibility of deadly snakes, ‘capable of making considerable springs when in pursuit of their prey’; not that he sees any. Then there’s a sense of mounting discovery as he comes across great sweeps of terraces, then a mausoleum, followed by monumental staircases and, finally, the grand ceremonial buildings of Machu Picchu. 'It seemed like an unbelievable dream the sight held me spellbound ’, he wrote.

• Bingham gains support

• A dramatic description

• A common belief