Cefr practice reading tests complete the text true or false

 
 
 
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CEFR READING PART PRACTICE – MULTIPLE CHOICE
Read the text and answer the questions 1-7. 
 
TASK 19 
A lesson with the Master 
Joseph Knecht must have been twelve or thirteen years old at the time. For quite a while he had been a scholarship 
pupil in the Latin school of Berolfingen. His teachers at the school, and especially his music teacher, had already 
recommended him two or three times to the highest Board for admission into the elite schools. His music teacher, 
from whom he was learning violin and the lute, told him that the Music Master would shortly be coming to 
Berolfingen to inspect music instruction at the school. Therefore, Joseph must practice like a good boy and not 
embarrass his teacher. 
“What would you like to play?” — the Master asked. The boy could not say a word. Hesitantly, he picked up his 
exercise book and held it out to the Master. “No,” the Master said, “I want you to play from memory and not an 
exercise, something easy that you know by heart.” Knecht was confused and unable to answer. The Master did not 
insist. With one finger, he struck the first notes of a melody, and looked questioningly at the boy. Joseph nodded 
and at once played the melody with pleasure. 
Once more, the Master said. Knecht repeated the melody, and the old man now played a second voice to go with it. 
Once more. Knecht played, and the Master played the second part, and a third part also. Once more. And the Master 
played three voices along with the melody. The boy and the old man ceased to think of anything else; they 
surrendered themselves to the lovely, congenial lines and figurations they formed as their parts crisscrossed. Caught 
in the network their music was creating, they swayed gently along with it, obeying an unseen conductor. “Do you 
happen to know what a fugue is?” — the Master now asked. Knecht looked dubious. “Very well,” the Master said, 
“then I’ll show you. You’ll grasp it quicker if we make a fugue ourselves. Now the first thing you need in a fugue is 
a theme, and we don t have to look far for the theme. We’ll take it from our song”. He played a brief phrase, a 
fragment of the song’s melody. He played the theme once more, and this time he went to the first entrance and then 
to the second entrance. He changed the interval, then the third entrance repeated the first one again an octave higher, 
as did the fourth with the second. The exposition concluded with a cadence in the key of the dominant. 
The boy looked at the player’s clever white fingers....His ear drank in the fugue; it seemed to him that he was 
hearing music for the first time in his life. Behind the music being created in his presence he sensed the world of 
Mind, the joy-giving harmony of law and freedom, of service and rule. He surrendered himself, and vowed to serve 
that world. In those few minutes he saw himself and his life, saw the whole cosmos guided, ordered, and interpreted 
by the spirit of music.
He had experienced his vocation, which may surely be spoken of as a sacrament. The ideal world had suddenly 
taken on visible lineaments for him. Its gates had opened invitingly. And through this venerable messenger — the 
Music Master—an admonition and a call had come from that world even to him, the insignificant Latin school 
pupil.