Franz Liszt (Hungarian Liszt Ferencz, German Franz Liszt) is a Hungarian composer, famous virtuoso pianist, conductor, teacher, bandmaster, musical public figure and writer on music

Franz Liszt

Hungarian Rhapsody

prepared by music teacher Danilina N.S.

Franz Liszt was born on October 22, 1811 in the village of Doboryan (Hungary). As a child, he was fascinated by gypsy music and cheerful dances of Hungarian peasants. Liszt's father, who managed the large estate of Count Esterhazy, was an amateur musician and encouraged his son's interest in music; he also taught the child the basics of playing the piano.

At the age of 9, Ferenc gave his first concert in the nearby town of Sopron. Soon he was invited to the magnificent Esterhazy Palace; the boy's play impressed the count's guests so much that several Hungarian noblemen volunteered to pay for his further musical education. Ferenc was sent to Vienna, where he studied composition with A. Salieri and piano with the largest teacher in Europe, K. Czerny.

After the death of his father (1827), Liszt began to give lessons. At the same time, he met the young composers G. Berlioz and F. Chopin, whose art had a strong influence on him: he was able to “translate into the language of the piano” the color richness of Berlioz’s scores and combine Chopin’s soft lyricism with his own stormy temperament.

In the early 1830s, Liszt's idol was the Italian virtuoso violinist N. Paganini; Liszt set out to create an equally brilliant piano style,

and even adopted from Paganini some of the features of his behavior on the concert stage. Now Liszt had practically no rivals as a virtuoso pianist. .

The fate of the composer was such that for many years he lived apart from his homeland - Hungary. But he never ceased to serve her faithfully, he always remained a Hungarian composer.
In many of his works, one can hear national melodies, in particular, the well-known chardash. A number of Liszt's best writings were created on themes taken from the life and history of Hungary. Among them are the most famous "Hungarian Rhapsodies", which have become a kind of musical epic of the Hungarian people, these are piano compositions on folk themes. Liszt owns 19 "Hungarian Rhapsodies" with the use of gypsy motifs.

"... My piano for me is the same as for a sailor his frigate, for an Arab his horse, moreover, until now he was my "I", my language, my life! He is the keeper of everything that was driven by my soul in the ardent days of my youth; I will entrust all my thoughts, my dreams, my sufferings and joys to him." Franz Liszt said so. Liszt was the first to discover the immense possibilities of the piano. Liszt "turned" the piano into an orchestra, performing symphonies on it Beethoven, the opera fantasies of Mozart, Berlioz, Wagner, Verdi... Liszt's piano sang Schubert's songs and turned into an organ when the pianist performed Bach's fugues.

Liszt resolutely led the piano out of the rooms and home halls onto the concert stage. He was the first pianist who dared to perform alone in a concert, occupying the attention of the audience for several hours only by playing the piano. “Starting with Liszt,” said V.V. Stasov, “everything became possible for the pianoforte.”

Liszt guessed the great future of the instrument, which at that time was not highly valued, leaving it for home music-making. Liszt once compared the piano to engravings: "in relation to an orchestral composition, it is the same as an engraving to a painting, which it reproduces and distributes."

Liszt was a musician who considered it his first duty to bring people (not just a few - a lot of people!) The best musical creations of the past and present. And he did this until the last days of his life.

Hearing.

Questions:

- Intonations of what genre did you hear;
- Who performed the music?
- How many images sounded in the work;
- Describe the work.

We listened to music called Rhapsody.

The history of rhapsody will take us to ancient Greece, where at festive feasts, storytellers, who were called rhapsodists, recite their large fascinating poems, like Homer's Odyssey or Iliad. Rhapsode, and is translated from Greek - the one who composes the song.
Rhapsody experienced its second birth in the 19th century. This is due to the interest of romanticism in folklore. So far, the rhapsody resembles a fantasy on folk themes, later it will approach poems, solo concertos for piano and orchestra, and even cantatas.
What is rhapsody in our time?
Rhapsody (Greek word ῥαψῳδία, "rhapsodia" - folk epic song) - a free-form instrumental or vocal work of several contrasting parts, most often using folk national motifs.

Ferenc Liszt (Franz Liszt, 1811-1886) - Hungarian composer, pianist, conductor, teacher, music writer, public figure. Studied with K. Czerny (piano), A. Salieri, F. Paer and A. Reicha (composition). In 1823–35 he lived in Paris, where his talent as a virtuoso pianist developed (he performed from the age of 9) and began teaching and composing. Communication with prominent figures in literature and art - G. Berlioz, N. Paganini, F. Chopin, V. Hugo, J. Sand, O. Balzac, G. Heine and others influenced the formation of his views. Having enthusiastically met the July Revolution of 1830, he wrote the "Revolutionary Symphony"; The uprising of the Lyon weavers of 1834 dedicated the piano piece Lyon. In 1835-39 ("years of wandering") List lived in Switzerland and Italy. During this period, Liszt reached the perfection of his performing arts, creating concert pianism in its modern form. The defining features of Liszt's style were the synthesis of the rational and the emotional, the brightness and contrast of the images combined with the dramatic expression, the colorful sound, the stunning virtuoso technique, the orchestral and symphonic interpretation of the piano. In his musical creativity, Liszt realized the idea of the relationship of various arts, especially the internal connections of music with poetry. Created for the piano "Album of the Traveler" (1836; partially served as material for the cycle "Years of Wanderings"), the fantasy sonata "After reading Dante", "Three Sonnets of Petrarch" (1st edition), etc. From the end of the 30s . until 1847, Liszt toured with great triumph throughout all European countries, including Hungary, where he was honored as a national hero (in 1838–40 he gave a number of charity concerts to help victims of the floods in Hungary), in 1842, 1843 and 1847 in Russia, where he met M.I. Glinka, Mikh. Yu. Vielgorsky, V. F. Odoevsky, V. V. Stasov, A. N. Serov and others. In 1848, leaving his career as a virtuoso pianist, Liszt settled in Weimar, with which the flourishing of his creative and musical and educational activities is associated. Liszt's most significant works were created in 1848-61, including 2 symphonies, 12 symphonic poems, 2 piano concertos, an h-moll sonata, Etudes of the highest performing skill, and Fantasy on Hungarian Folk Themes. As a conductor (court bandmaster), Liszt staged over 40 operas on the stage of the Weimar Theater (including operas by R. Wagner), 26 of them for the first time, performed in symphony concerts all the symphonies of Beethoven, symphonic works by G. Berlioz, R. Schumann, M. I. Glinka and others. In his journalistic writings, he advocated a progressive beginning in art, against the academicism and routine of the epigones of the Leipzig school, in contrast to which the musicians who united around Liszt formed the Weimar school. Liszt's activities were opposed by conservative court and bourgeois circles in Weimar, and in 1858 Liszt resigned from the post of court bandmaster. From 1861 he lived alternately in Rome, Budapest and Weimar. Deep disappointment in contemporary bourgeois reality, pessimistic moods led Liszt to religion, in 1865 he received the rank of abbot. At the same time, Liszt continued to participate in the musical and social life of Hungary: he was the initiator of the creation in 1875 of the Academy of Music (now named after him) and its first president and professor, promoted the work of Hungarian composers (F. Erkel, M. Mosonyi, E. Remenyi); contributed to the growth of young national music schools in other countries, supported B. Smetana, E. Grieg, I. Albeniz and other composers. He was especially interested in Russian musical culture: he studied and promoted the work of Russian composers, especially the Mighty Handful; highly appreciated the musical-critical activity of A. N. Serov and V. V. Stasov, the pianistic art of A. G. and N. G. Rubinsteinov, etc. Until the end of his life, Liszt continued free classes with students, educating over 300 pianists from different countries . Among the students: E. d'Albert, E. Sauer, A. Reisenauer, A. I. Siloti, V. V. Timanova; many composers used his advice. The multifaceted creative activity of Liszt, a prominent representative of romanticism, played a huge role in the formation of the Hungarian national music school (composing and performing) and in the development of world musical culture. In his works, an organic fusion of folk-Hungarian origins (verbunkos) and the achievements of European professional music arose (Hungarian Rhapsodies, Heroic March in the Hungarian Style, Funeral Procession for piano, symphonic poems, oratorios, masses and other compositions). The enduring significance of List's work is in democracy and effective humanism of ideological content, its main themes are the struggle of man for high ideals, the desire for light, freedom, and happiness. The defining principles of the composer's innovative work are programming and the monothematism associated with it. Programming led to the renewal of the genre of fantasy and transcription by the composer, the creation of a new musical genre - a one-movement symphonic poem, and was reflected in the search for new musical and expressive means, which was especially pronounced in the late period of creativity. The ideological and artistic principles of Liszt became widespread in the work of composers of various national schools, including the Russian one, who highly appreciated his creative genius, which was also reflected in the music-critical articles of V. V. Stasov, A. N. Serov and others.

Compositions: Opera Don Sancho, or Castle of Love (1825, Paris); oratorios - The legend about St. Elizabeth (1862), Christ (1866) and others; masses - Esztergomskaya (Granskaya, 1855), Hungarian coronation (1867); cantatas; Requiem (1868); For orchestra - Faust Symphony (after I. W. Goethe, 1857); symphony to Dante's Divine Comedy (1856); 13 symphonic poems (1849–82), including Mazeppa (after V. Hugo, 1851), Preludes (after J. Autrans and A. Lamartine), Orpheus, Tasso (all - 1854), Prometheus (after I. G. Herder, 1855); 2 episodes from Lenau's Faust (1860) and others; For piano With orchestra - 2 concerts (1856, 1861), Dance of Death (1859), Fantasy on Hungarian Folk Themes (1852) and others; For piano - sonata h-moll; cycles of plays: Poetic and religious harmonies (according to A. Lamartine), Years of wanderings (3 notebooks); 2 ballads; 2 legends; 19 Hungarian Rhapsodies; Hungarian historical portraits; Spanish Rhapsody; Studies of the highest performing skills, concert studies, variations, pieces in dance form, including 3 forgotten waltzes, marches, etc.; For vote With piano - songs and romances (about 90) to the words of G. Heine, J. V. Goethe, V. Hugo, M. Yu. Lermontov and others, instrumental pieces, chamber instrumental ensembles; transcriptions (mainly for piano) of his own works and compositions of other composers, including Etudes after Paganini's Caprices.

It is difficult to imagine world music without the influence of Hungary. It was this country that gave the world art of Liszt, Kalman, Bartok and numerous original compositions.

The musical culture of Hungary is based on the traditions of the gypsies. And today, gypsy ensembles are very popular in the country, collecting full houses in many cities and villages.

Author's music

The composer Franz Liszt stood at the origins of the country's academic music. Among his compositions dedicated to Hungary, one can single out such an innovative work for that time as “Hungarian Rhapsodies”.

Many melodies are based on traditional motifs. In some, you can catch the sound of Hungarian dances - czardas and palotas.

Franz Liszt was an active promoter of the synthesis of the arts, he tried to connect music with literature and painting. The play "The Thinker" was developed under the impression of the sculpture of Michelangelo, "The Betrothal" was created after the painting by Raphael Santi. Having become acquainted with the Divine Comedy, Liszt wrote the sonata After Reading Dante.

Other recognized Hungarian composers active in the 20th century include the following:

Imre Kalman. The creator of dozens of operettas, the most "Hungarian" of which is considered "Maritza".
György Ligeti is a contemporary Hungarian composer who developed the avant-garde and absurd. One of his program works is "Requiem", written in the 1960s.
Albert Shiklosh is a composer, pianist, cellist, creator of several operas, the most popular of which is The Moon House.

Folk Hungarian music

Along with numerous academic composers, folk music has always been present in Hungary.

In the 17th-18th centuries, Hungarian folk music was associated with gypsy music. Many performers performed in a mixed, Hungarian-Gypsy style. The result of this mixing was the musical direction - verbunkosh.

The Hungarian verbunkos is characterized by a smooth transition between different rhythms of performance, from slow to energetic.

Elements of verbunkosh can be found in the works of a number of European composers. For example, the Rakosi March, the most famous melody of this style, is found in the works of Berlioz and Liszt.

On the basis of verbunkosha, the Čardash style developed after a few decades. In addition to gypsy motifs, it was based on village dances from different parts of the country. However, it was the gypsy groups that introduced this style to all neighboring states.

The peculiarity of the Hungarian csardas is the variability of tempos and rhythms, from smooth and slow to swift. Experts distinguish between several types: "shaking", lively and calm.

Many motifs of chardash can be found in the works of the largest European composers: Brahms, Kalman, Tchaikovsky. The Russian composer organically wove elements of this musical style into his ballet Swan Lake.

Silva, the most famous of the operettas written by Imre Kalman, is also dedicated to Czardas. Another name for this work is "The Queen of Csardas". The production went through several adaptations and is still popular today.

Among the well-known compositions written in this genre, one can note "Czardas" - a short piece with a duration of just under five minutes, created by the Italian musician Vittorio Monti. This is one of the few works of the author, actively performed today.

The Austrian Johann Strauss did not bypass the style. The main character of his operetta The Bat performs the Hungarian czardas in front of the audience to prove her nationality.

Hungarian opera

Hungary is one of the leading suppliers of opera music in Europe. The first Hungarian opera composer was Ferenc Erkel, who staged the opera Maria Báthory in the middle of the 19th century. Then there were many other opera productions based on national motives.

Modern Hungarian opera is a rapid development and numerous experiences. Some performers combine classical opera with contemporary musical genres (such as techno music), while others take up unusual themes. For example, Marton Illes sometimes uses Arabian motifs in his works, Tibor Kochak combines opera and rock music (as a result of which, for example, the production of Anna Karenina appeared).

György Ranki and Tibor Polgár are among the leading Hungarian opera composers of the 20th century. In addition to operas, they are also known for their music created for Keleti's films.

The interpenetration of Hungarian and world musical cultures continues today. In Hungary, there are many artists working in the genre of rock and metal music. Among the main bands experimenting in these styles are Dalriada, Ossian, Omega, who perform all over Eastern Europe.

If you have any questions on this topic, ask them in the comments to the article. Subscribe to our mailing list to receive updates on our blog.

The genre of instrumental rhapsody is an invention of Liszt, although this name (from the ancient Greek "rhapsode", a performer of epic songs) was used before him, for example, by the Czech composer Tomasek. Liszt interprets the rhapsody as a virtuoso concert fantasy in the spirit of paraphrase, where instead of operatic melodies folk themes. These are the themes of Hungarian and gypsy songs and dances, most of which are taken from the collection of Hungarian folk melodies recorded by Liszt.

musical language The rhapsody is distinguished by its bright national character due to its reliance on urban Hungarian folklore, the so-called. style verbunkos. Its features:

proud, passionate, pathetic character;
free, improvisational style of presentation;
sharp rhythm with frequent accents, dotted lines, syncopations, in particular, special dotted cadences (“with spurs”);
the use of hemiol modes with uv.2, including the Hungarian (Gypsy) scale.

The most famous work of the verbunkos style is the famous "Rakoczi March" (Hungarian "La Marseillaise"), which Liszt used in his 15th Rhapsody.

Deeply national in musical language, Liszt's Hungarian rhapsodies objectively responded to the growth of the national self-consciousness of the Hungarian people during their struggle for national independence. This is their democratism and the reason for their widest popularity.

The most typical form for Liszt's rhapsodies is based on a contrasting comparison of two sections - slow and fast (lashan and frishka).

1 section of a more improvisational warehouse, in the spirit of an epic narrative or in character palotash- an old Hungarian dance procession, reminiscent of a polonaise, but 2-part;

Section 2 draws a picture of a national holiday, the Czardas dance (a very fervent, temperamental, incendiary 2-part Hungarian dance).

Perhaps, however, a greater number of contrasting sections, as, for example, in the 6th rhapsody.

In the development of thematic material, the predominant role is played by the methods of ornamental variation associated with folk instrumental practice. The best examples of Lisztian rhapsodies are 2,6,12,14.

Second Rhapsody, cis-moll. A short epic-narrative introduction introduces the world of colorful pictures of folk life that make up the content of the rhapsody. It is sustained in a free-recitative manner, at a slow pace. Accompanying chords with grace notes imitate the tinkle of strings, evoking the idea of an ancient rhapsodist composing his song.

The first, slow section of the rhapsody - lashan - has a pronounced Hungarian national character, especially due to the dotted endings characteristic of the verbunkos style. Its genre basis is a song with elements of dance (due to the dotted rhythm of the accompaniment). During the second performance, the theme of the song varies in texture, is decorated with a typical Liszt virtuoso passage and passes into the second, dance theme. The high register, grace notes, reminiscent of the playing of folk stringed instruments, create a very gentle, light image, and the permanent organ point emphasizes the folk flavor. After the variational development of the dance theme, the first two themes (introductions and songs) reappear, like a reprise in 3-part form.

The 2nd, fast section of the rhapsody - frishka - is built on the free variational development of the dance theme of the 1st section. In terms of content, this is a picture of a national holiday, during which the dance becomes more and more temperamental, incendiary. Characterized by an ever-increasing acceleration of tempo, complication of texture, dynamic waves from R before ff, transmitting the attenuation, then the resumption of the dance.

Liszt's piano cycle "Years of Wanderings"

In parallel with R. Schumann and following him, F. Liszt relies on a priority structure for the Romantics - a cycle of piano pieces united by a certain ideological and artistic design. However, unlike other composers, Liszt, with his inherent scale in the “delivery” of musical thoughts, deviates far from the instrumental miniature, preferring developed structures, including the sonata. So, the sonata “After reading Dante” becomes the “center of gravity” of the second notebook of “Years of Wanderings”. List's originality in the interpretation of the cycle is that cyclization, i.e. The grouping of pieces takes place on two levels. At the highest level, "Years of Wanderings" includes three notebooks: "Switzerland", "Italy", "Rome". In turn, these notebooks contain individual plays. Unlike other romantics, F. Liszt does not strive for the intonational unity of the cycle, or at least of the notebooks that make it up. Being covered by a figurative-semantic connection, they appear structurally self-sufficient and disunited.

An emphatically romantic meaning lies in the very name of Liszt's "super cycle". Note that the very motive of "wanderings", as well as the motive of "wandering", "pilgrimage", "vagrancy" is one of the fundamental for romantics. The composer interprets this romantic theme again on an individual basis. He refuses the specific "suffering" semantic subtext that accompanies wanderings and focuses mainly on expressing his reverent attitude to nature, history, culture of the countries and cities that he managed to visit. The place of the “sufferer”, dejectedly wandering along the path of life, is taken by Liszt by an enlightened enthusiastic tourist-traveler.

History of creation The cycle is associated with a great journey that Liszt made with Maria d "Agout around Switzerland and Italy in the 2nd half of the 30s. The composer embodied his impressions of Switzerland in the Traveler's Album cycle. Later, many of the Album's pieces were reworked and compiled the first notebook of "Wanderings" - "First year. Switzerland" (final edition - 1855)

If the plays of the first volume are inspired mainly by pictures of nature, then the content of the second (“Second Year. Italy”) is connected with impressions from Italian art - poetry, painting, sculpture (Dante, Petrarch, Michelangelo).

"The Third Year of Wanderings" was written later than the first two, it differs from them both in images and in means of expression - more subtle and refined. In the music, elevated prayerful moods and feelings of disappointment, gloomy skepticism are contrasted in contrast. Religious themes dominate.

Three "years", thus, become symbols of the three stages of the artist's spiritual ascent: Nature - Art - Religion.

In addition, receiving large fees as a virtuoso pianist, Liszt often donated money: to help flood victims, to a monument to Beethoven, and so on. This inner nobility is also felt in the way he made concert transcriptions of music by other composers. Thus, he promoted the music of Bach, Beethoven, Schubert, his contemporaries (in particular,). He wrote a book about Chopin. Liszt taught for free.

Liszt's whole life is work, composing music and touring. He visited Russia twice. Always and everywhere his performances evoked the delight of the public. There is even a special term - listomania. The term was coined by Heinrich Heine, describing the mass hysteria that occurred during Liszt's Paris concerts. A film of the same name was released in 1975 (directed by Ken Russell, UK). The role of Liszt in the film " Listomania"performed by English singer Roger Harry Daltrey (The Who). But even more interesting is that the role of the Pope is played by Ringo Star (The Beatles). The film, of course, is from the category of fantasy, but it is curious to watch.

Those who wish will watch the film, and you can read about Liszt's last long-term love (actually 30 years) for a subject of the Russian Empire. Living together with Carolina did not result in an official marriage, because specific people prevented this. Neither more nor less: Russian emperors and popes.

The topic of Franz Liszt is extremely large, so I will limit myself to a brief biographical sketch and dwell on only one interesting point.

Multicultural Europe in the 19th century

Liszt was born in Hungary (then the Austrian Empire), was brought up as an artist and received his first recognition in France, worked in Switzerland, and began a new creative period in Germany. And the end of his life fell on Italy, where he became an abbot in the Vatican.

Thus, the culture of all these countries left its imprint on the work of Liszt, and he himself made his own contribution to these cultures. Such interaction for Europe is not at all unique.

Liszt knew the Hungarian language poorly. Nevertheless, he remains a Hungarian artist. The great Polish composer had a French father and lived most of his life in France. But he considered himself a Pole. And in Poland there are two shrines: the Catholic Church and Chopin. In Hungary they revere their Franz Liszt.

So, Franz (Franz, Francis) Liszt was born on October 22, 1811 on the territory of the Austrian Empire. His father served as a "sheep overseer", and in his spare time he played in the orchestra of his master, Prince Esterhazy (Esterhazy). In the same orchestra that J. Haydn led almost all his life.

His father was also Liszt's first teacher. These childhood activities and some of the lessons he took in Vienna and Paris are Franz Liszt's only education. Then there is music, music and music.

You can listen to all of Listov's music. The only problem is that sometimes "guides" may be required: too many connections with literature and even painting. Of the literary ones, the most interesting are the “Sonnets of Petrarch”, the sonata “After Reading Dante” and works related to the Faustian theme. From the picturesque - "The Thinker" or "Betrothal" (based on the sculpture by Michelangelo and the painting by Raphael).

Of all the vast heritage of Liszt, I would like to dwell on only one work: Hungarian Rhapsody No. 2.

Hungarian Rhapsody No. 2

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I once wrote about Leonard Bernstein as the author of the musical West Side Story. But this wonderful musician was also a strong popularizer of music, hosted programs, organized concerts for young people in New York. Text printouts of these concerts were also published in the USSR.

In one of his books, Bernstein talks about the connection between music and language. He believed that a folk song reflects everything: the rhythm, accents, speed of speech of each nation. From folk music, these features pass into "great music". There are no strong accents in French, it is a smooth, fluid language - and this manifests itself in French music. Italian has a lot of long vowels - and the slowness of the vowels is again reflected in the music. Spanish is rhythmic and rich in consonants, and so is Spanish music. And in Hungarian, most of the stress occurs on the first syllable - and Hungarian music is famous for its original accents.

I believe that this is a topic of large related studies, but I could not help but give this curious point of view. And Franz Liszt perfectly felt and understood the essence of Hungarian folk music.

Recall that previous eras had little "interest" in folk music, although interaction, of course, always existed. A keen interest in folklore arose precisely in the era of romanticism.

Liszt is the founder of the rhapsody genre. Rhapsodes are ancient Greek singers who compose epic songs. A few thousand years later, the "genre came to life" precisely in the work of Liszt, and above all in the Hungarian Rhapsodies.

Emma, these tears make me love you even more!

There is a funny scene in the old Soviet film "Merry Fellows" - in the Music Hall. A visiting celebrity, an Italian conductor, falls under the stage. And on the stage there is something unimaginably monumental: a giant orchestra, a couple of dozen pianos, the same number of harps.

The unlucky protagonist (L. Utyosov) gets on stage instead of the Italian, he scratches himself, twitches, the orchestra plays. The hero sees Lenochka in the hall, makes signs to her: “Understand, understand! That's stupid!" The orchestra again takes the signs for the instructions of the eccentric conductor and continues to play. And the orchestra performs Liszt's Hungarian Rhapsody No. 2 in orchestral arrangement. "Original interpretation" - a certain connoisseur makes a verdict.

And the orchestra is playing. One of the spectators is crying bitterly. Her companion utters the sacramental: "Emma, for these tears I love you even more!", believing that she was so touched by Liszt's music. And Emma's shoes are tight ... (Oh, this Hungarian Rhapsody No. 2. Let's still love each other for those and other tears).

But the same rhapsody sounds in many other films (“Delirious”, “Who Framed Roger Rabbit” - 3 Oscars, “Shine” 1996 and others). Even in Tom and Jerry and many other cartoons. I counted about fifty films and cartoons, then I stopped counting.

I think that Franz Liszt himself would have smiled when he learned about the popularity of his rhapsody in the popular culture of the next century - something like another wave listomania. But it's just good music, albeit extremely virtuoso.

The ability to be in the pan-European stream and at the same time the ability to hear "native speech" is a hallmark of all romantics. Thanks to them, we ourselves learn to hear and understand "someone else's speech." And we try not to forget the "native".