【正文】 I imagine mine. ’”He is quite relaxed about not yet having his own handlanguageevery conductor is different. Kuznetsov believes the connection between notes is not just physical, but also spiritual. Spiritually is, for Kuznetsov, the conductor’s key characteristic. “And it should ideally be expressed through beauty of movement,” he says. Some conductors throw themselves about, others hardly move a muscle. Where will Kuznetsov fit on that scale? “We must wait and see,” he says.Kuznetsov himself moved straight as an arrow toward his goal. His father was an oboist(雙簧管演奏者) and his mother conducted a choir, but at the age of four, young Leonid settled on the violin. “The violin is located at the front of the orchestra. It seemed very desirable to sit there and show off.” He gave his first concert at the age of five. “When I went on stage, I bowed so deeply and so long that the audience laughedbut I knew that this was what great artists always did. I felt it was an honour for the audience to listen to me.” His programme that day included Paganini variations, “which were very easy for me”.What is his view now of the recordings he made at that age? “I didn’t have the technique I have now but across the years the intuition has not changed. I still feel every time I go on stage as though I’m newborn.”Kuznetsov cautiously paces his own development. He didn’t give his first performance of Beethoven’s Violin Concerto until he felt ready for it, and he’ll let Bach’s works stay in his mind for some years.One of Kuznetsov’s admirers wonders whether he is in danger of not hanging onto “the fearlessness of youth”. On the evidence of Kuznetsov’s bravely assured new interpretation of the Brahms Concerto, which he plays on a new CD release, I’d say that his fearlessness is in no danger yet.56. Kuznetsov thinks ________ is most important in conducting.A. the players’ recognition of the conductorB. the understanding between the conductor and the orchestraC. whether the conductor has cooperated with the players beforeD. the conductor’s and the orchestra’s knowledge of the position57. What can be learned about Kuznetsov from the passage?A. He isn’t as enthusiastic as before about the violin.B. He was confident while giving his first concert.C. He didn’t start to play the violin until five.D. He plans to give Bach’s works a try first.58. What can be inferred from the passage?A. It’s easy for piano or violin players to bee conductors.B. Violin players are usually those who like to show off in an orchestra.C. The writer thinks highly of Kuznetsov’s performance as a conductor.D. Kuznetsov hasn’t decided which conductor’s handlanguage to follow.59. What is the passage mainly about?A. A violinist’s understanding of music.B. Kuznetsov’s efforts that have led to his success.C. A violinist’s new attempts in his musical ambitions.D. Kuznetsov’s insight into how techniques matter in performance.【答案】56~59. BBCC【解析】【分析】這是一篇記敘文。文章講述了偉大的小提琴家Kuznetsov試圖轉(zhuǎn)型為指揮家的音樂生涯的轉(zhuǎn)變?！驹斀狻?。根據(jù)第二段第二句“The most crucial thing is the human chemistry between conductor and players.”（最重要的是指揮家和演奏者之間的化學(xué)反應(yīng)。）可知，Kuznetsov認(rèn)為在指揮中指揮家和管弦樂隊之間的默契是最重要的。故選B。根據(jù)第四段后三句When I went on stage, I bowed so deeply and so long that the audience laughedbut I knew that this was what great artists always did. I felt it was an honour for the audience to listen to me.” His programme that day included Paganini variations, “which were very easy for me”.（當(dāng)我走上舞臺，深深鞠了一躬，鞠了很長時間，觀眾們都笑了——但我知道，偉大的藝術(shù)家總是這樣做的。我覺得聽眾能聽我的節(jié)目是一種榮譽。他那天的節(jié)目包括帕格尼尼變奏曲，“對我來說很容易”。）可推知，Kuznetsov第一次演出時很自信。故選B。根據(jù)最后一段最后一句“On the evidence of Kuznetsov’s bravely assured new interpretation of the Brahms Concerto, which he plays on a new CD release, I’d say that his fearlessness is in no danger yet.”（Kuznetsov在新發(fā)行的CD中對勃拉姆斯協(xié)奏曲進(jìn)行了大膽的新詮釋，根據(jù)這一證據(jù)，我想說他還是會一直無所畏懼的。）可知，作者對Kuznetsov作為指揮家的表演是評價很高的。故選C。根據(jù)第一段第一句“There have been many great violinists but none could hold a candle to Kuznetsov, a miraculous young Russian. ”（偉大的小提琴家有很多，但沒有人能與Kuznetsov相提并論，他是一位不可思議的年輕俄羅斯人。）和第二段第一句“Other musicians who have traded the bow or piano for the baton(指揮棒) have failed。 the transition is not easy, of which he is aware.”（其他用小提琴或鋼琴換指揮棒的音樂家已經(jīng)失敗了。這一轉(zhuǎn)變并不容易，他也清楚這一點。）可知，本文是講偉大的小提琴家Kuznetsov試圖轉(zhuǎn)型為指揮家的音樂生涯的轉(zhuǎn)變。故選C。(B)The Best Way to See Singapore. 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