Shadowing-Übung: Listening B2, FCE 1 (2015), Test 2, Part 4 - Englisch Sprechen Lernen mit Video

Now turn to part four.

You will hear an interview with a musician called Gerald Harding, who's talking about his career.

For questions 24 to 30, choose the best answer, A, B or C.

You now have one minute to look at part four.

Thank you.

who has come to tell us about how he began his career as a musician.

Hello.

Well, first of all, Gerald, how did your interest in music begin?

My father was a violinist in an orchestra, and from an early age, I would go with him when they were rehearsing for concerts.

I would sit with the violinists and listen.

I learned a lot, and everyone was very kind to me.

I actually composed my first piece of music for the violin when I was six years old.

My father treasured it.

And when did you start playing in public?

When I was around eight years old, my father started playing in a small orchestra at a holiday resort in the summer.

All the family went with him.

It was on the coast, and that way we had a break we couldn't have afforded otherwise.

I sometimes went along to performances, and I played in my first concert there at the age of 11, just for fun.

My mother also played the piano in a hotel in the evenings.

So your mother was a musician too.

Tell us about her.

Sure.

She was an amazing pianist.

She knew all the music she played by heart, everything, and that was after playing it through just a couple of times to get it right.

I learned that from her and that's what I do on the violin too.

Because I don't have to read the notes, I can concentrate on my playing and avoid errors.

And what made you interested in conducting?

From the very start, conductors fascinated me a great deal.

I dreamt of becoming one from the first time I saw an orchestra.

When I listened to recordings at home, I would conduct them, but my father insisted that I become a violinist, and he also taught me.

So that's what I did, but I never gave up my old dream.

You studied music at one of the best colleges.

Did you enjoy it?

I could do the violin playing anyway, of course, which my father had taught me, but then so could everyone else.

And naturally, I perfected my technique at college and broadened the range of music I played.

But some of the others found the discipline and commitment required of us too demanding.

But because of my upbringing, I was used to that.

So what happened when you left college?

Well, just when I was about to start a career as a violinist, I started learning to be a conductor, too.

Even after college, I needed to carry on improving, so I was having private lessons with a professional violinist.

And his wife, although not a professional musician, taught me conducting technique.

She insisted that I took lessons from a teacher she knew who had many well-known conductors as students.

He himself wasn't a well-known conductor, but as an instructor, he was the best and very enthusiastic.

Since then, you've become well-known as both a violinist and a conductor.

Has it been difficult to have both these careers?

On the contrary, I've learned so much from the conductors I've played with as a violin soloist.

Even when one plays the same violin piece often, it's still always different every time.

One can therefore learn a great deal, especially as I have had the good fortune to practically always play under the best conductors in the world.

And I haven't only learned from seeing and hearing them, but I've always taken the time to consult them, to discuss the smallest details with them,

and to continuously improve myself.

Well, unfortunately we've run out of time, but thank you very much.

It's been a great pleasure speaking to you, and the very best of luck in the future.

Thank you.

Now you'll hear part four again.

We are very pleased to welcome the violinist and conductor, Gerald Harding, who has come to tell us about how he began his career as a musician.

Hello.

Well, first of all, Gerald, how did your interest in music begin?

My father was a violinist in an orchestra, and from an early age I would go with him when they were rehearsing for concerts.

I would sit with the violinists and listen.

I learned a lot and everyone was very kind to me.

I actually composed my first piece of music for the violin when I was six years old.

My father treasured it.

And when did you start playing in public?

When I was around eight years old, my father started playing in a small orchestra at a holiday resort in the summer.

All the family went with him.

It was on the coast and that way we had a break we couldn't have afforded otherwise.

I sometimes went along to performances, and I played in my first concert there at the age of 11, just for fun.

My mother also played the piano in a hotel in the evenings.

So your mother was a musician too.

Tell us about her.

Sure.

She was an amazing pianist.

She knew all the music she played by heart, everything.

And that was after playing it through just a couple of times to get it right.

I learned that from her, and that's what I do on the violin, too.

Because I don't have to read the notes, I can concentrate on my playing and avoid errors.

And what made you interested in conducting?

From the very start, conductors fascinated me a great deal.

I dreamt of becoming one from the first time I saw an orchestra.

When I listened to recordings at home, I would conduct them.

But my father insisted that I become a violinist, and he also taught me.

so that's what I did, but I never gave up my old dream.

You studied music at one of the best colleges.

Did you enjoy it?

I could do the violin playing anyway, of course, which my father had taught me, but then so could everyone else.

And naturally, I perfected my technique at college and broadened the range of music I played.

But some of the others found the discipline and commitment required of us too demanding.

But because of my upbringing, I was used to that.

So, what happened when you left college?

Well, just when I was about to start a career as a violinist, I started learning to be a conductor too.

Even after college, I needed to carry on improving, so I was having private lessons with a professional violinist.

And his wife, although not a professional musician, taught me conducting technique.

She insisted that I took lessons from a teacher she knew who had many well-known conductors as students.

He himself wasn't a well-known conductor, but as an instructor, he was the best and very enthusiastic.

Since then, you've become well-known as both a violinist and a conductor.

Has it been difficult to have both these careers?

On the contrary, I've learned so much from the conductors I've played with as a violin soloist.

Even when one plays the same violin piece often, it's still always different every time.

100

One can therefore learn a great deal, especially as I have had the good fortune to practically always play under the best conductors in the world.

101

And I haven't only learned from seeing and hearing them, but I've always taken the time to consult them, to discuss the smallest details with them,

102

and to continuously improve myself.

103

Well, unfortunately we've run out of time, but thank you very much.

104

It's been a great pleasure speaking to you.

105

And the very best of luck in the future.

106

Thank you.

107

That's the end of part four.

108

There will now be a pause of five minutes for you to copy your answers onto the separate answer sheet.

109

Be sure to follow the numbering of all the questions.

110

I shall remind you when there is one minute left so that you're sure to finish in time.

111

It is the end of the test.

112

Please stop now.

113

Your supervisor will now collect all the question papers and answer sheets.

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Was ist die Shadowing-Technik?

Shadowing ist eine wissenschaftlich fundierte Sprachlerntechnik, die ursprünglich für die professionelle Dolmetscherausbildung entwickelt und durch den Polyglotten Dr. Alexander Arguelles populär gemacht wurde. Die Methode ist einfach aber wirkungsvoll: Du hörst englisches Audio von Muttersprachlern und wiederholst es sofort laut — wie ein Schatten, der dem Sprecher mit nur 1–2 Sekunden Verzögerung folgt. Anders als passives Hören oder Grammatikübungen zwingt Shadowing dein Gehirn und deine Mundmuskulatur, gleichzeitig echte Sprachmuster zu verarbeiten und zu reproduzieren. Studien zeigen, dass es Aussprachegenauigkeit, Intonation, Rhythmus, verbundene Sprache, Hörverständnis und Sprechflüssigkeit signifikant verbessert — was es zu einer der effektivsten Methoden für die IELTS Speaking-Vorbereitung und reale englische Kommunikation macht.

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