ARTES. JOURNAL OF MUSICOLOGY - artes-iasi

“GEORGE ENESCU” NATIONAL UNIVERSITY OF ARTS IAŞI FACULTY OF PERFORMANCE, COMPOSITION

AND MUSIC THEORY STUDIES

RESEARCH CENTER “THE SCIENCE OF MUSIC”

DOCTORAL SCHOOL – MUSIC FIELD

ARTES. JOURNAL OF MUSICOLOGY

vol. 19-20

ARTES 2019

RESEARCH CENTER “THE SCIENCE OF MUSIC”

ARTES. JOURNAL OF MUSICOLOGY

Editor-in-chief – Prof. PhD Laura Vasiliu, “George Enescu” National University of Arts,Iași, Romania

Senior editor – Prof. PhD Liliana Gherman, “George Enescu” National University of Arts,Iași, Romania

SCIENTIFIC COMMITTEE

Prof. PhD Gheorghe Duțică, “George Enescu” National University of Arts, Iași, Romania

Prof. PhD Maria Alexandru, “Aristotle” University of Thessaloniki, Greece

Prof. PhD Valentina Sandu-Dediu, National University of Music Bucharest, Romania

Prof. PhD Pavel Pușcaș, “Gheorghe Dima” Academy of Music, Cluj-Napoca, Romania

Prof. PhD Mirjana Veselinovid-Hofman, University of Arts in Belgrade, Serbia

Prof. PhD Victoria Melnic, Academy of Music, Theatre and Fine Arts, Chișinău, Republic

of Moldova

Prof. PhD Violeta Dinescu, “Carl von Ossietzky” Universität Oldenburg, Germany

Prof. PhD Nikos Maliaras, National and Kapodistrian University of Athens, Greece

Lect. PhD Emmanouil Giannopoulos, “Aristotle” University of Thessaloniki, Greece

EDITORS

Assoc. Prof. PhD Irina Zamfira Dănilă, “George Enescu” National University of Arts, Iași, Romania

Assoc. Prof. PhD Diana-Beatrice Andron, “George Enescu” National University of Arts, Iași, Romania

Lect. PhD Rosina Caterina Filimon, “George Enescu” National University of Arts, Iași, Romania

Lect. PhD Gabriela Vlahopol, “George Enescu” National University of Arts, Iași, Romania

Assist. Prof. PhD Mihaela-Georgiana Balan, “George Enescu” National University of Arts, Iași,

Romania

ISSN 2344-3781 ISSN-L 2344-3781

Translators: Assist. Prof. Maria Cristina Misievici, PhD Candidate

DTP Ing. Victor Dănilă Carmen Antochi www.artes-iasi.ro

© 2019 Editura Artes Str. Costache Negruzzi, nr. 7-9, 700126, România Tel.: 0040-232.212.549 Fax: 0040-232.212.551 e-mail: [email protected]

The rights on the present issue belong to Editura Artes. Any partial or whole reproduction of the text or the examples will be punished according to the legislation in force.

3

Editorial

Volume 19-20 of the periodical Artes. Journal of Musicology

continues the favourite lines of research of the scientific environment in Iași,

occasioned again by the works presented at the 8th edition of the national

Symposium Stylistic Identity and Contexts in Romanian Music organised by

the “George Enescu” National University of Arts from Iași on 23-24 November

2018. The academic-type modern sonic art and the psaltic music of Byzantine

origins, the two traditional cognitive worlds of Iași musicology are

complemented through the expression of a further interest for jazz music in its

postmodern mixes.

The general vision of the scientific approaches also develops in this

issue the sphere of comparative analysis – Romanian vs. international musical

works – through veritable thematic diversity, organised in the volume in two

great categories: A. Music history. New directions in the interpretation of

the artistic past and B. Art and significance in contemporary musical

works. Readers will discover musicological studies based on the critical

evaluation and reception of recent history (works signed by Tatiana Oltean,

Loredana Iațeșen, Laura Otilia Vasiliu), research and analytical works of the

psaltic patrimony in Romania (signed by Irina Zamfira Dănilă and Cătălin

Cernătescu), semantic interpretations of Romanian works, contemporary

composition techniques (studies by Cezara Petrescu, Claudia Nezelschi,

Petruța-Maria Coroiu, Cătălin Răsvan), works promoting through analysis

values of the musical art of Iași (achieved by Ciprian Ion and Aurelia

Simion), reflections and research on contemporary stylistic crossroads (texts

by Alex Vasiliu and Carmen Almășanu) etc.

The volume reflects the continuous ramification of the process of

writing about music, gathering works elaborated from the perspective of the

various specialisations of the musical field. The musicologist’s vision is

revealed as being strongly interdisciplinary and critical, the performer

deepens the analysis of the structure in order to gradually constitute an

autonomous form of decrypting the relation between form and content (we

mention here the studies signed by Oana-Andreea Severin and Cristina-

Nicoleta Șoitu), the composer goes straight to the target by revealing the

essence of the means of expression, their artistic value (we are referring to

4

Ciprian Ion’s work), the sound engineer (Cătălin Răsvan) honours his status

by offering useful technical information for those interested in the electro-

acoustic sonic universe.

Celebrated in Romania in 2018, the centennial of the Great Union

inspired ample evaluations of the Romanian musical phenomena in the last

hundred years. Musicologist Carmen Chelaru’s work – Romania in The Last

Hundred Years Historical and Musical Considerations. What was done? What

are we doing? What to do? – is an ample piece of research of the parallel

evolution of the Romanian society and musical life from World War I to the

contemporary period, featuring the selection of relevant temporal areas and

events from the historical and musical past. The investigation benefits from a

vast bibliography focusing on the reconsideration and reinterpretation of facts

thorough the lens of post-ideological freedom of thought. In her turn,

Byzantinologist Elena Chircev configures a “panorama” of the musical art of

Byzantine tradition created by Romanian cantors in the last hundred years – a

vast piece of research finalised in a significant, solidly reasoned synthesis

regarding the relationship between ideology and religious music: The

Romanian Music of Byzantine Tradition Between 1918 and 2018.

In the section Book reviews, a recent and very important documentary

retrieval from the history of the “George Enescu” National University of Arts –

The Book of Honour – is presented in an article signed by Carmen Chelaru, the

main author in the recovery of the lost tome.

Univ. Prof. Laura Otilia Vasiliu, Ph.D.

Editor-in-chief

5

Content

STUDIES

A. Musical history. New directions in the interpretation of the artistic past

Romania in The Last Hundred Years Historical and Musical

Considerations. What was done? What are we doing? What to do?

CARMEN CHELARU

“George Enescu” National University of Arts, Iași, Romania ....................................... 11

Goethe Lyrics from a Schubertian Point of View.

Analysis of Converse Paths of Creation

OANA ANDREEA SEVERIN

“George Enescu” National University of Arts, Iași, Romania ...................................... 56

The Variational Principle in Dinu Lipatti’s

Sonatina for Violin and Piano

CRISTINA-NICOLETA ȘOITU

“Gheorghe Dima” Academy of Music, Cluj-Napoca, Romania ..................................... 72

Lăsați-mă să cânt! [Let me sing!] – a Romanian operetta by Gherase

Dendrino: links between the ethical, aesthetic and political content

TATIANA OLTEAN

“Gheorghe Dima” Academy of Music, Cluj-Napoca, Romania .................................... 89

The Bretan Case: a Paradox between Value and Promotion

LOREDANA IAŢEŞEN


Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s

Jertfirea Ifigeniei [The Sacrifice of Iphigenia]

LAURA OTILIA VASILIU


Romanian Music of Byzantine Tradition

between 1918 and 2018

ELENA CHIRCEV

“Gheorghe Dima” Academy of Music, Cluj-Napoca, Romania .................................... 134

6

An Account of the Works of Nektarios Protopsaltis and Nektarios Frimu

in Manuscript no. 7 from the “Dumitru Staniloae” Ecumenical Library of

the Metropolitan Church of Moldavia and Bukovina IRINA ZAMFIRA DĂNILĂ


B. Art and significance in contemporary musical works

The last lieder of Theodor Grigoriu. Stylistic and interpretive aspects

CEZARA PETRESCU


Art and Meaning. Messiaen Influences on Romanian Composition Universes

CLAUDIA NEZELSCHI


Aurel Stroe – Ten Years of Eternity (2008-2018)

PETRUȚA-MARIA COROIU

“Transilvania” University, Brașov, Romania ............................................................ 220

Sound Banks – a Priceless Aid in Contemporary Music Writing

CĂTĂLIN RĂSVAN

National University of Music Bucharest, Romania .................................................... 229

Canti prophani by Sabin Pautza: innocent child's play illustrated

through elaborate composition play

CIPRIAN ION


Jazz Influences in Chamber Musical Works created by

Composers from Iaşi at the Beginning of the 21st Century

AURELIA SIMION


The Balkan tradition in contemporary jazz. Anatoly Vapirov

ALEX VASILIU


7

Values of neo-protestant choral works in Romania

CARMEN ALMĂŞANU


BOOK REVIEWS

The Book of Honor of the Iași Conservatory

Returned Home!

CARMEN CHELARU


STUDIES

Studies

11

Romania in The Last Hundred Years Historical and Musical Considerations

What was done? What are we doing? What to do?

CARMEN CHELARU “George Enescu” National University of Arts Iasi

ROMANIA

Acknowledgement: I express my entire gratitude for the substantial contribution of

Mrs. Mary Carlene/Cello Bennett at the English version of my study. Her expertise

was essential not only in English linguistics issues, but also to adapt and clarify certain

historical notions, terms and ideas.

Abstract: In 2018, Romanians celebrate the Centenary – a hundred years since

Romania had the largest territory ever inhabited primarily by Romanians, at the same

time, a century since Romania as a modern country was born. What do we know about

our history in the last one hundred years? What and why do we celebrate? We know too

little; many of the Romanians participating in the celebration do not know what it is

for. The torrent of pathetic and solemn words about the past is useless. I followed two

paths side by side, which happen to be in a natural connection, but sometimes they also

go through distinct stages: on one hand, the course of the main historical events from

the beginning of World War I until now, and on the other hand, Romanian musical life

during the same period. I will cover five historical stages (World War I, Interwar

Period and World War II, Soviet Occupation, Ceauşescuʼs era and Post-Communist

Period) pursuing four main aims: a) an explicit historical image (as a musician I had a

relatively narrow perspective on general historical facts); b) completing superficial

knowledge received in school (before 1989) with information to justify certain events;

c) the relationship between history–culture–music, in support of the idea that art does

not exclude knowledge and civic involvement, on the contrary; d) the Past justifies the

Present and together they work upon the Future. In the epilogue I will reveal an

example that I consider illustrative for this fourth aim: the project Saving Enescu’s

Cottage from Mihăileni. I have made this study mainly for my own benefit, in order to

understand the historical facts, but especially to find an answer to the question:

knowing history – what’s the use?

Keywords: Centenary, Romania, history, music, communism.

1. Foreword

This text is not a report; therefore, it does not claim to reach, include,

exhaust all the ideas related to Romanian history or to the Romanian musical

[email protected]

DOI: 10.2478/ajm-2019-0001

Artes. Journal of Musicology

12

phenomenon of the last hundred years. It is assumed that the examples to which

I refer are not singular; however, I consider them to be relevant.

I made a minimum investigation among friends and acquaintances, people

of different ages and professions (no professional historians but having

systematic intellectual activities) regarding the information they have about

Romanian history over the last hundred years. The answers were almost

identical: basic historical knowledge comes from high school; whether they

belong to the generations before 1989 or after, the data, the characters and the

interpretations remain overwhelmingly the same, dominated by nationalist and

Romanian-centrist comments, with missing issues, events and personalities, in

short, a censored history. I asked the same question to several teenagers. The

answer was essentially: “we do not really learn history; we concentrate on the

fields of study we need for our final high school exams”.

I therefore combined general historical information (I myself learned new

facts by working on the present text), with my own observations. I did this

because I realized that the rhythm of our life prevents many of us from

accessing the updates and revisions that have taken place in the field of

historiography of the last decades. I also decided to avoid, as much as I could,

the dithyrambic and patriotic key, which, willingly or not, we all had to adopt in

the past, and which, unfortunately, has not yet disappeared.

I feel (it’s a weird feeling coming from the years of communist festivities

we lived through in the Romania of the 1980’s) that since the beginning of

2018, the attitude and discourses I wanted to forget are growing ever stronger

again. That is why I express my views for those in my generation to remember

(in case they have forgotten!), and for the youth to learn about the dithyrambs

that fell in waves over our consciousness until thirty years ago. As for myself, I

am trying to stay away from these great but empty words.

I began to re-discover and really learn about the modern and

contemporary Romanian history merely five years ago.

I was born, and I spent my childhood in the 1960’s, times when the “war

generations” (my parents and my grandparents) carried the mark of the Soviet

terror – the Red Army troops had already withdrawn from Romania, but people

had not forgotten yet. At home people listened to prohibited radio broadcasts

(Europa Liberă/ Free Europe and Vocea Americii/ Voice of America),

whispering about news from abroad; when I found a photo of Queen Elisabeth

(1843-1916, the wife of King Carol I of Romania) among the family photos

with farmers, teachers, priests and doctors, my grand-grandmother answered

with a mysterious smile: “she is a relative of mine!”1. At school, the teachers

accommodated themselves to the re-written history, some loathingly, others

1 At that time, if the authorities would discover you keep such a photograph, you would risk the

prison.

Studies

13

willingly, some even enthusiastically. This is how our minds and hearts were

set up for forty years. It seemed nothing would change; our parents resigned

themselves to the situation, we were living with the conviction of normality.

The communist leaders decided for everyone else: to live, to work, to eat. The

workers in factories produced things they knew nothing about and did not want

to know what they were useful for. It was only in college that we began to hear

some rumors from abroad. The wall that isolated us from the dissidents in our

own country and from the diversity of other countries began to crack. The

cracks became breaches until everything broke down. What happened

thereafter? We don’t really know, at least not yet. I will make in this respect an

analogy with the biblical Exodus.

“When Pharaoh let the people go, God did not lead them on the road

through the Philistine country, though that was shorter. For God said, ʻIf they

face war, they might change their minds and return to Egypt.’ So, God led the

people around by the desert road toward the Red Sea.” (Exodus 13:17-18) “The

Israelites ate manna2 forty years, until they came to a land that was settled; they

ate manna until they reached the border of Canaan.” (Exodus 16:35)

A wise Jewish friend said about this biblical episode that Moses

deliberately delayed forty years in the desert, so that the generations of slaves

would disappear, and their place would be taken by young people born free. Are

we living a similar story? Our children and our grandchildren will surely find out!

I looked back at the last one hundred years, trying to get rid of prejudices

and to integrate Romanian history into an international context. At the same

time, I tried to keep in mind two main areas: the historical field and the history

of Romanian musical life, even as I am aware I did not manage to achieve a

satisfactory balance between these two spheres of interest3.

2 It seems to me interesting to include here information about manna: “In 1927, [Shimon Fritz]

Bodenheimer, zoologist at the Hebrew University of Jerusalem, visiting the Sinai Peninsula,

noticed a certain plant that in the spring, after being pricked by insects, produces a sweet liquid.

This liquid is fast curing in the air, becoming white hobbies similar to hail. Local Bedouins are

great amateurs of these delicacies, and on spring they go to the steppe to collect the white,

sticky bobbles. [...] Even nowadays, merchants in Baghdad are selling the tamarix sweet resin

which they call man.” (Kosidowski, 1970, pp. 155-156) 3 I confess I was more often tempted by general histories, abandoning the musical sphere. I

explain this by the troubled times we live nowadays. At the end of each chapter I included a

short chronology of main historical and musical events of the period.


14

2. World War I and its Consequences, 1914-1920

2.1. Historical facts about which I did not know, or I knew less I once learned about this period, but lately I have found out more. For

instance, I learned that after the war of 1877-18784 (when Romania lost

southern Bessarabia to the Russians) King Carol I signed a secret alliance treaty

with Austro-Hungary and Germany, which Italy later joined (acc. to Djuvara,

2015, pp. 297-298). From then on, after Romania gained the independence from

the Ottoman Empire, our politicians and intellectuals “understood that countries

like Romania, pursuing limited foreign policy objectives and developing a

prosperous national economy, could not afford to ignore the interests of the

great powers, or else it would only be to its detriment.”5 (Bărbulescu &

Deletant & Hitchins et al., 2014, p. 316). Why was this treaty secret? Because

King Carol, despite his pro-German beliefs, could not ignore the solidarity of

the Romanians in the Kingdom6 with those of Transylvania (acc. to Djuvara,

2015, p. 298).

In the first two years of WW I (1914-1915), Romania maintained its

neutrality. Soon, the governors wanted to join Transylvania and entered the war

alongside the Anglo-French/Entente Powers. In December 1916, the Germans

occupied Bucharest, after the Romanian authorities had fled to Iași.

With a poorly trained and equipped army, fighting on two fronts (the

Carpathian Mountains and the Danube Line), without armed support, neither

from the Russians nor from the Anglo-French, the Romanians were rejected and

lost the entire territory of Wallachia.

The year 1917 was tragically marked by events in Russia (the Bolshevik

Revolution). As a result, in Bessarabia the Country Council was convened. I did

not know that in December 1917, Bessarabia proclaimed itself in the first

instance as an independent republic. A few months later, however, on April 9th,

1918, Bessarabia voted for the union with Romania (acc. to Bărbulescu &

Deletant & Hitchins et al., 2014, p. 344). I prefer to attribute this gesture to the

terror inspired by the Bolshevik rise in Russia than to a genuine desire to unite

with Romania.

And then the year 1918 came! In my school time, no mention was made

regarding The Peace Treaty of Bucharest. After the repeated defeats suffered by

4 The war of 1877-1878 was a conflict between the Ottoman Empire and the Eastern Orthodox

coalition led by the Russian Empire and composed of Bulgaria, Romania, Serbia, and

Montenegro. The war ended by the Russian coalition’s victory. 5 „au înțeles că o țară ca România urmărea obiective de politică externă limitate și dezvoltarea

unei economii naționale prospere, nu își putea permite să ignore interesele marilor puteri, iar

dacă o făcea, acest lucru nu era decât în detrimentul său.” 6 We use the term ʻKingdom’ to designate the former Provinces of Moldavia and Wallachia,

united in 1859, before Transylvania and Bukovina joining in 1918.

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the Entente armies and after the changes in Russia, on 7th May 1918, Romanian

Prime Minister Alexandru Marghiloman7 signed in Bucharest the peace treaty

with the Central Powers (Austro-Hungary and Germany). So, Romania left her

initial allies with the hope of joining the winners, meantime fearing the Eastern

threat – a behavior in the national interest, it is true, but disloyal to her first

allies. The gesture was not forgotten by the Entente Powers and, regrettably, it

will be repeated during World War II.

Since July 1918, the Entente Powers resumed the offensive, and the

outcome of the war was permanently changed. In November, Austro-Hungary

signed the armistice, then it was disintegrated. On November 28th, Bukovina

joined Romania, and on December 1st Transylvania, Banat and Crişana did the

same.

I also did not know that in Hungary, in March 1919, a Bolshevik government

led by Béla Kun, who intended to resume control of Transylvania, was installed. In

July, the Romanian army entered Budapest and overthrew the Bolshevik

government. “[...] so, we prevented the emergence of communism in the center of

Europe for the next twenty-some years. It is something to keep in mind, an

achievement of Ionel Brătianu’s government8.”

9 (Djuvara, 2015,p. 306)

At the end of the war, an empire, Austro-Hungary, was completely

dismantled and the other one, Russia, was transformed and partially divided.

Despite its oscillating position during the four years of war, Romania won

important territories inhabited mostly by Romanians. The courage of the army

at Mărășești, Mărăști and Oituz10

, as well as the desire of the people in the

Kingdom (see footnote 6) to join those of Transylvania would not matter much,

if history (or fate) had not given substantial help. Romania received even more

than demanded at the beginning of the alliance treaty: Bessarabia, sacrificed in

favor of Transylvania, came as a ʻbonusʼ following the radical changes in

Russia.

“History decided entirely in favor of the Romanians after all, and this led

Petre P. Carp, the conservative leader, to declare that Romania had so much

7 Alexandru Marghiloman (1854–1925) – Romanian conservative statesman who served in

1918 (March-October) as Prime Minister of Romania. 8 Ion I.C. Brătianu, 1864-1927, Romanian politician, leader of the National Liberal Party

(PNL), Prime Minister of Romania for five terms, and Foreign Minister on several occasions.

(apud www.firstworldwar.com) 9 „[...] împiedicăm în acest fel apariția comunismului în centrul Europei timp de douăzeci și

ceva de ani. E un lucru pe care trebuie să îl ținem minte, o realizare a guvernului de atunci al lui

Ionel Brătianu.” 10

Mărășești, Mărăști and Oituz are locations in the middle East of Romania. In August- September

1917, here took place the last major battles between the German Empire and the Kingdom of

Romania, during World War I. Romania was mostly occupied by the Central Powers, but the

Battle of Mărășești kept the northeastern region of the country free of occupation.

https://en.wikipedia.org/wiki/Romania

https://en.wikipedia.org/wiki/Diplomat

https://en.wikipedia.org/wiki/Prime_Minister_of_Romania


16

luck that it no longer needed competent politicians to handle the fate of the

country.”11

(Boia, 2014, p. 67)

Following these crucial six years for Romania’s territorial, ethnic, social

and economic configuration (including the four years of war and the next two

years of negotiations and peace treaties, until 1920), historians either

emphasized facts, events, interpretations, or they deliberately ignored

information considered inconsistent or politically incorrect; e.g. giving up

Bessarabia during the first alliance negotiations is a piece of information the

Romanian historians neglected to mention for years now.

“The Romanian reports on World War I are part of a mythology, which

could be understandable, since they constitute the founding act of modern

Romania. Today, Romania is in many respects the result of World War I (even

if, nowadays, part of the inter-war territory was lost12

).”13

(Boia, 2014, p. 66)

Among the myths created over the last hundred years, the historian

Lucian Boia includes: a) the Romanians’ ʻdream of centuriesʼ14

on national

unity and b) the majority position regarding the alliance with the Entente

Powers (acc. to Boia, 2014, pp. 66-85). It seems that none of these myths

represent historical truth. Boia is right when he points out “the primary but

generally neglected distinction between the real history and the particular

(hi)stories; in other words, the difference between what really happened and

what our reconstructions or representations reflect.”15

(Boia, 2016, Un joc…, p. 5).

This means that sometimes unintentionally, but in most cases willingly, history

was rebuilt or at least adapted, depending on the information available, but

most frequently on the purpose it was intended to serve – in short, the history

and the historians could be manipulators.

11

„Până la urmă, istoria a decis întru totul în favoarea românilor, ceea ce l-a făcut pe liderul

conservator Petre P. Carp să afirme că România are atât de mult noroc, încât nici nu-i mai

trebuie oameni politici competenți care să se ocupe de soarta țării.” 12

Comparing the interwar Romanian territory to nowadays one, several parts are missing:

Bessarabia, North-Bukovina and South-Dobrogea. 13

„Interpretarea românească a Primului Război Mondial se înscrie într-o întreagă mitologie.

Nimic mai firesc, de altfel, de vreme ce aici se află actul fondator al României moderne.

România, în configurația ei actuală, este creația Primului Război Mondial (chiar dacă s-a mai

pierdut o parte din teritoriul interbelic al României Mari).” 14

The expression ʻdream of centuries’ (vis de veacuri) is part of the wooden language of the

nationalist propaganda, in Romania before and after 1989. It means, in short, that the

inhabitants of the present territory of Romania wanted since millennia to join in a single state –

theory which is historically untrue. 15

„distincția cu totul elementară, dar în genere neglijată, dintre Istorie și istorie, altfel spus,

dintre ceea ce s-a petrecut cu adevărat și reconstrucțiile sau reprezentările noastre.”

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17

2.2. War and Music

The relationship between true history and its multitude of representations,

(hi)stories, begins in the very first moment when an event is happening. The

(hi)stories arise, multiply and propagate almost simultaneously to the event

itself. For example, in wartime, news on the front is ʻprocessedʼ to keep public

emotions calm and confident. So, despite the state of war, the longest front,

which a badly equipped and trained army could hardly handle, on a reduced

territory (Moldova only), in the city of Iasi overcrowded by authorities,

embassies, refugees of all kinds, with Russia becoming more and more

dangerous – despite of all these issues, young George Enescu (aged 36)

obtained on-site mobilization of the members of the Bucharest Philharmonic

Orchestra. He set up a ʻrefugee orchestraʼ completed by musicians of the Iași

Conservatory and amateur players (acc. to Pascu, 1957, p. 30). So, during the

winter 1917-1918, a memorable season of 22 concerts, conducted mostly by

Enescu, with an attractive repertoire, took place at the National Theatre of Iași.

At the end of 1918, after the musicians of Bucharest went home, the people of

Iași intended to keep the benefits of a professional musical ensemble to perform

weekly concerts; so, a local orchestra, ʻGeorge Enescuʼ Symphonic Society was

founded. Unfortunately, after a few years, due to some local intrigues, the

activity of the Society was interrupted.

In 1919, the Conservatory of Cluj was founded, as a result of a long

musical tradition in Transylvania; the composer Gheorghe Dima was the first

director between 1919-1925 (acc. to Cosma, V., 1999, p. 187). In the same year

(1919) the National Theater and the Romanian Opera House were founded in

Cluj.

A year later (1920) the Romanian Composers Society was inaugurated in

Bucharest. “Having the approval of George Enescu, on November 2nd 1920, at

5 p.m., Ion Nonna Otescu and Constantin Brăiloiu invited to the director’s

office, the following composers16

: Alfred Alessandrescu, Mihail Andricu,

Constantin Brăiloiu, Nicolae Caravia, Alfonso Castaldi, Dimitrie Cuclin,

George Enacovici, Victor Gheorghiu, Mihail Jora, Dumitru Georgescu-Kiriac,

Filip Lazăr, Constantin Nottara, Ion Nonna Otescu, Ion Borgovan.” (Cosma,

O.L., 1995, p. 22) The Transylvanians Gheorghe Dima, Tiberiu Brediceanu and

Ion Vidu joined the Bucharest musicians, and George Enescu agreed to become

the first President of the Society.

In spite of the disastrous situation the country was going through during

the war and immediately afterwards, until the signing of the peace treaty, the

Romanian people found the power to continue their lives, to preserve their

16

„Având acordul lui George Enescu, Ion Nonna Otescu și Constantin Brăiloiu îi convoacă în

biroul directorului Conservatorului, în ziua de 2 noiembrie 1920, ora 17, pe următorii

compozitori…”

https://ro.wikipedia.org/wiki/Alfred_Alessandrescu

https://ro.wikipedia.org/wiki/Mihail_Andricu

https://ro.wikipedia.org/wiki/Constantin_Br%C4%83iloiu

https://ro.wikipedia.org/wiki/Dimitrie_Cuclin

https://ro.wikipedia.org/wiki/Mihail_Jora

https://ro.wikipedia.org/wiki/Dumitru_Georgescu-Kiriac

https://ro.wikipedia.org/wiki/Filip_Laz%C4%83r

https://ro.wikipedia.org/wiki/Constantin_Nottara

https://ro.wikipedia.org/wiki/Ion_Nonna_Otescu

https://ro.wikipedia.org/wiki/Ion_Nonna_Otescu

https://ro.wikipedia.org/wiki/Constantin_Br%C4%83iloiu


18

hopes. After the war, there were more and more initiatives to build a common

sphere of life for Romanians from all over the new territory, at least in terms of

spirituality, language, culture and artistic life.

2.3. Main historical events during World War I

1914

- June – The assassination of Archduke Franz Ferdinand of Austria

- August – Beginning of the war: Central Powers (Austro-Hungary, Germany,

Ottoman Empire, Italy = C.P.) vs. Entente Cordiale/ (France, United

Kingdom, Russia = Ent.)

- August – The King proposed to the Council to join the Central Powers.

Neutrality was decided.

- September – Carol I died. Ferdinand became king of Romania. Ion I.C.

Brătianu (liberal) was Prime-Minister.

1916

- August 28th – Romania abandoned neutrality and joined the Entente, fighting

on two fronts: the Carpathian Mountains and the Danube River.

- December 6th – German troops occupied Bucharest.

1917

- March 12th – Tsar Nikolai II of Russia abdicated.

- April 6th – USA declared war to Germany.

- June/August – Battles of Mărăști-Mărășești-Oituz against the Germans

- November 7th – In Russia the Bolshevik revolution began.

1918

- April 9th – In Bessarabia the Country Council voted for union with Romania.

- May 7th – Prime Minister Alexandru Marghiloman signed in Bucharest the

peace treaty with the Central Powers. The treaty was not ratified by the

Parliament and not signed by the King.

- July 18th – The offensive of the Entente Powers

- November – The Central Powers were officially defeated. Romania re-joined

the war.

- November 28th – Bukovina joins Romania

- December 1st – Transylvania, Banat and Crișana join Romania

1919

- March – Bolshevik government in Hungary

- June 28th17

– Treaty of Versailles

- July – The Romanian army entered in Budapest and overthrew the Bolshevik

government.

17

For simplifying, the dates mentioned in this chronology after 1919 are according to the

Gregorian calendar, officially adopted in Romania, in March 1919.

Studies

19

- December – Peace Treaties with Austria (for Bukovina), with Bulgaria (for

Dobrogea)

- The composer George Enescu initiated the foundation of a musical institution

in Kishinev, ʻUnirea’ (The Union) Conservatory; nowadays its name is

Academy of Music, Theatre and Visual Arts/ Academia de Muzică, Teatru și

Arte plastice

1920

- August 10th – Treaty of Trianon with Hungary, for Transylvania

(Boia, 2012, pp. 92-97; Boia, 2014, pp. 7-10 (chronology), pp. 66-85; Djuvara,

2015, pp. 295-308; Bărbulescu et al., 2014, pp. 341-346)

3. The Interwar Period and World War II, 1920-1945

3.1. Real History and many other (hi)stories

At the end of World War I, the territorial desires of the Romanians were

more than fulfilled. I emphasized ʻmore thanʼ, because a territory annexed a

year before the war (in 1913) sparked (and still produces) controversy among

historians, ideologists and politicians – this is Southern Dobrogea18

. Following

the last Balkan war against the Bulgarians (1913), “the peace treaty was signed

in Bucharest, by the Prime-Minister Titu Maiorescu. There was a time when

Romanian leaders thought the country was an important power in the area,

playing the role of referee in the Balkans. [...] I think it was bad in 1913, when

we asked for a part of Bulgarian territory in Dobrogea, instead of just

restraining them to obtain hegemony in the Balkans, especially since in

Dobrogea neither Bulgarians nor Romanians were the majority, but the Turks

and Tartars.”19

(Djuvara, 2015, pp. 290-291) That is why this issue is bypassed

or minimized in the Romanian historical exposures and comments.

Likewise, Romania received Bessarabia, without claiming it, sacrificing it

in favor of Transylvania.

After the end of all peace negotiations (1918-1920), Romania was facing

a big challenge: a territory more than double, a population two and a half times

larger and, most difficult to manage: over a quarter of these inhabitants were

different ethnic groups. The difficulty was not only in the number of minorities,

18

An area of 7,565 km² was part of Romania from 1913 until 1940. On September 7th, 1940 the

treaty of Craiova was signed, between the Kingdom of Bulgaria and the Kingdom of Romania.

Under the terms of this treaty, Romania returned the southern part of Dobrogea to Bulgaria and

agreed to organize a population exchange. 19

„pacea se încheie la București, Titu Maiorescu fiind președintele Consiliului de Miniștri. E un

moment când României i se pare că devenise o putere importantă care joacă rolul de arbitru în

Balcani. [...] Eu cred că s-a făcut rău în 1913, când nu ne-am mulțumit numai să-i împiedicăm

pe bulgari de a obține hegemonia în Balcani, dar le-am cerut și o porțiune de teritoriu în

Dobrogea, unde de altfel nu erau majoritari nici bulgarii, nici românii, ci turcii și tătarii.”

https://en.wikipedia.org/wiki/Kingdom_of_Romania

https://en.wikipedia.org/wiki/Southern_Dobruja

https://en.wikipedia.org/wiki/Dobruja

https://en.wikipedia.org/wiki/Population_transfer


20

but especially in the great differences of civilization and integration among

these groups, between them and the Romanians, and even among Romanians in

the various provinces. It would be enough to mention here the Transylvanian

Saxons and Székelys20

in contrast to the Turks, Tatars, Russians, Ukrainians,

Gypsies of the Kingdom (see footnote 6) and of Dobrogea.

“In Transylvania, the Hungarians obviously appeared as opponents. The

Germans were much better perceived, being forgiven for their old arrogance

[...], due to their civilizing role and their position as a balance between

Romanians and Hungarians. Likewise, the Germans in Bukovina and

Bessarabia had a better image than the Russians and Ruthenians. [...] Romanian

intellectuals from Bessarabia were largely Russified; as for the Transylvanian

people, even if they kept their Romanian identity unaltered, they felt closer to

the spirit of Central Europe than to the ʻBalkanismʼ on the other side of the

Carpathians. Everybody desired the union, but they did not want the same kind

of Romania. In 1923, the new Constitution was voted by a liberal Parliament,

without the other parties (including the regional ones) having any influence or

authority. Many people from the Kingdom, not always among the most

competent and honest, were hired in various institutions of the state in the new

provinces: a Romanian administration not quite appropriate and respectful!”21

(Boia, 2015, pp. 76-77, 79).

In 1930 a complex census took place, from which we could draw a

picture of Great Romania as follows:

- 20% urban population, 80% rural population;

- 43% illiterates; of the remaining 57%, the majority (85.1%) had not exceeded

primary school, meaning they hardly knew reading & writing;

- the highest birth rate in Europe, but also

- the highest mortality in Europe, and the highest child mortality in Europe!

(Boia, 2012, pp. 97, 102-103)22

20

Székelys are a subgroup of the Hungarian people living mostly in the Székely Land (South-Eastern

Transylvania) in Romania. 21

„În Transilvania, evident, ungurii apăreau ca adversari. Mult mai bine văzuți erau germanii,

fiindu-le iertată vechea aroganță [...], în virtutea unui rol civilizator și a poziției lor ca element

de echilibru între români și maghiari. Și germanii din Bucovina și Basarabia aveau o imagine

mai bună decât rușii și rutenii. [...] intelectualii români din Basarabia erau în bună măsură

rusificați; iar transilvănenii, în ceea ce-i privește, chiar dacă își păstraseră nealterată identitatea

românească se simțeau mai aproape de spiritul Europei Centrale decât de «balcanismul» de pe

celălalt versant al Carpaților. Unirea o doriseră cu toții, dar nu doriseră cu toții același fel de

Românie. În 1923, noua Constituție a fost votată de un parlament liberal, fără să aibă vreun

cuvânt de spus celelalte partide, inclusiv cele «regionale». Numeroși «regățeni», nu întotdeauna

printre cei mai competenți și mai onești, au trecut în noile provincii, în diverse instituții ale

statului: o administrație românească nu tocmai de natură să entuziasmeze!” 22

In the book Cum s-a românizat România (How did Romania become Romanian), L. Boia

made an extensive synthesis of the results of the 1930 census (Boia, 2015, pp. 58-65).

Studies

21

Hence, the goal pursued by the governors in ʻGreat Romania’ during the

interwar period was the achievement of the national, unitary and centralized

state. According to this, economic reforms and industrialization, Romanian

administration, education and culture, discouraging regionalization and region

autonomy initiatives were initiated. Romanian politics became an original mix

of authoritarianism and democracy.

Soon, too soon if we are considering the fulfillment of the ʻdream of

centuriesʼ (see footnote 14 and Boia, 2014, pp. 66-85), the first unfortunate

consequences of the centralizing authoritarianism arose. I’ll just enclose here

two examples. The first one:

In 1924, a group of deputies and senators from Bessarabia signed a very

tough memoir on “a government [decided by the politicians of the Kingdom]

not very competent and quite abusive. Bessarabia was treated with an irritating

disregard, for the province is actually on the lowest social and cultural level

among all the provinces of Romania”23

(Boia, 2015, p. 80).

The second example: The Memorandum of the Romanians in

Transylvania presented to HM King Carol II, on December 15th, 1938. The

second part of this document criticizes the way in which Transylvania was dealt

with in an excessively centralized Romania: the methods of unscrupulous

exploitation, the endless rush for enrichment of the central administration,

together with immorality and defiant corruption – all these have hurt the

province’s public feelings, people who so far had a profound morality24

(Boia

2015, pp. 81-82) 25

.

Towards the end of the period, in Europe, extremism and fanatic trends

were growing up; under these circumstances, the Romanian nationalism

gradually turned into extremism.

3.2. Romanian Culture – Growth and Decline between 1920-1945

Information, statistics, and judgments are essential in the sphere of

history, but they are not enough. All the details color and animate the history

panel. The researchers agreed that the interwar period reached a peak in

Romanian cultural and artistic life. A decadent and controversial political

configuration contrasted with one of the most fruitful ages of Romanian culture;

23

„… administrații [instaurate de guvernanții din Regat, n.n.] nu prea competente și destul de

abuzive. Basarabia a fost tratată cu o supărătoare lipsă de considerație față de provincia aflată

efectiv pe cea mai de jos treaptă socială și culturală dintre toate provinciile României.” 24

„într-o Românie excesiv de centralizată [...]. Metodele de exploatare fără scrupul, goana

neastâmpărată după îmbogățire a sateliților, întovărășită de imoralitate și corupție sfidătoare au

rănit sentimentul public al provinciei, odinioară sub raportul moral sănătoasă până la

austeritate.” 25

The ambience described in the two interwar documents is nearly the same with the social and

political atmosphere in Romania nowadays!


22

it’s enough to mention the writers and philosophers Liviu Rebreanu and Lucian

Blaga, Mircea Eliade and Emil Cioran, the sculptor Constantin Brâncuşi, and

the musicians George Enescu, Mihail Jora and Dinu Lipatti. New institutions

were founded; the activity of the existing ones opened more than ever to the

Western European culture.

“The Romanian Opera Company was known since 1885, but the

Romanian Opera House of Bucharest as an institution financed by the state, was

founded in 1921. The inauguration performance was conducted by Enescu, with

Wagner’s Lohengrin.”26

(Opera Națională București)

On 1st November 1928 the first broadcast of the Romanian radio

broadcasting company was on-air. Then, the Romanians could hear for the first

time the words ʻHere Radio Bucharest!ʼ According to his mission as a promoter

of culture, the conductor and composer Mihail Jora set up the Romanian Radio

Orchestra.

Radio Moldova from Iași, founded on 2nd November 1941 was the only

territorial radio channel that functioned during the Antonescu regime, serving

the anti-Soviet propaganda. It was dissolved on April 19th, 1945, according to

the armistice agreement with the USSR (official website Radio Romania).

In March 1945, Professor Radu Constatinescu, the first director of Iași

Philharmonic Orchestra (being at that time in Făget-Lugoj, Western Romania,

because of the war), wrote in the Philharmonic Book of Honor27

: “In the

autumn of 1942, we entered the first formal season of the State Philharmonic

Orchestra; in the season 1942-1943, we organized 40 concerts, the first being

conducted by maestro George Enescu; he stayed in Iași a whole week to

prepare the official inauguration of the orchestra”28

(Chelaru, 2009, p. 29).

26

„Deși existența unei trupe artistice românești de teatru liric, sub numele de Compania Opera

Română s-a făcut cunoscută încă din 1885, înființarea Operei Române din București ca

instituție independentă și finanțată de la buget s-a realizat abia în 1921. Premiera absolută s-a

făcut cu opera Lohengrin, sub bagheta lui George Enescu.” 27

The memories’ title is ʻClarifications on how we founded the Iași Philharmonic Orchestraʼ

(Lămuriri asupra felului cum am înființat orchestra filarmonică „Moldova” din Iaşi). 28

„În toamna anului 1942 am intrat dară în prima stagiune oficială a filarmonicii Moldova, dând

în total 40 de concerte în stagiunea 1942/1943, primul concert fiind dirijat de maestrul George

Enescu, care în acest scop a venit şi a stat la Iaşi o săptămână întreagă spre a pregăti bunele

începuturi ale orchestrei.”

Studies

23

Fig. 1 (left and middle) First two pages from the foundation Decree of Iași State Philharmonic;

(right) First page of Professor Radu Constantinescu’s Memories in the Book of Honor

of Iași State Philharmonic

An elite institution with remarkable activity during this period is the

Bucharest Philharmonic, founded in 186829

(official website București.

Filarmonica George Enescu). Between 1920-1944, the conductor George

Georgescu was the director of the Philharmonic. In this period, an impressive

number of great artists performed on the stage of Ateneul Român/ Romanian

Athenaeum (home of the Bucharest Philharmonic, built in 1886-1888).

The conductors: Ernest Ansermet, Alfredo Casella, Franco Ferrara, Eugen

Jochum, Clemens Krauss, Pietro Mascagni, Maurice Ravel, Richard Strauss,

Igor Stravinsky, Bruno Walter, Felix Weingartner and so on; also, the

Romanians George Enescu, Antonin Ciolan, Mihail Jora, Ionel Perlea,

Constantin Silvestri, Theodor Rogalski etc.

The soloists: Béla Bartók, Alfred Cortot, Wilhelm Kempff, Arthur

Rubinstein, Henryk Szeryng, Jacques Thibaud, Pablo Casals, Pierre Fournier

and many others.

A repertoire both diverse and challenging for artists and auditors alike

testifies to the rich and intense musical life of Bucharest. Music by Wagner,

Richard Strauss, Stravinsky and Skriabin, D’Indy, Fauré and Chausson;

Romanian music too, much more than nowadays: Enescu, Jora, Andricu,

Mihalovici, Rogalski, Nonna-Otescu etc.; for instance, the concert of September

18th, 1929, conducted by George Georgescu (music by Alfred Alessandrescu,

Mihail Andricu, Marcel Mihalovici, Mihail Jora, Stan Golestan, Ion Nonna-

Otescu, George Enescu) or that of January 11th, 1931, with George Enescu as a

29

The musical society of Bucharest was named Romanian Philharmonic Society, lead until

1907 by the conductor and composer Eduard Wachmann.


24

conductor (works by Enescu, C. Nottara, T. Brediceanu, A. Castaldi, Jora, Th.

Rogalsky, S. Drăgoi, D. Cuclin and others).

On February 2nd, 1930, George Georgescu conducted a very difficult

program: Mahler – Symphony No. 4, Schönberg – Verklärte Nacht, R. Strauss –

Suite Le bourgeois gentilhomme and Ravel – La Valse. Such a program could

only be performed by an experienced, European-level symphonic ensemble.

The same as the concert on December 22nd, 1929, conducted by George

Enescu, with La damnation de Faust, full version, by Berlioz. On November

22nd, 1941, Bucharest Symphonic Orchestra performed in Vienna Musikverein

Goldensaal, music by R. Strauss, Mozart, Rogalsky, P. Constantinescu, Jora

and Enescu, with the pianist Dinu Lipatti as a soloist. (Orchis, see Annex 2)

Some of the program booklets published by the Bucharest Philharmonic

at the end of the period I am referring to, caught my attention. They contain not

only information about the Philharmonic concerts, but also the performances of

Bucharest Opera House (see Annex 1, p. 53).

A consequence of the exemplary generosity demonstrated by George

Enescu throughout his entire life was the foundation in 1911 (by personal

sponsorship) of the National Prize for Composition, which received his name in

1913 till 1946; among winners: Dimitrie Cuclin, Mihail Jora, Marcel

Mihalovici, Theodor Rogalsky, Alexandru Zirra, Sabin Drăgoi, Marțian

Negrea, Ionel Perlea, Paul Constantinescu, Dinu Lipatti, Emanuel Elenescu,

Achim Stoia, Theodor Grigoriu, Anatol Vieru, Valentin Gheorghiu and others.

The events of the interwar period are the result of a society full of

contrasts of all kinds. This period of construction and re-construction, of

cultural and educational growth, was too short when compared to the many

problems emerging as a result of the territorial enlargement. History has

certainly proved that the Romanian state was not prepared to solve such a

challenge in just fifteen years or so.

Fig. 2 Pages from the booklet published by Bucharest Philharmonic on December 8th, 1938

(find the whole document in Annex 1)

Studies

25

3.3. Interwar Period and World War II. Short Chronology

- Romanian territory: 295,000 km2; 18 million people, of which nearly 30%

were ethnic minorities.

- Reforms, industrialization, culture, but also

- Unethical policy; mixture of authoritarianism and democracy

- Romania was a rural country

- 43% illiterates

- 8,6% high school graduates!

- First place in Europe in births, but also in mortality and especially in child

mortality!

- Nationalism gradually transformed into extremism – in a similar European

context.

Short chronology of World War II

About the years of the Second World War, again, many words have been

written, but not so many truths. The main events are as follows:

- 1927. King Ferdinand of Romania died. Regency of Mihai and his mother

Elena

- 1930. King Carol II was crowned

- 1937. General elections – Legionnaires30

won 15%

- 1938. Royal dictatorship

- 1939, September 1st. Germany invaded Poland. Beginning of World War II

- 1940. The Second Vienna Award31

; as a result, Romania lost a third of the

territory (43,104 km2): Bessarabia and Northern Bukovina (ceded to USSR),

North Transylvania (to Hungary), South Dobrogea (to Bulgaria). Romanians

from the territories ceded to the USSR escaped to the Romanian Kingdom,

were deported to Siberia, or accepted sovietisation. The ethnic cleansing

began: the change of population in Southern Dobrogea (Romanians settled

here between 1913–1920, came back to the Northern Danube); the Germans

in Bessarabia and Bukovina were taken over by Germany; Jews and Gypsies

were killed in pogroms or deported to Transnistria.

- 1940–1941. Leadership together with the Iron Guard. Political Alliance with

Germany. On Oct. 10th, the first German troops arrived in Romania.

30

Legionnaires: members of ʻThe Iorn Guardʼ or ʻLegion of the Archangel Michaelʼ. The Iron

Guard was ultra-nationalist, anti-Semitic, Magyarophobic, antiziganist, anti-communist, anti-

capitalist organization and promoted Eastern Orthodox Christianity. Its members were called

ʻGreenshirtsʼ because of the predominantly green uniforms they wore. (Payne, p. 394) 31

The Second Vienna Award was the second of two territorial disputes arbitrated by Nazi

Germany and Fascist Italy. Rendered on 30 August 1940, it reassigned the territory of Northern

Transylvania (including all of Maramureș and part of Crișana) from Romania to Hungary.

(Árpád E. Varga, Transylvania’s History, http://www.kia.hu/konyvtar/erdely/nepes.htm)

https://en.wikipedia.org/wiki/Nazi_Germany

https://en.wikipedia.org/wiki/Nazi_Germany

https://en.wikipedia.org/wiki/Kingdom_of_Italy_(1861%E2%80%931946)#Fascist_regime_(1922%E2%80%931943)

https://en.wikipedia.org/wiki/Northern_Transylvania

https://en.wikipedia.org/wiki/Northern_Transylvania

https://en.wikipedia.org/wiki/Maramure%C8%99

https://en.wikipedia.org/wiki/Cri%C8%99ana

https://en.wikipedia.org/wiki/Kingdom_of_Romania

https://en.wikipedia.org/wiki/Kingdom_of_Hungary_(1920%E2%80%9346)

http://www.kia.hu/konyvtar/erdely/nepes.htm


26

- 1940, Sept. 6th. Carol II abdicated in favor of Mihai I. Ion Antonescu became

prime minister.

- 1941, Jan. 27th. The military dictatorship of Ion Antonescu was established.

February: industry militarization. March: subordination of the rural

population and agriculture to the military needs.

- 1941, June 22nd. Romania’s entry into war against the USSR

- 1941, Dec. 7th. The Japanese attack on Pearl Harbor – USA entered the war.

UK declared war on Romania.

- 1942, June 5th. USA declared war on Romania.

- 1942, August (till February 1943). The disaster of Stalingrad/ Volgograd.

Changing the ratio of forces on the Eastern front. German-Romanians were

defeated by the Soviets.

- 1943, spring. Mihai Antonescu32

made unofficial diplomatic contacts with

UK and USA.

- 1944, August 23rd. Coup d’état led by king Mihai I of Romania against Ion

Antonescu’s government. The Romanian Army declared a unilateral ceasefire

with the Soviet Red Army on the Moldavian front and joined the Allies

against the Axis powers.

- 1944, Aug. 31st. The Red Army occupied Bucharest.

(Bărbulescu & Deletant & Hitchins et al., 2014, pp. 376-392; Boia, 2012, pp. 97-

105, Boia, 2015, pp. 85-93)

4. The Soviets and the Romanians, 1946-1964

4.1. Was it or Was it not Occupation?

During the interwar period much has been done concerning the cultural

and educational issues, but there was much more to be done. The bad habits in

human relationships, the Orthodox tradition resistant to radical changes and

more attached to the Orthodox East than to the Catholic-Protestant West, the

changeable position (again!) of the Romanian political and military leaders in

the alliances during the six years of the war (1939-1945) – all these marked

Romania in late 1945. Compared to the other Central and Eastern European

countries, Romanian communism acquired distinct features from the very

beginning. Lucian Boia expresses them as follows33

:

- The country with the least communists (before 1945) became the country

with the most numerous communist members.

- A society barely touched by communist ideology became so profoundly

communist, that…

32

Mihai Antonescu, 1904–1946, attorney, Romanian politician who served as Deputy Prime

Minister and Foreign Minister during World War II. 33

For better understanding, I re-arranged the author’s arguments as a list.

Studies

27

- [after 1989] it was more difficult to break with communism than in any other

country.

- At the beginning (1945–1965), Romanian communism was virulently anti-

national; then it ended by becoming ultranationalist.

- In Romania, ʻdynasticʼ communism, nonexistent in Europe, was invented.

- The society that offered too little opposition to the communist regime (except

for the USSR) stood up against Ceaușescu with a bloody revolution.

- The most violent anti-communist revolution was followed by the slowest and

most incomplete disconnection from communism.”

(acc. to Boia, 2016, Strania istorie..., pp. 7-8)

We learned quite vaguely at school (in the 1970s) about what Romania

looked like during the period of Soviet occupation. It was not advisable to talk

(especially to teenage students) about political arrests and the Pitești

experiment34

, about deportations, forced collectivization35

, and even less about

Russian soldiers, politicians and ideologues present for years on Romanian

territory.36

Nowadays, the curriculum of the last two years of high school

includes references to these awkward issues (Fig. 3). It is a gain, if we consider

the references added to the program. How much of this program is really

studied, and especially how it is assimilated by the students and even by their

teachers – that’s another issue! 1. Towards the monolith regime (1944-1947)

Projects for the country: The return to the interwar democracy; Imposing the Soviet

pattern; Internal ideology and policy; Signing the peace treaty and its consequences

2. Romania – Popular Republic (1948-1965)

Stalin’s political pattern; Changing the principle of ownership; Centralizing the

economy; Proletariat dictatorship; Anti-communist resistance and repression;

Romania in the communist bloc and openings to the free world

34

Pitești experiment: the largest and most intensive brainwashing torture program in the Eastern

Bloc. The experiment’s goal was for prisoners to discard past political and religious

convictions, and, eventually, to alter their personalities to the point of absolute obedience.

Alexander Solzhenitsyn called it “the most terrible act of barbarism in the contemporary

world.” (Rusan, Ierunca) 35

Collectivization: policy adopted by the Soviet government, pursued most intensively between

1929 and 1933, to transform traditional agriculture in the Soviet Union and to reduce the

economic power of the kulaks (prosperous peasants). Under collectivization the peasantry were

forced to give up their individual farms and join large collective farms (kolkhozy).

(Encyclopaedia Britannica). That was the pattern followed by the Romanian communist leaders

between 1949-1962, in reorganizing the agriculture of the country. 36

The last 35,000 Soviet soldiers left Romania on 25 June 1958. (Bărbulescu & Deletant &

Hitchins et al. 2014, p. 432). “The lack of Soviet military presence in Romania did not prevent

Moscow from trying to impose its control over major decisions. The counsellors left for good in

1963, but an agency remained, formed in the 20 years of Communism, that had penetrated the

high-level leadership, secret services and the Army. The efforts of the Romanian authorities to

neutralize it were great, but they were not taken to the end.” (Popescu G.)

https://en.wikipedia.org/wiki/Personality_psychology

https://www.britannica.com/topic/agricultural-economics

https://www.britannica.com/place/Soviet-Union

https://www.britannica.com/topic/peasantry

https://www.merriam-webster.com/dictionary/collective

https://www.britannica.com/topic/kolkhoz


28

3. Socialist Romania (1965-1989)

Multilateral developed socialist society – organization of the state; Ideology and

society (nationalism and communism, mythologizing history, worship

personality, human rights abuses, minorities, women situation, dissidence,

culture); Five-year plans; Forced industrialization; Socialist economy and failure

of modernization; Foreign policy

4. Romania 1989-2007: new trends and perspectives

December 1989; Project for the country: democracy and integration (changing the

economic pattern, rule of law, human rights, identity and globalization); NATO

integration

Fig. 3 Excerpt from the school curriculum for the history optional field

Istoria Recentă a României [ʻRecent History of Romaniaʼ],

authorized by The Order of the Minister No. 3720/29.04.2016

4.2. Reformation and Uniformity in the Romanian culture under Soviet

influence

We return now at Romanian musical life. After World War II, many artistic

institutions with permanent activity were founded: Philharmonics in Brașov,

Craiova, Arad, Oradea, Sibiu, Cluj, Bacău; Opera companies in Timișoara and Iași

(among others); Radio Cluj, also the main schools of music. In September 1958, the

first edition of the George Enescu International Festival of Bucharest took place. In

Romania of the first two decades after the war, the Bucharest festival was the only

opened door to the international musical scene; of course, propaganda was more

present than ever, e.g. Agerpres news of September 1964: “Guests at the Competition and Festival visited on Thursday and Friday

afternoon, Mogoșoaia Museum. Part of the young competitors made the tour of

Bucharest city and they visited the exhibition of the achievements of R.P.R.

(Romanian Popular Republic) national economy.” (Fig. 4)

Fig. 4 Agerpres news of September 1964

At the same time, membership in the communist ʻcampʼ had a few

positive effects for Romanian musical life. How else would we have had the

opportunity to listen in Romania, in the ’1950s-’1965s, to such great artists as

Sviatoslav Richter, Mstislav Rostropovich, David Oistrakh, Daniil Shafran,

Dmitri Bashkirov, Irina Arkhipova, Václav Neumann, Li Ming-Qiang and

many others?! (Fig. 5)

Studies

29

Fig. 5 Iași Philharmonic (founded in 1942), pages of the Book of Honor: (on left) autograph of

Mstislav Rostropovich, November 13th, 195037

, (on right) Sviatoslav Richter’s autograph, June

15th, 1963

Some sad events happened as well: George Enescu passed away in Paris

on the night of 4th to 5th May 1955. His grave is now in the Père-Lachaise

cemetery. In the spring of 1955, after the composer suffered his second stroke,

his wife, Maria Cantacuzino-Enescu, moved him to the Atala Hotel, next to

Champs-Elysée (10, rue Chateaubriand). Ilie Kogălniceanu (son of one of the

composer’s students and a very close friend) mentioned in his memories that

the reason for moving the musician from Rue de Clichy during the last weeks of

his life, was the better comfort and care with which the patient was surrounded

by the Atala Hotel staff. The hotel belonged to a Romanian owner and Enescu

was hosted free of charge. Immediately after the musician died, employees of

the Romanian Embassy in Paris asked for the body to bring it to Romania,

pretending to be ʻnational property’. Yet, French police got involved, and the

funeral took place at the Romanian Orthodox Church in Paris, on 8th May 1955

(Kogălniceanu, 1996, pp. 90-91). The musician was buried to Père-Lachaise

Cemetery in Paris. It seems that the composer’s wife family showed

indifference, even hostility, during his life as well as after his death. Constantin

(Bâzu) Cantacuzino and Alice Cantacuzino (Maria Enescu’s children from her

first marriage) openly rejected the relationship with George Enescu; and irony

of fate, “Oana Orlea [Maria Ioana Cantacuzino], a writer living in Paris, Maria

Enescu’s granddaughter (the daughter of Bâzu Cantacuzino) inherited the

composer’s copyrights!” (Chelaru, Aventura…, 2015)

37

“With great pleasure I met the wonderful musicians of the orchestra. In this orchestra, every

player is full of enthusiasm. This virtue gives to the ensemble freshness and youthfulness. I

wish great success to the Iași Orchestra.”


30

Another sad event was the closing, between 1950-1960, of the Iași

Conservatory of Music. After the change of regime, many teachers were no

longer politically acceptable, and they were abusively replaced by others, with a

ʻhealthier biographyʼ; the communist unions sent lists of workers in order to

include them as students with minimal requirements (acc. to Pascu, 2015, p.

105). Thus, a large group of fake-intellectuals began to grow. In a radio

broadcasting series about the musical history of Iași, Professor George Pascu38

mentioned (in May 1986), regarding this painful event:

“The main reason of this closing was the Soviet pattern. They claimed

that there were too many art institutions in the Romanian People’s Republic [...]

The Conservatory of Cluj was not closed because of the Hungarian minority.”39

(Pascu, 2015, p. 109)

Fig. 6 The Book of Honor of the Iași

Conservatory. The Headmaster Achim Stoia,

composer, conductor and Professor, wrote

about the event:

“1st November 1950/ The closing of the Art

Institute in Iași/ After a brilliant activity of a

century40

, today the academic art education is

closing its gates. / A mourning day for the

culture of Iași, of Moldova./ Achim Stoia/

Rector of the Art Institute of Iași.”

We can imagine the despair of

the musicians of Iaşi after this event,

which interrupted a centennial

continuity. History proved that it is

much easier to destroy than to build! The Conservatory reopened ten years later

(in 1960), but until the end of their lives, the teachers who had experienced the

tragic event kept alive the memory of that moment: Achim Stoia, George Pascu,

Alexandru Garabet, Lucia Burada, Constantin Constantinescu, Florica

Nițulescu, Ella Urmă, Leonid Popovici and many others! (acc. to Chelaru,

2015, Aventura…, p. 37)

In 1954-1963, the composer and Professor Mihail Andricu, among other

intellectuals and artists, was investigated and persecuted for his contacts with

38

George Pascu, 1912-1996: Professor of the history of music at Iași Conservatory,

musicologist, director and music secretary of Iași Philharmonic, performer of musical

conferences. (Cozmei, 2010, pp. 327-332) 39

„Argumentul principal al întreruperii a fost modelul sovietic. S-a argumentat că în Republica

Populară Română sunt prea multe instituții de învățământ cu profil de artă [...]; Nu s-a putut

desființa și cel de la Cluj pentru că exista o minoritate maghiară.” 40

The Conservatory of Iasi has been founded by Prince Alexandru Ioan Cuza, in 1860.

Studies

31

Western Europe. The communist Securitate41

kept detailed tracking files (Fig.

7). Just as in the Soviet Union of the time, in Romania, these intellectuals were

framed in trials and meetings in which they were publicly accused, threatened,

and humiliated.

State Archives/ State Security Council/ Secret/ Note concerning so called Andricu

Mihai/ On January 22nd, 1954, the authorities of the former Directorate II opened

the information action file against so-called: [...]

Following the fact that he attended the French Institute of Higher Education in

Romania disbanded in 1948 on espionage grounds, and because he was referred

to as a frequent visitor of the French Legation in Bucharest, he was reported as

suspect of spy activity.

From the informative materials, it was clear that ANDRICU MIHAIL made

contacts with the French diplomats TADDEI GABRIEL, FRANCFORT

PIERRE, DU BOISBERRRANGER JEAN, DECIRY JEAN and others, spying

on the territory of the SOCIALIST REPUBLIC OF ROMANIA, meeting with

them at the headquarters of the Legation, at his home and in public places.

41

Securitate: the popular term for the Departamentul Securității Statului /Department of State

Security, the secret police agency of the communist Romania. It was founded on 30 August

1948, with help from the Soviet NKVD.

În urma faptului că a frecventat Institutul Francez de Înalte

Studii din România, desființat în 1948 pe considerente de

spionaj, și pentru că a fost semnalat ca frecvent vizitator al

Legației Franței la București, a fost lucrat informativ,

suspect de activitate de spionaj.

Din materialele informative a rezultat că numitul ANDRICU

MIHAIL a întreținut relații cu diplomații francezi TADDEI

GABRIEL, FRANCFORT PIERRE, DU BOISBERRRANGER JEAN, DECIRY JEAN

și alții, semnalați cu activitate de spionaj pe teritoriul

REPUBLICII SOCIALISTE ROMÂNIA, întâlnindu-se cu ei la sediul

legației, la domiciliul său și în locuri publice.

ARHIVELE STATULUI/ Fd. 96, vol. IV/ Filele 72, 73, 74, 75

CONSILIUL SECURITĂȚII STATULUI

SECRET/ Ex. nr. 1

NOTA Privind pe numitul Andricu Mihai

La data de 22 ianuarie 1954, organele fostei Direcții a II-a,

au deschis dosar de acțiune informativă împotriva

numitului:/…/


32

Andricu Mihail has maintained relationships with some members of the

diplomatic corps of the following Legations: England, USA, Switzerland, Greece

and Turkey.

Through diplomats, especially the French, Andricu Mihail sent letters from the

country to some acquaintances from France and received musical recordings on

discs as well as some publications forbidden in Romania.

Fig. 7 Excerpts from the traching file made by Securitate

to the musician Mihail Andricu (Tănase)

4.3. Events of Romanian musical life, 1946-1960

- 1946. Foundation of Brașov State Philharmonic

- 1946, March 30th. King Mihai I signed the foundation document of

Timișoara Opera House

- 1947. Foundation of Craiova State Philharmonic

- 1948. Foundation of Arad State Philharmonic

- 1949. The conductor Antonin Ciolan42

left Iași for Cluj

- 1949. Foundation of Oradea State Philharmonic

- 1949. Foundation of Sibiu State Philharmonic

- 1949. Foundation of Iași and Cluj High Schools of Music

- 1950–1960. Iași Conservatory is closed.

- 1952. Foundation of Ploiești State Philharmonic

- 1953. Foundation of Botoșani State Philharmonic

- 1954, March 15th. Radio Cluj was settled

- 1955, May 5th. George Enescu died in Paris

- 1955, December 4th. Antonin Ciolan conducted the inauguration concert of

Cluj State Philharmonic

- 1956, November 3rd. Inauguration of Iași Opera House, with Tosca by

Puccini

- 1956. Foundation of Bacău State Philharmonic

- 1957. Foundation of George Enescu High School of Music in Bucharest

- 1958. Bucharest – George Enescu International Festival, 1st Edition

42

Antonin Ciolan, 1883-1970: Romanian conductor, founder member of the Cluj Philharmonic.

He studied in Germany (Berlin, Dresden and Leipzig) and as a young student, he conducted

Mozartverein of Dresden. He became Professor and director at the Conservatory of Iași, and in

1949 moved out to Cluj. Sergiu Celibidache considered Antonin Ciolan one of his first mentors.

Andricu Mihail a întreținut mai multe legături cu unii membri

din corpul diplomatic al legațiilor: Angliei, Statelor Unite

ale Americii, Elveției, Greciei și Turciei.

Prin intermediul unor diplomați și în special cei francezi,

Andricu Mihail a expediat din țară scrisori adresate unor

cunoscuți din Franța și a primit înregistrări muzicale pe

discuri precum și unele publicații nedestinate difuzării în

țară.

Studies

33

5. Ceaușescu and “The Golden Age” in Romania, 1964-1990

What happened next? We usually think we know what we are talking

about. Everybody who lived in Romania during those times perceived them in

his or her own way, better or worse. Besides, everyone considers his own vision

as the genuine one for the entire Romanian society of the past 25 years. Do you

know the story of The Blind Men and the Elephant?

A group of blind men heard that a strange animal, called an elephant, had been

brought to the town, but none of them were aware of its shape and form. Out of

curiosity, they said: ʻWe must inspect and know it by touch, of which we are

capableʼ. So, they sought it out, and when they found it they groped about it. In

the case of the first person, whose hand landed on the trunk, said ʻThis being is

like a thick snakeʼ. For another one whose hand reached its ear, it seemed like a

kind of fan. As for another person, whose hand was upon its leg, said the elephant

is a pillar like a tree-trunk. The blind man who placed his hand upon its side said

ʻelephant is a wallʼ. Another who felt its tail, described it as a rope. The last felt

its tusk, stating the elephant is that which is hard, smooth and like a spear.

(https://www.jainworld.com/literature/story25.htm )

Fig. 8 “The Blind Men and the Elephant”

Indeed, we were blind for

over 25 years, all of us, or almost –

unfortunately many of us have

remained like this till today! So,

good and evil coexisted for a while,

in a bearable manner. After 1975,

Ceaușescu came up with the idea of

making ʻthe citizen of communist

pattern’ at all costs: the borders were closed, any foreign channels of cultural

communication were closed as well. Step by step, evil began to spread and to

suffocate goodwill. When the effects of food rationing occurred in shops and

kitchens, when basic food had to be bought with a ration card, when cold and

darkness marked people daily existence – when all these became generalized

(not upon the Romanian nomenclature43

, of course!), then the Discontent

started to overcome the Fear of persecution. Speaking of good and evil…

Choral Repertoire – Glory and Decline

One of the most popular forms of musical art, the choral song, followed,

as expected, the path of compromising, adapted to the communist ideology. The

apparent ideological relaxation of the 1970s disappeared, and mass culture was

43

Nomenclature: Social group with exceptional prerogatives in the soviet or totalitarian

regimes. (DEX)

https://www.jainworld.com/literature/story25.htm


34

enforced more and more. Who could better support this stipulation than the

choir, with hymns and odes first dedicated to the homeland and to the

communist party, then to ʻthe most beloved son of the Romanian peopleʼ44

?

The choir offered a type of artistic expression much more accessible to the

ideologues – the choir had the Word! From now on, choirs and choral music

formed a shield to protect genuine art and artists from censorship, changes or

even brutal elimination. This situation raised many obstacles in the relationship

between the choral art of value and its potential auditors (acc. to Chelaru, 2015,

Corul filarmonic ieșean…, p. 36). It is perhaps one of the causes of the obvious

regression of this musical genre during the last decades in Romania.

However, beside the hymns dedicated to ʻThe Homeland, the

[communist] Party and the beloved Son [Ceaușescu]’, in the academic institutes

of the country a discrete movement occurred, growing by launching genuine art,

which soon reached beyond Romanian borders. One of the first initiatives was

already taken in the mid-1950s, at Cluj Conservatory: the chamber choir

Cappella Transylvanica founded by the composer and conductor Dorin Pop.

In 1963 the chamber choir Madrigal was settled at Bucharest

Conservatory. Soon, this choir had a spectacular career, crossing over

boundaries one way or another, and becoming in many respects better known

abroad than inside the country. Marin Constantin and the Madrigal were not

only a well-known conductor and a choir, they were initiators of a special type

of musical performance. The effects soon emerged: in 1967, a former Madrigal

singer, the composer Sabin Păutza, founded the chamber choir Animosi at the

Iași Conservatory. This ensemble of students performed only for ten years, but

the Madrigal-like artistic mark produced notable effects among the musicians

and music lovers of Iași.

In 1972, the chamber choir Prelude (led by Voicu Enăchescu) began its

artistic career in Bucharest. In 1976, Professor Nicolae Gâscă founded in Iași

the choir Cantores amicitiae… and so on. An indisputable contribution to the

disappearance of prejudice against the ʻmassʼ choral genre between 1974-1993

was due to the Song Group founded by Ioan Luchian Mihalea. “At that time,

they were a colored and animated ʻislandʼ in a gray reality. They did not play

patriotic songs, did not wear black suits and long black dresses, did not stand

stock-still on the stage – something that was never seen before; a group of

joyful young people who sang and danced, dressed in modern vibrant colors,

living music and singing with obvious pleasure.” (Agerpres, November 28th,

2013, Cultură)

44

… as the communist propaganda called on Ceaușescu, after 1974.

Studies

35

Festivals and Festivities

The oldest musical festival, after George Enescu, was Toamna muzicală

clujeană/ Musical Autumn in Cluj, founded in 1965, which continues until

nowadays (almost miraculously). The festival offers a comprehensive

repertoire, from symphonic and chamber music, to opera, musical and jazz.

In the 1970’s, important initiatives took place, which marked many

generations of artists and music lovers, till today, such as:

1970, Brașov. Festivalul Internațional al Muzicii de Cameră/ The

International Festival of Chamber Music, 1st edition, founded by the conductor

Ilarion Ionescu-Galați. It was one of the oldest festivals of the kind in Europe.

1972, August 25th – September 10th, Piatra Neamț. The 1st edition of

Vacanțe muzicale/Piatra Neamț Musical Vacations.

Following similar Western events, the musicologist Mihail Cozmei,

together with the rector Achim Stoia and the composer Vasile Spătărelu

initiated a series of concerts and recitals, masterclasses of composition and

performing arts, symposiums and debates, all these representing the students’

practical summer activities organized by Iași Conservatory. This festival was a

result of a fruitful tradition made by the concerts organized in Piatra Neamț one

year earlier (1971) by Iași Philharmonic orchestra and the conductor Ion Baciu.

The Musical Vacations were enthusiastically received by the music lovers and

surprisingly, systematically and substantially supported by the city of Piatra

Neamț officials. “Initially limited to the participation of Iași Conservatory and

Philharmonic, the summer festival of Piatra Neamţ was soon expanded by the

attendance of the students and the professors of Bucharest and Cluj

Conservatories.”45

(Cozmei, 2010, p. 193)

It was the only initiative of the kind during the communist period in

Romania, of high professional level, with brilliant professors, which lasted 30

editions. According to a relative relaxation of the propaganda and censorship of

the time, the coordinators from Iasi and Neamț allowed enough deviations from

the official cultural framework. Thus, concerts at the Putna Monastery

(performed by Animosi Choir), Byzantine music masterclasses (lead by

Professor Gheorghe Ciobanu), lectures on the style of the Western avant-garde

music (with the composers Ștefan Niculescu, Anatol Vieru, Aurel Stroe) were

able to take place.

1973, May 9-16, Iași. Romanian Music Festival, 1st edition.

“Beyond the policy-oriented framework – mandatory but only formally

applied by the organizers – the Festival of Iasi achieved in its first ten editions

(1973-1988) at least two remarkable goals: it was (still is) the only one entirely

45

„Limitată inițial la participarea Conservatorului de Muzică George Enescu și a formațiilor

Filarmonicii Moldova, activitatea muzicală estivală la Piatra Neamț s-a extins prin prezența

studenților și cadrelor didactice de la Conservatoarele din București și Cluj-Napoca.”


36

dedicated to Romanian music; it educated, for 15 years, the people of Iași about

Romanian music – chamber and symphonic repertoire, opera, traditional and

contemporary genres.”46

(Chelaru, 2009, p. 171)

1974, Sibiu. National Jazz Festival, first edition.

“In the early 1970’s, the first three editions of the National Jazz Festival

took place in Ploiești. For reasons of ʻideological pollutionʼ47

, in 1974, the

Festival was forced to move to Sibiu. In Sibiu, the festival received respect and

support, even from the communist officials. The organizers were Jazz Club

Sibiu, the most powerful jazz club in Romania at the time.” (sibiujazz.ro)

1976–1989, Festivalul Național Cîntarea României/ National Festival

“Glorifying Romania”

“This festival meant an ensemble of cultural performances during the

communist regime, which took place between 1976–1989. The festival gala

took place every two years and all cultural, professional or amateur institutions

in the country were forced to participate if they wanted to survive

professionally. In music, the repertoire was exclusively Romanian.” (Chelaru,

2013, p. 7)

Everyone performed everything, for everybody – that was a national duty!

Several juries were appointed to nominate winners for each stage (by city, by

county and as national winners), pursuing two main criteria: firstly p.c.r.48

and

secondly the artistic value. Depending on these two criteria (especially on the

first one!) everyone who wanted to have a chance in the national cultural life

had to get a title of laureate at the festival. After the adoption of the law

concerning self-financing by artistic institutions (1984), being a winner at this

festival meant receiving financial support. In this general cultural madness,

those who proved self-respect as genuine artists found the way to circumvent

the law or at least to minimize the compromises they had to make. For instance,

Ion Baciu, the mentor of the modern symphonic orchestra of Iași between

1965–1980, chose for the third edition of the festival (1981, Enescu’s birth

centenary) to remake the Oedipus tragedy by G. Enescu, as an opera-concert

46

„Dincolo de tentele politizante – obligatorii şi totodată ne-reprezentative pentru valoarea sa

reală – festivalul de la Iaşi a reușit în primele sale zece ediții (1973–1988) cel puțin două

performanțe remarcabile: prima – a fost singurul festival de muzică românească de amploare

din viața muzicală a țării; a doua – a creat la Iaşi, pe parcursul a 15 ani, gustul publicului pentru

muzica autohtonă, de la genul cameral la cel vocal-simfonic şi de operă, de la muzica

înaintașilor la cea contemporană, de la muzicieni consacrați la debutanți.” 47

Jazz, rock and other musical genres of the kind were considered by the Communists to be

decadent and dangerous especially for the young people. 48

p-c-r: acronym well-known in Romania, intentionally having two meanings: PCR (Partidul

Comunist Român/Romanian Communist Party) and p-c-r (ʻpile–cunoștințe–relații’, meaning

corrupted tips / illegal support / dishonest help given to someone by an influential person in

order to gain an advantage).

Studies

37

version. The premiere took place in 1975, in Iasi, with Bucharest’s leading cast,

headed by the baritone David Ohanesian. The show was an unforgettable

outstanding event.

For Better, For Worse

1968, Cluj-Napoca. The composer Cornel Țăranu founded Ars Nova, the

oldest contemporary music ensemble in Romania. The musicians of this

ensemble were either members of the Cluj Philharmonic, or professors at the

Conservatory.

1970, January 30th, Iași. First performance of the Musica Viva ensemble of

Iași Conservatory, founded and conducted by Vicente Țușcă. The main

repertoire was 20th century music as well.

1973, April 8th, Iași. The first concert of Voces String Quartet, the oldest

Romanian ensemble of the kind. The founder members were: Bujor Prelipcean

(1st violin), Adrian Anania (2nd violin), Gheorghe Haag (viola) and Dan

Prelipcean (cello). In 1975, Anton Diaconu replaced A. Anania as the 2nd

violinist. In 1980, Voces became part of the Iași Philharmonic, as the third

official ensemble, among the symphonic orchestra and the academic choir. In

1982, during a concert tour abroad, the violist Gh. Haag chose to remain in

Germany; he was replaced in the quartet by Constantin Stanciu. In 1991, Voces

became one of the musical ensembles of the Romanian Radio Society in

Bucharest. In 2009, Anton Diaconu was replaced by Vlad Hrubaru as the 2nd

violinist.

***

In December 1975, Decree No. 151 was issued, regarding ʻthe self-financing

of state institutionsʼ. Eight years later (1983), the dispositions of the decree

were implemented in the Romanian performing-arts institutions. It was the

beginning of a period of humiliation, failures, and interdictions that those who

lived at the time will never forget. Among the causes of this situation were the

ignorance of the leaders, their reserve (fear, even hate) towards culture,

intellectuals and genuine art. The portrait of ʻthe new Romanian citizen’

imagined by Ceaușescu was: a steel worker in a factory who is at the same time

a virtuoso performer of musical folklore and an absolute winner in the national

sports competitions! The pattern was to become mandatory for all the

inhabitants of the Communist state.

5.1. Main musical and cultural events between 1960–1990

- 1963. Pop Music Festival of Mamaia (Black Sea border/riviera)

- 1965. The festival Musical Autumn in Cluj, first edition


38

- 1968. Brașov, Cerbul de Aur/ The Golden Stag festival of pop music, the

first edition. Târgoviște49

, the first edition of Crizantema de Aur/ The Golden

Chrysanthemum festival (café-concert music)

- 1970. First edition of The International Chamber Music Festival, of Brașov.

- 1972. Musical Vacations in Piatra Neamț, first edition

- 1973–1988. Iași, Romanian Music Festival, first 10 editions

- 1973, April 8th, Iași. First concert of Voces String Quartet

- 1974. Sibiu Jazz Festival

- 1976–1989. National Festival “Glorifying Romania”

- 1980–1990. The period of the self-financing of the state artistic institutions

- 1985. Closing of the Radio Studios in Cluj and Iași.

6. Romanian Post-Communism, since 1990

We now know, after almost 30 years, that things did not change in

substance, but only formally. The historian Lucian Boia repeatedly made a

suggestive radiography of the Romanian people and post-communist

Romania50

. He pleads that we are descending from communism incomparably

more than from the Dacians and the Romans. Even with the interwar period we

do not have much in common nowadays, though we like to invoke it so much,

as if the communist era had not existed in Romania! The truth is, remarks Boia,

that communism destroyed a lot in this country, especially the people’s

conscience. After thirty years (since 1990) we are still obsessed by some

monsters born or/and grown in the forty years of communism: the fear of

hunger, the fear of the unknown, the pleasure of not working (sometimes

gaining unfair benefits), the dramatization of the relationship with foreigners,

ʻfrom servility to arrogance’ (acc. to Boia, 2016, Strania istorie…, pp. 201,

209). Worse is the fact that the generations of the ʻExodus’ from Communism

prove the tendency to transfer these moods and ideas to the new generations

(born after the 1990s), and sometimes they even succeed.

First, we fed and satisfied our frustrations

Everything that before 1989 was not allowed to think, to talk, to do, after

1990 became obsessively public – especially vulgar language, gross jokes,

nasty sketches and caricatures about the Ceaușescu couple. Popular energy

aimed towards formal revenge, instead of substantially changing life and

attitudes. We took revenge upon the alphabet (certain lawful changes were

imposed on the Romanian orthography, e.g. replacing the character ʻî’ by ʻâ’

and the wort sînt (I am, they are) by sunt!); we avenged ourselves on the

irrigation pipes in the fields, on the collective farm buildings, on the communist

49

Târgoviște: town situated on the right bank of the Ialomiţa River, North-West of Bucharest 50

See all titles of the books by Lucian Boia in References

Studies

39

party card, on our former masters, and so on. Quantity and change at all costs

became obsessions, ignoring quality and efficiency. Quality and efficiency? For

the moment, it was no time for these; they were postponed so long that people

almost forgot about them. All over the country, people were busy building

churches, villas, establishing universities, philharmonics, pharmacies, festivals,

television stations. Meantime, we did not get rid of the fear of hunger and of

coldness, so we keep loading our storerooms with food and we also are

protecting ourselves of ʻcurent’ – the Romanian word for cool draft.51

Nobody had any idea of what marketing, management or medium and

long-term strategies were, so, everything was done wrongheadedly,

unprofessionally: residence-neighborhoods were built without sewerage and

electricity grids, foreign companies without highway access etc. etc.

And speaking of music, how good would it be, for example, if, in

musicological and Byzantinological researches institutes, unrestricted from now

on by the communist propaganda, the early musical history on Romanian

territory would be expanded and profoundly studied. This ancient music could

be recovered after decades of prohibition, using the genuine researchers, very

few of them still active, who in the meantime are dying one by one. Nowadays

the patrimony of precious documents of the Romanian orthodox music is not

entirely known yet and even less protected and studied.

Ourselves and the Others

Western Europe? It was and still is a desire for the Romanian people –

actually, for most of them, to be precise. At the same time, for the generations

educated in communism, nationalist beliefs are as strong as the European

mirage. People are both frustrated and presumptuous – for instance, Simona

Halep’s victories52

are considered as everybody’s achievements; the failures are

only hers, and people show her this in the nastiest ways.

Right after 1990s, Western Europe showed great curiosity towards

Romanians, due to their suffering in the communist era. Concerts abroad were

watched by a large audience, and, little by little, the curiosity turned into

admiration. Successes were remarkable, the managers – satisfied, and the

contracts came one after the other. No matter how idyllic we try to present the

value of the Philharmonic musicians, the reality of the consumer society

demonstrates that advertising sometimes means more than the artistic value

51

from draft = a current of air in a closed-in space (Merriam-Webster). In Romania, when

usually people stay in a room, bus, tram, or other closed spaces of the kind, if somebody opens

a window or a door to get fresh air, immediately somebody else says: ʻclose it, I feel the cool

draft!’ 52

Simona Halep, b. 1991, is a Romanian professional tennis player, on June 11th, 2018, current

ranking No. 1


40

itself. (acc. to Chelaru, 2009, pp. 166-167). I remember that a young foreign

conductor who came to Iasi for a concert just after 1990’s, seeing our

enthusiasm and confidence in the international career of the Iasi Philharmonic

orchestra, replied: “Enjoy your tours abroad now; the time will come when

Western audience will have had enough of communist Romania, the one

impenetrable and oppressed by Ceaușescu the dictator. As a result, you will not

be invited so often, maybe you will not be invited at all.” That’s how it was.

After 2000, the concert tours diminished, and soon conditions tightened so

much that the tours were no longer profitable either artistically and financially.

The post-December history of Romania includes, among others, two main

events: the membership in NATO (April 2004)53

and joining the EU (January

2007). The EU membership imposed specific legislative, economic, social and

political terms. These two events initially met with the approval of most of the

population; in 2005, for example, 64% of Romanians were pro-Europeans.

However, little by little, their number began to decline – recent research shows

47% pro-Europeans in Romania (www.hotnews.ro, 19.12.2017)

Why this decrease? I would submit two explanations: a) a significant part

of the Romanian political class dishes out actively Eurosceptic propaganda; b) a

large part of the Romanian population has different expectations from the EU. I

do not insist upon the first reason. Concerning the second one, I evoke here an

interesting debate which took place in Paris, in November 2013, between

Romanian and foreign journalists and diplomats: Emil Hurezeanu54

, Luca

Niculescu55

, Cristian Tudor Popescu56

, Jean Quatremer (journalist at

Libération) and Bogdan Mazuru, Romanian Ambassador in France at the time.

(Dezbatere la Paris… 26.11.2013)

Emil Hurezeanu: “For us, for the Polish, for the Baltic countries, there are

problems with Russia, which is a bit irritated because of the Eastern Partnership

now, on the eve of the Vilnius Summit57

– that compared to the French and

Germans, who are much calmer about this threat.”

Luca Niculescu: “The European Commission still provides assistance to

Romania, by CVM (Cooperation and Verification Mechanism). Actually, it is

53

Various comments were made on the circumstances and the reasons for this acceptance.

Among them the war in the former Yugoslavia and the approval by the Romanian Parliament

(in 1998-1999) of NATO’s demand that Alliance aircraft could use the airspace of our country.

Also, the threat of global terrorism, culminating with New York 9/11. 54

Emil Hurezeanu, journalist. Since May 5, 2015 he serves as Romaniaʼs ambassador in Germany. 55

Luca Niculescu, journalist. Since December 2015 he serves as Romania’s ambassador in France. 56

Cristian Tudor Popescu, one of the most important journalists in Romania, in the last 30 years. 57

The Eastern Partnership (EaP) is an initiative of the European External Action Service of

the European Union (EU) governing its relationship with some post-Soviet states. It was

initiated by Poland and inaugurated in 2009. On 28–29 November 2013, the 3rd summit of this

partnership took place in Vilnius. (www.consilium.europa.eu)

http://www.hotnews.ro/


https://en.wikipedia.org/wiki/Germany


https://en.wikipedia.org/wiki/European_External_Action_Service

https://en.wikipedia.org/wiki/European_Union

https://en.wikipedia.org/wiki/Post-Soviet_states

Studies

41

mostly verification. [...] But part of Romanian people is not at all content and is

asking why Romania must be treated like this, and why Croatia, which has

recently joined the EU, is not subject to the same monitoring process.”

Cristian Tudor Popescu: “I do not know about how Europe is seen by the

Europeans, but I can tell you something about the image of Europe among

ordinary Romanian citizens, seven years after Romania’s acceptance (not

integration) in the EU: it’s a cow, bigger than our national cow (which laughs

all the time). The bigger European Cow is always austere and must always give

milk. If she does not give milk, the Great European Cow is not good! [...]

Although the European Union was providential, the Romanians remain

provincial.”

The Obsession of Festivity

The year 2018 brought in Romania a flood of festivals and festivities

dedicated to the so called Centenarul Marii Uniri/ ʻCentenary of the Great

Unionʼ. It is barely ending a festive action, and another one begins. At the end

of 2017, the former Culture Minister announced over two thousand festive

projects for this year. Meanwhile, the minister has been replaced, and the next

one made a first decision to clarify the situation: he decided to continue the

celebration of the centenary by 2023! I do not want to be sarcastic. There are

festivals in Romania nowadays that confirm our European status: George

Enescu International Festival (Bucharest), TIFF (Transylvania International

Film Festival, Cluj), Untold Festival (Cluj); also, Cluj Musical Autumn,

Romanian Music Festival (Iași), New Music International Week (Bucharest)

and so on. All these keep an informed audience and create a good European

cultural area.

Lucian Boia: “Romania succeeded in its national goal. Two hundred years

ago, or even less, Romania did not truly exist, and nothing seemed to announce

a change in this situation. What really did matter was the Romanian people’s

belief in the national ideal. Any favorable circumstances could be useless

without the people’s willingness for change.

The question is, what did we do with the projects aimed to the future? The

successes are not so obvious. We are a country well settled from the national

point of view, a country that represents in its dimensions something in the EU,

but on other levels there are many failures, and Romania is at the bottom of the

European rankings.” (Cincea, 2018)

6.1. Historical Events

- 1990. The Radio Studios in Cluj and Iași are re-opened. Several mass-media

private channels (Radio and TV) was founded.

- 1991. George Enescu International Festival began a new phase of

international significance. After the 15th edition (2001), the festival became


42

biennial. The Contest is reopened (for violin and piano), and a section for

composition is added. Between 2005–2015, Ioan Holender was the festival’s

artistic director. He was replaced in 2017 by the Russian conductor Vladimir

Jukowski.

- 1994. The biennial festival Modern Cluj was founded, organized by

Gheorghe Dima Music Academy, Transylvania Philharmonic and Sigismund

Toduță Foundation. The artistic director is the composer Cornel Țăranu.

(www.clujmodern.ro)

- 2004. Romania became a NATO member.

- 2007. EU membership of Romania

- 2007. After 20 years, the Romanian Music Festival was reopened in Iași.

Organizers: George Enescu University of Arts and Moldova Philharmonic.

The main goal: the largest diversity of the repertoire – traditional and new,

religious and secular, symphonic, chamber, choral, opera, musical, and so on.

- Many jazz and rock festivals have sprouted up in Romania over the last

twenty years or so. The two musical genres were considered dangerous by

the communist ideology. Nowadays there is almost a burst of such events in

Romania. Unfortunately, such shows are often improvised, with

unpredictable consequences. The Colectiv nightclub tragedy58

is an example

of what can go wrong!

- In a cultural landscape dominated by doubtful taste, the genuine Romanian

traditional music still exists due to Grigore Leșe, Trei Parale early music

group (see treiparale.ro), Icoane ensemble (see

facebook.com/ansamblul.icoane), and a few others.

7. Epilogue

We used to celebrate (and we still do) historical events with flowers,

panels, speeches, statues, monuments and more like these. In most of the cases,

people do not even know the significance of the celebrated event; if they know

something about it, they are not excited; if they both know something about it

and are excited, at the end the lights are turned off and people go home,

forgetting or ignoring everything they participated in. Even worse is that these

festivities involve considerable costs. In such cases as these, almost everybody

– organizers and audience – are facing the past through the present, ignoring

the future. And yet, there are some exceptions where the past is used for the

benefit of the future. I include below a case illustrating this point.

58

The Colectiv nightclub disaster was a deadly fire in Bucharest, on October 30th, 2015, which

killed 64 people (26 on site, 38 in hospitals), and injured 147. The fire, the worst incident in

Romania in the last 20 years, occurred during a free concert performed by the metalcore band

Goodbye to Gravity.

http://www.clujmodern.ro/

Studies

43

In 2012, the pianist Raluca Știrbăț, born in Iași and settled in Vienna,

launched a campaign for the inclusion of the Cosmovici-Enescu cottage of the

Mihăileni village, Botoşani County (the house of the composer’s grandparents)

in the Romanian patrimony of historical and cultural monuments; since the

condition of the building was desperate, she also revealed her intention to

proceed with its renovation. In 2015, the violinist Alexandru Tomescu joined

Raluca Știrbăț in this initiative. In the summer of 2016, the house was rebuilt.

The Foundation Pro Patrimonio involved in the restauration project, published

in 2016 the following news: “Throughout the winter, carpentry work has been

done in a traditional workshop in a neighboring village. Beginning with April,

the masonry builders restarted work on finalizing the exterior drain and they

reconstructed the interior stoves. At the same time, the Luchian house, located

on the left of the Enescu cottage, and owned by the Remember Enescu

Foundation (whose founder is Mr. Alexandru Tomescu, virtuoso violinist and

member in PP’s board) began being restored under PP’s coordination. Together

with Enescu house, the building will function as The International George

Enescu Music and Arts Academy headquarters. Luchian house was

consolidated and hygienized. At present we are installing a kitchen and two

toilets, so that in June the house will be able to host volunteers that will

participate at the second ʻclacaʼ59

for rebuilding Casa Enescu’s walls, which

will happen around the 10th of July.” (www.propatrimonio.org)

Still, there is much more to be done, inside furniture, the yard and the

garden around, etc. In the summer of 2016 the artistic-educational events of the

Summer Academy of Music and Visual Arts started in Mihăileni.

At the beginning of this year (2018) I sent to Alexandru Tomescu a few

questions regarding this project without the state involvement. He promptly

replied as following:

Question: When and where did the master courses take place? How long?

Where did the teachers and the students live?

Answer: The Enescu Experience master courses took place in July 2016 and

2017, for one week. Romanian and foreign children and teenagers did

participate – about 50 active students, and 50 more assistant students. There

were violin courses (performed by Alexandru Tomescu and Mihaela Tomescu),

viola courses (Cristian Andris), cultural marketing (Anca Gheorghe), study of

the musical score (Tiberiu Soare), architecture (Tudor Patapievici). The

students were accommodated in a guest house of Mihăileni (the costs being

supported by Remember Enescu Foundation) and the teachers in another guest

house from Vârful Câmpului village (20 km from Mihăileni).

Q: Where did the final concert take place? What repertoire?

59

claca: is a genuine Romanian word which means volunteer work done by the community

members for the benefit of the community.

http://www.propatrimonio.org/


44

A: In 2016, the master courses final concert took place in the open air, in front

of George Enescu’s house; in 2017 it was organized in the Cultural House of

Mihăileni. The repertoire included music by Enescu and other famous

composers. Lia Rusu, one of the students, made a musical adaptation for strings

ensemble at Enescu’s Balada for violin, so everybody was able to perform at

the end.

Q: What about the audience?

A: A lot of enthusiastic people were there – from Mihăileni and the neighboring

villages, children and their parents, music lovers from Suceava, Botoșani, even

from Iași and the local press.

Q: How the local/county/national authorities were involved?

A: We have a good partnership with the mayor of Mihăileni. The Architects

Order – Department of Botoșani participated a great deal by the rebuilding

plans of the house and they still help us much with the restauration of the

furniture inside.

Fig. 9 In 2012, the pianist

Raluca Știrbăț made a first

photo of Cosmovici-Enescu

Cottage, from Mihăileni village

(Botoșani county).

Q: As I understand, a neighbor property was bought to create the necessary

annexes for the academy...?

A: The Remember Enescu Foundation bought the neighbor house (Luchian

house), which is larger than the cottage, thus making possible to create a small

concert hall, a recordings studio etc. According to these projects, we are still

looking to financial sources.

Q: What now, concerning the restoration?

A: The building is almost ready; this spring, it should be whitewashed, then the

furniture will be brought from Botoșani. As I understand, Raluca Știrbăț already

received a concert piano, donated in Vienna, which will be transported to

Mihăileni.

Q: What’s next about master-courses?

Studies

45

A: The courses will carry on – this year (2018) in the second half of July. In

September 2017, we organized in Mihăileni the first painting camp for the

children of the village. It was a huge success – about 20 children participated,

finalizing over 50 works: watercolors and acrylics – under the guidance of the

painter Marcel Lupse. The exhibition opening took place right there, on the

walls of Enescu’s house; the paintings will also be exhibited in Bucharest,

within exquisite galleries. In 2018 we intend to organize in Mihăileni a theater

workshop for young people, as well as an international lutherie camp.

I shall keep you informed with the news regarding this project. Thank you

for your interest towards this!

Alexandru Tomescu

March 13th, 2018

The architect Șerban Sturdza, President of the Romanian Architects

Order, one of the main project coordinators, mentioned in October 2016: an

amount of €26,500 was spent till now; about €5,000–6,000 for the floors and

outside finishing are needed, and more for the yard, the garden and the fence.

The genuine structure of the house was entirely preserved. The monument is at

present saved – it’s the house of the composer’s mother, built by his

grandparents (the Orthodox priest Ioan Cosmovici and his wife, Zenovia)

between 1775-1830, as a result of the vernacular architecture at the beginning

of 19th century. Here, the teenager George Enescu spent his vacations, then he

regularly came to rest and to compose, till 1946, when he decided to settle

down in Paris for good.

Fig. 10 The cottage

Cosmovici-Enescu from

Mihăileni looked like

this in the Summer

2018.


46

8. Conclusions

In this study, I chose to conjugate the verb to do in the past (last one

hundred years), in the present, and in the future tense. Therefore…

What was done? Much has been done, but not all, not enough. The closer

we are to the present time, the more subjectiveness and passions are growing.

Yet, we never can say we know enough about what we call ʻreal history’, the

same as about the (hi)stories of the last Romanian 100 years.

What are we doing? Unfortunately, especially in education much remains

to be done; in the last thirty years there is not a clear, encouraging and constant

trend of educational improvement.

Talking to Lucian Boia, the philosopher Gabriel Liiceanu remarked (in a

TV show on February 9th, 2014) that historians are trying to get closer to the

truth, no matter how inconvenient it sometimes may be. Thus, they demolish

myths which generations are fond of, and through which concepts like nation or

homeland make sense. According to this, what would be preferable: to keep alive

the historical myths or to choose the awkward truths – thus generating doubts,

anxieties and rejections? In his reply, Lucian Boia does not offer a unique

solution, that is why I express my own opinion here. First, I think we must select

and ameliorate the myths of history, using proven truths. That would not diminish

the value of the myths but would keep the balance between fiction and reality.

Certain nationalistic and xenophobic excesses could thus be prevented.

If, for instance, Prince Stefan the Great of Moldavia had not have been

sanctified60

, would his importance in Romanian history and culture have lost

anything? Certainly not! I could even say on the contrary, many people

considered his sanctification as an inappropriate gesture, which darkens his

human profile. Mainly the relationship between his remarkable cleverness on one

hand and his human sins on the other hand shows the exceptional value of his

personality. It is worthwhile to compare Prince Stefan of Moldavia (1438?-1504)

with his younger contemporary, King Henry VIII of England (1491-1547),

despite the geographic, religious, and cultural differences that separated them.

Historical information shows that their temperaments were comparable:

both choleric-sanguine, known for their lustful habits: Stefan with his

mistresses, Henry with his six wives. Both had (relatively) long ruling periods

(considering the times) – Stefan 47 years and Henry 38 years – marked by

violence, at the same time notable for an economic, religious, and especially

cultural rise in their countries. The two of them had the courage to resist against

the foreign powers deemed indestructible and indisputable: Stefan against

Mehmed II The Conqueror, who was at that time at his power’s zenith; in his

turn, Henry disavowed the Pope’s authority and founded the Church of

60

Voievodul Ștefan cel Mare/Prince Stefan the Great was sanctified by The Romanian

Orthodox Patriarchy on June 20th, 1992.

Studies

47

England. Henry Tudor was an educated king, arts’ protector, an artist himself, a

true Renaissance figure. Stefan built churches, founded monasteries which,

beyond their religious reason for existence, marked a period of cultural

flourishing in the history of the medieval Moldavia.

Well, English people did not think, not a bit, to sanctify King Henry – on

the contrary, they did it to one of his most severe opponents, the Catholic

theologian Thomas More, his former Lord Chancellor.

There are many other disputable myths in Romanian history like those of

Mihai the Brave Prince of Wallachia, Dacian kings Burebista and Decebal, and

so forth. The aura that historians built around some personalities made them

intangible. These mythical figures became objects of worship, incapable of

stirring curiosity, especially among the young people during their years of

education. Godliness does not lead to scientific curiosity, to questions like why?

how? when?...

And something else. At a time when information was considerably

censored and manipulated (as it was during the communist era), it was easier to

convince young people, by nationalist ideological manipulation, of the

superiority of a nation, a language, a culture, certain heroes, etc. Nowadays,

when the access to information is relatively unrestricted61

, it is necessary more

than ever to correlate ideas and facts, to provide demonstrations and arguments,

to embed them down in the regional, continental, international context.

Otherwise, credibility is deeply shaken or, worse, conspiracy or nationalist-

extremist theories arise.

Speaking of manipulation, the writer Cristian Tudor Popescu mentions at

the end of his PhD thesis that the Romanian propaganda film did not contribute

to the fall of communism, but it made too many people know what hate is – the

hate towards rich people, intellectuals, foreigners, the Romanians who left the

country – this is still present in Romanian society62

(acc. to Popescu, 2011, pp.

286-287). This remark can be expanded to all the social, cultural and

educational spheres where propaganda and manipulation are efficient.

What to do?

Culture is subject to the general incoherence and disorder of Romania

nowadays, and, what is worse, education is the most damaged. From the

beginning of the anniversary year 2018 a few questions can be heard from time

to time: how was it possible to become like this? what to do? what is to be

done? The first question is easier to answer, and most of the time it causes a

61

I underlined the word relatively since the free circulation of information also involves today

manipulation, fake news etc. 62

„Ura față de bogați, de intelectuali, de străini, de românii care au plecat din țară se mai simte

și astăzi în societatea românească.”


48

chorus of lamentations. The next two questions are often followed by a moment

of silence, then by the decision to leave the country. At this point, the only

answer that could give a trace of hope would be, I think, the Oedipal answer:

the human being represents the genuine hope – the human being needs to be

changed, meaning educated! Like C.T. Popescu says, we must work upon the

people, to produce a change especially upon the middle class rather than the

elites. (CTP spune că…, 11.05.2018)

I do not believe that we, the Romanians, are permanently and entirely

guilty for what is happening to us – I simply do not believe in black and white

when it comes to people.

Jean Quatremer (journalist Libération): “It is hard to argue that Europe is

an international organization in the classical sense of the term, that the states

members are collaborating, and they function together as a democratic union. In

fact, it is not, because democracy implies the involvement of the people, the

public debate space, and this does not really exist in Europe.” (Dezbatere la

Paris, 26.11.2013)

Andrei Pleșu: “It takes more realism, pragmatism, it takes a cohesion that

is based on something other than the letter of the treaties, the accounting

administration, the polite chatter. I would even say that the European Union

must come to mean more and other than Brussels – without Brussels’

eviction!”63

(Pleșu)

Finally, I think we should invest more in people’s education; we should

support mainly Romanian art of international reputation; and above all, we should

concentrate on building the Romanians’ image as Europeans among Europeans!

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[Booklets of the ʻGeorge Enescuʼ Philharmonic in Bucharest, from 1935 to 1942].

*** București. Filarmonica George Enescu. Retrieved from https://www.fge.org.ro

*** Opera Națională București [National Opera Bucharest]. Retrieved from

https://ro.wikipedia.org

*** Radio România. Retrieved from http://www.srr.ro/RadioRomania/istoric

*** HotNews.ro. Retrieved from www.hotnews.ro

*** (2013, 26th november) Dezbatere la Paris. C. T. Popescu: Europa este o vacă care

este tot timpul sobră şi care trebuie tot timpul să dea lapte [Debate in Paris. C.T. Popescu:

Europe is a cow that is always austere and must give milk all the time]. Retrieved from

https://www.digi24.ro/stiri/externe/ue/dezbatere-la-paris-c-t-popescu-europa-este-o-vaca-

care-este-tot-timpul-sobra-si-care-trebuie-tot-timpul-sa-dea-lapte-158957

*** (2018, 11th may). CTP spune că numai românii cu bacalaureatul luat ar trebui să

aibă drept de vot [CTP says that only Romanians with the baccalaureate should have

the right to vote]. Retrieved from https://www.digi24.ro/stiri/actualitate/politica/ctp-

spune-ca-numai-romanii-cu-bacalaureatul-luat-ar-trebui-sa-aiba-drept-de-vot-927674

Studies

51

Annex 1. Program-Booklet of Bucharest Philharmonic, Season 1938-1939


52

Studies

53


54

Studies

55

Annex 2. Bucharest Symphonic Orchestra on Tour Abroad, 1934-1942

Pages from the Anniversary Booklet of Bucharest Philharmonic,

published by Romulus Orchis (probably) in 1942.

Among the concerts abroad, Bucharest Orchestra performed twice

in the Grosser Musikvereinsaal of Vienna (see Jan. 4th and Nov. 22nd)


56

Goethe Lyrics from a Schubertian Point of View.

Analysis of Converse Paths of Creation

OANA ANDREEA SEVERIN “George Enescu” National University of Arts Iași

ROMANIA

Abstract: Throughout the entire evolution of events in the history of music, we are

finding the presence of a miniature genre, with a fulminatory evolution in the

Romantic period. A syncretic genre, by combining poetry with music, lied generated a

highly complex and artistically refined result, hence the preferred leaning of musicians

towards it. In the approach of a mythologic page transposed into a Romantic view, in

Ganymed we find two figures of genius connected: Goethe – writer and philosopher

with a special inclination towards versified creations, with a remarkable, long-lasting

activity and with a highly profound view on life – and Schubert – prolific composer,

with the most representative contribution in the evolution of this genre, by setting

down demarcations and also excelling from a quantitative point of view. This analysis

begins from the opposite decoding of the acoustic message, from the point of view of

the vocal interpreter, including here most of the implicit aspects: from phonetics to

prosody, from dynamics to voice quality in the lied genre, from agogics to breathing

and pneumo-phonic accord, from formal organization depending on the construction

of the stanza.

Keywords: song, poetry, mythology, pneumo-phonic accord, phoneme, Ganymed.

1. Introduction

The Lied, cult musical genre, as defined by a joining of the human voice

and an instrument, experiences a spectacular ascending becoming, present

since the oldest times, until contemporaneity. A symbiotic genre between

poetry and music, it started more and more to draw the attention of composers

especially by the end of the 18th

century, being strongly connected to the

emergence of Classicism, through the presence of the creations of W.A.

Mozart, L. van Beethoven and the first appearance of Romanticism. If in the

beginnings, poetry1 was represented by folk creations, subsequently music

managed to support elaborate versified literary designs, of a great evocative

capacity, with various possibilities of essentializing affects, together with a

[email protected]

1 Poetry: form of art, literary creation in verses, in which language is used for its aesthetic and

evocative qualities, to complete or replace its apparent meaning. (Aristotle was one of the first

thinkers who defined poetry in the treaty Poetics). The characteristics of the poetic construction

are expressive images, which are asserted by an intensive language, full of sensitiveness.

DOI: 10.2478/ajm-2019-0002

Studies

57

distinguished dramaturgy profoundness. Thus, the cult singing extended into

the musical language sphere the formal characteristics of poetry, referring here

to the structure of versification, the arrangements of accents and their

alternation, rhythm and measure in its diversity.

Founder of the genre of the cult song, by establishing its formal

coordinates, Franz Schubert (1797-1828) left us a legacy which contains

more than 600 genre creations. His creative activity can be placed at the border

between late Classicism and the beginning of Romanticism. Highly attracted to

the lyric genre, the composer managed to capture some of the most sensitive

and subtle meanings of the creations of various poets, such as: Johann

Mayrhofer and Friedrich Schiller, then Heinrich Heine, Friedrich Rückert,

Joseph Freiherr von Eichendorff, Ludwig Rellstab, Johann Gabriel Seidl and,

last but not least, Wilhelm Müller for whose verses he composed the famous

cycles Die schöne Müllerin and Winterreise.

One of the outstanding literary figures, who profoundly and creatively

impressed him, was Johann Wolfgang von Goethe (1749-1832), German

humanistic poet, illustrious thinker and a scientist. With a fine education, son

of an eminent state clerk, he represents one of the most notable models of

individuality of the universal culture.

In his vast literary will, the versified creation was preferred,

representing a constant and, thus, “the mirror of his entire personality, his

entire mindset” (Goethe, 1999, p. XXIII)2. The essential characteristic of the

writer’s poetic creation is constituted by a profound lyricism, permanently

accompanied by a subtle dramatic character. Even “Goethe’s drama

creations, in their turn, are all bathed in a high lyricism atmosphere”

(Goethe, 1999, p. XXIII). The poet’s philosophic standpoint is also

manifested as a constant, in which human values and especially man, as an

individual entity, have the precedence.

The ideas and creations of the great literary man determined Schubert

to use around 71 of his poems, giving rise to certain highly profound and

valuable musical miniatures. Unfortunately, Goethe did not listen to the

Schubertian musical variants, while he was alive. Only after the composer ’s

death did he discover and appreciate his masterpieces (François-Sappey &

Cantgrel, 1994, p. 627).

2. Analysis of Converse Paths of Creation

Lied Ganymed, op. 19, no. 3, D 544, was composed by Franz Schubert in

1817, at the age of twenty. The literary base for this creation is found in the

volume entitled Prometheus, which constitutes the second volume of poetries

2 Goethe wrote verses since he was 7 years old until 83.


58

of Goethe, published in 1785. The subject is represented by the mythical young

Ganymed3, in a profound divine bliss before the beauty of spring

4. In fact, here,

as Ion Pillat asserts (Goethe, 1999, p. XXX) “we live lyrically the poet’s

liberation, carried away in the clouds, in the bosom of the Father in whom he

loses himself”. This poem, Ganymed, is closely followed by Prometheus, the

contrasting pair, the two poems - regarded as a whole - reflecting on the feeling

of divine love. Thus, Prometheus represents the creative and rebellious spirit,

who, rejected, blatantly confronted the divine essence, and Ganymed, the

adored young man, subdued by divinity. In these “short poems of a density of

extraordinary pathos, of a power of sentimental explosion of each word”

(Goethe, 1999, p. XXX) Goethe presents both identities as aspects or forms of

the human condition, exposing his own philosophy.

Ganymed is a lyric poem by excellence, without any dramatic accents, a fact

also observed in the evolution of the acoustic discourse, the dynamic range being

restricted to sonorities without sforzando, only the plenitude of an ff. It does not

have the complexity of a lied as Erlkönig, which would constitute the opposite

pole, by the proposed dramaturgy and dramatism. Designed in the F major key, it

is one of the most known and loved Schubertian Romantic miniatures, considered

one of the genre masterpieces.

Starting from the free structure of the Goethe's poem, the composer thus

subscribes the form construction. The tonality design presents three important

inflexions, which are also reflected in the stimulus of the acoustic discourse: with a

debut in A b major, continues as such until the next tonal center, in C b major (m.

31). The establishment on a new gravitational center then emerges, (m. 46), where

the new mode, G b major, goes through an enharmonic reinterpretation (g b = f #):

E major. After a short section with various modulations (m. 75), only the key

signature of F major will be modified, after which (m. 79), it shall be settled as a

new tonal center, which remain consistent until the ending (m. 121).

The first section (mm. 1-31) begins with a piano introduction (mm. 1-8),

which distinguishes itself using a new formula of punctuated rhythm and

discontinuous accompaniment to the bass line, in staccato. It proposes a

symmetrical motive construction, in a cumulative progress, culminating on the

first beat in the 6th measure, so that it then shall have a closed beat in the 7

th

3 Goethe’s poetry evokes the moment when Ganymed, a demigod from the Greek mythology,

son of Trojan king Tros and of Dardania, was kidnapped by Zeus, who took the face of an

eagle, and was taken to Olympus to be the cupbearer of Olympian gods, replacing Hebe. He

thus becomes immortal. He was described by Homer as being “the most beautiful amongst

mortals.” In Roman mythology, Jupiter owned the same role as the one of Zeus in the Greek

pantheon. 4 “Since 1785, Goethe has been enthralled by botany [...] he recognized God in everything, as a

necessity and law.” (Martini, 1972, p. 217).

Studies

59

measure. The punctuated rhythm stimulates the acoustic discourse, for a reflection

as close as possible to the literary meaning (the plenitude of joy, of feeling), a

highly creative state and for the vocal performer.

Fig. 1 Franz Schubert, Ganymed, mm. 1-8

The emergence of the voice (m. 9) brings back the previous sentence

for the piano, the vocal melodic line being cursive, in legato, with high

rhythmic values, contrasting with the accompaniment.


The three phrases are congealed into a large breathing period, in

compliance with the descriptive, emphatic text: Wie im Morgenglanze/ Du

rings mich anglühst,/ Frühling, Geliebter! (As in the morning brightness/

The flame wraps me, Spring, beloved!)5. The melodic discourse presents

large leaps of a minor sixth (6m), which helps in emphasizing the words,

with the help of accented metric syllables (Fig. 2). These require an

increased attention in the technical execution, for maintaining a sustained

legato, without uncontrolled accents. The same attention shall be also

exercised for the onsets, at the beginning of the words and sentences,

clearly, gently executed, without any acoustic “parasites”6. These aspects

5 Our translation.

6 On a careful acoustic analysis, the impossibility of their perception from a high distance is

noticed (the experience signals the impossibility of the perception further than the placing of

the first row of chairs of an auditorium). Instead, we insist for this purpose, on the

accentuation towards exaggeration even of the entire complex of interpretative intentions.


60

can be successfully executed both as a result of a correct pneumo-phonic

accord7, as well as the careful pronunciation of the consonants in the

beginning.

In the third sentence of the first period (mm. 16-18) two of the words that

the composer chose to be defining in the structure of the poem are emphasized,

namely Frühling (Spring) and Geliebter (Beloved). Schubert chooses, in this

case, to execute their marking on three coordinates: the melodic construction is

the first one, with the help of the differentiation on the register levels, the

prosodic accents being placed on notes in the medium-acute register8, followed

by a descending leap, which emphasizes them. Then the placement on down

beats (respectively on the third one in the 4/4 measure) shall also help for his

purpose. And last but not least by duration, respectively the punctuated value.

The intentions previously discerned also reflect in the piano dynamics, by the

accents marked in stride, in symmetry.

From an interpretative point of view, the accomplishment of the above-

mentioned entails the color differentiated approach of the words and the

dynamic support of the melodic contour of the sentences.


The successive period (mm. 18-31) dynamizes the left-hand

accompaniment, by the presence of the eight notes, superposed on a

construction similar to the line seen in the bass in the first period (in staccato

quarter notes). The vocal melody is differentiated by a stepwise progress,

culminating with the highest sound present in the construction of the sentence.

For this purpose, the debut of the sentence shall dynamically subscribe, with a

Thus, as the potential uncontrolled sonorities disappear up to the first rows of the audience,

similarly a bland interpretation cannot be enforced. 7 The correct functioning of the phonic apparatus requires a balance that Jean Tarneaud (1888-1972),

ENT physician, defined as a pneumo-phonic accord. This constitutes one of the basic elements

of correct speech. It refers to the synchronization between breathing and the phonation itself

(Ormezzano, 2000, p. 153). 8 The sounds in the medium-acute register are easily distinguished, due to high frequencies,

and the implicit dynamics.

Studies

61

small shade, of piano. A careful measuring of the air quantity shall sustain the

emphasis of the accentuated won syllable, part of the composite word

Liebeswonne (precious delights).


The first section shall complete in an emphatic and conclusive manner,

Unendliche Schöne! (Unending beauty!) (mm. 28-31), with a harmonic

evolution which beats in the C b major key, a moment which technically

entails great attention, both regarding the measuring of the air quantity and

from a dynamic point of view. Several clarifications are necessary here: a

sustain in the forte shade throughout four beats can seem static, an assertion

applicable to both partners. Thus, following the tensional determination of the

piano9, it can decrease after the first beat of the 28

th measure so that the launch

in crescendo which follows shall be executed elegantly, without acceding to

hard, extreme sonorities.


In the next section (mm. 31-46), the piano upper line will be modified

and is stimulated by the presence of triplets, maintained the rhythm punctuated

in the superior level and inserting at the inferior one the metric and rhythmic

formula of the syncope to support the meaning of the other melodies. This

section proposes a voice melody fragmented alternatively, with the same

9 Even with a support pedal, due to physical and acoustic reasons, the sonority of the piano

cannot be maintained equal throughout the 4 beats, the sound losing from the high shade.


62

purpose of avoiding static moments and emphasizing, as opposed to, important

suggestive words (which can produce changes in the emotional state). Amongst

these there are: Arm (arm), Busen (chest), schmachte (yearn).


All these words require a color differentiation, in support of the

emotional meanings suggested by the harmonic movement, differentiations

which can be executed with the aid of the extension of the consonants in line

with the prosodic accents. For this purpose, we also use the construction of the

consonant phonemes, such as the one at the beginning of the word Blumen

(flower), of a great expression due to the juxtaposition of consonant phonemes

b and l. By the extension of the important consonants the possibility of the

delimitation of the emotional burden specific to each word is created, but also

the rapid change in the emotional state, by the individual expressiveness.

The conclusion of the period (mm. 43-46) is marked by the beat in the G

b major mode (subsequently viewed as enharmonic, in the execution of

modulation E major – m. 56), through a sentence of large breathing: Und deine

Blumen, dein Gras, Drängen sich an mein Herz (Thy flowers and herbs/ On my

chest gather).


Studies

63

The subsequent period (mm. 46-56) represents a transition and inflects in

an enharmonic manner (g b = f#, m. 46) towards E major, the varied

accompaniment taking over the previous melody, with an interlude of 4 solo

piano measures, which continue in the sense of emotional comforting, then the

fragmented evolution of the voice comes back, through arpeggio leaps.

One of the characteristics of the Schubertian perspective10

is the concept

of offering both partners the possibility of creating emotional states, in close

interdependency. A continuous melodic flow between the piano and the voice,

which determine each other11

, generating present, evocative emotions, highly

suggestive images. Thus, the self-evident intervention of the voice, through

which the motive of the piano trill is introduced (m. 56), is highly suggestive

for the maintenance of the poetic meaning: the singing of the nightingale (ruft

drein die Nachtigall)12

, but also of the morning wind (Morgenwind). In the

context, this also generates a sudden change of affect.


10

Although not innovative, as the predilection for the investment of the accompanying

instrument with meanings and suggestive and expressive images has been observed starting

with the previous period. (Only a few conclusive examples: Als Luise die Briefe... de W.A.

Mozart, L. van Beethoven, J. Haydn – The Mermayd’s song etc. 11

We support the power of suggestion and the circulation of emotions between partners. 12

The nightingale represents one of the symbols of Romanticism. It has always been a source

of inspiration for poets and musicians, due to its extremely beautiful voice, with spontaneous

and creative trills. A small-sized bird, with a modest plumage, smaller than a sparrow, was kept

in golden cages for its singing full of charm.


64

The presence (mm. 68-78) of a contrasting section, through short,

interrogative-affirmative motives, sustained by the voice, overlapped to the

backup modified, stimulated with eights staccato, suggestively express the

inner turmoil, joy, the plenitude of feeling with the help of agogic marks, un

poco accelerando (m. 68), and of dynamic fluctuations. Therefore, the acoustic

discourse shall be tensionally led to the climax in the 71st measure, then it shall

sequentially be decreased on the repetition of the word wohin? (where?). All

these variations, complementary emotional states must be reflected in an

interpretative manner.

The small durations complied with, even shortened, for the imitation of

the piano (descrescendo on the unaccented beat, ich komme, m. 70), must not

be here mistaken with the piano dynamics, but related to the prosodic accent.

In the sequential repetition of the word wohin, resumed in descrescendo (even

with an echo), the emotional state requires support, this being achieved by the

correct interpretation of the short duration, which shall offer a greater dramatic

character. It covers awe, anxiety, fear, due to the kidnapping into the clouds,

into another, unknown space.

Starting with the 74th

measure the melodic and dynamic ascension shall

be resumed, so that on the 78th

measure it shall plenary culminate into

fortissimo (hinauf – upward), on one of the highest sounds in the compass

proposed by the lied.


The new tonal center, F major, which settles down and will be

maintained until the end of the creation, delimits the last section (mm. 79-121).

The acoustic material consists of the two-time repetition of the same fragment

and of an extension with the role of a Finale, with sudden variations of

emotional states.

Studies

65

Thus, to illustrate, we notice the access into an opposite affect with the

help of the sudden movement of the piano accompaniment, executed by the

extension of rhythmic durations, but also by changing the interpretative

stylistic practices: from staccato to legato.


Also, for this purpose, after the rhythmic build-up throughout the seven

measures (mm. 85-91), the surprise of the climax (m. 92) arises again with the

piano aid, by means of the same method: the sudden transition from the backup

in the eigth notes, to the one with large durations, half notes and quarter notes.

This moderation of the carrying out generates the rapid change of the previous

state, an effect anticipated by the composer, preparing the climactic moment of

the creation13

.

Of a great expression, in the context, is the repetition of the word Mir!

Mir! (to me! to me!), this offering the vocal interpreter the possibility of a

wider dynamical-tensional range (mm. 85-86).

Fig. 11 Franz Schubert, Ganymed, ms. 85-95

13

For the emphasis on the surprise elements, these shall be prepared, depending on the

situation: with a crescendo in the case of a subito piano, with an almost imperceptible caesura,

in the case of an ff crescendo started as late as possible etc.


66

The strategy is repeated, by the re-emergence of the execution of the backup in the eight notes, together with the resuming the last verses. The modification occurs in the 10

th measure, by means of the extension with the

help of the open cadence with the repetition of other keywords for the structure of the poem: Alliebender Vater! (All-loving Father!). This would also constitute a final difficult moment for the vocal interpreter, by the sustain of the large breathing sentence (mm. 110-161), also including the fatigue accumulated in the previous one, with the same technical issue (mm. 106-110).

Through a tradition of the stylistic and interpretative requirements, the impossibility of sectioning the sentence for physiological purpose is confirmed. The air gradation shall be organized depending on the determination of the meaning of the sentence, on the rise of the melody or its contrary, but also depending on the word, of the language morphology and syntax. Therefore, breathing inside the word is forbidden

14, operating in the sense of economy, of

a careful gradation of the air column. Moreover, the interpretative tradition also offers us certain solutions,

such as: the entrance of the sound (m. 110) in a medium dynamic, the diminished towards minimum

15, a reduced-size accelerando subscribed to the

melodic meaning, as well as the concentration of vowel a, through the rounding of the orbicular muscles towards vowel o.

Vowel phoneme a16

requires a higher air quantity, unlike o, the rounded posterior semi-closed vowel, involving a sure differentiation due the anatomical-physiological formation, but also depending on the registers. Thus, to facilitate the gradation of the air column, as well as to sustain a qualitative sonority, it is imperceptible deviated from a towards o, from the medium register to the acute one (Fucito & Beyer, 1922, p. 151).

The end (the last six measures) brings the piano back into the spotlight,

with a choral type construction and, thus, constituting a symmetrical

conclusion of the creation. Here we can make a reference to the dynamic

interdependency of the partners, as the final note of the vocal melody coincides

with the debut of the piano sentence. The close relationship between the

partners is also determined by the distribution of the melody among them, to be

perceived as a whole, not like a separate delimitation. Thus, for a refined

interpretation, a voice shall be developed from the dynamics of another.

14

Together with the other rules of breathing placement, depending on the sentence syntax. But,

basically, composers solve these problems, by the melodic construction. 15

The reduced dynamics is directly proportional to the necessary amount of the air quantity

involved. 16

Unrounded central open vowel (Corniță, 2001, p. 61). This is pronounced with the mouth

relatively open, and with the tongue away from the palate, being considered the most difficult

vowel to achieve for vocal performers (Miller, 1996, p. 155).

Studies

67


The duration of the lied is of approximately 8, throughout the 121

measures. The melody implies a comfortable tessitura for the voice of a

soprano or tenor, with a range between d 1 and g 2. However, amongst the

notable technical difficulties, we signal the large breathing sustained sentences,

with a melodic contour characterized by frequent leaps, representing a touch of

originality for the lyric character of the creation.

The dynamic organization is easily noticed from the writing, respectively

from the construction of the melody. The meaning of the poetry, lyric by

excellence, without dramatic touches, reflects itself directly in the sphere of

dynamic notations. The composer does not mark any indication in the vocal

staves. Thus, implicitly, it shall extend and take into consideration the notations

present in the piano backup: an extended range, from pp (pianissimo) to ff

(fortissimo).

Regarding the minimum and maximum sonorities, individually possible,

these are relative and depend on the sum of several factors, such as: the sizes of

the auditorium (Creangă, 2014, p. 331), the degree of the reverberation of the

acoustic wave in a determined space, of the acoustic modifications occurred in

the case of the presence or not of an audience, of the degree of attention of the

audience/receptor, etc.

The agogic indication Etwas langsam (a little slower17

) offers a

somewhat higher freedom to the interpreters, but it can also be viewed as a

being uncertain. However, apart from the same interpretative tradition, we

ought to relate to several aspects determinative in the acoustic translation:

17

etwas – something, langsam – slow.


68

firstly, the possibility of offering a tensional meaning in line with the message

contained, which might be lost, by dilution, in the case of a slower approach,

must be considered. Also, for this purpose, another determinative aspect is

constituted by the possible physiological breathing of the voice, pre-established

by the composer by placing the line of legato and by the phraseological

construction.

In particular, it shall determine the agogic size depending on the most

difficult sentence in the vocal partition, of great support (mm. 110-113),

considering the possibility of dosing the air column, in an evolution in line with

the lyric cantilena character of the lied, and the smallest rhythmic gradations

present in the construction of the acoustic discourse (mm. 58-60), in order to

not be tempted to approach a fast moving.


3. Conclusions

Regarding the importance of complying with the partition and the

attention paid to the semiotic translation, we shall not insist on its long-debated

aspect, but we must emphasize its great importance. Composers, in the

elaborate creation process, do not leave any aspect in the notation to chance, a

fact which, certainly becomes clear to subsequence interpreters. In turn, they

retake the trajectory opposite to the chronology of the creation process, in the

action of decoding and creating acoustic meanings. Thus, it implicitly reached

the compulsoriness of complying with the determination of the musical

language by the profound meanings of the literary base.

The comprehension of the profound meanings of the acoustic message

also reflects on the decoding of the literary language. Thus, in our case, the

translation of the text into German is certainly of primordial importance, where

it is required that as much as possible from the profound emotional meaning

held shall shine through. Certainly, literary translations, which focus on

maintaining the same affects, are of use, but we opt for an understanding of

each word, particularly, which effectively represents the explanation of the

meanings and of the dynamic and agogic graphic signs.

Studies

69

The acoustic quality of the voice in the lied genre is fundamental in a

genre intended for a limited, chamber, intimate space and entails a careful

compliance with the phonic accuracy. Firstly, a qualitative acoustic emission

must be mentioned here, without uncontrolled air leakage18

, which can be

included in the sphere of acoustic “parasites”, together with a balanced acoustic

interlacing of the dynamic balance between partners. For this purpose, should

not to exaggerate large sonorities, which can be disturbed in a limited space,

which ought to sustain the requirements in the sphere of the aesthetics,

characteristic for the miniature, lyric genre, with rare extrovert accents19

.

Original version Romanian translation

English translation

Wie im Morgenglanze

Du rings mich anglühst,

Frühling, Geliebter!

Mit tausendfacher

Liebeswonne

Sich an mein Herz drängt

Deiner ewigen Wärme

Heilig Gefühl,

Unendliche Schöne!

Ca-n luciul zorilor

Mă-nvălui în văpaie

Primăvară-îndragită!

Scumpă-nmiita desfătare

A căldurii tale pururi

Inima-mi cuprinde,

Sfânt simțământ,

Frumusețe fără margini!

How, in the morning

brightness, You all around shine at me, Springtime, Beloved! With thousandfold love-bliss The holy feeling Of your eternal warmth Presses itself upon my heart, Unending beauty!

Daß ich dich fassen möcht'

In diesen Arm!

De te-aș putea învălui

Cu-aceste brațe!

Could I but embrace you In this arm!

Ach, an deinem Busen

Lieg' ich, schmachte,

Und deine Blumen, dein

Gras

Drängen sich an mein

Herz.

Du kühlst den brennenden

Durst meines Busens,

Lieblicher Morgenwind!

Ruft drein die Nachtigall

Liebend nach mir aus dem

Nebeltal.

Ich komm', ich komme!

Wohin? Ach, wohin?

Ah, la sânul tău

Zac mereu tânjind,

Ale tale flori și ierburi

La piept mi se-adună.

Tu îmi alini arzătoarea

Sete din piept,

Adiere gingașă în zori!

Mă cheamă, mult

iubitoare,

Privighetoarea din negura

văii.

Sosesc, iată, sosesc!

Încotro? Ah, încotro?

Ah, upon your breast I lie, languish, And your blossoms, your

grass press upon my heart. You cool the burning Thirst of my bosom, Lovely morning-wind! There calls the nightingale Lovingly for me from the

misty vale. I come, I come! Whither, ah whither?

18

Here we refer to the clarity of the onset (Miller, 1996, p. 4), especially at the beginning of

the sentence, but also at the end of it. 19

The aspect of the decrease in the vibrations of vocal cords, in the situation of a dynamic

exaggeration, with sure reverberations in the timbre aspect.


70

Hinauf! Hinauf strebt's.

Es schweben die Wolken

Abwärts, die Wolken

Neigen sich der sehnenden

Liebe.

Mir! Mir!

In eurem Schosse

Aufwärts!

Umfangend umfangen!

Aufwärts an deinen Busen,

Alliebender Vater!

Spre bolți! Spre bolți

râvnind!

Flutură norii

Tot mai jos, norii

Tind spre al dragostei dor.

Mie! Dar mie!

Într-al vostru sân

Spre bolți!

Cuprins, să curpind!

Spre bolți la pieptul tău,

Părinte atotiubitor!

Up! Up it surges. The clouds are leaning Downwards, the clouds Bow down to yearning love. To me! To me! In your lap, clouds, Upwards! Embracing, embraced! Upwards to thy bosom, All-loving Father! (9)

(N. Argintescu-Amza)

Ganymede

English Translation © Richard Wigmore

How your glow envelops me

in the morning radiance,

spring, my beloved!

With love’s thousandfold joy

the hallowed sensation

of your eternal warmth

floods my heart,

infinite beauty!

How in the morning light

you glow around me,

beloved Spring!

With love's thousand-fold bliss,

to my heart presses

the eternal warmth

of sacred feelings

and endless beauty!

O that I might clasp you

in my arms!

Would that I could clasp

you in these arms!

Ah, on your breast

I lie languishing,

and your flowers, your grass

press close to my heart.

You cool the burning

thirst within my breast,

sweet morning breeze,

as the nightingale calls

tenderly to me from the misty valley.

I come, I come!

But whither? Ah, whither?

Ah, at your breast

I lie and languish,

and your flowers and your grass

press themselves to my heart.

You cool the burning

thirst of my breast,

lovely morning wind!

The nightingale calls

lovingly to me from the misty vale.

I am coming, I am coming!

but whither? To where?

Upwards! Strive upwards!

The clouds drift

down, yielding

to yearning love,

to me, to me!

In your lap,

upwards,

embracing and embraced!

Upwards to your bosom,

all-loving Father!

Upwards I strive, upwards!

The clouds float

downwards, the clouds

bow down to yearning love.

To me! To me!

In your lap

upwards!

Embracing, embraced!

Upwards to your bosom,

All-loving Father! (7)

https://www.oxfordlieder.co.uk/poet/239

Studies

71

Translations by Richard Wigmore first

published by Gollancz and reprinted in the

Hyperion Schubert Song Edition (8)

References

Corniţă, G. (2001). Fonetica integrate, ediția a II-a [Integrated Phonetics, 2nd

edition].

Baia Mare: Editura Umbria.

Creangă, S. (2014). Cântul și vorbirea de performanță [Chant and performance

speech]. București: Editura Universitară.

Firca, Gh. (Ed.) (2008). Dicționar de termeni muzicali, ediția a II-a [Dictionary of

Musical Terms, 2nd

edition]. București: Editura Enciclopedică.

François-Sappey, B. & Cantagrel, G. (Ed.) (1994). Guide de la mélodie et du lied.

Paris: Fayard.

Fucito, S. & Beyer, B. (1922). Caruso and the art of singing. New York: Frederick A.

Stokes Company Publishers.

Goethe, J.W. (1999). Poezii lirice. Ediție bilingvă româno-germană, cuvânt înainte de

Ion Pillat [Lyrical Poetry, German-Romanian bilingual edition, foreword by Ion

Pillat]. București: Editura Graiandi Grai și Suflet – Cultura națională.

Goethe (1974). Poezii. Antologie, cuvânt înainte și note de Ion Acsan [Poems].

Anthology, foreword and notes by Ion Acsan. București: Editura Univers.

Martini, Fr. (1972). Istoria literaturii germane [History of German Literature].

București: Editura Univers.

Miller, R. (1996). The structure of singing. System and art in vocal technique. USA:

Schirmer, Cengage Learning.

Ormezzano, Y. (2000). Le guide de la voix. Paris: Éditions Odile Jacob.

Sadie, S. & Tyrrell, J. (2001). The New Grove Dictionary of Music and Musicians, 2nd

edition. London: Macmillan Publishers Limited.

http://www.lieder.net/lieder/get_text.html?TextId=6413

https://www.oxfordlieder.co.uk/song/1405

https://en.wikipedia.org/wiki/Ganymed_(Goethe)

http://www.lieder.net/lieder/get_text.html?TextId=6413

https://www.oxfordlieder.co.uk/song/1405

https://en.wikipedia.org/wiki/Ganymed_(Goethe)


72

The Variational Principle in Dinu Lipatti’s

Sonatina for Violin and Piano

CRISTINA-NICOLETA ȘOITU “Gheorghe Dima” Music Academy Cluj-Napoca

ROMANIA

Abstract: This study aims to analyze the variational principle, as it is applied in Dinu

Lipatti’s Sonatina for Violin and Piano, from a theoretical-analytical perspective, but

also from the standpoint of the interpretative implications. The variational processes,

in close connection with the specificity of the neoclassical language of the work,

determine an atypical classification of the form of variations in the gender structure,

which implies a resizing of the interpretative means by which the musical dramaturgy

of the piece can be achieved. The comparison with the classic model of variations as a

component of the sonata genre dedicated to the violin-piano duo, as it appears in the

works of composers such as Mozart or Beethoven, as a method of analytical research,

highlights the language aspects that condition the performer's vision in the case of

Lipatti’s Sonatina, such as character, tempo, metrics, the type of writing, elements of

virtuosity or timbre, whose valences are distinct from those determined by a music

discourse from the classical era. Understanding the correlation between the succession

of movements and the composition of the variational plan constitutes a priority in

approaching this work and shaping the desired artistic message; this is why the study

attempts to highlight the necessary connection between the structural elements of the

composition and those implicitly generated by them, namely the technical and

expressive elements required by the interpretative act.

Keywords: Dinu Lipatti, variational principle, neoclassical language, musical

dramaturgy, the message of the interpretative act.

1. Introduction

The genre of the sonata, a reference point of the chamber repertoire, sometimes

includes, in one of the component movements, a set (cycle) of variations. The

variational principle is a basic one in shaping the sound discourse, ever since

the earliest epochs in which musical practices could be identified. This can be

understood as an “element of evolution” in the unfolding of the musical sound

discourse, but also as a “form-generating” principle, which becomes

determinant in the context of shaping variation forms (Timaru, 2003, p. 194).

The present study will follow the second perspective on the principle of

variation, as the identification of the variation procedures used in the analysed

work, namely the Sonatina for Violin and Piano by Dinu Lipatti, is a

[email protected]

DOI: 10.2478/ajm-2019-0003

Studies

73

prerequisite for establishing the type of variations and the specific form

scheme, but also for its enclosure within the structure of the genre.

Sonatina was composed in 1933 and won the 2nd prize in the “George

Enescu” Contest of the same year (in which the first prize was not awarded).

The work was first performed on April 25, 1934, in the interpretation of the

author and violinist Anton Adrian Sarvaș. Lipatti also played the sonatina

alongside George Enescu (November 9, 1936, Romanian Athenaeum) and

Alexandru Theodorescu (March 8, 1941). It was published in Bucharest in

1970 by the Music Publishing House. Appraised by musicians such as Paul

Dukas, who allots to it a “mature conception, as well as a solid construction”

(Grigorescu, 2011, p. 29) or Cella Delavrancea, who asserts that Lipatti “has

certainty of shape and develops his perspective on sound with great vitality”

(Georgia, 2001, p. 105). The piece consists of three parts: Allegro moderato,

Andantino and Allegro maestoso. The literature generally dedicated volumes or

articles mainly on the personality of the performer Dinu Lipatti, whose

compositional work is treated from a historical perspective, with a few

descriptions on the specificity of his musical language. Thus, we chose for our

research an analytical approach of the musical piece, referring to the

application of the principle of variation.

The analysis seeks not only to highlight the aspects of the compositional

vision, such as language specifics or variational techniques, which are in close

correlation with the structure, but also the determinations that the latter has in

the interpretative plane, through the atypical form structure. The methodology

with which the study operates implies the comparison with the classical

structure of a theme and variations, as an integral part of the sonata genre, in

the repertoire dedicated to the violin-piano duo by composers such as Mozart

and Beethoven. The elements of musical language and the structural

configurations of classical compositions have distinct valencies from those

specific to Lipatti’s Sonatina, a neoclassical piece, envisaged in the first half of

the 20th century, which requires the building of the dramaturgy line of the

discourse on different criteria, distinct for each style. Emphasizing the

language aspects that influence the interpretative vision in the cycle of

variations included in Lipatti’s work is an important objective in supporting the

idea of the interdependence between the structure and the composition of the

dramaturgical plan.

2. The variation set in the Sonatina for Violin and Piano by Dinu Lipatti –

variation procedures and identification of the type of variations

The work, written at an early age, when Lipatti was only 16,

neoclassic in nature, can be considered a “student” composition, being “the

first piece in Lipatti’s creation based on folklore-inspired themes”

(Grigorescu, 2011, p. 21).


74

The theme of the variation cycle, “of a noble cantability, resembling a carol”

(Bărgăuanu & Tanăsescu, 2017, p. 174), is presented as a simple three-part Lied

form (ABA, 4+8+4 measures), leading to the second part of the sonatina,

Andantino, =80, written in a 4/4 pattern. The melody, played in the violin, is

accompanied by the piano in a choral manner, with a modal harmonization (C

Ionian), the final cadence being on the second degree of the mode (a ninth

chord).

Fig. 1 The theme of the variations, section A

The first two variations fall into the category of strict ornamental1 ones,

as follows:

Variation 1, Allegro, =108, is based on rhythm and meter variation

(written in 6/8), and on the attack (the legato is dropped, there appear

indications of non-legato or even staccato on certain notes); the dynamic

contour is akin to that of the theme, in a giocoso atmosphere. Although the

metrical change of this variation might indicate its classification as a character

one, as devising an equation between two measures of 6/8 and one of 4/4

suggests the equality of dimensions, the structure of variation following the

same ABA pattern of the theme, divided into 8+16+8 (in 6/8 meter). If

considered in 4/4, the variation would only present an “agogic nuance”

(Teodorescu-Ciocănea, 2014, p. 175), the rhythmic values contributing to a

greater extent to the perception of the change in tempo.

1 Romanian musicology classifies variations into two types, character variations (change to

the parallel key, change of meter and/or tempo) and ornamental variations (rhythmic/melodic

variations). [TN]

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75

Fig. 2 Variation 1, section A

The second variation returns to the 4/4 meter, but uses sixteenths;

consequently it uses rhythmic variations, as well as slight melodic variations.

The 4+8+4 structure returns, with the addition of a measure at the end (outer

extension), in which the C chord is heard.

Fig. 3 Variation 2, section A


76

The first two variations achieve a rhythmic dynamization and they have

short moments of instrumental dialogue, although the violin is the one that

mainly supports the thematic line. The final cadences enstate the C mode (on

the first degree).

The third variation opens the series of character variations. It returns to a

slower tempo, Andante, =76, with values resembling the theme (the eighths

being predominant), but the meter is now ternary, 3/4. The cantability of the

discourse is also noticeable here, but the melodic variation is more pronounced,

employing many interval changes, the melodic shape being thus different; it

still retains a similar intonational atmosphere, although the mode changes to A

Aeolian, with modulating moments. The ternary structure is preserved, but with

a different number of measures (12+12+4 – transition +19 – of which 3 –

extension +16), which alternate the metrics as follows: 3/4, 2/4 and 5/4. This

variation also contains a moment of agogic culmination (mm. 21-27, agitato

indication) and dynamic (ff, in measures 29-30, but prepared in the previous

measures through the crescendo); the same musical fragment also incorporates

an imitative dialogue of the instruments. The final cadence is placed on the first

degree of the mode, but with a major third, suggesting the harmonic framing of

the following variation.

Fig. 4 Variation 3, section A (12 measures)

Studies

77

Variation 4 has a very different shape from the theme, being the one in

which the melodic element is recognizable only at the level of some cells

(reiterating certain intervals) or short motifs generally at the end of the phrases.

Devised in A Ionian (three sharps in the signature, movable degrees – C-C#), in

4/4 (but with metric alternations, 6/4, 3/4, 5/4), in a fast pace, Allegro molto,

=152, it is the variation with the most pronounced folklore aspect, with dance

rhythms and specific accentuations. The instrumental dialogue is very

dynamic, and counterpoint is mostly achieved by melodic or rhythmic motifs in

the main plane. The ternary structure is preserved, but it has an asymmetric

configuration, 14+11+17 (B and final A sections contain transitive or

concluding measures, as well as expansions).

Fig. 5 Variation 4, section A (first phrase – a)

The last variation, the fifth, Allegro maestoso, =116, in 4/4 meter, which

resumes the C mode, is the most extensive, forming a particular movement of

the piece (the third part of the sonatina). This choice was determined by the

complexity of the variation procedures, as well as by the virtuosity character of

the variation, which lends itself to an ending characteristic of the sonata genre.

The structure on which this movement is folded is that of an ABACA + Coda

rondo (10+14+10+8+3+11 – Coda). The rondo A always uses the A theme,

rhythmically varied (in sixteenths), with a specific polyphonic character, and

the C resumes the B melody of the theme, bringing only changes to the

registers and timbre variations (by alternating the melodic exposure by a single


78

instrument with one in which the violin duplicates the piano, in unison or an

octave higher). The rondo’s middle A also contains an imitation in stretto,

which makes the writing density to amplify and create, with the help of

dynamics (f), an accumulation of tension. The last reprise of A, in the original

rhythm (in eighths), in the piano, in octaves, brings the climax of the variation,

through the ff dynamic indication, but also thrrough the counterpoint with the

motif of the first theme in the first part of the sonatina (the left hand of the

piano score). The Coda restores both themes from the first part of the work, so

the conclusion of the whole is of a cyclic nature. The instrumental dialogue is

also one of the most prevalent techniques used in the last movement.

Fig. 6 Variation 5 (third part of the work), first fragment of the refrain

The last three variations also fall within the category of free variations,

through the amplifications, asymmetries or structural patterns approached.

Variations 3 and 4 retain a ternary structure of composition, but not a parity

ratio of the number of measures to the one encountered in the theme, and the

latter variation is conceived in the form of a rondo, thus a structure different

from the theme, involving the mentioned correspondence with the musical text,

which is another argument for the vision of the fifth variation as the final

movement of the genre.

Studies

79

3. Scheme of the variation form in Sonatina for Violin and Piano by Dinu

Lipatti and its classification in the overall structure – compared to the

classic pattern of the genre.

The scheme of the variations form of the analyzed piece falls within the

genre structure as follows:

Fig. 7 Scheme of variation form in Lipatti’s Sonatina

As a method of analysis we will continue with a table of sonatas

containing variations from the classical repertoire of the genre, namely those of

composers such as Mozart and Beethoven, in order to compare how the cycle

of variations is framed in the overall structure of the works and the types of

variations used.

Composer Work Part

with

var.

No. and type of

var.

Tonal

plane

Tempo Met

er

Obs.

Mozart Sonata

KV 305,

A major

II 6: var. 1-4 – strict

ornamental

variations, var. 5

and 6–- strict

character

variations

A

major,

var. 5

– A

minor

Andante

grazioso;

var. 6 -

Allegro

2/4;

var.

6 –

3/8

Binary form

(lied; with

double

exposi-

tion);

Var. 1 –

solo piano,

var. 6

includes a

Second part of the Sonatina:

Theme: a ..b b1 a (4+8+4 mm.)

Var. 1: A B A (8+16+8)

a b b1 a

Var. 2: A B A (4+8+5; last m. – extension)

a b b1 a

Var. 3:

A B A (12+12+4 trans.+19=3 expans.+16)

a a1 avar.

b bvar.

bvar.1

+transition (4 mm.) avar.1

(expans. – 3 mm.) a a1 avar.´

(expansion - 3 mm. and extension - 1 m.)

Var. 4:

A B A (14+11+17)

a avar.

atransp.var.

a1 b +transition (3 mm.) b1 a (extension – 2 mm.)+trans. (4 mm.) a var.1

+ conclusion with extension (2+1 m.)

Third part of the Sonatina:

Var. 5: A B A C A rondo+Coda (10+14+10+8+3+11 – Coda)


80

Coda

Sonata

KV 377,

F major

II 6: var. 1-4 – strict

ornamental

variations, var. 5

and 6 – strict

character

variations

D

minor,

var. 5

– D

major

Andante 2/4;

var.

6 –

6/8

Binary form

(lied; with

double

exposition);

var. 6 –

Siciliana

(includes a

Coda)

Sonata

KV 379,

G major

III 5: var. 1-3 – strict

ornamental

variations, var. 4

and 5 – strict

character

variations

G

major,

var. 4

– G

minor

Andantino

cantabile;

var. 5 –

Adagio

2/4 Binary form

(lied; with

double

exposition);

var. 1 – solo

piano;

return of the

theme in

Allegretto

+Coda

Sonata

KV 481,

E♭

major


ornamental

variations

E♭

major

Allegretto;

Var. 6 –

Allegro

2/4;

var.

VI–-

6/8

Binary form

(lied; with

double

exposi-

tion); var. 5

contains an

outer augm.

– with

transition

role); var. 6

includes a

Coda

Sonata

KV 547,

F major

III 6: var. 1-4 and 6 –

strict ornamental

variations, var. 5 –

strict character

variation

F

major,

var. 5

– F

minor

Andante con

variazioni

2/4 Binary form

(lied; with

double

exposition);

var. 5 – solo

piano; var. 6

includes a

Coda

Beethoven Sonata

op. 12,

no. 1,

D major

II 4: var. 1-3 - strict

ornamental

variations, var. 4–

free ornamental

variation

A

major,

var. 3

– A

minor

Andante con

moto

2/4 Binary form

(lied); the

theme and

all

variations

imply

double

exposi-tion;

var. 4

contains

augmen-

tations

(inner+

outer)

Sonata

op. 30,

no. 1,


ornamental


A

major,

var. 5

Allegretto

con

Variazioni;

2/2;

var.

6 –

Binary form

(lied); the

theme and

Studies

81

A major free ornamental

variation, var. 6 –

of character (free)

– A

minor

var. 6 –

Allegro ma

non tanto

6/8 all

variations

contain

double

exposition

(var. 6 –

only of the

first

segment and

of a

section/expa

nsion); var.

5 contains

expans.

(developme

nt role); var.

6 contains

expan-sions

+Coda

Sonata

op. 47,

Kreutzer

, A

major

II 4: var. 1-2 and 4 –

strict ornamental


strict character

variations

F

major,

var. 3

- F

minor

Andante con

Variazioni

2/4 The theme

and

variations

follow the

formal A

scheme

(with double

exposi-tion)

B A B A;

var. 6

includes a

cadence

+Coda (an

ample

section – 34

mm.)

Table 1 Sonatas for violin and piano which include variations in Mozart and Beethoven –

Remarks

Mozart included variations in five of the sonatas dedicated to the violin-

piano duo (of the 18 pianoforte sonatas), and Beethoven in three of his ten

sonatas. The set of variations is always included in a single movement of the

genre, respectively in the second parts or in the finale of the sonata. The

variations are mainly six in number, but Beethoven brings only four variations

in two of the sonatas, while Mozart uses in Sonata KV 379 five variations.

They are predominantly in the category of strict ornamental ones, those of

character being conditioned by the change of key, tempo or meter (the last two

elements can be correlated). Free variations, requiring extensions or

expansions, are found in Beethoven, either as ornamental or character ones.

With the exception of the Kreutzer Sonata, all other works use a binary pattern

(lied) with double exposition in the theme. The tempi are moderate to fast


82

(Andante to Allegro, Adagio appears in one of the variations of Sonata KV 379

by Mozart), and the metrics uses the 2/4, 2/2, 3/8, 6/8 patterns. The tonality

usually changes in one of the variations of the set (the one before last), and this

change is made to the parallel key.

In the case of Lipatti’s Sonatina, there are five variations, the first two

strictly ornamental, the other of character (free), and the framing in the genre

structure is atypical, the last variation being conceived as the final part of the

work. This compositional process could be supported by the characteristics of

the fifth variation: the dimensions had in view and implicitly the formal pattern

(ABACA+Coda of rondo type), its tempo and its character (Allegro maestoso,

=116, virtuosity character), the density of writing (polyphony of imitative

type). The chosen tempi are closer to the category of the fast ones (the theme –

Andantino, var. 3 – Andante, and the other variations noted Allegro). The

harmonic approach is a modal one (C Ionian), and the variations that change

the mode are the third and the fourth (3 – A Aeolian, 4 – A Ionian), eventually

returning to C. The structure of the theme is a ternary form of the ABA type, a

strictly respected form in the ornamental variations, and asymmetrically traced

in the character (free) ones (except for var. 5, which is a rondo). The meter uses

binary (4/4), ternary (3/4, 6/4, 6/8) times as well as compound measures (5/4);

metrical alternation is embedded in var. 3 and 4 (also due to the folklore

nuance).

4. Dramaturgy of the theme and variations

The notion of dramaturgy is currently increasingly used in musical

contexts, even in the case of instrumental works, although they lack in text. It

refers to the structural aspect, which is correlated with the significance of the

musical content, as claimed by the analysts concerned with the musical

narrative: “structure and meaning – form and expression – are indecomposable

aspects of musical works” (Karl, 1997, p. 14). In order to outline a

dramaturgical composition, “the semantic potential of each of the parts may be

immeasurably enriched by its function in the opposition as a whole”, so that

“relations of identity and opposition” (Karl, 1997, p. 19) can be found.

In the case of variations, each element is related to the landmark

considered to be the theme, but the comparison between the elements (the

variations being compared among them) is also followed. In this way, it is

possible to determine the moments of the climax or the relaxing tension that

the musical discourse implies. The most important criteria for following these

fluctuations are:

- the “rhythmic dynamization”, by achieving a “rhythmic crescendo/

decrescendo” (Teodorescu-Ciocănea, 2014, p. 173)

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83

- the density of writing – “accumulations or rarefications” thereof

(Herman, 2009, p. 86), or “the principle of increasing / decreasing the degree

of complexity of writing” (Teodorescu-Ciocănea, 2014, p. 174).

In the variation set of the classical repertoire one can note the following

features of the compositional views, which determine the dramaturgical plan:

- rhythmic dynamization through the rhythmic crescendo (present in the

first variations and in the final one, if there is a slow variation within the cycle,

gradual, or with alternations of the increase-return type to the values of the

theme, in which case the last growth is more accentuated - eg. Sonata KV 547

by Mozart and Sonata op. 30, No. 1 by Beethoven)

- the tonal contrast (when there is a change of key, it appears in the

penultimate variation, moved to the parallel key, which implies the change in

the musical character; the last variation returns to the original key; in op. 12,

no. 1 and op. 47, Beethoven notes the penultimate variations as minore and the

return to the original key as maggiore - the last variations)

- insertion of a slow variation (decrease of the tempo, eg. Mozart’s

Sonata KV 379 – var. 5 – Adagio, unlike the Andantino Cantabile of the theme)

- the succession of slow-fast tempi at the end of the set (Sonata KV 379

by Mozart, where the last variation, 5, is in Adagio, then the theme returns to

Allegretto, consequently a faster tempo than the original Andantino cantabile)

- metric contrast (eg. Sonata KV 377 by Mozart, var. 6 – 6/8, Siciliana,

the theme and other variations are in 2/4 meter, thus a character differentiation

is required);

- restoring the original theme at the end (Sonata KV 379 by Mozart,

mentioned above)

- the emergence of segments with coda role, especially in the works that

subscribe to the third part the variations, which implies a concluding character

(which also implies tonal emphasis)

- instrumental involvement (Mozart also includes variations for solo piano

in Sonatas KV 305, KV 379 and KV 547)

- preserving the type of writing.

In Sonatina for Violin and Piano by Lipatti, the elements to be considered in

compiling the dramaturgical plan are:

- framing the cycle of variations in the genre structure, requiring

awareness of the latter variation as a final part of the work, therefore a

differentiation of the musical character according to the virtuosity trait of the

allegro

- the folklore nuance of the melody (theme), but also of the rhythms

(especially in the first and fourth variations), with implications on the ethos

- the two stages of rhythmic dynamization (var. 1-2), afterwards by var.

4-5 (following var. 3 – slow)


84

- the agogic dynamization - the first two variations, the strict ones, are in

the context of an “agogic nuance” (Teodorescu-Ciocănea, 2014, p. 175), and

the last two, character variations, imply faster tempi, Allegro molto and Allegro

maestoso

- the presence of two variations that change the initial mode (var. 3 – A

Aeolian, var. 4 - A Ionian)

- modal harmonization and the usage of the final cadences, which are not

always placed on the first degree or involve suspended chords (var. 1 and 2) or

quartal chords (var. 5)

- metric hypostases of variations (contain more changes than in the classics)

- instrumental involvement: the theme is played in the violin, with a choral

accompaniment, then the piano is gradually involved in the dialogue (the first

three variations), and in the last two variations the instruments gradually

increase their dialogue and counterpoint; starting with var. 3 imitation is used,

and in var. 5, it also occurs in the stretto posture; the accompaniment of the

piano involves the use of counterpoint with motifs derived from the main

expositions; the writing becomes more and more dense (polyphony gradually

becoming the preferred technique of the discourse; var. 5 relies exclusively on

it).

5. Possible interpretative aspects in Lipatti’s Sonatina The elaboration of a dramaturgical plan by the interpreter is of particular

importance in conveying a coherent and persuasive message to the listeners.

This approach involves the awareness of the structure of a work, and the two

ways of looking at the structure as “a diachronic succession of events” or as “a

synchronous entity,” which links “the individual parts to the whole apparent in

a single image” (Bonds, 2010, pp. 265-266), must coexist in the mind of the

interpreter.

For the variation cycle, tracking the variational plan requires identifying

the type of variations and their succession, as well as the configuration of an

image for each element (variation) obtained by relating to the theme or the

other elements. Thus, the discourse is played in succession, but at the same

time the interpreter imparts to each variation the image already created by

analytical methods that impose the comparison with the other segments. A

hierarchical structure establishes the tension-relaxation ratios that outline the

dramaturgy in terms of expression, so the interpreter can have an overall

picture of the type of an “intensity curve” (Rink, 2018, p. 95).

Following this fluctuation of intensity, it is possible to imagine within the

cycle groups of variations determined by the particular use of the musical

language elements. Some “waves” of intensity (Teodorescu-Ciocănea, 2014, p.

174) or a continuous increase during the cycle, depending on the musical

parameter in view, can be noted in this respect.

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The theme and variations contained in Lipatti’s piece requires an atypical

framing into the genre structure, respectively in two of the movements of the

sonatine, therefore this intention of the composer will guide the interpreter to

an underlining of the features appropriate to both the theme and the first

variations, and of the final one, broader, conclusive, developing on the pattern

of a rondo, with elements of instrumental virtuosity; thus the following

combination can be taken into account: the theme and the first 4 variations +

var. 5 (p. II + p. III).

The ternary form (lied) of the theme is strictly followed in the first two

variations, and in the variations 3 and 4 is preserved as a principle of a certain

type of strophic writing, intervening with transitions, expansions or extensions.

The last variation extends this type of strophic form (within a rondo), thus we

may indentify a certain amplifying line in the context of analysing the formal

pattern. At the same time, awareness of the existing asymmetries will cause a

hierarchy of phrases within the segments, depending on the variational

procedures, the dynamics and the content of the sound planes (implicitly the

instrumental arrangement). However, in the case of strict ornamental

variations, the corresponding segments (we refer to A and its return within the

same variation) will be compared so that the differences noted in the melodic,

rhythmic, harmonic or dynamic plane are adequately rendered.

There are two “waves” of rhythmic dynamization (Teodorescu-Ciocănea,

2014, p. 174): the first one made in variations 1-2 (var. 1 in 6/8 with eighths,

and var. 2 with sixteenths) and the second beginning with var. 4-5 (var. 4 in

6/4, with triplets, and var. 5 in 4/4, built almost exclusively with sixteenths).

The grouping that can be distinguished in this case is: theme and var.1 and 2 +

var. 3, var. 4 and var. 5.

The process of rhythmic development is also enhanced by an agogic

dynamization that applies to the same pairs of variations. A tempo plane can be

traced as follows:

Theme – Andantino, =80 (4/4)

Var. 1 – Allegro, =108 (6/8)

Var. 2 – without any indication of tempo (4/4)

Var. 3 – Andante, =76 (3/4), slow variation, approaching the original

tempo

Var. 4 – Allegro molto, =152 (6/4)

Var. 5 – Allegro maestoso, =116 (4/4).

Variation V, although indicating a lower metronomic value than the

previous one, using the values of sixteenths, imparts the feeling of a faster

movement. In the case of the first two variations, we only see a certain “agogic

shading” by associating the tempo values with the rhythm used, which allows


86

the framing of the variations in the ornamental category. The succession of

tempi follows the principle of slow-moderate-slow-fast alternation.

The meter involves certain correspondences between variations, such as

var. 1 and 4 (1 – 6/8, 4 – 6/4, but in triplet values, which preserve the metric

character of 6/8) or between var. 2 and 5 (written in 4/4, in sixteenths). The

metric alternation is imposed by the musical content and is closely related to

the folklore substrate of the discourse.

Another way of dynamization is that imposed by the instrumental

writing, which realizes an ascending tension curve from this point of view to

the end, determined by the polyphonic thinking, which is gradually imposed in

the last variations. The dynamization of the writing is correlated with the

instrumental dialogue, which from the melody-accompaniment stage (in the

theme) evolves more and more through thematic restatements, contrapuntal

structures with motifs derived from the main expositions, imitations and even

moments of stretto, becoming more and more alert to the end.

The modal contrast is pursued in two of the character variations, namely

3 and 4, in the direction of the modal C Ionian (the theme and the first two

variations) - to A Aeolian (var. 3) – A Ionian (var. 4) – C Ionian (var. 5). The

fourth variation involves the most chromatism (and the use of the movable

scale degrees), which in combination with the specific rhythms and accents

highlight the folkloric background. With regard to the modal harmonic

conception, a so-called medial segment consists of var. 3-4, by changing the

centre to A.

The character is closely related to rhythmic development, tempo and

attack requirements, and two similar groups can be tracked in the variation

cycle: the theme (slow tempo, cantabile, legato) – var. 1 (acceleration of the

tempo, Allegro, 6/8, rhythmics in eighths, giocoso) – var. 2 (4/4, motric

character due to the sixteenths) and var. 3 (slow, rhythmic resemblance with

the theme, molto cantabile, legato) – var. 4 (fast pace, Allegro molto, with a

playful character) – var. 5 (devised as Allegro maestoso, rhythmics in

sixteenths, character of virtuosity). These formations have a close expressive

path with an enhancement of their specific features in the end, which includes a

notable acceleration of the tempo, an increase of size, a relevant dynamic

expansion, and an agglomeration of the writing.

As a complete picture of the elements contributing to the dramaturgy,

one can also remember the timbre aspect, which by means of registers,

dynamics and instrumental involvement (the use of doubling – in the octave/

unison and the preponderance of polyphonic techniques) proves a

diversification towards the end of the cycle.

An important interpretative requirement may be considered the

expressive outlining of the sound planes in the final reprise of the A of the

rondo, as well as in the Coda, segments that bring back the themes of the first

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movement, thereby achieving a cyclical conclusion. Thus, the timbre

configurations required to the performer are increasingly complex toward the

end of the sonata.

6. Conclusions

In Sonatina for Violin and Piano, Lipatti achieves – with variational

methods of a classical type – an atypical frame of the theme and variations in

the overall structure of the work, by gradualy taking distance from the theme,

working with asymmetries of the segments, afterwards renouncing that pattern

in favour of a new growth in size (the one in the last variation, whose segments

follow the strophic pattern of a rondo). This conception has repercussions also

in terms of musical interpretation, which requires the compilation of a

dramaturgy that will use these structural configurations as a reference. The

awareness of the variational processes, of the succession of the ornamental

variations with those of character, of the rhythmic, agogic dynamizations and

those of the writing (with the use of the instrumental dialogue), as well as of

the modal or metrical contrasts, in addition to the dynamic and timbre aspects,

contribute to the realization of “intensity curves” followed by the mentioned

parameters, which will confer to the artistic message an added value, being

transmitted in a coherent manner by the performer.

References

Bărgăuanu, G. & Tănăsescu, D. (2017). Dinu Lipatti. București: Editura Muzicală

Grafoart.

Bonds, M. E. (2010). The Spatial Representation of Musical Form. The Journal of

Musicology, 27, 3, 265-303. Retrieved from https://

www.jstor.org/stable/10.1525/jm.2010.27.3.265

Georgia, G. (2001). Mari personalități ale muzicii românești din secolul al XX-lea.

Clara Haskil, Dinu Lipatti și Cella Delavrancea [Great personalities of Romanian

Music in the 20th century. Clara Haskil, Dinu Lipatti and Cella Delavrancea]. Cluj-

Napoca: MediaMusica.

Gheorghescu, F. & Grigorescu, O. (2008). Dinu Lipatti. Născut pentru a fi nemuritor

[Dinu Lipatti. Born to be Immortal]. București: TVRMEDIA.

Grigorescu, O. (2011). Dinu Lipatti. București: Editura Didactică și Pedagogică.

Herman, V. (2009). Variațiunile clasicilor vienezi [Variations of the Viennese

Classics]. In Formele muzicii clasicilor vienezi [The Musical Forms of the Viennese

Classics] (pp. 79-97). Cluj-Napoca: MediaMusica.

Karl, G. (1997). Structuralism and Musical Plot. In Music Theory Spectrum, 19, 1, 13-34.

Retrieved from https://www.jstor.org/stable/745997


88

Lipatti, D. (1970). Sonatină pentru violină și pian [Sonatina for Violin and Piano].

București: Editura Muzicală.

Marston, N. (1989). Analysing Variations: The Finale of Beethoven's String Quartet

Op. 74. Music Analysis, 8, 3, 303-324. Retrieved from https:

//www.jstor.org/stable/854292

Rink, J. (2018). The Work of the Performer. In De Assis, P. (Ed.), Virtual Works –

Actual Things. Essays in Music Ontology (pp. 89-114). Leuven University Press.

Retrieved from https://www.jstor.org/stable/j.ctv4rfrd0.7

Rosen, C. (1997). The Classical Style. London: Faber and Faber.

Teodorescu-Ciocănea, L. (2014). Tratat de forme și analize muzicale [Treatise of

Musical Forms and Analyses]. București: Editura Grafoart.

Timaru, V. (2003). Principiul variațional (Formele de variațiuni) [The Variational

Principle. The Types of Variations]. In Analiza muzicală între conștiința de gen și

conștiința de formă [Musical Analysis between Genre and Form Awareness] (pp. 145-

196). Oradea: Editura Universității Oradea.

https://www.jstor.org/stable/854292

https://www.jstor.org/stable/854292

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89

Lăsați-mă să cânt! [Let me sing!] – a Romanian operetta

by Gherase Dendrino: links between the ethical,

aesthetic and political content

TATIANA OLTEAN “Gheorghe Dima” Music Academy Cluj-Napoca

ROMANIA

Abstract: It was during the communist regime of the post-war years that Romanian

composer Gherase Dendrino wrote an operetta in celebration of the centenary of

Ciprian Porumbescu‟s birth, named Lăsați-mă să cânt [Let me sing!]. It revolves

around the figure of Porumbescu himself, as the first Romanian composer to have ever

written an operetta that would be performed and published, named Crai nou [New

Moon]. Lăsați-mă să cânt [Let me sing!] tells the story of the making of the first

Romanian operetta and was revived during the spring of 2018 at the Cluj-Napoca

Romanian National Opera House, as part of the festivities related to the Centenary of

the Great Union. The present research highlights three aspects of Dendrino‟s operetta:

firstly, the one related to the ethical values, epitomized in the libretto by the main

character, Ciprian, who, along with his friends, achieves the greatest task of the birth of

the Romanian operetta, in spite of all opposition and pitfalls; secondly, the aesthetic

content, regarding de musical language of the work, opposing the world of the

Romanian provincial town to the Viennese Salonmusik; thirdly, the political aspect,

encompassing the subtext of the libretto and the message of the work, which

underwent continuous changes over the decades and social and political contexts up to

the present day. Thus, the analysis takes into account both the sound and the word.

Keywords: Romanian, operetta, ethical, aesthetical, political.

1. Introduction

In 19531, Romanian composer Gherase Dendrino

2 wrote an anniversary

operetta named Lăsați-mă să cânt [Let me sing!], in celebration of the Centenary of

[email protected]

1 The operetta, set in three acts and subsequently revised in two acts, premiered in Bucharest on

the 30th

of October 1954, at the Operetta Theater, under the baton of the composer. The libretto

was devised by Erastia Sever, Liliana Delescu and Viorel Cosma and later translated into

German, Czech, Russian, Hungarian and also premiered in East-European cultural cities as

Dresda (The Democratic Republic of Germany), 1956, Olomouc (Czechoslovakia) 1957,

Odessa (The USSR) 1957. 2 Gherase Dendrino (b. 1901, Turnu Măgurele, Romania – d. 1973, Bucharest, Romania) was a

Romanian composer and conductor. He studied composition at the ”Ciprian Porumbescu”

Conservatory in Bucharest under the tutorship of Dumitru Georgescu Kiriac and Alfonso

Castaldi. He is acclaimed for his stage works (operettas such as Let me sing! and Lysistrata); he

also wrote film music and popular songs. There is a vast array of performers of his songs, many

DOI: 10.2478/ajm-2019-0004


90

Ciprian Porumbescu‟s birth3. The plot was set in Brașov, a central provincial

Romanian town, in 1882, during the last year of the young composer‟s life,

around the days of the premiere of his operetta: Crai Nou [New Moon]4 (Cosma,

1999, p. 177).

As the Centenary of the Great Union Day of 19185 drew near, the Opera

House in Brașov staged a new production of Porumbescu‟s New Moon. In its

turn, The Romanian National Opera House in Cluj-Napoca programmed a new

production of Gherase Dendrino‟s operetta: Let me sing!. It was going to be an

event full of significance not only in view of the content of the work but,

moreover, in that of the unfolding of events during the preparation of the new

production. Thus, theatre director Cătălin Ionescu-Arbore was appointed, son of

Anghel I. Arbore, who was, in his turn, a famous Romanian director who had

been in charge of the first premiere of Let me sing! in Cluj6 (Cosma, 2010,

of them renowned Romanian singers such as Gică Petrescu, Mia Braia, Doina Badea, Jean

Moscopol. His musical style was influenced by folk idioms and by light genres like the romance

and the tango. 3 Ciprian Porumbescu (born as Ciprian Gołębiowski, 1853, Șipotele Sucevei, d. 1883, Stupca) is

one of the most iconic figures of the second half of the 19th

Century Romanian School of

composition. A renowned violinist and composer, Porumbescu studied composition in Vienna

under Anton Bruckner. He wrote works that are still widely spread and well-known to the

Romanian audience, such as the Balada pentru vioară și orchestră [Ballad for violin and

orchestra] op. 29, as well as patriotic songs and choral pieces; let us not forget his most

acclaimed creation, an operetta called New Moon [Crai nou], was the first Romanian operetta to

be premiered in Brașov (Romania) in 1882, just a few months prior to the composer‟s

premature death. He is also known for his patriotic chorus Ùnion!ìs written on our flag! [Pe-al

nostru steag e scris Ùnire!`] which has been used by Albania as its national anthem since

1912. 4 The New Moon is generally regarded as one of the four phases of the Moon. As well as

Romanian folk is concerned, however, the New Moon is a symbol of pure love and good luck.

At night, throughout a new moon, it is believed that young maidens invoking the new moon

would dream their husbands-to-be. It is also believed that bad luck will be pushed away at

midnight during a new moon. 5 In 1859, Alexandru Ioan Cuza was elected to rule over both Moldavia and Wallachia; at the

time, the two main Romanian principalities were still vassals of the Ottoman Empire until the

Independence War of 1877-1878; thus, Cuza contributed to the creation of modern Romania,

and historiographers refer to this major event as ”The Little Union”, while Transylvania, the

third Romanian main principality, was still part of the Austrian Empire. Romania became a

kingdom in 1881, under the rule of King Carol I of the royal family of Hohenzollern-

Sigmaringen. Following the First World War, in 1918, Transylvania, along with Bukovina

(currently divided between Romania and Ukraine) and Eastern Moldavia (historical Romanian

province fallen under Russian rule in 1812, but still home to a sizeable Romanian speaking

population) reunited with Romania; the historical event is referred to ever since as ”The Great

Union”. 6 The work premiered in Cluj on the 29

th of June 1958; stage director: Anghel I. Arbore,

conductor: Alexandru Taban, scenery and costume design: Valer Vasilescu, Roman Morawsky:

master of ballet, conductor of the choir: Kurt Mild. Cast: Ciprian – Alexandru Racolța, Vasile

Șildan, Berta Gorgon – Stella Simonetti, Elena Vătafu, Martha Roth – Livia Liseanu, Lya

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91

pp. 828-829); his mother, Constanța Ionescu, had been cast in the production,

playing the part of Suzana, and she was with child at the time (during the whole

period preceding the 2018 premiere, her son would refer to the character

previously played by his mother as Suzănica, a diminutive form of Suzana). In

other words, the director absorbs, almost six decades later, the entire vibration of

his parents‟ performance and restages it as a token of high esteem and gratitude.

2. Staging and Reception of the premiere: 1957 and 2018

As Octavian Lazăr Cosma stated in his Monography of the Romanian

Opera House in Cluj (2010, p. 828), Let me sing! had been the only premiered

work during the season of 1957-1958 and it proved itself a great success: “a

generous staging, featuring numerous moments of dramatic intensity. There

were plenty of comic situations, well highlighted in the theatrical directing” but,

at the same time, the abundant cast of over 40 spoken and sung parts added a

shade of massiveness and stodginess to the performance, featuring “crowded

and overstuffed scenes” (Cosma, 2010, pp. 828-829), in spite of the cuts in the

libretto, wisely operated by the theatre director.

Fig. 1 Poster of the first premiere, The Operetta Theatre, Bucharest, 1954

The new production witnessed another four performances during the same

season, which was already close to the end at the time of the premiere, and

another almost 30 performances during the next season, confirming the success

Mărcuș-Anca, Suzana – Constanța Ionescu, Nastasi – Corneliu Fânățeanu, Constantin Drăghici,

Eduard Strauss – Ion Piso, Martin – Traian Popescu, Ion Budoiu.


92

of the premiere, the operetta being kept in the repertoire of the Romanian Opera

House in Cluj for more than three decades, until a few years after the

Revolution (1989).

Sixty years later, in 2018, the difficulties and pitfalls preceding the

premiere are strikingly similar to those Ciprian Porumbescu himself

encountered in 1882 with the staging of his operetta, a set of events which also

constitute the plot of Dendrino‟s operetta. Thus, in spite of programming the

premiere on the 25th

of May, financial distress of the Opera House and the lack

of „sprint‟ of the Ministry of Culture, which was to ensure the funds, imposed

that the artists7, as well as the collaborators, together with the stage director,

engage in this project for several months without wages; moreover, the

premiere had to be postponed for the next season, following that the three

performances of May and June 2018 to be designated as avant-premiere, each

time being sold-out.

Fig. 2 Poster of the 2018 revival,

The Romanian National Opera House, Cluj-Napoca

3. Characters and Plot

Let us uncover the complicated threads of the plot of Dendrino‟s operetta:

the story revolves around young composer Ciprian Porumbescu, resident in

Brașov8 as a music teacher at the Andrei Șaguna High School, as well as

7 Cast of the premiere in 2018: Conductor: Adrian Morar, Stage direction: Cătălin Ionescu

Arbore, Scenery and costume design: Adriana Urmuzescu, Choreography: Felicia Șerbănescu,

Conductor of the choir: Emil Maxim, Ciprian Porumbescu – Cristian Mogoșan, Bertha Gorgon

– Diana Gheorghe, Martha Roth – Diana Țugui, Suzana – Iulia Merca, Nastasi – Bogdan

Nistor, Eduard Strauss – Tony Bardon, Contele de Lichtenberg – Petre Băcioiu, Martin –

Cristian Bogdan. 8 Brașov: city in the central part of Romania; by the end of 19th century it was populated mainly

by Germans (Saxons) and Romanians.

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93

conductor of the choral ensemble of St. Nicholas Church (as mentioned in the

libretto). His dream is to compose and have performed a Romanian operetta and

his fellow musicians and artists at the Theatre in town seem to follow his

dream. The visit of an official representative sent from Vienna (as Transylvania

was at the time a province of the Habsburg Empire) casts shadows on his

project: Count Lichtenberg is instructed to dissolve the Association The Friends

of Music, active in Brașov, and replace it with a new one, called Kultur und

Musik, intended to comply with and to promote the Viennese style and repress

Romanian national elements in music and opera performances, which were

considered to be „unsuited‟. In his quest, the Count befriends the management

of the theatre in town which, in its turn, bans the collaboration of Ciprian with

the artists. The Count‟s new acolyte is Martin, editor-in-chief of the local

gazette, whom he persuades to convince Ciprian to adapt his new operetta so as

to replace peasants and folklore songs and dances by Viennese style characters

and music. Martin also proposes to translate the libretto to German himself. The

Count also allures Ciprian into accepting a new position as music inspector in

the new Association, which builds up the first dramatic culmination of the plot,

Ciprian‟s aria – Nu mă vând, nu sunt de vânzare! [I would not sell myself, I am

not for sale!].

The second act witnesses a new major dramatic confrontation: seeing

Ciprian‟s unbending attitude, the new Association Kultur und Musik

management sets the date of its inauguration concert at the same day and hour

as the New Moon premiere, making it impossible for the artists to perform in

both shows. An outburst of fury on the part of Martin culminating in offending

Ciprian by calling him a ʻmere fiddler‟ draws to the latter‟s first tuberculosis

crisis and, hence, Porumbescu‟s second great aria – Sărmane lăutar! [Poor

fiddler!]. But, as in any operetta of great class, the atmosphere shifts radically

and a new shade of hope arises when Ciprian‟s friends, former members of

Friends of Music, decide together to perform his operetta by themselves,

without any ‟professional‟ help. It is particularly at this moment that composer

Eduard Strauss, a descendant of the great Viennese composers‟ family and a

dear friend and fellow colleague of Ciprian whom the latter had befriended

during his studies in Vienna, offers to conduct the operetta. The second act

concludes with the singing of the most celebrated chorus, New Moon, by

Ciprian and his friends.

The final act, which was to be cut off and reworked by Dendrino, deals

with a last dramatic conflict: Martha Roth, an artist at the theatre in love with

Ciprian, flees from the Kultur und Musik performance, which results in its

cancellation; she goes to Ciprian‟s premiere, in order to be by his side. She is

searched for by the police, as her fleeing embarrassed the Count and the

audience, and the police officer threatens to cancel New Moon too, until she is

to be found. But Bertha, the one Ciprian loves deeply but cannot marry due to


94

her father‟s refusal, comes from far away to save him and his premiere, which

takes place in the background, as one can hear the applause from backstage.

The performance is a great success, featuring as artists amateur singers in the

concert hall of the high school, and having as audience friends, peasants from

the surrounding villages, etc.

4. Layers of significance

4.1. Historical and political context then and now

Might that be the epitome of the triumph of amateurism over professional

singing and performing? The triumph of the Romanian operetta featuring

peasants over the Viennese operetta showing glamorous crinolines, ballrooms

full of mirrors and chandeliers and counts and countesses? Nowadays, we

wouldn‟t surely think in those terms. Operetta is a musical staged genre

invented and traditionally linked to Vienna, so who would ever dare today to

attempt to criticize the authenticity of Count Lichtenberg‟s quest and opinion?

He is merely trying to preserve the values of his own culture, who is after all, a

subject of the Empire. Meanwhile, the friendship full of mutual admiration

between Eduard Strauss and Ciprian Porumbescu (which seems a historical

fact) is intended to calm down the somehow ‟anti-Vienna‟, ‟anti-occidental‟ or

‟anti-European cultural values‟ tone, which can be traced throughout the

libretto.

As for the ‟amateurism‟ of Ciprian‟s friends, who gave each a helping

hand in the pursuit of his dream, one can just accept the original meaning of the

term: as stemming from the Italian verb amare – to love, amateurs being for the

most part of the history of music the main performers and being designated as

loving art and beauty.

4.2. Communist cultural ideology and “fitting in” the content

If we have discussed the original content of the libretto in the previous

subchapter, it is now the place to understand what sort of impact this content

would have had during Dendrino‟s time, concerning the cultural, social and

even political perspective.

In this respect, let us try to depict those times, precisely the 1950s of the

last Century: firstly, we should envision them through the lens of the

musicology of the time; secondly, in view of the Romanian post-communist

musicological research concerning the post-war period. Octavian Lazăr Cosma,

again, mentions, in 1962 (short of a decade after the first premiere of Let me

sing!), amateur ensembles‟ cultural and musical activities in factories or in

newly industrialized towns, staging works of Romanian composers. He thus

illustrates, using the ideological-communist language of the time, the

prevalence of amateurism over those of professional skilled performances,

belittling the importance of the elites in musical life: “Workers in Reșița [a

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95

town in South-Western Romania] have recently staged the operetta Let me sing!

by Gherase Dendrino. The artistic ensemble of the Railroad in Cluj has

presented to the audience the national operetta in one act La seceriș [The

harvest] […] by Tiberiu Brediceanu. The artists of the House of Culture in

Râmnicu Vâlcea [another southern town of Romania] have played in the

operetta New Moon by Porumbescu. This illustrates the continuous rising of the

artistic level of the proletary artists, the passion and interest which they invest

in the treasure of classical and contemporary music, performed with great

courage and skill.” (Cosma, 1962, p. 140) He even brings up, as a strong

argument in supporting his idea, the unprecedented development of Romanian

culture through the grounding, even in small towns, by the foundation of

philharmonic orchestras and music schools etc., taking as an eloquent example

the south-eastern town of Galați (!).

But the harsh reality concerning the opera and the operetta of the time is

profoundly different, as described in 2002 by the Romanian musicologist

Speranța Rădulescu: in what rendering the truth is concerned, operetta

performances hardly ever take place during the post-war decades in the seasons

of the few Opera Houses across the country; the solely operetta-specialised

theatre is in Bucharest. After the instalment of the communist regime, few

Romanian operettas are performed: Lysistrata and Lăsați-mă să cânt [Let me

sing!] by Gherase Dendrino, Plutașul de pe Bistrița [The ferryman on Bistritza

River] by Filaret Barbu. Among the foreign titles, some musicals as West Side

Story by Leonard Bernstein and My Fair Lady by Frederick Loewe are

performed. The audiences are “of average condition, striving to install

themselves on much more comfortable social platforms” (Rădulescu, 2002, p.

113). In such conditions, the operetta becomes obsolete, “the universe of sweet-

taste day-dreaming which it proposes no longer complies with the sensibility of

the contemporary audiences” (Rădulescu, 2002, p. 114). Such observations are

also stated in Valentina Sandu-Dediu‟s musicological volume concerning the

evolution of Romanian music after 1944 (2002), who describes in depth the

cultural and political context of the time.

There is an overlap of this climate of dissolution of the genre with the

time of the first premiere of Dendrino‟s operetta. One can scarcely listen to

mere arias and duets that had made their day in the past. If it did happen, it

would have been in concerts rather than on stage which consequently would

have resulted in their being cut off from the musical and dramatic context they

had previously fitted. It was, indeed, the only way for these musical pages to be

made noticeable for the broad audience, amongst them some of Dendrino‟s

operetta, such as the aria and duetto Te iubesc, draga mea! [I love thee, my

beloved!], the aria Sărmane lăutar [Poor fiddler], and echoes of the student‟s

choruses or of the most widely known chorus New Moon, all of them originally

composed by Porumbescu and remade by Dendrino.


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4.3. Hypotheses of success in 1954

Despite the slow extinction of the genre, the undoubted success of the

premiere in 1954 generates multiple hypotheses. The first and most plausible

one is that some aspects concerning the content of the plot are conveniently

superposed to the Stalinist ideology of the time: for example, that amateurs are

better than professionals, music for the masses, performed by the masses, being

one of the ideals of the soviet communist ideology, adapted for the Romanian

cultural context. Thus, the ideological wave coming from Vienna gets into

collision with promoting subjects of Romanian cultural inheritance, along with

the use of traditional music and dance. In this respect, when Ciprian is

ironically and condescendingly asked by the Count with whom he had studied

composition, he promptly answers that his master in composition is the

Romanian people, meaning the Romanian folklore.

Another possible answer to the operetta‟s success might be the fact that

Gherase Dendrino was, at the time, the main conductor at the Operetta Theater

in Bucharest. Apart from the fact that he held a key-role in promoting his own

work, he was also in the position of ensuring plenty of rehearsal-time, the best

cast, making sure that his work would be performed at the highest standards

possible and according to his own interpretative concept.

A third possible answer would be the plot, which generally follows the

biography of the composer and the historical truth, but lets aside his premature

death, a few months after the premiere and the unresolved love story with

Bertha Gorgon; the libretto however, turns to a happy-ending.

The fourth hypothesis could be the remaking of the most beloved scores

of Ciprian Porumbescu (Imnul studenților [The Students‟ Hymn], Balada

pentru vioară [The Ballad for violin], which he obsessively quotes as a leitmotif

along the score, the arias previously cited, choral pages as Haideți, haideți!

[Let‟s go, let‟s go!] and Crai nou [New Moon] in the second act, or even the

military band music from the same second act, all of them rigorously cited by

Dendrino in the score as originally written by Porumbescu). They must have

been a guarantee of success, a starting point for Dendrino to construct a musical

love story full of verve and humour, but also outbursts of dramatic accents.

Finally, it is worth taking into account the key-role of the patriotic song as

a genre, which had been promoted by Ciprian Porumbescu in the historical

context of the struggle for the Union of the Romanian Principalities during the

second half of the 19th

Century. This consistent repertoire of choral works has

also been „confiscated‟ by the communist ideology concerning culture and

music and reoriented in order to serve new purposes. Unfortunately, we have no

knowledge whether Dendrino foresaw or even was aware of this danger when

he used some of the patriotic melodies in his operetta and, subsequently, Corul

studenților [the Students‟ Chorus] became one of the most widely known

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communist songs, with new lyrics, related to the returning of the celebration of

the International Workers‟ Day.

4.4. Success in 2018

A guaranteed success was made possible at the first premiere, and some

or all the hypotheses above could have more or less contributed to it. But what

could have secured the success nowadays, when this operetta does not serve any

ideology anymore? As in the previous subchapter, we will try to provide some

answers.

First, it is important to take into account the shift of the modern staging of

the work from the ideological prevalent aspect to the aesthetic and ethical

vectors of the unfolding of the story. Indeed, Ciprian Porumbescu has been a

symbol of the Romanian musical heritage of the 19th

Century, and his status,

depicted in this operetta, grants him honour: he is and remains up to the end

surrounded by his friends precisely for his ethical values and for being a

composer of honest gifts, determined to bring renewed value to the Romanian

cultural heritage, to bring to light the rural life of Romanian peasants and to

decode their spirituality, by a genuine European musical genre : the operetta.

Secondly, one may consider the reinvestment with new significance of the

patriotic song as a choral genre, thoroughly distorted by the communist regime

and, perhaps, its redefining as an iconic moment in the Romanian culture and

history, with a certain impact in the development of the successive stages of

later composition. The nowadays audience would not link it anymore to

propaganda, but they could rather re-evaluate it considering its previous

function and content. And, maybe, its reintegration in the choral repertoire

during the last decades, seeking for another type of feed-back from the

audience, compared to the last decade of communism, could have added to the

success of the 2018 premiere.

Thirdly, the value of the score itself must be taken into account. Gherase

Dendrino studied composition at the Bucharest Conservatory under Dumitru

Georgescu-Kiriac and Alfonso Castaldi9, becoming soon a great master of

orchestration, a fact that could be easily depicted from the first pages of the

score. Moreover, his conducting activity deepened his skill of using voices and

instruments and encouraged him to search for new and refreshing timbral

combinations, nevertheless efficiently and skilfully. As a composer, he was able

9 Dumitru Georgescu-Kiriac (1866-1928) and Alfonso Castaldi (1874-1942) were two of the

leading figures in the field of Romanian composition and conducting, respectively, during the

first half of the last century; they took teaching positions as well, tutoring generations of young

composers at the Bucharest Conservatory. Composer of choral music and a refined conductor,

Kiriac had studied first in Bucharest, then in Paris, at the National Conservatory and at the

Schola Cantorum, under Charles-Marie Widor and Vincent d'Indy. In turn, Castaldi, studied in

Napoli under Umberto Giordano and Francesco Cilea, two of the great masters of verismo. Both

Kiriac and Castaldi valued the European musical heritage and passed it on to their disciples.


98

to picture in sound a whole diversity of worlds and atmosphere: from the

Viennese waltz of the salons of the Empire capital, as in Eduard Strauss‟ aria in

the first act, to the instrumental Romanian folklore, as in the introduction to the

aria with choir Mugur, mugurel [Little bud of flower], or even the vocal

folkloric song, mainly in the duets of Suzanna and Nastasi. One could also

mention the song in the romance manner, as in the duet of Martha and Bertha in

the third act and the cabaret-like quintet of artists in the first act. The

combination of styles in Dendrino‟s work is always genuine and accomplished.

The melodic motive of the Balada pentru vioară [Ballad for violin]

accompanies Ciprian‟s destiny, since he was in real life, a skilled violinist. The

choral writing is subtle as well, efficient and colourful, whereas the soloistic

parts require both lyricism and expressive force (mostly those of Ciprian,

Martha and Bertha).

Not in the least, the work marvels both audience and researchers through

its fine accordance to the spirit of the Viennese operetta: the secondary comic

couple of characters – Suzana and Nastasi –, the use of the children‟s choir in

the scene of the Count in the first act and of a variety of vocal ensembles all

over the unfolding of the score (the quintet of artists, the trio of maids, the trio

of peasants and the trio of waitresses). There is also a certain element of

melodrama in the work, mostly in the dialogue scenes, which points to the

operetta as well. One could also mention the lightness of the melodic lines, the

mandatory happy ending, full of poetry, when Suzana sees the Moon arising

and the tutti ensemble sings Crai nou [New Moon] once again, the most

celebrated page of music ever to be composed by Porumbescu.

5. Conclusions

The success of audience of a work is not permanently guaranteed across

the ages and the history of music proves that repeatedly. Some works gain

success as soon as they are performed and lose it like the fire of a candle. Some

others get to the heart of the audience decades, or even centuries after having

been composed. The very values that the past once put into light could be easily

overstepped by new, different or even divergent values. And, vice versa, that

what a period of time promotes as incontestable values, another period of time

would neglect; instead, it might propose a new set of values. Society, politics

and musical trends change, but ethics and aesthetic values are perennial, and art

that was once ‟confiscated‟ by political propaganda, although at risk of being

confiscated again, survives through its perennial values. Thus, every

revitalization of a work of the past implies a coefficient of risk, but with this

work, it was worth the risk.

Considering the aforementioned, the revitalization of such a musical-

dramatic work has been proven to be purposeful, in a centennial anniversary

year when numerous cultural projects, of more or less significance, have been

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proposed to the audience. In 2003, the Operetta Theatre “Ion Dacian” had also

revived the work and later, in 2015, the students of the National University of

Music in Bucharest successfully achieved a remake, with piano

accompaniment. Thus, it was not particularly the novelty of such an endeavour

to provide the success in 2018, but the score itself.

References

Cosma, O. L., (2010). Opera Română din Cluj [The Romanian Opera in Cluj], 1

(1919-1959). Țărmure, G. (Ed.). Bistrița: Editura Charmides.

Cosma, O. L. (1962). Opera românească [Romanian Opera]. București: Editura

Muzicală.

Cosma, V. (1999, 2005). Muzicieni din România. Lexicon biobibliografic [Musicians

from Romania. A biobibliographical lexicon], 2 (C-E), VIII (P-S). București: Editura

Muzicală.

Sandu-Dediu, V. (2002). Muzica românească între 1944-2000 [Romanian music

between 1944-2000]. București: Editura Muzicală.

Rădulescu, S. (2002). Peisaje muzicale în România secolului XX [Musical landscapes

in 20th Century Romania]. București: Editura Muzicală.

Cosma, O. L. (2010). Opera Română din Cluj [The Romanian Opera in Cluj], I (1919-

1959). Țărmure, G. (Ed.). Bistrița: Editura Charmides.

Cosma, O. L. (1962). Opera românească [Romanian Opera]. București: Editura

Muzicală.

Cosma, V. (1999, 2005). Muzicieni din România. Lexicon biobibliografic [Musicians

from Romania. A biobibliographical lexicon], II (C-E), VIII (P-S). București: Editura

Muzicală.

Dendrino, G. (1956). Lăsați-mă să cînt! Episod din viața compozitorului Ciprian

Porumbescu. Reducție de pian [Let me sing! An episode from the life of Ciprian

Porumbescu. Piano reduction]. Libretto: Delescu, L. & Sever, E. & Cosma, V.

București: Editura de Stat pentru Literatură și Artă.

Sandu-Dediu, V. (2002). Muzica românească între 1944-2000 [Romanian Μusic


Rădulescu, S. (2002). Peisaje muzicale în România secolului XX [Musical landscapes

in 20th Century Romania]. București: Editura Muzicală.


100

The Bretan Case: a Paradox between

Value and Promotion

LOREDANA IAŢEŞEN

“George Enescu” National University of Arts Iasi

ROMANIA

Abstract: On the occasion of the 50th anniversary of the passing of the Transylvanian

musician Nicolae Bretan (1887-1968), known during the interwar period due to his

complex field of activity (interpreter, director, conductor, composer), we consider it

necessary to elaborate a study that is critical for several reasons. Starting with the

dilemmatic comments existent in the current bibliography, we propose, on the one

hand, to systematize the information regarding the reception of his personality in the

context of the age in which he lived and worked, and on the other hand, to outline the

premises that generated the appearance of controversial writings, but especially to

question their effects on the deformed stylistic perception of the musician at national

and international level. We consider that this is one of the ways in which the

“phenomenon of Bretan's rebirth” can be objectively reevaluated, appreciating the

existence and real contributions of a minor musician, who, although endowed with

talent, could not be in the same compositional direction that included national models

(George Enescu, Mihail Jora, Paul Constantinescu), are comparable to those in the

universal space of the first half of the 20th century.

Keywords: interwar creator, critical reception, epigonism, minor musician.

1. Introduction

In the perception of meanings of the dilemmatic figures of history, the

delimitation of the reality-fiction ratio seems increasingly difficult for the

contemporary critic. Preoccupied by the reconstitution of past personalities, the

contemporary critic has the opportunity to uncover incomplete or shrouded

myths, based on contradictory theories, which may generate other controversies

while documenting a possible research.

1.1. Argument

In order to argue these ideas, we went through the essay What is an

Author? from the volume Language, Counter – Memory, Practice, in which the

researcher Michael Foucault construes the author's image, from the perspective

of the literary critic of the past century‟s last decades: “If we are accustomed to

presenting the author as a genius, as a perpetual effervescence of inventions, it

is because in reality, we make the author work exactly in the opposite way”

[email protected]

DOI: 10.2478/ajm-2019-0005

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(Foucault, 1980, p. 308). By transposing Michael Foucault's opinion from the

literary and musical point of view, we understand that the tendency to

exaggerate certain features of a biographical or compositional nature was

present in the monographic research of the second half of the 20th century,

mitigating the image of a creator. The unfavorable consequences of such a

phenomenon were not delayed and materialized in today's reception, deforming

the figures of some artists, due to the subjective systematizations of historical,

stylistic, cultural information and moreover, as a result of contradictions with

dramatic significance in hierarchy values.

1.2. Scope

In the following research, we propose to re-evaluate the personality of the

Transylvanian interwar musician Nicolae Bretan from a dual perspective: on

one hand, the perception of the creator in the first half of the 20th century,

where he manifested himself in a polyvalent way, and on the other hand, his

reconsideration in contemporaneity. To this end, we shall emphasize the idea

that the promotion of the composer in the present has positive but especially

negative consequences, through overestimating the value of his stylistic music

in an abusive advertising campaign, which determines the configuration of a

distorted image of the artist subject to our attention.

2. Microportrait

The 50th anniversary of the passing of the musician Nicolae Bretan1 is an

opportunity to reflect on his personality with multiple preoccupations: lied,

opera and oratorio interpreter, composer, conductor, director, poet, librettist and

translator. From the standpoint of his singing activity,2 he accomplished himself

on the lyrical scenes of Bratislava, Oradea and Cluj, by playing multiple roles3

1 Nicolae Bretan was born on March 25, 1887 (in Năsăud) and died on December 1, 1968 (in

Cluj-Napoca). „His musical studies began under the guidance of the composer Iacob Mureșianu

(Solfège theory, harmony) in his hometown and continued at the Conservatory of Cluj (1906-

1908) with Farkas Ödȍn (singing, composition) and Gyémánt (violin). He continued his studies

at the Akademie für Musik und darstellende Kunst of Vienna (1908-1909) with Gustav

Geiringer (canto) and Julius Meixner (declamation), as well as at the Academy of Music of

Budapest (1909-1912) with Siklós Albert (theory), Szerémi Gusztáv (violin), Sik József (canto),

Molnár Géza (music history). In parallel, he attended courses at the Faculty of Letters of Cluj

and graduated in 1910 „(Cosma, 1989, p. 207). 2 „He debuted as a baritone (1913) on the stage of theatres in Bratislava (1913-1914) and

Oradea (1914-1916), continuing his career as singer and stage director at the Hungarian Theatre

of Cluj (1917-1922), first baritone (1922-1940), stage director (1922-1940, 1946-1948) and

director (1944-1945) at the Romanian Opera of Cluj and stage director at the Hungarian State

Theatre and the Hungarian Opera House (1940-1944)‟ (Cosma, 1989, p. 207). 3 „Iago (Othello, Verdi); Amonastro (Aida, Verdi); Mephisto (Faust, Gounod), Escamillo

(Carmen, Bizet); Scarpia (Tosca Puccini); Telramund (Lohengrin, Wagner); Eugene Onegin


102

from the Italian, French and German romantic repertoire. As a director, he

staged works signed by different composers4 of national and universal lyrical

creation at the Romanian Opera and the Hungarian Theatre in Cluj.

The literary talent and the full knowledge of the linguistic peculiarities of

the Romanian, Hungarian and German cultures are qualities that made it easier

for Nicolae Bretan to approach the miniature or scenic genres. He composed

many lieder (220) based on the lyrics of representative poets from his native

space (M. Eminescu, O. Goga, G. Coşbuc, T. Arghezi, V. Eftimiu) or of

international ones (H. Heine, N. Lenau, Petőfi Sándor, Vörösmarty Mihály,

Ady Endre) and six operas: [Luceafărul] The Morning Star (1921); [Revolta lui

Golem] The Golem's Revolt (1924); [Eroii de la Rovine] Heroes from Rovine

(1934); Horia (1937) Arald (1939); [Stranie seară de Sedar] The Weird

Evening of Sedar (1952). He composed instrumental pieces for piano, violin,

psalms, a requiem and less known works.

From the brief enumeration of the main directions of his musical activity,

we notice the inclination of the artist Nicolae Bretan to the vocal field, his

passion for the art of singing and his cultural opening reflected on several

levels: interpretative, directorial and compositional.

3. Possible influences when choosing the compositional career While trying to understand the motives of the baritone N. Bretan to

embrace the compositional career, we found out surprising aspects; knowing

that Professor Farkas Ödȍn initiated him in the mysteries of this field during his

studies at the Conservatory of Cluj.

On the one hand, the lexicographer Viorel Cosma, in the preface of the

lied scores, emphasized the idea that the artist was trully appreciated as an

interpreter of opera roles, while on the other hand the musicologist Octavian

Lazar Cosma, in his volume [Hronicul muzicii românești] A Chronicle of

Romanian Music - in an enumeration of soloists who collaborated with the

Orchestra of the Ministry of Public Education in Bucharest (1912-1913 season)

- recalled the name of Nicolae Bretan and characterized him as „not too bright‟

(Cosma Lazar, 1983, p. 142). In order to highlight the initial stylistic orientation

of the creator, the same author mentioned in another publication a fragment

from the correspondence of Nicolae Bretan with Gheorghe Dima dated

February 16, 1907. From the same letter, we find out that the musician sent the

score of the lied Sara on the Hill to his mentor of Cluj and wrote him that “... I

did not send it to director Farkas from the Conservatory, because he cultivates

the so-called Hungarian music (he is a hungarized Puccini), with which my

(Eugene Onegin, Tchaikovsky); Nilakantha (Lakmé, Delibes); Figaro (The Barber of Seville,

Rossini)‟ (Cosma, 1989, p. 207). 4 „Mozart, Gluck, Wagner, Verdi, Puccini, Smetana, Bizet, Leoncavallo, Mascagni, Delibes,

Donizetti, Offenbach, Brediceanu, Drăgoi, Negrea‟ (Cosma, 1989, p. 207).

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German way of thinking has nothing in common.I would really like to go to

Bucharest next year and become the pupil of Mr. Popovici5” (Cosma Lazăr,

1996, p. 130).

What did we notice? Although he had a broad interpretative activity,

appreciated and contested in the same manner, the passion for creation followed

him since the beginning of his studies at the Conservatory (1906-1907) and

contributed to a great deal of self-accomplishment in his compositional career,

which evolved in parallel. Unfortunately, the musician did not deepen this field

technically, taking conventional style and language models from the universal

creation within the first half of the nineteenth century, which determined the

partial recognition of his personality in the context of the interwar generation

(Sabin Drăgoi, Mihail Jora, Marțian Negrea, Paul Constantinescu and George

Enescu); this through a sporadic appearance of articles in various cultural daily

newspapers.

4. Reception of the composer in the context of his time

An important source around the reception of the musician can be found in

the volume [Viața muzicală în Ardealul de după Unire] The Musical Life in

Transylvania after the Great Union, which quotes the following idea from an

extract of [Gazeta ilustrată] The Illustrated Gazette (1936): “Here is the first

Romanian opera on the lyrical stage of Cluj, [Luceafărul] The Morning Star of

Eminescu!... A breath of deep religiousness pervades the creation of Mr.

Nicolae Bretan. It is a pity that he limited himself to keeping the epic frame of

Eminescu's [Luceafărul] The Morning Star, without elaborating a development,

a culmination and a more plastic denouement of the action, without dramatizing

enough Eminescu's conception” (Gherghel, 1936, pp. 6-7).

A closer insight of the score of this work, through the analysis of a

fragment from the debut of the Epilogue, reveals that music has a romantic

expression. It is a feature conferred first by the pastoral sonorous introduction

(paragraphs 44-45), which highlights the romantic intonations of chordophone

discreetly accompanied by a harp. It follows the thematic idea (paragraphs

45→47), deduced from the content of the introductory musical material, with

the distinction of melodic construction and writing, which reminds of the sound

of a hymn. The theme is profiled as an initial diatonic exposition, evolving in

the sequential treatment of discourse, suggesting the image of incarnation of the

Morning Star. We notice the traditional orchestration, known from the scores of

German romantic composers (Carl Maria von Weber and Ferdinand von Hiller),

with the gradual accumulation of sonority in the timbral plane until reaching its

peak.

5 Extract from the correspondence of Nicolae Bretan with Gh. Dima, from the archives of the

Chivulescu family, Brasov.


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106

Fig. 1 Nicolae Bretan, Luceafărul [The Morning Star], Epilogue, 44 → 47+8

Horia, another show recorded in the periodical Muzică și Poezie [Music

and Poetry] (1937) by Victoria Dragoş Ursu, was perceived as an “evocation of

a lyrical episode of the peasants' revolution with a music inspired by

Transylvanian folklore”6 (Ursu-Dragoş, 1937, p. 32). Surprisingly, in Gazeta

ilustrată [The Illustrated Gazette] (1939), we find out about the same score and

specialized critical comments. “...From a musical point of view, the opera

Horia should be subject to thorough review. The orchestral part should be

6 In the same publication, we find another positive comment regarding the same creation just a

few months later: “The Peasant Rebellion of 1784 – the love idyl of Horia's daughter and the

betrayal of Huţu, were happily transposed into the dramatic music of the five paintings richly

inspired from folklore. Themes of Awaken thee, Romanian were used as leitmotifs”.

(Miletineanu, 1937, p. 30).

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completely altered and deepened, in order to emphasize the scenic situations

more seriously, as well as to ensure a more dramatic characterization of the

melodramatic conflicts. That does not mean that we wish too bold innovations

of harmony and counterpoint. The fragments of the various national hymns

should be organically merged with the other musical motifs, so that their

appearance does not leave the impression that they are mere intercalations”

(Gherghel, 1939, p. 102).

However, the clearest perception of the musician is evidenced by the

documented statements of the researcher Octavian Lazar Cosma in the volume

Universul muzicii românești [The Universe of Romanian Music]. According to

this source, the artist7 is mentioned in different stages of his life, in the absence

of observations related to the compositional activity.

We remember that the musician Nicolae Bretan imposed himself at that

time and was recognized as a creator. He was a member of the Union and most

of his works were sung: [Luceafărul] The Morning Star8 (1921), [Revolta lui

Golem] The Golem's Revolt9 (1924), [Eroii de la Rovine] Heroes from Rovine

10

(1934) Horia11

(1937). Moreover, his scenic works were commented on in

different cultural periodicals. Although he was not integrated in the context of

the compositional peak of the interwar period, which is evident from the

sporadic records of creative activity, the image of a composer dedicated to the

lyrical theatre did not go unnoticed and, as we can see from the documents of

the time, he was appreciated or criticized for his capacity of constructing

diverse librettes and melodies as inspirational sources.

7 In an item of the lists kept in „File 434/1949 (State Archives, Bucharest, Archive of the Union

of Composers‟), we find the name of Nicolae Bretan in „Rubric 4, the category of inactive or

unknown composers‟ (Cosma Lazăr, 1995, p. 186). „The Commission, gathered on May 27,

1950, rejected the request of Nicolae Bretan to become a member of the Union recently created

on the structure of the Societatea Compozitorilor Români‟ [Society of Romanian Composers]

(Cosma, O. L., 1995, p. 209). „Rejected in the spring of 1954‟ (Cosma, O. L., 1995, p. 261) and

readmitted in autumn, when he was granted a 700 Lei retirement from the Musical Fund of the

Union‟ (Cosma, O. L., 1995, p. 275). „His membership was reconfirmed in 1958‟ (Cosma,

1995, p. 324). „At the 1968 General Assembly a moment of silence was held for the musicians

that passed away‟ (Cosma, 1995, p. 395), among whom the name of Nicolae Bretan is recorded. 8 Opera in one act, with Prologue, 3 scenes and Epilogue, libretto by Nicolae Bretan, lyrics by

Mihai Eminescu, premiere in Cluj on February 2, 1921, Opera Română [Romanian Opera],

conductor Jean Bobescu. 9 Musical drama in one act, libretto by Nicolae Bretan after the drama [Golem vrea să fie om]

The Golem Wants to Be a Man, Illés Kaczér, premiere in Cluj on December 23, 1924,

Hungarian Theatre, conductor Nicolae Bretan. 10

Opera in an act, libretto by Nicolae Bretan after [Scrisoarea a III-a] Letter III of Eminescu,

premiere in Cluj on January 24, 1935, [Opera română] Romanian Opera conductor, N. Brody. 11

Opera in 3 acts and seven scenes, libretto adapted by Bretan after the play of Ghiţă Pop,

premiere in Cluj on January 24, 1937, [Opera Română] Romanian Opera, conductor Max

Săveanu.


108

5. Promotion campaign of the composer Nicolae Bretan. Strategies and

achievements

After the artist's death in 1968, his daughter, Judit Bretan12

married the

American diplomat Harry Le Bovit and has undertaken numerous actions to

promote the image of the musician in our country and abroad. Since 1973, she

has organized vocal miniature recitals in different centers: Braşov, Târgu

Mureș, Cluj, Dej, Bucharest. In 1974, the show [Stranie seară de Sedar] The

Weird Evening of Sedar13

was played for the first time in America. In 1980, the

opera Horia14

was included in the repertoire of the lyrical theatre of Bucharest,

while in 1982 the show Arald15

was premiered in Iași. Lied recitals dedicated

exclusively to Bretan's music became more and more frequent in Romania and

various cities in America: Cleveland, Ohio; Houston, New York, Washington.

Gradually, his music was discovered by many performers who constantly

promoted him: Dan Iordăcescu, Eugenia Moldoveanu, Valentin Teodorian,

Gheorghe Crăsnaru, Ludovic Konya etc. Judit Le Bovit also worked on the

publication of score books and, since 1993, with the support of the cultural

foundation that she initiated in 1977 (the Nicolae Bretan Music Foundation),

she contributed to the editions of the [Festivalul Concurs Nicolae Bretan]

Festival Contest Nicolae Bretan within the framework of the Music Academy

G. Dima. We also recall the radio broadcasts in the country (Cluj, Bucharest)

and especially abroad, thanks to the involvement of Fred Calland16

, producer of

classical music programs (1970-1989) at the National Public Radio of the

United States of America.

What followed? Although the results of the advertising campaign

materialized immediately, with an ascending evolution of over two decades, the

12 Judit Bretan, daughter of Nicolae Bretan (Cluj, 1923 - Washington, 2018), was an actress in

the period 1938-1947 and played different roles in Cluj, Bucharest, Budapest etc. Following her

marriage to US diplomat Harry Le Bovit, she moved to Washington, U.S.A., in 1949, where she

worked as a foreign language teacher, being recognized for her modern methods of teaching

Latin. 13

A mystery in one act based on texts - in Hungarian - from a Haggadah for voice, organ

(piano) and violin, [Stranie seară de Sedar] the Weird Party of Sedar (1952) was premiered on

September 8, 1974 at the Bradley Hills Presbyterian Church, in Bethesda, Maryland, U.S.A. 14

Conductor of the show: Cornel Trăilescu, directed by: George Teodorescu, scenography:

Hristofenia Cazacu; Horia's role interpreted by: George Crâsnaru and Nicolae Florei. 15

Show in one act (1939), libretto by Bretan after [Strigoii] The Strigas of M. Eminescu;

premiere in the [Opera Română] Romanian Opera of Iași, conductor Corneliu Calistru. 16

Fred Calland (1924-1999) was a filmmaker, producer and director of the Classical Music

Department of the National Public Radio. In 1970 he joined the N.P.R. team. His personal

collection has often served as the main source for recorded music programs. He hosted many

live events, including first auditions of musical shows. In 1989, Calland withdrew from the

N.P.R. team and became the main producer. After that, he worked as an occasional

commentator at N.P.R. and continued to be involved for many years in the realization of his

program World of Opera on WETA-FM.

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109

relationship between promotion and reception was gradually contoured. We

have discovered two stages, depending on the degree of impact of Bretan's

music on the interpretative field, moreover, in relation to the reception of his

opposites from the perspective of general-cultural or specialized criticism.

6. Relationship amid promotion and reception between 1969-1995. Positive

consequences In the volume [Istoria muzicii românești] A History of Romanian Music

of 1969, Petre Brâncuşi ascertained observations regarding the works of

composers from the first half of the 20th century (Sabin Drăgoi [Năpasta] The

Calamity, Marțian Negrea [Marin Pescarul] Marin The Fisher, Alexandru

Zirra, Alexandru Lăpușneanu, Paul Constantinescu, [O noapte furtunoasă] A

Stormy Night), compared to Nicolae Bretan's scenic works ([Luceafărul] The

Morning Star, [Eroii de la Rovine] Heroes of Rovine, Horia), mentioned „for

information purposes‟ (Brâncuși, 1969, p. 192).

A few years later, the frequency of recitals lied dedicated to lieder created

by the composer provokes the options of some critics who, in the chronicles

published in various cultural newspapers, add substantial stylistic comments

about gender approach. For example, the lied recital by the baritone Dionisie

Konya and the pianist Ferdinand Weiss, which took place in the concert hall of

Bucharest Conservatory in 1973, was referred to by the authors of two articles

that appeared in different publications: Grigore Constantinescu17

, „Nicolae

Bretan‟, in [Contemporanul] The Contemporary and Alfred Hofmann, „Nicolae

Bretan's Concert‟, in [România liberă] Free Romania. This is how Hofmann

characterized the vocal miniature in Bretan's view: “It is a romance pervaded by

a certain nobility of feeling... There are sometimes dramatic accents ([Ș-acele

dulci păreri de rău] Those Sweet Remorses, [Rugăciune după război] Prayer

after War). We may also observe the evolution towards a more advanced

subtlety in the musical monologue ([Gazel] Ghazal on verses by Coşbuc), while

the twinning with the expressiveness of Romanian folk songs gives a

remarkable force to those pages ([Pe dealul Feleacului] On Feleac Hill)”

(Hofmann, 1973, p. 2).

A closer approach to the romance score [Lasă-ți lumea ta uitată] Leave

your World Forgotten (1921) reveals the sensual nostalgic content of

Eminescu's lyrics, through a melody built with due attention to the discrete

17

“It is an ambiance of the romanticism of always, more necessary for the vitality of singing

than stylized searches, from which the simple, convincing melody emerges naturally. As a

keeper of the Romanian singing tradition, which differs in many of its elements from the line of

lieder, Nicolae Bretan leaves to voice the liberty of soaring in elegant volutes and stopping

shortly on declamatory pauses, intimately connecting the vocal chamber piece to the best

romance as gender”. (Constantinescu, 1973, p. 6).


110

emphasis of all expressive vocal resources, in correspondence with the

suggestive pianistic accompaniment.

Studies

111

Fig. 2 Nicolae Bretan, Lasă-ți lumea ta uitată [Leave your World Forgotten], mm. 1-13

Another relevant source that reveals the inclination of musicologists18

to

the comment on Nicolae Bretan's compositions is the magazine Muzica [Music]

For example, in the article Opera română „Horia” de Nicolae Bretan [Horia, A

Romanian Opera by Nicolae Bretan], which appeared in 1980, on the occasion

18

Romeo Ghircoiașu, Viața și creația lui Nicolae Bretan [Life and Work of Nicolae Bretan], in:

Muzica [Music Journal] no. 6, București, Editura Muzicală a Uniunii Compozitorilor din

R.P.R., 1987, pp. 16-18; Viorel Cosma, Casiu Barbu, Concrete dedicate lui Nicolae Bretan [

Concerts dedicated to the creation of Nicolae Bretan], in: Muzica [Music Journal] no. 6,

București, Editura Uniunii Compozitorilor R. S. R., 1987, pp. 19-20.


112

of the premiere at the Opera Română [Romanian Opera] in Bucharest, Viorel

Cosma noticed the „simplicity of the music‟ (Cosma, 1980, p. 29) and the

accessible character of the score by resorting to doina intonations or „traditional

romance‟ (Cosma, 1980, p. 29).

7. Relationship amid promotion and reception during 1996-2013. Negative

Consequences

After the 1990s, the attention of Romanian interpreters or critics was

drawn by the figure of the Swiss pianist Hartmut Gagelmann, whose

involvement in the promotion of the composer recommended him as the ideal

musician19

. In order to develop an extensive research, Hartmut Gagelmann

traveled to the United States, Hungary, Great Britain and Romania, engaging

with with teachers, performers and directors, who collaborated directly or

indirectly with the musician Nicolae Bretan, but especially with his daughter

Judit. That was a favorable context for the author Hartmut Gagelmann, who

completed in 1998 the first variation of the monograph research dedicated to the

author: Nicolae Bretan seine Lieder, seine Oper, seine Leben20

. It is surprising

that Octavian Lazăr Cosma published a harsh review of this volume in the

Muzica [Magazine Music] (Cosma, 1996, pp. 123-139) back in 1996, before the

text appeared in Romanian. We can deduct that during the documentation

stages, Gagelmann left the manuscript at the [Uniunea Compozitorilor și

Muzicologilor] Union of Composers and Musicologists, giving to the researcher

Octavian Lazăr Cosma the opportunity to read it. Once reading, the

musicologist signaled the exaggerations made by the author (stylistic deformed

classifications of Nicolae Bretan's compositional personality) and, moreover,

the historical errors and controversies of musical-analytical nature, related to

the comments on the vocal creation. For example, overtaken by the pathetic

effusion of the controversial remarks on the stylistic cataloging of Nicolae

Bretan and George Enescu, Gagelmann said: „Bretan remained a Romanian

composer, while Enescu became French according to the way he writes‟

(Cosma Lazăr, 1996, p. 226). It is shocking that, a few years later, the research

19

„As pianist répétiteur and conductor of the Municipal Theatre of Sankt Gallen, he was

involved in the realization of the opera shows Golem, in the season 1990-1991. He was a jury

member in the Nicolae Bretan Vocal Interpretation Competition in Cluj (1993-1994) and a

specialized consultant for the staging of the operas Golem and Luceafărul [The Morning Star],

interpreted by students of the Academy Gheorghe Dima of Cluj and soloists of the Opera

Houses of Cluj and Bucharest, at the Franz Liszt Academy of Music of Budapest in 1993 and at

the National Opera of Bucharest in 1995‟ (Gagelmann, 2005, p. 285). 20

Nicolae Bretan Seine Lieder, seine Oper, seine Leben, Tipoholding, Verlag, Klausenberg,

Cluj, 1998, 309 pages.

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113

in question was published first as a volume in English21

and later on in

Romanian22

.

The demonstrative publicity actions of the composer's music in America

did not remain unanswered, concluding with the appearance of some writing,

the pathetic content of which is simply surprising. For example, Irving Lowens,

critic of the publication Washington Star and author of prestigious books23

,

concluded in 1983 the preface of the score Lieduri pe versurile poeților

Heinrich Heine, Nikolaus Lenau, Reiner Maria Rilke [Lieders on the Verses of

the Poets Heinrich Heine, Nikolaus Lenau and Reiner Maria Rilke]24

with the

following statement: „If God had given me the talent and skill to compose

lieder, I would wish to compose Bretan's lieder‟ (Lowens, 1983, p. XI).

It is obvious that the fabulous enterprise of promoting the musician at

theoretical (recordings, articles, a monographic volume) or practical level

(organizing recitals, author concerts, setting up performances in the country and

abroad, publishing scores in prestigious publishing houses) would have never

had the expected impact without the considerable financial support offered by

Judit Bretan le Bovit. A peak moment was reached in 1994 when the well-known

company Nimbus Records, was granted exclusivity rights for the distribution of

Bretan's creation worldwide. Scenic creation, sacred music, and some lieder

have been brought back to public attention since 1995. Nowadays, we would

say that it is a gratifying decision, which would be worth applying to composers

that are significant for the history of interwar Romanian music but did not have

the chance to benefit from a similar advertising campaign. We would like to

remind just the name of Mihail Jora, the creator of modern Romanian ballet and

lied, who would really amaze foreign audiences due to his concrete innovations

of language and sound expression.

In the Romanian specialized press, the perception of the musician remains

within objective parameters, which can be proved through an extract from the

chronicle Evenimentele muzicale ale miezului de stagiune [Musical Events of

Middle Season] (2009) by Dumitru Avakian: „At Bucharest Opera, Golem and

Arald, two lyrical works in an act, signed by Nicolae Bretan from Cluj [...] have

excelled in a striking simplism at compositional level, which could hardly be

compensated at scenic level in the directorial vision of Anda Tăbăcaru„

(Avakian, 2009, p. 1).

21

Hartmut Gagelmann, Nicolae Bretan: His Life His Music, editat de Nicolae Bretan Music

Foundation, 2000, 309 pages. 22

Nicolae Bretan: his Lieder – his Works – his Life/ Hartmut Gagelmann, translated by Petru

Forna, revised by Pavel Puşcaş. Cluj-Napoca: Teognost Publishers, 2005. 23

Irving Lowens (1916-1983), Lectures on the History and Art of Music (New York, 1968),

Music in America and American Music: Two Views of the Scene, (Brooklyn, NY, 1978). 24

Editio Musica, Budapest, 1983.


114

The culminating point in the subjective reception of the musician is

offered by Judit Bretan in the volume Uraganul. O viață pentru Nicolae Bretan.

Mărturie în fragmente [Hurricane. A life for Nicolae Bretan. Testimony in

fragments] (2013). Apart from the content of the letters she interprets in a

speculative manner, the author launches the idea that the silence on the

composer can be explained by the fact that he belongs to the dark period of the

communist regime, as well as by his marriage to Nora Osvát, a Hungarian Jew,

whose family was decimated in Auschwitz. The sensitive interethnic

Hungarian-German-Jewish ties and the musician's resistance to integrating into

the conspiracy of mediocrity of a dictatorship are the premises of a

controversial discourse with pathetic nuances. For what purpose? The

uninformed reader, visibly touched by the disturbing story, might conclude that

Bretan was one of those important creators, who died unknown, unjustly

blamed in postwar Romania, although he composed remarkable music.

However, the careful lecturer shall certainly remark the lack of concrete

documents that justify the idea that the personality of the artist was annihilated

by the maneuvers of communist ideology. The natural questions are: What were

the drastic decisions that the authorities adopted against him? What important

scores were not interpreted? We should understand one more aspect: the

pressure that Judit exerted in countless moments on the performers to interpret

or record Bretan's music. For instance, we reproduce below a fragment that

reveals the profoundly subjective reaction of the author, when conductor

Cristian Mandeal refused to record a work in 1995. “The fees received by

Mandeal at the Universities of Indiana and Rutgers – three thousand dollars,

which were a fortune in Romania conditions, i.e. the earnings of a good

conductor for many years, were transferred to my account, because he had no

right as a Romanian citizen to hold a currency account abroad and we agreed to

meet a few months later in Romania to record Horia... The recording never took

place.” (Bretan, 2013, p. 323) Another idea that comes out of the volume is that

Judit le Bovit, a professional actress with a remarkable literary culture, but not

trained in music, was often in a position to manage the engagements of certain

performers in Bretan's repertoire. Preoccupied to get categorical answers at all

costs, regarding the organization of artistic events dedicated to her father's

memory, and especially flattered by the laudatory remarks made by important

names of the world of singing, she did not retaliate in exaggerated moments,

which is unacceptable for a professional. “During a two-hour conversation that

I had at the New York Metropolitan Museum on October 31, 2000, Angela

Gheorghiu explained that Bretan was incomparably better and greater than

Enescu... Enescu is inferior precisely in the most important point: concision.

The proportion is: Bretan says in 4-5 minutes what Enescu says in 45 minutes”

(Bretan, 2013, p. 367).

https://ro.wikipedia.org/wiki/Lag%C4%83rul_de_concentrare_Auschwitz

https://ro.wikipedia.org/wiki/Rom%C3%A2nia

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From the provided examples, we noticed that the relationship between

promotion and reception in the case of the composer Nicolae Bretan presented a

differentiated fulfillment. Thus, in the first stage (1969-1995), we retain the

objective views of some scholars, highlighting the importance of the creator in

a balanced manner, with positive impact on his image and reputation. In the

second stage (1997-2013), the demonstrative publication of volumes at national

and international level, subjectively conceived, by the deliberate deformation of

historical, stylistic and musical landmarks, led to negative consequences

manifested in a distorted reception of its personality.

8. Critical reception in the present. Conclusions

From the systematized scrutiny of the bibliography that we construed in

correlation with the particular observations regarding the musician's scores

submitted to our attention, we found surprising that the silence on Bretan can be

contextually perceived with the tense socio-political and family environment.

The true reason for his partial recognition is related to the dubious quality of his

performances, a fact that is related to genre creations in the nineteenth century

and the cultivation of vocal miniature in the sense of romance and not of lied.

As for the genre of opera, we noticed obvious similarities of sonority,

timbralism conception and drama character construction with German romantic

composers: Carl Maria von Weber, Ferdinand von Hiller and Heinrich

Marschner.

In his approach to romance, the composer takes over the modalities to

construct melodies and the types of romantic accompaniment used by Franz

Schubert and Felix Mendelssohn, which he simplifies, giving them a

differentiated expressivity (delicate, lyrical, dramatic and pathetic). In that way,

he follows the natural path of many Romanian creators that cultivated that

genre, such as: Gheorghe Scheletti, Iacob Mureşianu, Gheorghe Dima and

Tiberiu Brediceanu.

We have noticed that from a stylistic point of view, Nicolae Bretan cannot

be put in the context of his generation, i.e. of the composers that have clearly

contributed to the development of the genres under discussion. We are

confronted with the phenomenon of epigonism25

, which is a characteristic of

minor creators that take over, without innovation, expression and language

modalities from major composers belonging to a chronologically exhausted

style. We consider that the affiliation to the „minor‟ creator category does not

undermine the value of Nicolae Bretan's personality, because the musician is

currently perceived, especially through his contributions in the interpretative

field.

25

Epigon – name used for minor artists that mimic the means of expression specific to a great

creator (https://dexonline.ro/definitie/epigon).

https://dexonline.ro/definitie/epigon


116

In this sense, we noticed a gap in the manner of building the reception

from a theoretical and practical perspective. Although the publication of articles

in the press of that time and the comments in specialized journals led to the

gradual recognition of the composer, in the interpretative plane, we should

point out that the phenomenon of Bretan‟s rebirth was caused by the multitude

of manifestations devoted to him.

Although the sonority of his vocal works is remarkable due to their

obvious simplicity and not because of the deliberate simplicity of music, Bretan

remains an artist appreciated by performers for the charm of his songs. The

talented minor composer is a musician of high cultural value, whose simple

creation has a clear effect on melomans and the capacity to stand the passage of

time, beyond any exaggeration.

References

Avakian, D. (2009). Evenimentele muzicale ale miezului de stagiune [Musical Events

of Middle Season]. România literară, 7, 1. Retreived from www. romlit. ro/index.pl/

evenimentele muzicale ale miezului de stagiune.

Brâncuși, P. (1969). Istoria muzicii românești [The History of Romanian Music].

București: Editura Muzicală a Uniunii Compozitorilor din R.S.R.

Bretan, J. (2013). Uraganul. O viață pentru Nicolae Bretan. Mărturie în fragmente

[The Hurricane. A life for Nicolae Bretan. Testimony in Fragments]. Cluj-Napoca:

Editura Casa Cărții de Știință.

Constantinescu, G. (1973). Nicolae Bretan. Contemporanul [The Contemporary], 16

(179), April 13, 6. București.

Cosma, V. (1980). Opera română: Horia de Nicolae Bretan [Romanian Opera: Horia

by Nicolae Bretan]. Muzica [Music Journal], 9, 28-30. București: Editura Uniunii

Compozitorilor din R.S.R.

Cosma, V. (1989). Nicolae Bretan. Muzicieni din România [Romanian Musicians],

Lexicon, vol. 1 (AC), pp. 207-214. București: Editura Muzicală].

Cosma, O. L. (1983). Hronicul Muzicii Românești, V (1898-1920) [The Chronicle of

Romanian Music], V. București: Editura Muzicală.

Cosma, O. L. (1995). Universul muzicii românești [The Universe of Romanian Music].

București: Editura Muzicală a Uniunii Compozitorilor și Muzicologilor din România.

Cosma. O. L. (1996). Ce se mai scrie despre Nicolae Bretan? [What is being written

about Nicolae Bretan?]. Muzica [Music Journal], 2, 123-139. București: Editura

Muzicală a Uniunii Compozitorilor și Muzicologilor din România.

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117

Foucault, M. (1980). What is an Author? Ιn Language, Counter – Memory, Practice,

Selected Essays and Interviews (pp. 299-314). Ithaka, New-York: Cornell University

Press.

Gagelmann, H. (2005). Nicolae Bretan Liedurile sale, operele lui viața sa, traducere de

Petru Forna, revizuire de Petru Pavel Pușcaș [Nicolae Bretan, his Lieder and the Works

of his Life, translation by Petru Forna, review by Pavel Puşcaş]. Cluj-Napoca: Editura

Teognost .

Gherghel, I. (1936). Luceafărul lui Nicolae Bretan. [Nicolae Bretan's Morning Star].

Gazeta ilustrată [The Illustrated Gazette], 1-2, 6-7. Cluj: Tipografia Națională. Viața

muzicală în Ardealul de după Unire [The musical life in Transylvania after the Great

Union], Part I, Activitatea Operei Române din Cluj, în decurs de 16 stagiuni (1919-

1935) [The Activity of the Romanian Opera of Cluj, during 16 seasons (1919-1935)]

with an addition regarding the last four seasons (1935-1939). Cluj: Tipografia

Națională.

Gherghel, I. (1939). Horia de Nicolae Bretan Horia by Nicolae Bretan. Gazeta ilustrată

[The illustrated Gazette], 7-8, 102.

Hofmann, A. (1973). Concert Nicolae Bretan [A Concert by Nicolae Bretan]. România

liberă [Free Romania], 31, 8858, April 17, 2. București.

Lowens, I. (1983). Nicolae Bretan, Lieders on the Verses of the Poets Heinrich Heine,

Nikolaus Lenau and Reiner Maria Rilke. Budapest: Editio Musica.

Miletineanu, G. (1937). Horia de Nicolae Bretan [Horia by Nicolae Bretan]. Muzică și

poezie [Music and poetry], anul II, 6, April, 30. București: Editura Fundațiilor Regale.

Ursu-Dragoş, V. (1937) Horia de Nicolae Bretan [Horia by Nicolae Bretan]. Muzică și

poezie [Music and poetry]. anul II, 4, February, 32. București: Editura Fundațiilor

Regale.


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Ancient Greek Myths in Romanian Opera.

Pascal Bentoiu’s Jertfirea Ifigeniei

[The Sacrifice of Iphigenia]

LAURA OTILIA VASILIU “George Enescu” National University of Arts Iasi

ROMANIA

Abstract: Romanian composers' interest in Greek mythology begins with Enescu's

peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic

artistic concept is materialised in the insoluble link between text and music, in the

original synthesis of the most expressive compositional means recorded in the

tradition of the genre and the openness towards acutely modern elements of musical

language. The Romanian opera composed in the knowledge of George Enescu's score,

which premiered in Bucharest in 1958, reflect an additional interest in mythological

subject-matter in the poetic form of the ancient tragedies signed by Euripides,

Aeschylus and Sophocles. Significant Romanian musical works written in the avant-

garde period of 1960 to 1980 – Doru Popovici's opera Prometeu, Aurel Stroe's

Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia

III – The Eumenides, Pascal Bentoiu's The Sacrifice of Iphigenia – to which titles of

the contemporary art of the stage are added – Cornel Ţăranu's Oreste & Oedip –

propose new philosophical and artistic interpretations of the original myths. At the

same time, the mentioned works represent reference points of the multiple and radical

transformation of the opera genre in Romanian culture. Emphasising the epic

character, a heightened chamber dimension and the alternative extrapolation of the

elements in the syncretic complex, developing new modes of performance, of sonic

and video transmission – are features of the new style of opera associated to the

powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The

Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre,

its novel artistic value being confirmed by an important international distinction

offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television

Broadcasting Company in Rome. The poetic quality of the text quoted from the

masterpiece of ancient theatre, Euripides' Iphigenia in Aulis, the hymnic-oratory

character of the music, the economy and expressive capacity of the compositional

means configured in the relationship between voice, organ, percussion, electro-

acoustic means – can be associated in interpreting the universal major theme: the

necessity of virgin sacrifice in the process of durable construction.

Keywords: Greek mythology, opera genre, Romanian composers, radio opera, electro-acoustic

means.

[email protected]

DOI: 10.2478/ajm-2019-0006

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Motto:

“The main role of the myth is to reveal the exemplary

models of all significant human rites and activities”

Mircea Eliade

1. Introduction. Myths, tragedy and opera development

The artistic use of Ancient Greek myths in European culture is well-known.

Moreover, the development of Western European self-consciousness has been

supported by continuation of the culture of old Hellas due to specific features

adopted from Greek art and theatre in its neoclassical and modern replicas. We

think of the reflection of pure humanity, with its force and weaknesses, the

dual existential-symbolic relations between immanence and transcendence,

rationality and irrationality, and above all, the irreconcilable contradiction of

man’s heroic struggle against fatality.

The force and the sublime of the Greek tragedy also marked the

emergence of the opera genre in Europe, a fact that even today requires a brief

comment. Not being the main subject, Greek mythology provided key

moments in the evolution of lyrical theatre. So, if the myth of Orpheus had

been the founding myth of opera around the year 1600, the degree of

interpenetration of tragedy with music grew into the structure of the new

performance genre – musical tragedy – created by French composers (mainly,

Jean-Baptiste Lully) being stimulated by great contemporary neoclassical

playwrights – Racine and Corneille. Therefore, it is not accidental that Chr.W.

Gluck reformed the opera genre by using the model of artistic syncretism,

topics and structure of Greek tragedy.

If other genres developed in the 18th and 19th centuries – such as opera

seria (used mostly by Roman mythology), opéra-ballet, opéra comique, grand

opéra – rarely made use of Greek mythology topics, the interest for the force of

feelings, the ambiguity of the mythical epic expressed sometimes allegorically

came back in the next neoclassical wave of the 20th century.

Reviewing critically theatre and modern opera, with tortuous narrative

and heavy psychological portrays, Claude Debussy suggested a solution:

„would it be possible to remember the Greeks? Wasn’t it precisely from

Euripides, Sophocles, Aeschylus that we found the simple human feelings,

with such a natural tragic feeling that these could be understood by most and

less refined souls?” (Debussy, 1965, p. 95). History agreed with him, and so in

the first decades of the 20th century, opera with classical subject matter

flourished again, the renewed aesthetic-musical visions varying between

expressionist psychological intensities and symbolic neoclassical abstractions.

The exacerbation of fatal experiences (Elektra by Richard Strauss), objective

distancing and formalization of communication (Oedipus Rex by Igor

Stravinsky) in the opera of the first half of the 20th century cannot be


120

understood without considering the reflection in artistic life of theatrical

creations on such topics in Germany by Hugo von Hofmannstahl and in France

by Jean Cocteau.

The mythological topics had been saving factors for the opera genre

during the time of avant-garde from 1950 to 1970, a source for generating

ideas, channelling and influence of epic theatre of Bertolt Brecht. Opera-oratorio,

opera-pantomime and especially chamber opera was the environment for testing

all new ideas: text extrapolation (theatre music, spoken opera), music

extrapolation (instrumental theatre), extrapolation of interpretation (happening)

and sources and scenography (multimedia). Great mythological narratives also

adopt postmodern means of expression marked by the recovery of traditions,

rebirth of ritual art, mixture of artistic styles and genres from modern musical

theatre.

2. Greek Ancient Myths in Romanian opera In Romanian music, as in any other cultures in Southern and Eastern

Europe, the opera genre has been from its first creations – the beginning of the

20th

century – the most eloquent for expressing the national specificity, the

main subjects showing figures and glorious moments of Romanian history.

Only in moments of artistic peak we discover the call of creators to myths of

Ancient Greece reflecting a transnational thinking and ascent to major

universal ideas. By their symbolic and generalizing nature of the subject,

mastery and originality of composition, a few scores have been internationally

recognized. We refer mainly to lyrical tragedy Oedipe by George Enescu

(1931), chamber operas comprised in the trilogy Orestia by Aurel Stroe (1977;

1981; 1985), and the chamber opera by Cornel Țăranu (2000). The work we

will be focusing on in the second half of our presentation, The Sacrifice of

Iphigenia by Pascal Bentoiu (1968), is included into this selection by the

novelty of radio opera genre, efficiency of its means of expression (including

the electro-acoustic ones) in creating entirely sound-based colour and drama.

2.1. Opera Oedipe by George Enescu – East-West musical synthesis

The opera Oedipe by George Enescu stands for an age and a creator –

both at their peak of development. As a top achievement of European realist

opera – developed on Aristotelian poetics – Enescu’s Oedipe cumulates in a

personal manner French lyric tragedy, including its state of Grand Opéra,

Wagnerian musical drama as a form of total art (Gesamtkunstwerk), Italian

Verismo – to which are added signs of belonging to an old cultural layer that

unites South-Eastern Europe. Modal language with various shades and levels

of ambiguity, oases of microtonal music and simulated improvisation,

moments of Byzantine sacred music, interpreted before excessively as signs of

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Romanian culture, represent a broader space and an older background that

integrate into his enormous musical synthesis.

In what regards the aesthetics of achieving the musical expression by

means of a metaphor, the main feature of traditional drama genres, it is

promoted by Enescu by combining historical and recent paradigms of musical

language with personal artistic shaping that will enter for good into the treasury

of sound symbols. The mastering and osmosis of all means occurred at a time

when post-Romantic and early modern language reached its complexity and the

humanist-Christian interpretation of the text could be put on stage only by a

creator such as Enescu. Historically, the continuation of line followed by

Oedipus became impossible. Both the age that replaced the model of synthesis

with extrapolations, abstractions and simplifications and a creator of such

value as Enescu are gone!

2.2. Opera of French Influence

We find the influence of the French neoclassical school, its cult for Greek

ancient tragedy also in the works of other Romanian composers, graduates of

Schola Cantorum in Paris and belonging to Enescu’s circle. We refer to

Dimitrie Cuclin, the author of two scores of musical theatre – Agamemnon

(1922), Meleagridele (1958) that have never been performed, and to Marcel

Mihailovici, composer of the opera Phèdre (1949), staged by European theatres

but not recognized by the musicology of the genre.

The titles suggest the interest of musicians for integrating folklore

melodies into modern European language and especially their interest for

universal topics at a time when the main direction of Romanian culture, and

music implicitly, was towards nationalist topics. The two names may be

therefore associated with the names of great inter-war intellectuals, the authors

of dramatic texts inspired by Greek mythology, such as Nicolae Iorga, Mircea

Eliade or Radu Stanca, for whom history, specificity, national colour did not

contradict the founding myths of European culture. And that without

mentioning the first European research on myth conducted by Mircea Eliade1.

2.3. Avant-garde, politics and Romanian Opera

The cultural openness, some authors’ aspiration towards universal values

and the search for an alternative to proletarian and later nationalist policy

promoted by the communist regime in Romania seem to be the background for

the adoption of mythical topics in works written after 1950. For example, in the

1 We refer to Traité d'histoire des religions, Paris, 1949 and to Aspects du mythe, Gallimard,

Paris, 1963.


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opera Prometheus, 1958 (on a text by Victor Eftimiu2), Doru Popovici was one

of the first avant-garde composers expressing the drama of the narrative, the

prevalence of tragic feelings in serial-dodecaphonic language coloured by

Romanian Romanian musical patterns. Opera acquires the significance of a real

heroic act in this historic context realizing an important step in modernizing the

composition technique.

The Romanian opera composed after the 1958 premiere in Bucharest of

the lyric tragedy Oedipe by George Enescu reflects the genre metamorphosis.

Dramatic expressiveness in music is linked with general artistic visions –

surrealism, abstractionism, archetypal current, with trends in dramatic art –

epic theatre, the theatre of the absurd, total theatre, with avant-garde musical

techniques – integral serialization, texture, improvised music, polystylism and

also with new types of performance, staging, sound and video transmission

(opera/ concert dramatic music/ radio opera). In what follows, we will provide

a few examples of aesthetic and stylistic diversity in creating the ancient myth.

Chronologically, the first title is the Sacrifice of Iphigenia by Pascal

Bentoiu (1968), a radio opera imagined as a sensitive recreation of the

atmosphere from Greek tragedy. Its typology and structure follow the text

written by Euripides, and its evocative, narrative, hymnal and only secondary

dramatic nature. The text is declaimed in theatrical manner, with various

shades, from lamentation to outcry, and simple singing, mostly monodic

vocalizations, and the final glissando being the only sign of personal drama.

Instrumental section – reduced to organ and percussion – creates a symbolic

sonic, sometimes illustrative, metaphor anticipating and reverberating the

meaning of the word.

Then, the opera creations of Liviu Glodeanu appeared – an extremely

talented and gifted creator, the author of concert dramatic music, Ulysses and

the opera-ballet-pantomime with the same title. More promoted because of its

subject, the opera-oratorio Zamolxe, 1969 (God of Thracians), uses the initial

ritual function of ancient tragedy attributing to the choir the main role and

exploring with a completely formalized technique the means of mass effects

that had been experimented earlier by Xenakis and the Polish avant-garde. We

discover here huge textures with random inserts, dynamic or compact sound

blocks. And if we add the Stravinskyan ascendancy from the sections of

Dionysian outbursts, we have the entire sound imagination of Thracian

primitivism in the vision of Liviu Glodeanu. „a harsh music […] full of energy

and colour”. (Vieru, 1994, p. 277)

The Closed City Trilogy or Orestias of Aurel Stroe – considered justly

masterpieces of new music and extensively treated by Romanian musicology

2 Victor Eftimiu (1889-1972) was an Aromanian writer, translator and playwright with

mythological subject

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123

but first of all explained by the composer himself – are chamber operas that use

with an amazing fantasy the expressive-structural elements of musical and

instrumental theatre. Stroe creates the score as a “free counterpoint compared

to the ancient text” setting only “at some points – key relations consonant with

it. […] The real meeting – states the author – does not occur as the analogy

between the dramatic action and musical language but at a deeper level of

structural isomorphisms. […] Where the decrepitude of the city is expressed,

the musical form itself wishes to be decrepit, it is not satisfied just to illustrate

its weakness, it gets involved in destroying itself.” (Stroe, 1983, pp. 26-27). In

Orestia II (1977), for example, the alternation and overlapping of the 4 tuning

systems (European twelve-tone equal temperament, Harmonics series,

Pythagorean tuning, Indian system of raga), representing the same number of

incompatible cultures is the core of the opera structural rupture intended by the

author as a metaphor for the epic meaning of the text.

The subtitle The Closed City Trilogy may be deciphered in terms of its

political meaning as a symbol of the author’s revolt against communist

ideology, the cultural isolation of Romanians.

After Stroe’s operas, in which the reflection on history and science

mingle with the daring experiment, after his departure from Romania (1985),

Greek mythology did not appear in the creations of Romanian composers. Only

in 2000, Cornel Țăranu composes the chamber opera Orestes & Oedipus (on a

libretto by Olivier Apert), with the mention „opera-theatre”. Post-modern inter-

textuality defines the author’s vision by uniting the two myths of Greek

antiquity, harmonizing neoclassical musical and avant-garde theatres and fixed

instrumental forms with cited fragments.

3. Radio opera Sacrifice of Iphigenia by Pascal Bentoiu

Approaching topics belonging to ancient Greek literature is not

accidental for Pascal Bentoiu. His high-school and early youth education

reflect his deeper penetration into the knowledge of classical tragedy by

making translations and readings in the Greek language. Biographical

testimonies support this idea presenting data on his periods of study of ancient

Greek language and literature, the most significant period being that between

1950 and 1953, that he spent in an atmosphere of constraint of severe military

service.3 He saved himself by reading the classics, among which also The Iliad.

(Bentoiu, 2006, p. 264). In later years, cultural accumulation had been

associated with compositional experience. Decisive was the intellectual

friendship and collaboration with Alexandru Mircea Pop, a translator of ancient

Greek plays into Romanian, and with theatre director Vlad Mugur, at whose

3 Out of political reasons, the composer was forced to do military service for three years (1950-1953)

at the General Directorate Work Service.


124

request Bentoiu wrote the stage music for the performance Orestia, 1964 and

Iphigenia in Aulis, 1966.

The Sacrifice of Iphigenia was ordered in the summer of 1968 for the

contest Prix Italia, the competition that promoted composers and famous

modern creations. The event stimulated the author in assimilating the means of

expression specific to electro-acoustic music of the time used by the Romanian

radio, especially in theatre and dramatized prose. The repertoire of possible

technical operations was quite limited and included the deformation and

amplification of the recorded sound, mixing and overlapping of sound layers,

adding the naturalistic and acoustic effects. Using these means with moderation

and integrating them into scores of sombre and carefully developed writing,

Bentoiu states a compositional vision based on highly expressive sensitive

sound suggestion of time, space and the ritualistic-dramatic character of

tragedy. His creation is differentiated from other works presented over time at

Prix Italia. We refer here, for example, to traditional sonority of post-Romantic

opera Iphigenia (1950) by Ildebrando Pizzetti or tot the mostly electronic acute

modernity of Elektra (1960) by Henri Pousseur.

3.1. Timbre semantics and dramaturgy

The libretto (achieved in collaboration with translator Alexandru Mircea

Pop) is the key to understanding the score. The author opted for the

essentialization of the narrative choosing key tragedy fragments with a varied

role – epic, poetic and axiomatic – and the reduction of sound characters to the

dramatic triangle Agamemnon – Iphigenia – Choir. So, instrumental sonority

dominates the work. The text recited by a variety of techniques and monodic

singing (rarely 2 voices) alternates with the sections that continue, complete

and amplify the meaning of the word.

From the first audition, the listener can enter the atmosphere of the

ancient tragedy, without being obliged to understand all the meanders of the

narrative. The craft of Bentoiu to evoke the time of the events, Greek culture

and the atemporality of the myth through timbre sonority seems today to be

natural. Still, at the level of composition experience of the 1960s, his merit is

outstanding. He chose the organ maybe not to evoke the ancient instrument but

as a bearer of the melody, drama and its function within the requiem. Also, the

frequent use of the acute register provides the suggestion of old Euro-Asian

wind instruments (the legendary aulos). The crystalline sonority of the melodic

percussion creates the image of purity, immateriality, celestial character of the

Olympian wedding. The gong, tam-tam, piatti, tambourine, etc. reveal the

textual suggestions of Greek antiquity participating together in a ritual

procession with a wide range of rhythmic percussion. The significance of vocal

timbres that we have already mentioned may be observed in this slide.

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125

Actor voice – Agamemnon

Actress voice – Iphigenia

Theatrical set-up in choosing the main

characters

Solo soprano – Iphigenia; timbre colour Ancient monody, purity of expression

Choir:

Rhythmic recitation

Sprechstimme/Sprechgesang

Monodic singing or 2 voices

Ancient tragedy: narrative, ritual,

participatory character

Table 1 Functions of vocal timbres

Organ harmony, drama, requiem

old Euro-Asian wind

instruments (aulos)

ancient instrument

Melodic percussion:

Xylofon

Glokenspiel

Vibrafon

purity

immateriality

celestial character

Rhythmic percussion:

Timpani, Piatti sospesi, Gong, Tam-tam,

Tambourine, Woodblock, Temple block,

Tom-Tom, Bongos

Gran cassa, Triangle, Claves, Maracas,

Wind machine

Piano (as a percussion instrument)

Archaic ritual

Related Ancient instruments

Reverberation in time and

space

Table 2 Functions of instrumental timbres

The knowledge and art of Pascal Bentoiu appears again in the creation of

timbre playwriting in the alternative development of narrative functions,

dramatic and ritual characters. Table 3 shows the first part of the opera ended

in the golden ratio of the work, we may note the evolution in the alternation of

dramatic poetics. We also observe a consequence in the association of the

organ – narration – and dramatic or poetic expressiveness, on the one hand,

and percussion – axiomatic text – and ritual character, on the other hand.

Sections Narrative/dramatic

moment

Dominant timbre Musical texture.

Sound Effects

I

Motto: mythical time,

drama prediction

Agamemnon Recitation


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The contemplation the of

great Aegean fleet

(narration – dramatic

melody)

Female choir

Rhythmic recitation

Multi-vocal recitation

Collective random

recitation

Organ

Poliphony –

homophony

Diatonic modalism

(ancient Greek modes)

Axial tonal-chromatic

system (Bartók): E-B flat

II Horror of fratricidal war

(axiomatic text – ritual)

Percussion

Punctualist polyphony

Controlled

improvisation

Choir

Harmonic

Sprechgesang

Electro-acoustic

means

Mix of acoustic effects

and levels

III Virginal purity and the

illusion of the wedding

(Narration – poetic melody)

(attacca)

Soprano voice

Vocalize – diatonic

Choir

Melodic recitative

Organ Non-functional

harmonic evolutions –

archaic

IV Instrumental interlude

(Ceremonial suggestion,

interrupted, destroyed,

deconstructed ritual)

Percussion

Organ

Obsessive alternation

between the two

structures

V Disgust towards human

weakness overwhelmed

by the power of fate

(axiomatic – ritualic text)

Choir Multivocal rhythmic

recitation

Organ

Imitative polyphonic

writing

Diatonic modalism –

chromatically dense

Percussion

Stressing by cymbals

and gongs

Electro-acoustic

means

Recurrent mixing of

two sound surfaces

VI Evocation of Olympian

party of the symbolic

wedding

(narration-poetic

melody)

Choir

Organ

Diatonic monody

Harmonization in 2

voices

Collective

improvisational

Sprechstimme

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127

VII Sentence pronouncing

(axiomatic – ritualic text)

(Sectio aurea)

Percussion

Harpsichord

Imitative writing

Poliphony of ostinatos

Actor’s voice

(Agamemnon)

Sentence outcry

Electro-acoustic

means

Reverberated, distorted

voice, mixed with its

copy for the echo effect

Table 3 Part I: semantics and dramaturgy

In the 2nd part, the ritual of sacrifice is suggested by repetitive elements

and the reverberating signals of percussion overlapped with a short text having

a symbolic value and the monologue of Iphigenia is declaimed and sung in the

dramatic environment of rich harmonies of the organ. Speechless (wordless)

musical moments are placed at extreme points, heart-breaking through their

dramatic force.

Sections Narrative / dramatic

moment

Dominant

timbre

Music texture. Sound

Effects

VIII The culmination of the

tragic feeling

Soprano voice

Organ

Solo and accompanied

vocalisation

Dodecaphonic serialism

IX The ritual of sacrifice

(Axiomatic text – ritual)

Percussion

Repetitive elements

Reverberated sound

signals

Choir

Collective

improvisational

Sprechstimme

Electro-acoustic

means

Mixing percussion with

the choir in the 5th

section.

X Heartbreaking

acceptance of the

sacrifice

(Tragic poetic text –

dramatic melody)

Organ

Tonal-modal temporal

and unstable sonority

Instrumental virtuosity

in ample figurations and

chords

Illustrative sound effects

Iphigenia:

Reciting and

singing voice

Heroine’s monologue –

free recitation

Overlapping of singing

voice – reciting voice

(heart and mind)


128

Choir Choir Glissando – horror

outcry

XI The emptiness of death

– eternity – legend

Wind machine

(Aeoliphone)

Organ

Percussion

Ambiguous diatonic

modalism

The figuration continues

suggesting eternity.

Sounds of cymbals,

gong and tam-tam

Table 4 Part II: semantics and dramaturgy

3.2. Harmonic and polyphonic design Pascal Bentoiu’s harmonic and polyphonic writing techniques reflect the

balance between the intentions of evocation and revival of the myth. If in the

melodic line there prevail the two main Greek modes, Dorian and Phrygian

modes, the harmonization, the functionality of chord chaining and the

polyphonic distribution reflect the modern chromatism developed in the

manner of Bartók. The chromatic mobility of scale degrees (steps), the

parallelism of chords, their elliptical or amplified structure create a sonority

that is recognized today as belonging to the East European creations. It is

important that Bentoiu is not satisfied only with the expression and colour of

harmony but creates a system of tonal relation to augmented fourth, as in axial

tonality (Beloiu, 1969, p.14), stated earlier among two accords, on E and B

flat, consistently transposed (Figures 1a, 1b, 1c). Not being stuck in the created

system should also be noted. Therefore, the culmination of the tragic feeling,

after becoming aware of the irreversible road to death of Iphigenia, lies in the

serial-dodecaphonic sound organization.

Fig. 1a Section I, reference 5, mm. 8-10

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129

Fig. 1b Section I, reference 8, mm. 11-13

Fig. 1c Section V, reference 4, mm. 1-2

The polyphonic writing plays an important role in this score

concentrating the rigour, sobriety and dynamism of the sound image. Free,

imitative, canonical, punctual, the polyphony of writing is linked in some

moments with highly modern imitative or improvisational techniques in the

1960s (Fig. 2).


130

Fig. 2 Section VII, 4, mm. 5-7; reference 5, mm. 1-3

In trying to select the moments of maximum expressiveness, we draw

attention to the culmination of the work (section VII). The axiomatic text,

representing the pronouncement of the sentence, is recited in Sprechstimme

collectively by the choir, then an outcry of Agamemnon as a final conviction. It

is a section of a dramatic ritual in which the percussion participates in a

polyphonic and repetitive writing of great effect. Impressive is also the end of

the work in which the last words of Iphigenia, the execution and the desert of

eternity after death, are grouped together. We once again notice the artistic

instinct and the dramatic ability of the author. Before death, silence and

breathlessness are absolute (five seconds of emptiness). Then follows a

harmonic crescendo of the organ and gong in tremolo and the outcry in horror

of the choir through a plurivocal glissando.

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131

Fig. 3 Section X, the end

4. Conclusions

After this study, we understand more clearly the role of the Greek

mythology and tragedy in the development of the opera genre. An absolute

model of beginning and configuring the French musical tragedy, the myth

represented a strong impetus of extreme artistic visions in the first decades of


132

the 20th century, an inspiring idea for the need to express abstraction and

ambiguity of the avant-garde after 1950 and the source of total theatre

nowadays. The myth was the generator of the most diverse philosophies and

interpretations: moral, humanist, Christian, political, social, ritual-magical,

scientific. Although more difficult to adapt to the opera genre, subject to public

success (see the absence of the topic in the Romantic opera), the mythology as

an opera topic saved the genre both from the derisive and frivolity of

fashionable topics and the danger of accentuating the nationalism of each

culture. Consequently, we can mention few masterpieces, among which titles

of Romanian operas: first Oedipus by George Enescu. Undoubtedly the operas

of Romanian composers composed after 1950 expressed both the desire of

some authors of high cultural and moral standing to avoid the directions and

topics recommended politically and the incentive to experiment the newest

means of sound expression at the crossroads of the theatrical and general

artistic creation of the time.

Listening to the opera The Sacrifice of Iphigenia by Pascal Bentoiu, after

almost 50 years from its creation, we discover the arguments of the jury that

awarded the Prize of Italian Radio and TV: the elegance of sombre writing,

rigour of structuring, measure between the abstract and the symbolic, the

suggested and the expressed, temporality and atemporality.

References

Bentoiu, P. (1968). Jertfirea Ifigeniei, operă radiofonică pentru voci, orgă și percuție

[Iphigenia’s sacrifice, a radio opera for voices, organ and percusssion] (manuscript).

Bentoiu, A. (2016). Timpul ce ni s-a dat [The Time that Was Given to Us], 2.

București: Vitruviu.

Beloiu, N. (1969). Opera radiofonică „Jertfirea Ifigeniei” de Pascal Bentoiu [Radio

opera Iphigenia’s sacrifice by Pascal Bentoiu]. Muzica, 4, 12-16. București: Editura

Muzicală.

Ciocârlie, A. (2013). Dramaturgii români și Antichitatea [The Romanian dramatists

and the Antiquity], România literară, 47, retrieved from

http://www.romlit.ro/index.pl/dramaturgii_romni_i_antichitatea

Debussy, C. (1965). Domnul Croche antidiletant, traducere de Alfred Hofman [Mr.

Croche Antidilettante, translation by Alfred Hofman]. București: Editura Muzicală.

Eliade, M. (1992). Tratat de Istorie a religiilor [Treatise on the History of Religions],

București: Editura Humanitas.

Eliade, M. (1978). Aspecte ale mitului [Aspects of Myths]. București: Editura Univers.

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Stroe, A. (1983). Orestia. O raportare esențială. Fața ascunsă a Choeforelor [Oresteia.

An essential reference. The hidden face of the Libation Bearers]. Secolul XX, 8, 24-54.

București.

Stroe, A. (1984). Orestia II. Hoeforele. Teatru muzical în două acte [Oresteia II. The

Libation Bearers]. București: Editura Muzicală.

Vartolomei, L. (1984). Tipuri fundamentale mitologice și filozofice în operele

românești contemporane [Fundamental mythological and philosophical types in the

contemporary Romanian operas]. In Simpozion George Enescu – 1981 (pp. 321-325).


Vasiliu, L. (2009). Romanian musical drama after Enescu’s Oedipe. ”Hamlet” by

Pascal Bentoiu. In George Enescu International Musicology Symposium – 2007 (pp.

239-250). Bucharest: Editura Muzicală.

Vieru, A. (1994). Cuvinte despre sunete [Words about sounds]. București: Editura

Cartea Românească.


134

Romanian Music of Byzantine Tradition

Between 1918 and 2018

ELENA CHIRCEV

“Gheorghe Dima” Academy of Music Cluj-Napoca

ROMANIA

Abstract: Written in the year of Romania‟s centennial anniversary as a national state,

this paper intends to offer a panorama of the monodic music of Byzantine tradition of

the period, composed by the Romanian chanters. Although the entire twentieth century

was characterized by the harmonization of the already established church chants, the

musical works written in neumatic notation specific to the Orthodox Church continue

to exist, albeit discontinuously. Based on the political changes that occurred in the

Romanian society, three distinct periods of psaltic music creation can be

distinguished: a. 1918-1947; b.1948-1989; c.1990-2018. The first period coincides

with the last stage of the process of “Romanianization” of church chants. The second

one corresponds to the communist period and is marked by the Communist Party's

decisions regarding the Church, namely the attempt to standardise the church chants.

After 1990, psaltic music regains its position and the compositions of the last two

decades enrich its repertoire with new collections of chants. Thus, we can see that in

the course of a century marked by political turmoil and changes, psaltic composition

went on a hiatus in the first decades of the totalitarian regime, to gradually resurge

after 1980, enriched with numerous works bearing a distinct Romanian stamp.

Keywords: centennial, psaltic music, standardized chant, composition.

1. Introduction

The Romanian culture encompasses, besides the categories of traditional

(folk) and art music, an important component related to the Orthodox cult: the

church music of Byzantine tradition1. In this field, the creative contribution of

[email protected]

1 In the course of this paper we will use the phrase “music of Byzantine tradition”, which has

been used in Romanian musicology for several decades. Archdeacon Ph.D. Sebastian Barbu-

Bucur entitled his doctoral thesis defended in 1982 Cultura muzicală de tradiţie bizantină pe

teritoriul României în secolul XVIII şi începutul secolului XIX şi aportul original al culturii

autohtone [The Musical Culture of Byzantine Tradition in Romania Between the Eighteenth and

Early Nineteenth Centuries and the Original Contribution of the Local Culture] (Barbu-Bucur,

1989). In a communication presented in Iași, in 1993, Titus Moisescu stated: “If we accept the

name «Byzantine music» to refer to the music written before the year 1453 only on grounds of

localization and of existence of the political power of the empire, the music written after 1453

should be more appropriately and more realistically referred to as «music of Byzantine

tradition»” (Moisescu, 1995, p. 6) (our translation). The music of Byzantine tradition of the 19th

DOI: 10.2478/ajm-2019-0007

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135

the Romanian chanters and teachers manifested itself differently over the

centuries: first through original contributions with hymns born from the piety

and devotion of chanters, monks and local priests, and then through the

translation and adaptation to the Romanian language of the chant repertoire

used in the religious services.

Inspired by the commemorative event of Romania‟s centennial

anniversary as a national state, this paper attempts to synthesize a few aspects

regarding the local psaltic music composed between 1918 and 2018, as well as

to highlight the important moments in the development of an original liturgical

repertoire, without aspiring, however, to be an exhaustive presentation of the

Romanian church chants composed during this period.

The local contributions to the Byzantine musical treasure are evidenced

by various documents and musical manuscripts dating from as early as the

medieval period. Thus, among the first compositions of Byzantine music

written in the Romanian space2 are the Pripeale of Filotei the Monk from the

Cozia Monastery3, attested at the beginning of the fifteenth century

4. Towards

the end of the same century, the local music of Byzantine tradition was

strongly promoted at the Putna Monastery, as proven by the manuscripts

preserving the 186 chants signed by Evstatie, the protopsaltes of the monastery,

as well as by the compositions of Theodosie Zotica and Dometian Vlahu – all

being composed to Greek texts (Moisescu, 1996). A particularly important

moment is the year 1713, mentioned on the last page of the Romanian

Manuscript No. 61 from the Library of the Romanian Academy, signed by

Filothei sin Agăi Jipei. Suggestively entitled “Psaltichie rumanească”

[Romanian Psalm Book], the manuscript includes the first musical works

composed to Romanian text by this great personality from the Brâncoveanu

period (Barbu-Bucur, 1981, pp. 77-81). The local chanters‟ talent and good

knowledge of church music manifested creatively also after the 1814 Reform

of Orthodox music, both in the numerous translations and adaptations to the

Romanian language of the songs from the Greek collections, and in

compositions such as those of Hieromonk Macarie (1770-1836), Ghelasie

Basarabeanu (?-1851), Anton Pann (?1796-1854), Dimitrie Suceveanu (1816-1898)

to the 21st centuries is also called «psaltic music» – an expression that will sometimes be used in

this text –, to differentiate it from the staff-notated church music from Transylvania and Banat. 2 Another name mentioned, belonging to the first Christian centuries, is that of Niceta de

Remesiana, author of the Te Deum Laudamus hymn. (Vasile Vasile, 1997). 3 See: Gheorghe Ciobanu (1979, pp. 269-292); Gheorghe C. Ionescu (1997, pp. 9-41); David

Pancza (2013, pp. 472-476). 4 In the absence of the musical manuscripts, it is only assumed that the former chancellor of the

Wallachian Voivode Mircea the Elder is also the author of the melodic line of the small

troparia that were recorded in the old codices only in text form, until the beginning of the

nineteenth century when the song was notated by Hieromonk Macarie. See the studies signed

by Gh. Ciobanu (1979) and Gh. C. Ionescu (1997).


136

or Ştefanache Popescu (1824-1911), chanters who sang on the kliros, along

with translations from Greek sources, some of their own compositions.

During the century that has elapsed since the Great Union, the creative

spirit of the Church's servants manifested itself with even greater force. But, as

Father Nicu Moldoveanu remarked, “it can be said that, quantitatively

speaking, the twentieth century is somewhat poorer than the previous one ...”

because the chanter composers were more concerned with the refinement of the

repertoire transmitted from the previous century and with the development of a

choral repertoire that exploits the existing monadic sources (Moldoveanu,

2010, p. 123) (our translation). The predominance of compositions for several

voices is also a consequence chanter of the transformations that occurred in the

Romanian society after the 1859 Union of the two Romanian Principalities –

Wallachia and Moldavia. The reforms undertaken then by Prince Alexandru

Ioan Cuza also envisaged – besides prohibiting the use, in church, of other

languages than Romanian (1863) – the introduction of choral music in the

religious service, while by the law adopted in 1864, the state tried to impose

the performance of the religious service with the help of harmonic choirs

(Moisil, 2018, p. 73), as well as the introduction of the study of choral music in

the curriculum of the theological seminaries and secular schools5. Choir

singing during the Divine Liturgy became a common practice wherever the

possibility of organizing such an ensemble existed. The existence of numerous

church and secular choirs also stimulated the composition of religious music,

and many choir conductors, priests and church singers began harmonizing

church chants or composing religious choral works.

However, the monody written in the neumatic notation specific to the

Orthodox Church continued to exist in the extra-Carpathian areas of Romania,

where the neumatic notation is still in use today, unlike in Transylvania, where

the staff was adopted as early as at the end of the nineteenth century6.

However, in the course of a century marked by political turmoil and changes,

after the period marked by the establishment of a modernized and well-polished

repertoire, psaltic composition went on a hiatus in the first decades of the

totalitarian regime, to gradually resurge after 1990, enriched with numerous

5Regarding the measures taken at the state level, Costin Moisil states, inter alia, that: “a collection of

chants for the Divine Liturgy arranged for two voices by Alexandru Podoleanu was printed in 1889

with the mention «Approved by the Holy Synod and by the Ministry of Cults and Public Instruction

for the primary schools in the country»”. Beginning with “1899, the pupils in the non-theological

secondary education were also becoming familiar with harmonic church music and sometimes

sang it during the religious services. In 1908, learning three-part church chants and singing them

regularly during the Sunday service became compulsory for the primary school pupils in the rural

areas” (2018, pp. 73-74) (our translation). 6 For details regarding the use of the staff in church music notation in Romania, see our book

Muzica românească de tradiție bizantină între neume și portativ [Romanian Music of Byzantine

Tradition Between Neumes and Staff], 2nd Edition, Editura Risoprint, Cluj-Napoca, 2013.

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137

works bearing a distinct Romanian stamp. Thus, in the context of the changes

that occurred in the Romanian society, three distinct periods of creation can be

identified: a. 1918-1947, b. 1948-1989 and c. 1990-2018. In the following

pages, we will attempt to summarize some of the contributions made during

these hundred years to the fund of Romanian church chants.

2. Stability and effervescence: psaltic composition in the first half of the

twentieth century (1918-1947)

The beginning of the twentieth century coincides with the period during

which, according to the late Byzantinologist Archdeacon Ph.D. Sebastian

Barbu-Bucur, the last stage of the process of “Romanianization” of church

chants took place7. The one who played a decisive role in the completion of this

several-centuries-long process was the chanter Ion Popescu-Pasărea (1871-1943).

Through his entire activity, he will remain the prominent figure of the first half

of the last century, although he is not the only psaltic music composer of that

period.

The books on the history of church music as well as numerous studies

and lexicon articles draw attention to a few names of chanters who composed

chants for various religious services during the inter war period. Without taking

into account those who wrote critical editions of the chant books published

during the nineteenth century, we have identified 19 authors of church chants,

most of which were also published. In chronological order, the composers

included in the bibliography consulted are: Hieromonk Irinarh Vântul (?1860-

1940?), Theodor Stupcanu (1861-1926), Damian S. Rânzescu (1862-1948),

Nicolae Severeanu (1864-1941), Gherontie Nicolau (1867-1948), Amfilohie

Iordănescu (1870-1937), Bishop Evghenie Humulescu-Piteșteanu (1870-

1931), Ion Popescu-Pasărea (1871-1943), Filotei Moroșanu-Hanganu

(1876-1951), Dimitrie-Gheorghe Cutava (1883-1974), Vasile Coman

19th-20th c.), Gheorghe Cotenescu (1886-1965), Marin Predescu (1891-1979),

Elefterie Marinescu (1892-1985), Ion Mardale (1895-1971), Vasile Sava

(1896-1985), Atanasie Dincă (1896-1973) Anton Uncu (1908-1976), Victor

Ojog (1909-1973)8.

7 Sebastian Barbu-Bucur identifies four stages in the process of “Romanianization” of church

chants: “1) from their appearance – at least from Coresi – until the late part of the seventeenth

century, when singing in Romanian was “oral”, without Byzantine neumes; 2) from the last

decades of the seventeenth century to the Chrysantine reform; 3) to Macarie and Anton Pann;

4) from Dimitrie Suceveanu, Neagu Ionescu, Ştefanache Popescu etc., to Popescu Pasărea, who

was the last to play an important role in the process of Romanianization of ecclesiastical

songs” (1989, p. 95) (our translation). 8 We note that when placing them in the first or second half of the twentieth century we took

into account the period during which their compositions were written or printed, and not their


138

The data relating to the biography and activity of the chanter composers

of the first half of the twentieth century enable us to reveal some characteristic

aspects of the activity and importance of their creation in the context of

Romanian church music.

First, we consider it important to highlight the schools they attended and

the mentors who guided them, knowing that the Byzantine musical tradition

always had an important oral component, passed down from generation to

generation. With most of them being born in the last decades of the nineteenth

century, they came into contact with church music in their native place or in

monastic environments. For example, Evghenie Humulescu, who became an

orphan at an early age, spent his childhood with an aunt at the Văratic

Monastery, while Victor Ojog, an orphan too, entered the Neamț Monastery at

the age of 15 and, a few years later, took the veil. Later, the future chanter

composers were students at institutions that had made a name for themselves at

the national level through generations of well-trained graduates, such as the

“Central”9 and “Metropolitan Nifon”

10 seminaries in Bucharest, the famous

schools of church singers in Iași11

, Râmnicu Vâlcea12

, or those from the

Neamț13

and Cernica Monasteries14

– or just at seminaries and schools of

church singers from cities in their native area, which benefited from the

presence of great teachers, who were also church singers. We can therefore say

that most of those who ventured to compose psaltic music had a solid training

in the field, in the spirit of the great tradition inherited from the nineteenth

century.

The quality of this training was enhanced by the establishment of the

Academy of Religious Music in 192815

, at the initiative of Patriarch Miron

Cristea, concerned with the development of the theological education and

implicitly of the musical training related to it. In the speech delivered before

year of birth. Detailed information on the life and activity of the composers presented above

can be found in the works of Gheorghe C. Ionescu (2003) and priest Nicu Moldoveanu (2010). 9 At the “Central” Seminary in Bucharest, Gh. Cotenescu and Elefterie Marinescu studied with

Ion Popescu-Pasărea. 10

The future bishop Evghenie Humulescu and the great chanter Ion Popescu-Pasărea studied at

the Metropolitan Nifon Seminary. 11

Theodor Stupcanu, Vasile Sava and Victor Ojog studied in Iași. 12

Marin Predescu was a student at the Seminary in Râmnicu Vâlcea. 13

Irinarh Vântul and Nicolae Severeanu were students at the school attached to the Neamţ

Monastery. 14

Amfilohie Iordănescu was a student at the school attached to the Cernica Monastery. 15

See, in this respect, the doctoral thesis written by the teacher Elisabeta Milea under the

supervision of Pr. Prof. Vasile Grăjdian Ph.D. and defended at the Faculty of Theology of the

“Lucian Blaga” University in Sibiu, in 2015. The Academy functioned as a stand-alone

institution until 1941, when it was integrated as a department of the Royal Academy of Music

and Dramatic Arts in Bucharest. With the change of the political regime in Romania, the

Academy of Religious Music ceased its existence in 1948.

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139

the Holy Synod on February 4, 1925, when the Romanian Orthodox Church

was raised to the rank of Patriarchate, His Beatitude Patriarch included at point

3 of the program of the Romanian Orthodox Church the establishment of this

institution which he considered “absolutely necessary for the revival of the old

church music at the artistic height of time” (author‟s emphasis, Barbu-Bucur,

Buzera, 1999, p. V) (our translation).

On the other hand, the establishment of the Academy of Religious Music

also reflects the sustained activity of a plethora of chanters from the early years

of the century, who were interested in reviving the good tradition of church

chanting; all of them mobilized their forces to set up schools attached to

monasteries, in which psaltic music was taught by skilled teachers (Milea,

2015). We must note here that following the radical measures taken by Prince

Alexandru Ioan Cuza in 186516

, to replace psaltic singing with harmonic choral

singing17

, a state of confusion was created between the seventh and ninth decades

of the nineteenth century due to the difficulties in organizing and training the

choirs and the lack of a uniform repertoire. This true crisis of the church chant

lasted until the end of the century (Chircev, 2013, I, p. 18) and even a little

beyond, although in 1867 the Ministry of Cults issued an order of return to the

psaltic chant18

.

An important contribution to the enhancement of the quality of psaltic

musical education and to the reinstatement of psaltic music to the position it

had held over time was made by Ion Popescu-Pasărea, who, for over four

decades was a teacher at the two seminaries in Bucharest, at the Conservatory

of Music and at the Academy of Religious Music. The biographical data show

that many of those who transposed their own religious feelings into music had

studied with Ion Popescu-Pasărea19

at one of the two theological seminaries in

Bucharest (“Metropolitan Nifon” and “Central”), or at the Academy of

Religious Music in Bucharest20

. In his turn, Ion Popescu-Pasărea benefited

16

Decree No. 101 of January 18, 1865 provided the secularization of monastic estates, as well as

“[...] the introduction of systematic vocal music in our Romanian church instead of oriental music,

known as psaltic music” apud Cosma, 1976, p. 183 (our translation). 17

The phrase “harmonic choir” is often used to differentiate singing in several voices from the

chanters‟ monodic choir. 18

See, in this regard, Memoriu pentru cântările bisericeşti în România [Report on the Church

Chants in Romania], read by Bishop Melchisedec of Roman in the autumn session of the Holy

Synod in 1881 and published in 1882. 19

We mention, in this respect, the names of the following chanters: archdeacon Ion Mardale,

priest Elefterie Marinescu, archdeacon Anton Uncu, Marin Predescu, priest Gh. Cotenescu,

archimandrite Victor Ojog. 20

Ion Popescu-Pasărea was a teacher at the church music department of the “Nifon” (1893-1936)

and “Central” (1899-1936) Seminaries, at the chair of comparative theory-solfege of the

Academy of Religious Music (1928-1930 and 1932-1941) and at the Bucharest Conservatory

of Music (1905-1912). See Ionescu, 2003, p. 301 and Cosma, V., 2005, pp. 82-88.


140

from the guidance of a famous chanter of the second half of the previous

century, who had been a student of Ştefanache Popescu (at the “Metropolitan

Nifon” Seminary), who is said to have learned the art of church singing from

Anton Pann (1790?-1854)21

. It is therefore easy to understand that the

reputation and quality of the musical training provided by the great chanters

attracted to Bucharest young people eager to specialize in this field, such as

Victor Ojog, a graduate of the school of church singers in Iași, who came to

Bucharest to attend the classes of the Academy of Religious Music between

1932 and 1935, distinguishing himself as one of the best students. Returned to

Moldova, V. Ojog taught music at the School of Church Singers and at the

Monastic Theological Seminary attached to the Neamţ Monastery (1949-1959)22

,

thus contributing to the consolidation of the prestige of the theological school

of Neamţ.

By studying the activity carried out in the first half of the twentieth

century, we find that one of the major concerns of the chanter composers was

the unaltered preservation and transmission of tradition, an intention sometimes

confessed in the prefaces to the books they wrote. For example, Theodor

Stupcanu wrote numerous school books, including an Anastasimatarion, a

collection that for centuries has been the “alphabet” for the learning of church

singing because it contains songs in the eight ecclesiastical tones. In the

preface to his book, the author points out that the melodic model he used is that

of the Anastasimatarion published in 184823

by Patriarch Dimitrie Suceveanu,

protopsaltes of the Iași Metropolitan Church, but that he also took into account

church practice – i.e. tradition –, to which he also added several personal works

(1926, p. 7). Although the collection compiled by Th. Stupcanu was published

only in 1926, father Florin Bucescu states that given that his songs are “very

well written, they were intensely circulated in the ecclesiastical schools in

Moldova and in other parts of Romania for three decades (1910-1940)” (2018,

p. 97) (our translation), which reveals the importance of Th. Stupcanu in the

training of many generations of seminarians, in the spirit of the long Byzantine

tradition existing in Moldova (Bucescu, 2018, p. 143).

Ion Popescu-Pasărea was also a faithful guardian of the psaltic tradition;

relying on the principles laid down by Macarie and Anton Pann, as well as on

21

Found in various bibliographic sources, this assertion is questioned by Gh. C. Ionescu:

“There are no reliable data confirming whether he was trained while helping Anton Pann on

the kliros as his apprentice, or at the school where Anton Pann was teaching. The assertion that

Ștefanache was Anton Pann‟s student for three years at the Central Seminary in Bucharest

(approx. between 1842 and 1845) is devoid of documentary evidence” (2003, p. 165) (our

translation). 22

Among his students was Archdeacon Sebastian Barbu-Bucur, Ph.D., renowned

byzantinologist and composer of psaltic music of the second half of the twentieth century. 23

This is a revised and enlarged edition of the book written by Hieromonk Macarie in 1823.

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the creative contribution of Dimitrie Suceveanu, he continued the process of

Romanianization of church chants in the first half of the 20th century. As

musicologist Vasile Vasile notes, the chants published by him “can be

considered true effigies of the music written up to Popescu-Pasărea, in the most

traditional style (our emphasis). His respect for this tradition is seen in the fact

that his collection includes the most representative authors” (Vasile, 1997, II,

pp. 193-194) (our translation).

From this perspective of preserving the traditional church chant, the work

of protosingel Victor Ojog is highly appreciated. The Anastasimatarion written

by him and published in 1943 is appreciated by Archdeacon Prof. Ph.D.

Sebastian Barbu-Bucur, and by Priest Assoc. Prof. Ph.D. Alexie Buzera (the

supervisors of the 1999 edition) as “the work that cumulates and crystallizes

the experience of two centuries of Romanian psaltic chant” (author‟s

emphasis) (Ojog, 1999, pp. V-VI) (our translation). At the same time, Priest

Prof. Ph.D. Nicu Moldoveanu believes that “all the chants are very well

outlined in the traditional spirit. Many of them were at the basis of the

standardized chants of the second half of the twentieth century” (Moldoveanu,

2010, p. 185) (our translation).

However, in addition to the concern for keeping tradition unaltered, this

period was also marked by a growing interest in Western music, which was

included in the complex training of some of the chanters who attended the

Conservatories of Bucharest24

or Iași25

. By attending the classes of music

theory, harmony, choral conducting and music history, chanters broadened

their musical knowledge, began harmonizing melodic lines taken from chant

books and formed choirs at the churches where they were singing. They were

appreciated in the cities where they carried out their activity both as chanters

and as choir conductors and/or as animators of the local artistic life.

On the other hand, the knowledge of both musical notations facilitated

their access to the staff-notated repertoire and to choral music, which was more

and more appreciated by churchgoers in the first half of the twentieth century.

The interest in the religious choral music led to unusual situations: Archdeacon

Ioan Mardare, a servant of the Cathedral and teacher at the Ramnicu Valcea

seminary, transposed into psaltic notation Liturghia Sf. Ioan Chrisostom în Fa

major [the Liturgy of Saint John Chrysostom in F Major], composed by Ion

Vidu (1863-1931), so it could also be sung by those who did not know the

24

The following were graduates of the Bucharest Conservatory: Nicolae Severeanu (1885-1890),

Ion Popescu-Pasărea (1888-1893), Filotei Moroșanu (1900-1903), Dimitrie-Gheorghe Cutava

(1903-1908), Gheorghe Cotenescu (1907-1912). 25

Theodor Stupcanu graduated from the Music Conservatory of Iași (Ionescu, 2003, p. 268),

and Vasile Sava temporarily attended the courses of the same institution, without graduating.

Between 1926 and 1927 he attended the Psaltic music class held by Theodor Stupcanu at the

Iași Conservatory (Ionescu, 2003, p. 387).


142

Guidonian notation, but had been charmed by the sound of the tonal-functional

chords. The work was published in 1930, on the occasion of the composer‟s

attendance, as a guest, of the summer courses for church singers, held at the

Cozia Monastery (Moldoveanu, 2010, p. 130).

Another aspect that contributed to the stimulation of the chanters‟

creative skills was their work on the kliros. This provided them with a thorough

knowledge of the existing repertoire, of the entire body of melodic formula,

distilled over time and adapted to the specific character of the Romanian

language. The richness of melodies of Byzantine essence was inspiring and

was used to provide a better correlation of the literary and musical texts. A

good example in this respect is represented by the great chanter Ion Popescu-

Pasărea, who sang on the kliros for three decades, in various Bucharest

churches, and who organized a mixed choir at the St. Ilie Kalinderu Church,

which he conducted and in which he also served as chanter.

Returning to the prerequisites required for the valorisation of the native

inclination for music composition – that is, a thorough theoretical training,

learning the repertoire under exceptional guidance and its practice – we find

that, although most of these composers were not prolific, some of them

composed monodies that have resisted the test of time. An illustrative example

is that of Bishop Evghenie Humulescu. Characterized as “one of the most

devoted servants of the Romanian Church” (Moldoveanu, 2010, p. 129) and as

“an exceptional singer of church chants” (Ionescu, 2003, p. 299) (our

translation), he distinguished himself in the field of psaltic composition only

through a few hymns, which, however, have remained in the chanters‟

repertoire to this day. The best-known hymn is Iubi-Te-Voi, Doamne [I Will

Love Thee, O Lord], in tone 5, harmonized for mixed choir by Nicolae Lungu

and for male choir by father Nicu Moldoveanu. Other famous ones are

Troparul Sf. Spiridon [Troparion of St. Spyridon], tone 1, Sfinte Dumnezeule

[Holy God], tones 5, 1 and 2, at the Hierarchical Liturgy, Câți în Hristos [As

Many of You as Have Been Baptized into Christ], tone 1, Am văzut lumina cea

adevărată [We Have Seen the True Light], Veniți de luați lumină [Come and

Take the Light], Troparul Sf. Grigore Teologul [Troparion of St. Gregory the

Theologian] (Ionescu, 2003, p. 300).

A similar case is that of hierodeacon Filotei Moroşanu-Hanganu. While

several of his psaltic compositions have been included in the current repertoire

of the churches26

, some of them being harmonized, his name is known

26

Here are some of them: Prochimenele Postului Mare [The Prokeimena of Great Lent],

Fericit bărbatul [Happy the Man], tone 8, Robii Domnului [O You Servants of the Lord], tones

3 and 5, Catavasii la Nașterea Domnului [Katavasias of the Nativity of the Lord], tone 1,

Doxologie [Doxology], tone 1, Svetilna Întâmpinării [Exapostilarion of the Presentation], tone

3, Învierea Ta Hristoase [Thy Resurrection, O Christ], tone 8, svetilna la Adormirea Maicii

Domnului [Exapostilarion of the Dormition of the Mother of God], tone 3, Împărate ceresc [O

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especially for the Vespers hymn Lumină lină [Gracious Light] in tone 8 (with

variants in tones 2 and 5), which was harmonized by Ion Croitoru, Ioan D.

Chirescu and Nicolae Lungu for mixed choir, by Nicu Moldoveanu for male

choir and by Elisabeta Moldoveanu for equal voice choir.

On the other hand, although some of the chants had a limited circulation,

they prove the high level of training offered by the schools of church singers,

by the theological seminaries and by the the Bucharest Academy of Religious

Music. That is why I consider that the most important thing is the fact that

these chanters maintained the religious services at a high level and formed, in

turn, generations of church singers who preserved and transmitted the tradition

of church chanting, despite the harsh conditions imposed on the servants of the

Church after the change of the political regime in the mid-twentieth century27

.

3. A new crisis of psaltic music creation during the communist regime

(1948-1989)

“Psaltic music has gone through several crises [...] from time to time, but

none has equalled the crisis of the last 50 years” (our translation), said

Archdeacon Ph.D. Sebastian Barbu-Bucur and Priest Alexie Buzera on the

occasion of the republication of Victor Ojog's Anastasimatarion, referring to

the situation of church music during the second half of the twentieth century

(1999, p. V). This period was marked by the events that took place in the

Romanian society after the Second World War, when Romania fell within the

sphere of influence of the Soviet Union. On December 30, 1947, His Majesty

King Michael I of Romania was forced to abdicate, threatened and blackmailed

by the communists who on the same day established the communist

dictatorship – the totalitarian state, dependent on the Soviet Union and called

the Romanian People's Republic. The model coming from the East started to be

implemented across the entire society, which entered a period of intense

transformations. In order to understand the direction taken by psaltic

composition during this period, we need to refer to some of the decisions taken

by the heads of the atheist state, which affected everything that was related to

the spiritual life of the Romanian people.

Profound transformations radically changed the education system, which

adopted the Soviet model, with ideology and indoctrination becoming the

norm. One of the measures of this period that influenced the evolution of

church music was the abolition of the Religious Music department of the Royal

Heavenly King], tone 8, Sfinte Dumnezeule [Holy God], tone 8, De tine se bucură [All of

Creation Rejoices in You], tone 5, Hristos a înviat [Christ Is Risen], tone 2 (Ionescu, 2003, p.

320 and Moldoveanu, 2010, pp. 178-179). 27

The Romanian People's Republic was proclaimed on December 30, 1947, after the forced

abdication of King Michael I of Romania.


144

Academy of Music and Dramatic Art in Bucharest followed by Decree No. 177

of 1948, regarding the activity of religious denominations. As a result, for over

four decades, the music of Byzantine tradition ceased to be studied in the

higher education system, other than in the Theological Institutes in Bucharest

and Sibiu, while the rest of the theological faculties were abolished. It was not

until 1990 that, at the insistence of Archdeacon Ph.D. Sebastian Barbu-Bucur

and following the steps taken by the leadership of the “Ciprian Porumbescu”

Conservatory of Music (the current National University of Music), the

department was re-established. This Decree also affected pre-university

education, with all the schools of church singers being abolished28

along with

many theological seminaries of various denominations, including 40 schools of

church singers and Orthodox theological seminaries29

.

Under these circumstances, many of the music loving graduates of the

last five to six decades of the last century found refuge in secular education and

studied in conservatories, whenever that was possible. However, many of those

who had entered monastic life or had studied theology suffered under the

political regime. Father Florin Bucescu, a graduate of the Seminary attached to

the Neamţ Monastery (1953) and of the Theological Institute of Bucharest

(1957), while enrolled in doctoral studies at the same institution, had to

interrupt them in 1960 and it was not until 1962 that he was allowed to enrol at

the “George Enescu” Conservatory of Music in Iași. During the following

years, he focused his attention on ethnomusicology, conducting numerous field

collections and writing studies. His passion for the music of Byzantine tradition

could manifest itself only after the Revolution of 1989, and his theoretical and

practical knowledge of psaltic music and his pedagogical gift contributed to the

development of research and the formation of generations of highly trained

young people.

In 1958, a decade after the decree that had almost abolished the

theological education of all levels, the Romanian Workers' Party30

gave another

blow to the Orthodox Church and theological education, through Decree 410,

which brought a series of amendments to Decree No. 177/1948, intensifying

the persecution of the “«black army of monks and nuns» who had to be

suppressed by all means” (Enache, 2009) (our translation), and who had

already been affected by other measures taken against them in 195531

.

28

Until 1948, there had been schools in all the county capital cities as well as in other places,

or attached to certain monasteries. 29

After 1948, only six theological seminaries survived in the cities of Bucharest, Buzău,

Craiova, Neamț, Cluj and Caransebeș. 30

The name under which the Communist Party functioned between 1954 and 1964. 31

We quote from the same article published by George Enache in the newspaper “Lumina”:

“At the end of 1958, the Department of Cults drew up a new regulation of monasteries which

stipulated, inter alia, the exclusion from entering the monastic life of the following categories:

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Although it was adopted only on October 28, 1959, the provisions of the

Decree were applied retroactively and, between December 1958 and March

1959, all those who did not meet the requirements of monastic life were

expelled from the monasteries32

.

More than 100 monasteries were closed, and monks and nuns of less than

40 years of age were forced to devote their lives to “building socialism”,

working in factories and plants, undergoing a process of re-education, meant to

help them integrate into the new society (Mătrescu, 2008). One of the chanter

composers who suffered from the effects of this decree was Archdeacon Ph.D.

Sebastian Barbu-Bucur. In 1950 he entered monasticism and in 1957 he

became a teacher of music and choir conductor at the Theological Seminary

from the Neamţ Monastery (after graduating from the Theological Institute in

Bucharest), but he soon had to leave the monastery33

. He was supposed to work

in a factory, but thanks to his stubbornness – as he confessed in an interview34

– he was allowed to enrol at the Music Conservatory in Bucharest, to later

become a music teacher at various schools in the capital city until 1990, when he

became a lecturer at the Department of Byzantine Music Palaeography of the

Conservatory. In the following decades, Father Professor Sebastian Barbu-Bucur

made an essential contribution to the research of Byzantine music in the

minors, persons who have less than seven elementary grades, persons who have committed

infringements of the monastic rules, persons convicted for common law offences, «counter-revolutionary

elements», as well as those known for their «hostile manifestations» against the communist

regime. On the occasion of the meeting of the Holy Synod of the Romanian Orthodox Church

of December 15, 1958, Dumitru Dogaru, the secretary general of the Department of Cults,

communicated the provisions of the new regulation, demanding that they be embraced and

implemented.” (our translation) 32

Article 71 provided that “men of 55 and women of 50 years of age may be admitted to

monasticism «if they waive their salary or pension rights and unless they are married or have

obligations under the Family Code». This decree was a method for the Communist state to

sidestep the decision of the Synod, openly assuming the paternity over the suppression of

Romanian monasticism” (Enache, 2009) (our translation). 33

In the same year, Victor Ojog, his former music teacher from the Neamț seminary, had to

leave school, being also expelled from monastic life because of his democratic views, which

were against the ideology imposed by the communist regime (Ionescu, 2003, p. 425). 34

In a 2010 interview we conducted with Archdeacon Ph.D. Sebastian Barbu-Bucur, he

confessed: “I became a music teacher at the best theological Seminary in the country, at the

Neamţ Monastery, a seminary directly patronized by Patriarch Justinian himself. The peace

and satisfaction of the accomplishment did not last long. The autumn of 1959 was going to be a

dramatic one. The flower of monasticism was crushed by the provisions of Decree 410,

whereby 7500 monks and nuns were expelled and had to go each their own way. And so I was

left useless, but I stubbornly refused to work as a factory worker, as the decree required, and

knocked at the gates of the Conservatory. I was kicked out of there too, for one year, because

of three crosses that I had given to my colleagues.” (Chircev, 2010, pp. 77-84 and Chircev,

2013, pp. 51-60) (our translation).


146

Romanian space and enriched the church music repertoire with numerous

psaltic compositions.

The successive measures taken by the leadership of the Communist Party

after the change of the political regime had already affected the training in the

field of church music. The transmission of church chanting and its perpetuation

became more and more difficult, and those who were familiar with it became

fewer and fewer. The tradition of singing on the kliros was affected by the

dissolution of many institutions (as mentioned above), as well as by the process

of purification undertaken by the communist regime immediately after the

proclamation of the Republic, in 1947. The situation thus created determined

the Holy Synod to decide, in the June 1952 session, the standardization and

obligatory introduction of psaltic chants all over the country (“Lucrările…”,

1952, pp. 616-617). A part of the required repertoire had already been

published one year before (Lungu, Uncu, 1951), along with a theoretical work

(Lungu, Costea, Croitoru, 1951), both in simultaneous notation, i.e. with

neumes and staves. Criticized in recent years, this true reformation of psaltic

music in Romania had, according to His Beatitude Patriarch Justinian Marina

(1901-1977), the role of ensuring the active participation of parishioners in

church services and of eliminating the regional differences in church singing35

.

Because of the lack of qualified church personnel and of the few

seminaries that survived the successive decrees and oppressive measures,

church music entered a period of crisis, which gradually diminished only after

1990. By the middle of the century, however, adapting themselves to the new

orientation, many of the chanters who were familiar with both notations began

writing chants or entire collections in both notations. Others, however, relying

on the training gained in the music conservatories, dedicated themselves to

religious choral music, expanding the existing repertoire with valuable works.

According to our research, between 1948 and 2018, a number of eleven

musicians were preoccupied with the composition of psaltic music – with

neumes or double notation. Below they are mentioned in chronological

order, but we have no certainty that the list is complete because certain

attempts may have remained in manuscript form or been destroyed:

Grigore Costea (1882-1963), Ion Croitoru (1884-1972), Chiril Arvinte

(1897-1968), Chiril Popescu (1897-1992), Nicolae Lungu (1900-1993), Radu

Antofie (1904-1987), Ioan Gh. Popescu (1925-1992), Sebastian Barbu-Bucur

35

[...] it is time to put an end to regionalist church music and it is absolutely necessary that in

Transylvania, Banat and in all parts of the country we abide by the traditional psaltic music, so

that at one point, by standardizing the church chants, a believer from Dobrogea can always take

active part in the responses to the Divine Liturgy in a church from Maramureş, or a believer

from Banat can feel the same in this respect, in a church from Moldova.” (Lucrările Sfântului

Sinod…, 1951, p. 617) (our translation).

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147

(1930-2015), Constantin Drăgușin (1931-2014), Alexie Buzera (1934-2011),

Nicu Moldoveanu (b. 1940).

The foremost advocate of the standardized chant written in double

notation was Nicolae Lungu, who collaborated with priest Grigore Costea

and professor Ion Croitoru in the writing of the music theory book entitled

Gramatica muzicii psaltice. Studiu comparat cu notația liniară [The Grammar

of Psaltic Music. Comparative Study with the Linear Notation] (1951). Two

years later, they also co-wrote Anastasimatarul uniformizat [The Standardized

Anastasimatarion] including the Vesper chants; the one for the Matins service

was written by Nicolae Lungu together with the priests Ene Branişte and

Grigore Costea (1951). Previously, Nicolae Lungu had also collaborated with

Anton Uncu in writing the chants of the Divine Liturgy (1951). Professor

Nicolae Lungu transcribed a large number of church chants that written in

double notation. Although they are not original works, the production of these

volumes involved the creative work of selecting the musical material and

adjusting and simplifying the chants. Nicolae Lungu is also remembered in

church music history for the numerous harmonizations that he produced.

The same manner of notating church music was used by a disciple of

Professor Nicolae Lungu, who was a priest (1929-1976) and conductor of the

Bishopric Choir of Buzău: Radu Antofie. Trained in the spirit of the psaltic

tradition at the “Chesarie the Bishop” Seminary in Buzău (1924) and a

graduate of the Faculty of Theology in Bucharest (1929), he produced several

collections of church chants in double notation, which, however, have all

remained in manuscript form: Noul Anastasimatar [The New

Anastasimatarion], Cinci Slavoslovii [Five Great Doxologies], Slujba învierii

[Service of the Resurrection], Cântări din Penticostar [Pentecostarion Chants].

He also composed two liturgies for mixed choir and various other liturgical

hymns, some of which were published in the “Glasul Bisericii” journal

(Ionescu, 2003, pp. 403-404).

A similar case is that of father Constantin Drăguşin (1931-2014), who,

in the troubled years before and after the middle of the twentieth century, was a

seminary pupil and then a student at the seminaries in Râmnicu Vâlcea and

Curtea de Argeș and at the Theological Institute in Sibiu and Bucharest, where

he gained knowledge and experience from several teachers, including

Gheorghe Şoima and Nicolae Lungu. He followed the example of his teacher

from Bucharest (Nicolae Lungu) and wrote psaltic music in double notation:

Tropar la Duminica Sfinților români [Troparion of the Sunday of the

Romanian Saints], tone 3, Tropar pentru Sfântul Teodosie [Troparion of Saint

Theodosius], tone 1 and Prea Curată Maică pururi Fecioară [Most Pure

Mother, Ever Virgin Mary], tone 3 (on verses by Vasile Militaru), preserved in


148

manuscript form for a long time36

, unlike his choral works which were printed

already in 1965, in choral journals and anthologies37

. His multifaceted activity

contributed to the knowledge and preservation of the music of Byzantine

tradition. Gh. Ionescu characterized him in the following terms: “A

distinguished, persistent and enterprising musician [...] in his capacity as

teacher at the Theological Seminary and Institute, as conductor and composer

and as editor and author of several psaltic music books, he contributed his skill

and talent to promoting the church chant of Byzantine tradition in the

contemporary cultural and religious landscape” (Ionescu, 2003, p. 483) (our

translation).

Although there are opinions according to which for the period between

1950 and 1990, the standardization of psaltic music “was welcomed and in part

reached its purpose, especially in the case of the chants of the Divine Liturgy in

which many believers participate actively...” (Barbu-Bucur, Buzera, 1999, p.

V) (our translation) the measure failed to stimulate psaltic composition. In the

preface to the theoretical book published in 1951, the authors justified the act

of standardization by stating that “our effort does not aim to... change or

replace psaltic music, as, perhaps, it is believed by those who do not know the

problem, but, on the contrary, to save and secure it, like an asset that is an

integral part of our spiritual heritage. Anyone is free to use any of the two

notations, which in this grammar are overlapped. What really counts is that the

unparalleled beauty and charm of the psaltic chants be not distorted by

misinterpretation and faulty performance, as is happening today at every step,

because of the existing complicated and confusing psaltic grammars” (Lungu,

Costea, Croitoru, pp. 8-9) (our translation).

Even if the authors of the Grammar... (quoted above) expressed their

conviction that the work would prevent the churches from “inappropriately

peppering the choral repertoire heard today in our churches, and that we will by

all means be spared from the disappearance of the psaltic chant and its

replacement with another type of song, as has happened in other Orthodox

Churches” (Lungu, Costea, Croitoru, 1951, p. 9) (our translation), we notice a

stagnation, a regression of psaltic composition and an orientation especially

towards choral composition. Affected by the drastic measures directed against

the monastic order, priests and believers, too few of those who had the

necessary training also had the conditions to devote themselves to music

composition, all the more so as denunciation was raised to the rank of civic

duty.

36

From among his compositions, Ectenia mare [The Great Ectenia], tone 1, p. 91, along with

Antiphon I and Antiphon II, both in tone 1, were published in the book Cântările Sfintei

Liturghii și alte cântări bisericești [The Chants of the Divine Liturgy and Other Church

Chants], 1992, on pages 91, 92 and 93-95. 37

See their list in Ionescu, 2003, pp. 483-484.

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149

However, psaltic composition written only in neumatic notation was not

entirely absent during the communist period. Some of the works were

preserved in manuscript form, with no indication of when they were written.

For example, Chiril Popescu (1897-1992), who learned the psaltic art from

Ioan Zmeu and Ion Popescu-Pasărea, composed psaltic music, but his works

have remained in manuscript form: Cântări la Pavecernița Mare [Chants of the

Great Compline], tone 8; Ceea ce ești mai cinstită [Thou the More

Honourable], tones 5, 6, 7; Lumină lină [Gracious Light], in eight tones; Aliluia

ce se cântă în Postul Mare [Hallelujah Chanted during Great lent], in eight

tones; Tropare și Condace [Troparia and Kontakia] for the Saints whose relics

were or are preserved in Curtea de Argeș (St. Nifon, St. Filofteia, Serghie,

Vach and Tatiana) a.o. (Ionescu, 2003, p. 391). Following the already

established tradition, he contributed to the enrichment of the repertoire in

double notation with Cântările Penticostarului uniformizate, lucrare întregită

cu slujba Înălțării Domnului și Pogorârii Duhului Sfânt [The Standardized

Pentecostarion Chants, a Work Completed with the Liturgical Service of the

Ascension of the Lord and the Descent of the Holy Spirit]38

and with a few

separate chants, some of which were published after 199039

. Father Nicu

Moldoveanu appreciated that “his style seems to be a synthesis of his

predecessors Anton Pann, Macarie, Varlaam and Schimonahul Nectarie, but

especially of the chants composed by I. Zmeu, his mentor” (2010, p. 132) (our

translation).

We also know the publishing years of other works that were published in

various journals, especially in “Biserica Ortodoxă Română” and “Glasul

Bisericii”. It is the case of another composer, trained at the schools in Râmnicu

Vâlcea, Bucharest and Sibiu, who benefited from the guidance of professor

Nicolae Lungu: Ioan Gh. Popescu (1925-1992). He composed religious choral

music as well as several psaltic works published in the official journal of the

Romanian Patriarchy: Luminânda la Adormirea Maicii Domnului

[Exapostilarion of the Dormition of the Mother of God], tone 3; Răspunsurile

mari [The Great Responses], tone 3, in both notations, Axion duminical

[Sunday Axion], tone 340

. Also, in 1982, priest Alexie Buzera, professor at the

Theological Seminary in Mofleni-Craiova (1956-1960), at the “St. Gregory the

Theologian” Seminary in Craiova (1981-1994) and later at the Faculty of

Orthodox Theology in the same city (1992-2004), composed and published

38

Published at Editura Institutului Biblic in Bucharest, in 1980. 39

Doxologie [Doxology], tone 5, in “Glasul Bisericii”, București, Year XLVI (1986), No. 5

(Sept.-Oct.), in Appendix, p. I-XII; Veniți să fericim pe Iosif [Come, Let Us Praise Joseph and

Bless Him], tone 5 (p. 267-271) and De vreme ce eu păcătosul [Since I, the Sinner], tone 5, in

Cântările Sfintei Liturghii [The Chants of the Divine Liturgy]…, 1992. 40

All these works were published in the journal “Biserica Ortodoxă Română”, București, Year

LXXXVIII (1970), Nos. 7-8 (July-August), pp. 837-856, apud Ionescu, 2003, p. 466.


150

Slujba Sf. Grigore Cuvântătorul de Dumnezeu. Patronul Seminarului Teologic

din Craiova [The Service of St. Gregory the Theologian. Patron of the

Theological Seminary in Craiova]41

. Five years later, he published another

composition, Catavasii la Duminica Fiului Risipitor [Katavasia of the Sunday

of the Prodigal Son]42

. Strongly dedicated to teaching and research, he

harmonized many folk songs, but resumed psaltic composition after 1990.

One of the most prolific composers was Archdeacon Ph.D. Sebastian

Barbu-Bucur, although only two of his works were published during the

communist era: a Doxology and a Polychronion dedicated to His Beatitude

Patriarch Teoctist. We will therefore dwell more on his works in the next

section of this paper.

Although there may have been other musicians trained in theological

seminaries during the inter war period or at the middle of the twentieth century

who also composed psaltic music, this was not made public until after the

changes brought by the 1989 Revolution, which is why we will take into

consideration the year of publication.

4. Psaltic composition embarking on a new path (1990-2018)

In the nearly three decades that have passed since the events of

December 1989, the music of Byzantine tradition has embarked on its natural

path thanks to the re-establishment of the theological schools of all levels, to

the efforts meant to provide high quality musical training and to the endeavours

of the priests and of the entire clergy.

One of the first important achievements besides the establishment of the

religious music departments within the three conservatories existing in

Romania in 1990 (Bucharest, Cluj-Napoca and Iași) was the publication of the

book entitled Cântări la Sfânta Liturghie și alte cântări bisericești [Chants of

the Divine Liturgy and Other Sacred Chants]. As one can understand from the

“Foreword” signed by His Beatitude Patriarch Teoctist (1915-2007), this was a

project initiated before 199043

, as confirmed by the fact that the songs were

written in double notation, just as they had been since as early as 1951. As a

matter of fact, in the preface it is also stated that “this is in fact an action that

continues the work initiated by the great Patriarch Justinian ... at the beginning

41

Published in “Mitropolia Olteniei”, Craiova, Year XXXIV (1982), Nos. 1-3 (January-

March), Appendix, pp. 1-12. 42

Published in “Mitropolia Olteniei”, Craiova, Year XXXIX (1987), No. 2 (March-April), pp.

139-142. 43

At the beginning of the “Foreword”, His Beatitude Patriarch wrote: “We live moments of

great joy, now when after a thorough and careful preparation of nearly four years, one of the

most expected and comprehensive collections of traditional and contemporary church chants ...

used in the Romanian Orthodox Church finally sees the light of day” (Cântările Sfintei

Liturghii..., 1992, p. 3) (our translation).

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of the sixth decade, an action that has proven to be of ever-greater importance

to the Romanian spirituality, especially as the atheist hostility in which church

life was carried out deprived the Orthodox church of both books and chanters”

(Cântările Sfintei Liturghii, 1992, p. 3) (our translation).

This anthology includes several compositions by those who continued to

write psaltic music in the late part of the last century: Archdeacon Ph.D.

Sebastian Barbu-Bucur44

, Pr. Prof. Ph.D. Nicu Moldoveanu45

, Marin Velea46

.

Other notable names of musicians of this period are: Florin Bucescu (b. 1936),

Marin Velea (b. 1937), Victor Frangulea (b. 1939), Ion Gavrilă (b. 1955).

The following years witnessed the re-publication of many collections of

church chants, but the practice of double notation was gradually abandoned, to

be replaced by neumatic notation, one argument being that “as long as the

chants are in double notation (psaltic and linear), the pupils and students will

not learn psaltic music (author‟s emphasis). They come to the theological

schools with a minimal knowledge of linear music [...] which they use

empirically in order to follow only the meaning of the melodic-rhythmic

diagram, which diverts them from reading the psaltic neumes, which are the

only ones that can render the authentic song” (Barbu-Bucur, Buzera, 1999, p.

VI) (our translation).

During the period herein under consideration, the development of psaltic

composition was owed particularly to Archdeacon Ph.D. Sebastian Barbu-Bucur.

In an interview he gave us in 2010, the distinguished Byzantinologist confessed

that he had always been tempted to compose psaltic music47

, but that his

44

The following compositions of Father Sebastian Barbu-Bucur are included: Laudă suflete al

meu [Praise the Lord, O My Soul] (Ps. 145) tone 8 (p. 91); Iubi-Te-voi, Doamne [I Will Love

Thee O Lord], tone 5 (p. 122), Iubi-Te-voi, Doamne [I Will Love Thee O Lord], tone 7 (p.

123), Am văzut lumina [I Saw the Light], tone 5 (p. 208), Să se umple gurile noastre [Let Our

Mouths Be Filled], tone 5 (pp. 209-210). 45

The following compositions of father Nicu Moldoveanu are included: De tine se bucură [All

of Creation Rejoices in You], tone 5 (pp. 55-56), Iubi-Te voi, Doamne [I Will Love Thee O

Lord], tone 8 (p. 124) and one by Ioan Zmeu, revised by father N. Moldoveanu – Bine voi

cuvânta pre Domnul [I Shall Praise the Lord], tone 2 (p. 210). 46

Bine este cuvântat [Blessed is He], tone 3 (p. 205). 47

“In 1982, while I was at sea travelling to Mount Athos, as the monasteries began to appear in

the distance, the first one being the Rusicon in all its splendour, I started humming in my mind a

glorification in tone 8, which is still one of the most successful of the 11 I have written. When I

arrived at Prodromos and prayed to the miracle maker icon of the Mother of God Prodromite, I

hummed in my mind the same doxology, which I then wrote in psaltic neumes. Thus began the

series of psaltic compositions for Vespers, Matins, Liturgy and other chants at the instigation

of the Theotokos and of the famous father confessor Petronius, Abbot of the Prodromu Skete,

and out of the need to provide the students of the Department of Religious Music with a

repertoire as rich and diverse as possible...” (Chircev, 2010) (our translation). See, also, Har și

instruire îndelungată sau despre compunerea muzicii psaltice, interviu cu arhid. dr. Sebastian


152

attempts achieved consistency especially during the ninth decade of the last

century. Given that the general context was not favourable to the display of

such preoccupations, his compositions were published especially after 1990.

That is the year of publication of Rugăciune [Prayer], on verses by Vasile

Militaru – with the monodic variant notated with neumes above a two-part

choral variant, notated on staff – (1990a, p. 6), Prea Bune Doamne, ascult-a

noastră rugă [Good Lord, Hear Our Prayer] (1600 years after the death of St.

Gregory the Theologian) (1990b, p. 471) and Necuprinsă-ți este slava și

nemărginită mila [Your Glory is Immeasurable and Your Mercy Is Infinite]

(1990c, p. 472). They were followed by 33 religious services for the Romanian

saints canonized by the Romanian Orthodox Church in 1992, several works

published in the two volumes of Cântări psaltice pentru cursul de muzică

religioasă [Psaltic Chants for the Religious Music Course], the volume Cântări

la Vecernie, Utrenie și Sfânta Liturghie [Chants for Vespers, Matins and the

Divine Liturgy], dedicated to his Beatitude Patriarch Daniel; another volume

comprising Slujba Vecerniei și Utreniei Sfintei Mucenițe Filofteia, Sfântului

Iachint de Vicina, Mitropolitul Țării Românești, Sfântului Neagoe Basarab și a

Sfântului Cuvios Ioanichie cel nou de la Muscel [Vespers and Matins Service

for the Holy Martyr Filofteia, Saint Hyacinth of Vicina, Metropolitan of

Wallachia, Saint Neagoe Basarab and Saint Pious Ioanichie the New of

Muscel] was dedicated to His Eminence Calinic, Archbishop of Argeș and

Muscel. 2014 was the year when the book with the chants of the Divine

Liturgy was re-published, comprising, among others, 58 original Sunday

axions in all the eight church tones.

The compositional output of father Sebastian Barbu Bucur includes

hundreds of songs, written with skill and grace. We have analysed some of

these works on various occasions48

and we have found that the distinguished

musician met all the conditions required for a chanter to become a composer: a

Barbu-Bucur [Natural Talent and Long Training or on Psaltic Music Composition, Interview

with Archdeacon Sebastian Barbu-Bucur] (Chircev, 2015, pp. 77-85). 48

The paper Ipostaze ale stilului neo-bizantin. Slujba Sf. Ioan cel Nou de la Neamț de arhid.

dr. Sebastian Barbu-Bucur [Illustrations of the Neo-Byzantine Style. The Service of St. John

the New from Neamț by Archdeacon Ph.D. Sebastian Barbu-Bucur] was presented at the

symposium Collegium Musicologorum Colloquium, at the “Gheorghe Dima” Academy of

Music Cluj-Napoca, 2005 and was subsequently published in the volume Amprente românești

în muzica de tradiție bizantină [Romanian Elements in the Music of Byzantine Tradition]

(2013, pp. 211-224). It was also published in English, in Chișinău (Chircev, 2010b). Tradiție și

modernitate în creația psaltică actuală. Cântările ale Vecerniei de arhid. dr. Sebastian Barbu-

Bucur [Tradition and Modernity in Current Psaltic Music. Vespers Hymns by Archdeacon

Ph.D. Sebastian Barbu-Bucur] was presented at the Symposium Muzica central-europeană în

contemporaneitate: încotro? [Central-European Music in Contemporaneity: Where to?], held

within the framework of the 9th edition of the “Cluj Modern” Festival, on April 14, 2011 and

published in the bilingual journal “Musicology Papers”, vol. XXVI No. 2 (Chircev, 2012).

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sound musical training, theological thinking and spiritual experience (Chircev,

2013, p. 225). Some time ago, we remarked that “with his compositions,

Archdeacon Ph.D. Sebastian Barbu-Bucur marks a new stage in the long

process of adaptation of the church chant of Byzantine tradition to the

Romanian language [...] because , by writing them directly to Romanian text,

he creatively uses the accumulations of the previous two centuries, managing

to condense the most prominent features of the traditional psaltic style into an

original form, in which the chanter's skill combines with the refinement of the

well-informed researcher” (Chircev, 2013, p. 236) (our translation). The beauty

of the melodic lines, in full accordance with the text that they complete

musically, along with the masterfully used elements of psaltic tradition have

often been appreciated thanks to the performance of some of these works by

the Byzantine music ensemble “Psalmodia”, founded on his initiative. In 2008,

on the occasion of the 20th anniversary of its foundation, His Beatitude

Patriarch Daniel awarded the Patriarchal Cross to the musician, stating that

“through this art of the sacred sound, Father Professor Sebastian Barbu-Bucur

is a bearer of the Light of the Resurrection and of the revival and rediscovery

of the perennial values of psaltic music” (Catrina, 2010, p. 202) (our

translation).

Another distinguished representative of the church music of the recent

decades is Professor Ph.D. Nicu Moldoveanu, who studied with professors

Chiril Popescu, Constantin Drăguşin and Nicolae Lungu. His work was

especially focused on the harmonization of psaltic music, as illustrated by his

Anifoane [Antiphons], Heruvic [Cherubic Hymn], Pre Tine Te lăudăm [We

Praise Thee], Axion [Axion], Lumină lină [Gracious Light], Îngerul a strigat

[The Angel Cried Out] etc. (Vasile, 1997, II, p. 256). He composed many

church chants, which were published in various collections: megalynaria,

troparia, kondakia, sessional hymns, stichera, praises, kontakia of the

Akathist hymn of several feasts of the year; Iubi-Te-voi, Doamne [I Will

Love Thee, O Lord], tones 1, 3, and 8, Răspunsuri mari [Great Responses],

tones 1, 5 and 7; Axion la Liturghia Sf. Vasile cel Mare (De tine se bucură)

[Axion to St. Basil's the Great Liturgy (In Thee Rejoices)], tone 5; Cinei Tale

[Of Thy Mystical Supper], tone 7, Lumină lină [Gracious Light], tone 5,

Învierea lui Hristos [Christ‟s Resurrection], tones 1, 3, 5 and 8; Anixandare

[Anoixantaria], tone 5; Slujba Sfintei Ecaterina [Religious Service to St.

Catherine]; Slujba Sfântului Elefterie [Religious Service to St. Eleftherios];

Slujba Sfântului Ghelasie de la Râmeţ [Religious Service to St. Gelasius of

Râmeţ] etc. He corrected and completed church chant books, alone or with

other collaborators, which were published at the printing house of the Holy

Patriarchate, after 1990.

Among the composers who have published psaltic music after 1990, we

also mention two of the priest professors who have contributed to the revival of


154

the psaltic musical education in the theological seminaries and carried out a

sustained activity of research of the Byzantine musical manuscripts: Priest

Prof. Ph.D. Alexie Buzera and Priest Prof. Ph.D. Florin Bucescu. Immediately

after the events of 1989, father Alexie Buzera gathered his compositional and

folkloric preoccupations into an anthology titled Toată suflarea să laude pe

Domnul. Cântări bisericești, pricesne și imnuri religioase, colinde și cântece

de stea culese și revizuite de Alexie Buzera [Let Everything That Has Breath

Praise the Lord. Church Chants, „Priceasna‟ and Other Religious Hymns,

Christmas Carols and Songs Collected and Revised by Alexie Buzera] (1991),

a book that complements the numerous studies and books dedicated to the

Romanian music of Byzantine tradition.

Father Professor Florin Bucescu dedicated the last decades of his life

to the research and discovery of the musical manuscripts housed by the

libraries in Moldova region. Inspired, perhaps, also by the musical treasure

preserved in the old codices, in 1997 he composed Liturghie psaltică în glasul

III – ga [Psaltic Liturgy in Tone 3 – Ga], thus trying to enrich the liturgical

repertoire of the last decades, centred on tones 5 and 8. The liturgy was written

“for the revival of the psaltic repertoire of the students of the «St. Basil the

Great» Orthodox Theological Seminary in Iași” (Bucescu, 2006, p. 8). The

work is presented in simultaneous neumatic and linear notation. The volume is

all the more valuable as in the second part it includes versions for two and

three voices, with the choral variants being produced by composer Vasile

Spătărelu from Iași.

Besides the above mentioned composers, the bibliography consulted

reveals the compositional preoccupations of father Professor Victor

Frangulea, who composed psaltic choral music as well as psaltic monody:

Slujba Sf. Ghelasie [Religious Service to St. Gelasius], canonized by the

Romanian Patriarchy in 1992 (Romanian saint from Transylvania). He was

described as “a lover of psaltic music which he serves and cultivates in the

authentic traditional spirit” (Ionescu, 2003, p, 501) (our translation).

5. Conclusions

The retrospective view of the psaltic music composed during the hundred

years that have passed since the Great Union of Transylvania with Romania

highlights some important aspects related to the Orthodox church music in our

country. First of all, we have noticed the overwhelming influence of the events

that marked the Romanian state during these one hundred years. However,

regardless of the political regime and unfavourable context of the second half

of the twentieth century, the Byzantine tradition of chant and neumatic notation

was preserved outside the Carpathian chain.

Although the preoccupation with psaltic music was intense during the

first half of the century, when many chanters showed interest in composition, it

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almost stagnated for about four decades, returning with increased intensity as

soon as the political conditions were favourable, and especially after the year

2000.

The effervescence of the inter war period – when 19 composers made a

name for themselves – is not necessarily associated with a compositional

output of equal scale, as the chanters‟ focus and efforts were concentrated

mainly on the refinement of the repertoire translated into the Romanian

language in the nineteenth century.

The four decades of communism moved the centre of gravity to the

transcription of the repertoire on staff and its simplification so that it could be

used in the joint chanting of the believers; however, this activity too involves

knowledge of the specific nature of psaltic music, as well as creativity in

adjusting the melodies. The interest in psaltic composition was limited, as only

11 composers published a few church music compositions, most of the

volumes published during this period being focused on standardized music and

written in double notation (neumes above the staff). However, the

standardization of church chants, initiated by Patriarch Justinian, had little

success, and even today, church chanting contains a substantial amount of

regional features. Neumatic notation and the specific style of interpretation

have been kept unchanged in the eastern, north-eastern and southern parts of

Romania, while in the central, western and north-western parts staff notation is

used. However, the standardized repertoire has had a certain influence on the

musical education of the generations of chanters singing on the kliroses of the

Romanian churches. We believe that this is reflected in the preference for the

diatonic tones 5 and 8, in the disappearance of microtones (and implicitly of

the intonations specific to the enharmonic genre) or in the manner of

interpreting the consonant signs.

We have also found that each of the three periods distinguished by us

was marked by a personality who dominated it with their work: the prominent

figure of the first period remains the great chanter Ion Popescu-Pasărea; then

followed the distinguished personality of Professor Nicolae Lungu, while in the

last decades, psaltic composition was represented by Archdeacon Ph.D.

Sebastian Barbu-Bucur.

Although quantitatively, the number of composers decreased in the

second half of the twentieth century, after 1990 the original contribution has

been consistent through the works of Archdeacon Ph.D. Sebastian Barbu-Bucur

and of priest Prof. Ph.D. Nicu Moldoveanu.

The numerous initiatives of the young people trained in the theological

schools at the beginning of the twenty-first century, the mobilities, information

and training they can benefit from will continue to ensure the perpetuation of

the Romanian music of Byzantine tradition.


156

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An Account of the Works of Nektarios Protopsaltis and

Nektarios Frimu in Manuscript no. 7 from

the “Dumitru Staniloae” Ecumenical Library of

the Metropolitan Church of Moldavia and Bukovina

IRINA ZAMFIRA DĂNILĂ “George Enescu” National University of Arts Iasi

ROMANIA

Abstract: The “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of

Moldavia and Bukovina (reffered to below as LMCMB) from Iasi has an invaluable

collection of theological books and documents, consisting of more than 100,000 items.

The library also has an important number of rare books – 35 of which are psaltic music

manuscripts. Manuscript no. 7 from LMCMB is a psaltic Antologhion with

Chrysantine notation, written in Romanian using the Cyrillic alphabet. The copyist and

the place where it was copied are unknown, but it is possible that it was written at

Mount Athos, between 1877 and 1882 (Apud Bucescu, 2009, p. 108). Manuscript no. 7

mainly contains chants for various services, translated and adapted by Nektarios

Protopsaltes (1804-1899). Nektarios was one of the best known psalm singers and

Romanian composers, founder of a psaltic music school, who was active at the Holy

Mountain in the second half of the nineteenth century. Manuscript no. 7 also contains a

rarer variant of the Doxastikon Lord, the fallen woman, attributed to another

Moldavian composer – Nektarios Frimu (†1856). Like Nektarios Protopsaltis, he was

also born in Husi (Moldavia, Romania) – but lived and worked in Iasi. For his

achievements, he is honoured with the title of “hierarch of Tripoleos”. He authored the

Anthology – Collection of psaltic chants for the Liturgy, (1840) and Collection of

Psaltic Chants for Vespers and Matins (1846), one of the first works of its kind in

Chrysantine notation in the Romanian language; these volumes were greatly valued

during the second half of the nineteenth century. The present paper, which is part of the

ampler project of cataloguing the entire collection of psaltic music manuscripts from

LMCMB, focuses on the codicological presentation of the manuscript and its musical

and liturgical content. The work will also present the authors, the Greek sources the

chants were based on, also emphasizing the importance of this codex in the context of

the LMCMB collection.

Keywords: Romanian antologhion, The “Dumitru Staniloae” Ecumenical Library of

Metropolitan Church of Moldavia and Bukovina, Iasi, nineteenth century, Nektarios

Protopsaltis, Nektarios Frimu.

[email protected]

DOI: 10.2478/ajm-2019-0008

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1. Introduction

The “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church

of Moldavia and Bukovina (reffered to below as LMCMB) from Iasi has an

invaluable collection of theological books and documents, consisting of more

than 100,000 items. The library also has an important number of rare books –

35 of which are psaltic music manuscripts.

1.1. The scopus of the study The present paper, which is part of the ampler project of cataloguing the

entire collection of psaltic music manuscripts from LMCMB, focuses on the

codicological presentation of the manuscript and its musical and liturgical

content. The work will also present the authors, the Greek sources the chants

were based on, also emphasizing the importance of this codex in the context of

the LMCMB collection.

2. The repertoire and the composers of chants in Ms. 7 LMCMB

As it is a manuscript of the Antologhion type, Ms. 7 LMCMB contains a

variety of songs from major Orthodox religious services: hymns for the Liturgy

(great cherouvika), the Vespers (the glories and the eothina, the Psalm Blessed

is the man, the antiphona, the polyeleoi) and Matins (Gospel Sundays stichera

on the eight modes/ Eothina, the troparia for the services during the last week of

the Holy Week). The manuscript also contains seven songs for two special

services, the Akathist Hymn Our Lady and Protectress and the service

dedicated to the miracle working icon of the Holy Virgin of the “Prodromos

Hermitage” from the Holy Mountain (See in the Appendix of this study the

cataloguing of Ms. 7).

The musical notation used in Ms. 7 LMCMB is the Chrysantine notation

promoted at Constantinople starting 1814, the year of the reform of church

music, and introduced almost simultaneously in the Romanian Principalities –

Moldavia and Țara Românească. The repertory reflects the new trends of the

early 19th century in church music. Thus, works by 18th century composers are

preferred, which are considered more traditional, such as Iakovos Protopsaltis

(1740-1800). He was the disciple of Ioannis Protopsaltis and in turn held the

positions conductor (“domestikos”), conductor of the choir members on the left

side of the pew (“lampadarios”) and protopsaltis (first chanter) of the

Patriarchate of Constantinople. He was also a professor at the Patriarchal Music

School, together with the great composers and psaltes Daniel Protopsaltis and

Petros Lampadarios between 1764-1776, as well as Petros Vyzantios, in 1791.

He spoke against the proposal to introduce a new simplified notation by

Agapios Paliermos (in 1797). Iakovos Protopsaltis is considered a composer

who did not readily accept innovations; thus, he did not agree with the new

syllabic style (“in short”, “syntoma”, exegetical) promoted by Petros the


162

Lampadarios and his disciples. He sought to maintain in his works the old

classic kalophonic (“embellished”) style and his main work is Doxastarion1,

recorded by his apprentice, Georgios Kritos in koukouzelian (late

mediobyzantine) musical notation. This reference work was transcribed in

modern Chrysantine notation, by Hourmouzios Hartophilakos and published in

the edition of Theodor Fokaefs in 1836 (Apud Oxford Music online, Iakovos

Protopsaltis). In Ms. 7 LMCMB, the Theotokia on the eight modes can be

found, accompanied by the line Glory be to the Father and to the Son and to the

Holy Spirit, from the composition by Iakovos Protopsaltis, translated by

Nektarios the Hermit into Romanian, in the version for the new notation by

Hourmouzios Hartophilakos. The main feature of these songs is their common

theme, of praise addressed to the the Holy Mother of God. In the musical

adaptation in Romanian by Nektarios Protopsaltis, the tempo of the Theotokion

is moderate, while the musical writing is in the sticheraric style.

Fig. 1 Ms. 7 LMCMB, l. 63, the title of the chapter: “The Glories and the Theotokia by Iakovos

Pr[oto]ps[altis] [written?] and translated by. H. H. Father Niktarios Psaltes S. M. Athos.

The 1st mode I ke”

On reading the new collections of church music printed in the last 20

years in Romania (Buchet muzical athonit. Dumnezeiasca Liturghie/ “A

1 The Doxastarion is a collection of church music repertoire containing the Doxastika of the

holidays throughout the year, organized according to the church year, starting on the 1st of

September. The doxastikon means an ampler chant in the compositional style known as

Sticheraric or papadic, preceded by “Glory to the Father and Son and Holy Spirit”, which is

usually sung on Vespers (e.g. the doxastikon of the Lord, we have cried unto You), either at

Matins (for example, sticheron of the gospel read during the matins, also called “eothina”).

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163

Musical collection of chants from the Mount Athos”, 2000, 2009), we have

found that these variants of the Theotokia by Nektarios Protopsaltis have not

yet been reprinted. For this reason, Ms. 7 LMCMB, along with other

manuscripts found at the Holy Mountain, such as for example Ms. 93 from the

Library of the Prodromos Romanian Hermitage (LPRH) – Vigiler, l. 136-161

(Vasile, 2008, p. 103), Ms. 1697 LPRH – Vigiler, l. 78-103 (Vasile, 2008, p.

121), Ms. 1698 LPRH – Antologhion, l. 177-198 (Vasile, 2008, p. 123), Ms.

1791 LPRH – Chants for the Liturgy, l. 40v-57 (Vasile, p. 180), Ms. 3045 LPRH

– Vigiler, l. 83v-95 (Vasile, 2008, p. 232), Ms. 3612 LPRH – Vigiler, l. 401-446

(Vasile, 2008, p. 281) etc. represent a potential source of repertoire that would

help complete the variants of the Theotokia practiced as chants.

Another cycle of chants belonging to Iakovos Protopsaltis, translated by

Nektarios the Monk, currently in Ms.7 LMCMB are the stichera of the Sunday

gospels (the eothina); this cycle presents the same tempo characteristics and

musical discourse as the Theotokia. The theme, however, is different, related to

the Resurrection of the Lord and the moment when the myrrh-bearing women

become aware of it. The version of the stichera of the Resurrection translated

and adapted by Nektarios the Monk from Iakovos Protopsaltis has been brought

back to the practice of the Orthodox church, both monastic and secular; they

were published in the collection of Buchet muzical athonit. Cântările Utreniei

[A musical collection of chants from the Mount Athos. Chants for the Matins]

(2008, pp. 211-241).

Fig. 2 l. 63v Stichera of the Sunday gospels to sing during the Ainoi/Lauds [Eothina, o. n.], the

doxastika translated and abbreviated according to Father Iakovos by Nektarios the Monk.

The 1st mode Pa The 1st Stichera Glory… On the mountain the disciples


164

Another composer mentioned in Ms. 7 LMCMB is Gregorios Protopsaltis

(1778?-1821). He is known as one of the “three teachers”, the founders of the

Chrysantine Reform. Besides Chrysanthos of Madytos and Hourmouzios

Hartophilakos (the Registrar), he taught at the Patriarchal School of Music

(from 1815 to 1819). He held the positions of the conductor of the left choir

members (“lampadarios”) and then of protopsaltis of the Patriarchate of

Constantinople. Through his music, both original pieces and transcriptions in

the new notation of the opera of the great composers, he contributed to the

implementation of the reform of Orthodox church music and of the modern,

simplified musical notation. Below are some of his most outstanding traslations:

The Kalophonic Heirmologion by Petros Bereketis, which he transcribed from

the Koukouzelian notation (late medio-byzantine) into the modern Chrysantine

notation; Anastasimatarion syntomon (the short version) by Petros Lampadarios,

etc. (Apud Oxford Music online, Gregorios Protopsaltis) In terms of his original

creations, I mention the series of axions (chants from the divine Liturgy,

dedicated to the Mother of God) and the two series of great cherouvika,

organized on modes. One of these series of “large” cherouvika (“large” in the

sense that they are written in “extensive”, papadic musical writing) are copied

in Ms. 7 LMCMB, in the translation and musical adaptation of Nektarios the

Monk (1804-1899), who was a Romanian composer and psaltes active in Holy

Mount Athos.

Fig. 3 l. 1 “Great Cherouvika by Gregorios Protopsaltis”. Translated from Greek into Romanian

by S.S. F[ather] Nektarios the M[onk], protopsaltis [of] the Holy Mount Athos

[around] the year 1877. Mode I Pa, Which onto the cherubs

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His biography and musical work were studied by Romanian

Byzantinologists Sebastian Barbu-Bucur and Vasile Vasile, in studies,

cataloguess and collections of repertoire pieces (Barbu-Bucur, 1998; 2000;

Vasile, 2001, 2004). Famous singer, also known as “the nightingale of the

Holy Mountain”, he was the founder of a genuine school of interpretation

and psaltic composition. He enriched the church repertoire with many

musical translations and adaptations from the Greek language, but also

with inspired original creations, recorded in the Chrysantine analytical

notation (detailed in terms of the ornaments).

Thus, as mentioned previously, he translated Doxastarion by Iakovos,

as well as the collections of the Triodion, Pentikostarion and Sticherarion.

He also adapted and composed cherouvika, axions on the eight modes,

koinonika, antiphona, anixandaria, stichera, heirmoses, doxastika,

polyeleoi, doxologies, Chants for the Lord's Funeral, The Service on the

Celebration of the Icon of the Mother of God of Prodromos Hermitage, in

other words, a large number of chants that cover the whole range of church

repertoire (Barbu-Bucur, 1998, p. 24).

Researching the collections of the anthology Buchet muzical athonit

for the Divine Liturgy (in two editions: 2000, 2009), I have discovered that

the version of the Great Cherouvika by Gregorios Protopsaltis, adapted by

Nektarios the Monk, has not yet been edited.

It is interesting that they are not included either in the significant

collection by Nektarios Protopsaltes of the Holy Mount Athos – Chants of

the Divine Liturgy, edited by the Byzantinologist Vasile Vasile, after the

manuscripts from the various document funds located on the Holy

Mountain. Therefore, Ms. 7 LMCMB, along with other manuscripts, such

as for example Ms. 28 from the Library of the Prodromos Romanian

Hermitage (LPRH) – Antologhion, l. 110v-131 (Vasile, 2008, p. 98) and

Ms. 3049-3050 LPRH – Chants of the Liturgy, l. 31v-43 (Vasile, 2008, p.

242) represents an important documentary source so that the extensive

Cherouvika by Gregorios Protopsaltis can be printed and made accessible

to church singers and choirs in Romania.

An interesting presence in terms of the repertoire in Ms.7 LMCMB is

also the service dedicated to the Miracle working Icon of the Virgin our

Lady Mother of God of the Prodromos Hermitage composed by Nektarios

Protopsaltis in 1863.


166

Fig. 4 l. 106 the Month of July in 25 days. The Service dedicated to the Holy Miracle-working

icons of Virgin our Lady, Mother of God of the Prodromos Hermitage. Of 1863 June 29. Now

again composed by H[is] H[oliness] F[ather] Nektarios Protopsaltes. Glory; Both now and ever.

The plagal of the 2nd

mode Pa At Vespers Let us call today with the sweet songs

Since the miracle working icon was located at great the Prodromos

Hermitage, the service composed by Nektarios the monk dedicated to it is of

importance especially for the Romanian monks on Mount Athos, but not only.

On the one hand, some parts of the chants (different from those sections contained

in Ms. 7 LMCMB) are noted in Ms. 1765 BSRP – Sticherarion, l. 48-58 (Vasile,

2008, p. 169), Ms. 1766 BSRP – Sticherarion, l. 101-122 (Vasile, 2008, p. 170),

Ms. 3255 BSRP – Antologhion, l. 215v-227 (Vasile, 2008, p. 274), Ms. 3619

BSRP – Sticherarion, l. 203-224 (Vasile, 2008, p. 293) etc. On the other hand,

we find the same parts of the chants as in Ms. 7 LMCMB also noted in Ms.

1772 BSRP – Antologhion, l. 218-229 (Vasile, 2008, p. 174) and probably also

in other document funds on Mount Athos. The first recent full record of the

service dedicated to the Icon of the Prodromos Hermitage is that performed at

the Center for Byzantine Studies in Iasi, in 2002. At the end of Ms. 7 LMCMB,

the leaves 106-110 includ a few musical parts of the service dedicated to the

icon at Prodromos Hermitage, namely the chants of doxastikon type that

complete the main parts of the vespers: a doxastikon in the plagal of the 2nd

Studies

167

mode Pa after the stichera Lord, unto You I have cried, a second one doxastikon

in the 4th

mode Pa at the Lity service, and the third, in the 1st mode Pa, from

Aposticha. The doxastika composed by Nektarios are ample, in the sticheraric

musical notation and in medium movement, in a classic style, based on the

traditional musical formulae (“theses”), specific of the mode used. Also, the

leaves 111-111v also contain two versions of the troparion to the Icon of the

Mother of God of the Prdromos Hermitage, both in mode I, the first in

irmological notation and fast movement, for the end of Vespers, and the second,

in a medium movement and sticheraric notation, for the Lity.

Another series of large cherouvika in Ms. 7 LMCMB, translated by

Nektarios Protopsaltes, is that on leaves 33-47v, belonging to the Greek

composer and publisher Theodor Fokaefs (approx.1790-1851). He was a

student of George of Crete and of teachers Gregorios Lampadarios and Hurmuz

Hartofilax, at the third Music School of the Patriarchate of Constantinople

(1815-1821). It is recognized as a Greek musician particularly active as a

professor of church and secular music, psaltes, composer and editor of several

collections containing the fundamental repertoire of the Chrysantine music.

(Fokaefs, 1847-1848; 1851-1855). Some of his most famous creations are

Anixandaria “the short version” and the psalm Happy is the man, both in the

plagal of the mode IV, eight sets of Kekragaria chants (Lord, unto You I have

cried) on modes, the polyelei Confess unto the Lord in mode IV leghetos and

Good word in the mode of varis, two series of cherouvika on modes, for each

week and holiday, in both “abbreviated” and “extensive” form, Sunday's

koinonika in medium movement and “argo-syntomon” notation, koinonika for

the great feasts, koinonika for the days of the week, koinonika for the Holy

Thursday, koinonika for The Holy Saturday, etc. His work is considered

innovative and different from that of the musicians and teachers of the

Patriarchate because it introduces the influences of secular music, thus

anticipating the trends of the second half of the 19th century (Hatzigiakoumis,

Theodore Fokaefs). The extensive Cherouvika in Ms. 7 LMCMB are

published neither in the collection Buchet muzical athonit. Dumnezeiasca

Liturghie [A Musical Anthology. The Divine Liturgy] (Lacoschitiotul, 2009),

nor in the volume Nektarios Protopsaltis at the Holy Mount Athos – Cântări ale

Sfintei Liturghii/ Chants of the divine Liturgy (Vasile, 2004), possibly due to its

ample. As a rule, the extensive cherouvika were performed during the festive

services, for example, at feasts of the titular saint or when the archpriest visited.

The initial part of the extensive cherouvikon (for the holidays) and that for

Sunday regular “ordinary” service, in the 1st mode Pa, by Theodor Fokaefs,

translated by Nektarios Protopsaltis, is offered for comparison:


168

Fig. 5 Ms. 7 LMCMB l. 33 Great Cherouvikon by Theodore Fokaefs translated from Greek into

Romanian by H. H. Fat[her] Nektarios [the Monk], Protopsaltes

[of the] H[oly] M[ount] The 1st mode Pa, Which onto the cherubs

Fig. 6 Sunday Cherouvikon by Theodor Fokaefs, mode I Pa Which onto the cherubim

(Lacoschitiotul, 2009, p. 143)

The difference in writing in terms of the text-music relation can be easily

seen: if in the first version, the syllable “Ca” in the word “Carii” (= Which)

Studies

169

corresponds to 46 prime time units2, in the second version of the Sunday's

cherouvikon, the same syllable corresponds to only 10 prime time units.

Therefore, the time it takes for the the first extended cherouvikon to perform is,

obviously, much more extensive than the second, so it is more appropriate to

interpret on a festive occasion. Also, the melodic formulae of the first version are

more complex, use more of temporal augmentative and diminutive temporal signs,

are more difficult to perform and require experienced psaltes/ singers in –

comparison with the second version, where the “theses” are easier to follow and

perform. Beside the manuscripts Ms. 28 LPRH – Antologhion, l. 45-63v (Vasile,

2008, p. 98), Ms. 1678 LPRH – Antologhion, l. 40-54v (Vasile, 2008, pp. 119-120),

Ms. 1708 LPRH – Chants of the Liturgy, l. 1-36 (Vasile, 2008, p. 131), Ms. 3049-

3050 LPRH – Chants of the Liturgy, l. 20-31v (Vasile, 2008, p. 242) etc., Ms.7

LMCMB can serve as a source for the editing in Romanian of the extended

Cherouvika by Theodor Fokaefs.

Finally, a more special piece is in the manuscript described on leaves 88

to 90, the doxastikon from Aposticha of the Great Wednesday, Lord, the fallen

woman, mode VIII, in the “abbreviated” version by Nektarios Frimu (†1856).

Born in Husi, like Nektarios Protopsaltes of the Holy Mountain, whom he was

even mistaken for at first, Nektarios Frimu worked at the Neamt Monastery

(where he was hierodeacon) and then in Iasi. He was a gifted psaltes and

composer, a fine connoisseur of both ecclesiastical and secular music. For his

outstanding merits in the area of church music, he was awarded the honorary

title of “hierarch of Tripoleos”. He is the author of the volumes Antologhie sau

floarealegire/ An Anthology or miscellany – Volume III (1840), containing

chants of the Divine Liturgy and volume I and II – chants from Vespers and

Matins (1846). These are among the first works of this kind in the Romanian

language, and in Chrysantine notation, which was particularly popular in the

second half of the 19th century. Many of Nektarios Frimu's hymns in his printed

volumes were widely circulated in the manuscripts made in Northern and

Southern Moldavia and Țara Românească until towards the end of the 19th

century; after that, they were gradually forgotten (Bucescu, 2009, II, pp. 8, 149).

The Doxastikon of the Holy Wednesday, Lord, the fallen woman is a well

known chant performed during the Passion Week; it is very old, generally

attributed to Byzantine Hymn composer Cassia the Nun (9th century). In the

Romanian psaltic literature of the 19th century, several variations of this

doxastikon are known, of which the most widely known, currently, is that by

Dimitrie Suceveanu, in sticheraric writing and moderate movement, included in

volume III of the Idiomela edited in 1857 in the printing press of the Neamt

Monastery and reissued in Iasi in 1997. There are, however, other, earlier,

2 The prime time unit (“hronos protos”) represents the standard time unit for psaltic music, the

equivalent of the quarter in the linear music.


170

versions of this doxastikon, such as those translated and adapted by Visarion

Protopsaltis (19th century), a brilliant representative of the Musical School at

the Neamt Monastery, which flourished at the end of the 18th century and in the

first half of the 19th century. His creation is ample and includes the Sticherarion,

the Heirmologion, Chants of the Triodion, Pentikostarion, chants for the Divine

Liturgy, Vespers and Matins a. o. (Vasile, 2005, pp. XXI-XXIV). Only a relative

small number of these chants have been published, namely those of the period

of the Triodion (Balan, 2005), where the doxastikon Lord, the fallen woman, in

the plagal of the 4th

mode Ni, is also included; it occurs in 3 ample versions,

translated and adapted for music by Visarion Protopsaltes after the Greek

“classical” musical fashion, such as that of Petros Lampadarios. The latter

variant presents similarities only in the initial part, with the respective

doxastikon present in Ms. 7 LMCMB, abbreviated by Nektarios Frimu, who

does not mention the source which was “abridged”. I mention that the

doxastikon Lord, the fallen woman adapted by Nektarios Frimu is also

contained in Ms. 20 BMMB at leaves 35-37. Gheorghe Ionescu, too, found it in

Ms. 31/49 BMMB, leaves 114-116v, and also in Ms. Romanian 28944 from the

National Library of Romania, on page 82, where it is indicated, this time, that

Macarie Ieremonahul is the source after which it was “abbreviated” (Ionescu,

2002, p. 155). The initial sections of the respective doxastikon are further

presented in comparison, in the two versions mentioned above, first by

Nektarios Frimu, and second, by Petros Lampadarios.

Fig. 7 L. 88 Doxastikon from Aposticha of the Great Wednesday abridged by one among

bishops Nektarios Tripoleos. The plagal of the 4th

mode Ni Lord, the fallen woman.

Studies

171

Fig. 8 Another [doxastikon], by Peter Lampadarios, the plagal of the 4th

mode Ni

Lord, the fallen woman (Balan, 2005, p. 286)

The melodic formula of the initial section in both chants is identical, but

the musical discourse differs remarkably: in the second version, by Petros

Lampadarios, translated by Visarion Protopsaltis, the melismas are much more

ample, while in Nektarios Frimu's version, the script is “argo-syntomon”, more

restricted in terms of melismas. The doxastika Lord, the fallen woman, mode

VIII by Nektarios Frimu is a novel unique valuable creation which deserves to

be published. There are a few other chants from the Lent period, belonging to

the composer mentioned above, unpublished in his volumes of Antology and

relatively recently discovered: the Doxastikon Woe is me, my blackened soul,

the plagal of the 4th

mode Ni, of the Sunday of the Terrible Judgment (on

Shrove Tuesday before Lent) and the sticheron of the Good Friday, “after

surrounding the church with the Epitaphios”, Come praise Joseph, the plagal of

the 1st mode Pa, in Ms. 1546, chrysantine Antologhion, from the National

Archives of Iaşi (Bucescu, 2009, II, p. 165). These two valuable pieces of music

have recently been published in double notation, psaltic and linear (Danila,

2013, pp. 159-170). I will also include in the appendix the integral score of the

doxastikon Lord, the fallen woman by Nektarios Frimu3.

3. Conclusions

3.1. Ms.7 LMCMB is a Chrysantine anthologion, written entirely in Romanian

with cyrillic transitional alphabet, no place mentioned, by an unknown copyist,

approximate dated in the 8-9th decades of the 19th century.

3.2. The main author of the chants is Nektarios Protopsaltis of the Holy

Mountain, present especially as the “translator” into Romanian of some of the

creations by established Greek composers: Iakovos Protopsaltis, Gregorios

Protopsaltis, Theodor Fokaefs.

3.3. The second important Romanian composer mentioned in Ms. 7 LMCMB is

3

Special thanks to Stefan Ilie Graur, second year student under the Religious Music

Specialization at the “George Enescu” National University of Arts (Iasi) for editing the score.


172

Nektarios Frimu, a native of Husi, awarded with the honorary title of “abbot of

Tripoleos”, the author of the doxastikon Lord, the fallen woman, in the plagal of

the 4th

mode Ni, which he abridged. This doxastikon was not printed in his

volumes of Anthology.

3.4. Ms. 7 Antologhion is a valuable codex in the “Dumitru Staniloae”

Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina,

Iasi (Romania), since, along with other manuscripts from the libraries of the

monasteries of the Holy Mount Athos, it represents an important documentary

source which can assist publishing chants yet unpublished in the contemporary

Romanian Byzantine literature (the extended Cherouvika by Gregorios

Protopsaltis and Theodore Fokaefs translated by Nektarios Protopsaltes and the

doxastikon Lord, the fallen woman adapted by Nektarios Frimu).

References

Barbu-Bucur, S. (1998). Nectarie Protopsaltul Sfântului Munte – la 100 de ani de la

moartea lui [Nektarios Protopsaltis of the Holy Mount – at 100 years from his death].

In Acta Musicae Byzantinae, II, 16-35. Iași: Centrul de Studii Bizantine.

Barbu-Bucur, S. (2000). Manuscrise muzicale româneşti de la Muntele Athos

[Romanian musical manuscripts from Mount Athos]. București: Editura Muzicală.

Barnea, A (2009). Muzica bisericească în Moldova secolului al XIX-lea [Ecclesiasical

Music in Moldavia,19th century]. Iași: Editura „Sf. Mina”.

Bălan, F. (2005). Antologhion paisian. Tomul I. Perioada Triodului [Paisian

Anthologion. Tome I. The Triodion Period]. București: Editura Sophia.

Bucescu, F. (2009). Cântarea psaltică în manuscrisele moldovenești din secolul XIX.

Ghidul manuscriselor psaltice – Moldova, sec. XIX, [The psaltic chant in the

moldavian manuscripts fo 19th century. The Guide of the psaltic manuscripts –

Moldavia, 19th century], I, II. Iași: Artes.

Bucescu, F. & Catrina, C. & Barnea, A. et al. (2010). Catalogul manuscriselor de

muzică sacră din Moldova – sec. XI-XX [The Catalogue of sacred music Manuscripts

of Modavia – 11th-20

th century], I. Iași: Artes.

Dănilă, I. Z. (2013). Studiul manuscriselor muzicale psaltice din Arhivele Naționale

din Iași [The Study of the psaltic music manuscripts of National Archives of Iasi]. Ιn

Studii de sinteză: 2012-2013 [Synthetic Studies: 2012-2013], II (pp. 179-170).

București: Editura Universității Naționale de Muzică București.

Fokaefs, T. (1851, 1855). Ταμείον Ανθολογίας [The Thesaurus of the Anthology], τόμοι

Α΄-Γ΄. Κωνσταντινούπολη.

Frimu, N. (1840). Antologhie sau floarealegire [Anthology or miscellany], III.

Tipografia Mănăstirii Neamț.

Frimu, N. (1846). Antologhie sau floarealegire [Anthology or miscellany], I, II.

Tipografia Mănăstirii Neamț.

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Hatzigiakoumis, M. K. (general Ed.). Θεόδωρος Φωκαεύς (ακμή περ. 1790-†1851)

[Τheodor Fokaefs (~1790-†1851)], retrieved from http://www.e-

kere.gr/βιογραυικα/ΘΔΟΓΩΡΟΣ-ΦΩΚΑΔΦΣ

Ionescu, Gh. C. (2002). Muzica bizantină în România. Dicționar cronologic [Βyzantine

Music in Romania. Chronologic Dictionary]. București: Editura Sagittarius.

Lacoschitiotul, I. (2009). Buchet muzical athonit – Dumnezeiasca Liturghie [A musical

collection of chants from the Mount Athos – The Divine Liturgy], 1. București:

Evanghelismos.

Suceveanu, D. (1997). Idiomelar [Idiomelarion], III. Barbu-Bucur, S. (Ed.), Iași:

Editura „Trinitas” a Mitropoliei Moldovei și Bucovinei.

Vasile, V. (2001). Școala lui Nectarie Vlahul [The School of Nektarios Vlachos]. In

Acta Musicae Byzantinaei, III, 113-121. Iași: Centrul de Studii Bizantine.

Vasile, V. (2002). Nectarie Frimu – figură reprezentativă a muzicii psaltice românești

[Nektarios Frimu – representative figure of the Romanian psaltic music]. In Acta

Musicae Byzantinae, IV, 157-179. Iași: Centrul de Studii Bizantine.

Vasile, V. (2004). Studiu introductiv [Introductory Study]. In Vasile, V. (Ed.), Nectarie

Protopsaltul Sfântului Munte – Cântări ale Sfintei Liturghii [Nektarios Protopsaltis at

the Holy Mount Athos – Chants of the Holy Liturgy] (pp. XI-CXXX). București:

Evanghelismos.

Vasile, V. (Ed.), 2004. Nectarie Protopsaltul Sfântului Munte Athos – Cântări ale

Sfintei Liturghii [Nektarios Protopsaltis at the Holy Mount Athos – Chants of the Holy

Liturgy]. București: Evanghelismos.

Vasile, V. (2005). Școala paisiană de muzică bizantină. Ieromonahul Visarion

Protopsaltul [The Paisian School of Byzantine Music]. Ιn Bălan, F. (Ed.). Antologhion

paisian. I. Perioada Triodului (pp. V-XXIX). București: Editura Sofia.

Vasile, V. (2007). Tezaur muzical românesc din Muntele Athos [Romanian musical

Thesaurus form Mount Athos], I. București: Editura Muzicală.

Vasile, V. (2008). Tezaur muzical românesc din Muntele Athos [Romanian musical

Thesaurus form Mount Athos], II. București: Editura Muzicală.

(2000). Buchet muzical athonit. Cântările Sfintei Liturghii [A musical collection of

chants from the Mount Athos. The chants of the Holy Liturgy], 1. Sfântul Munte Athos:

Chilia „Buna Vestire” – Schitul „Sf. Dimitrie” – Lacu.

(2008). Buchet muzical athonit. Cântările Utreniei [A musical collection of chants

from the Mount Athos. The chants of the Matins]. București: Evanghelismos.

http://www.oxfordmusiconline.com/search?q=Jakobos+protopsaltes&searchBtn=Searc

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174

Appendix

I Catalogue Ms. 7 LMCMB of the Manuscript inventory number 7 of

“Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of

Moldavia and Bukovina4 (Ms. 7 LMCMB)

The type of collection: Psaltic Antologhion

1. Summary box

2. Codicological description Size: 19.8x16.7 x1.7 cm. Number of leaves: 112. Black cardboard cover with

cloth spine and corners. Fairly good state of preservation. Torn cloth on the spine,

cloth on the edges is frayed, leaves with foxing stains. Has not been restored. It is

located in the storeroom of the “Dumitru Stăniloae” Ecumenical Library, the

historical department5. Numbering of a later period, in pencil, on the upper right

corner. I discovered an numbering error, 2 leaves are numbered with the number 87,

therefore Ms. 7 contains 112 leaves, not 111 (as is noted in the sheet accompanying

the manuscript). Neat, elegant handwriting by two professional amanuenses. Black

ink is used for the vocal neumes, the temporal augmentative signs, the psifiston,

varia, omalon, antichenoma consonant signs, and red ink for initials, capital letters,

ftora, martiria, diminutive temporal signs, the consonant eteron sign. Some initial

capital letters are decorated with floral motifs. Beautifully artfully frontispieces

decorated with geometric and plant motifs; red and black colours are prevalent. The

only frontispiece in the manuscript decorated in dark red, yellow, indigo, light blue

(probably in crayon) appears on leaf 87.

4 The cataloging criteria used for the present study follows that in the volume: Bucescu, F. &

Catrina, C. & Barnea, A. et al. (2010). Catalogul manuscriselor de muzică sacră din Moldova –

sec. XI-XX [The Catalogue of sacred music Manuscripts of Modavia – 11th

-20th

century], I. Iași:

Artes. 5 According to the description by expert restorer Mihaela Puiu in December 2009.

“Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of

Moldavia and Bukovina in Iasi, Ms. 7 (old inventory number 550). No front

page. Language used: Romanian. Alphabet: transitional cyrillic. Copyist:

unknown. Musical semiography: Chrysantine notation. Date: 8-9 decades of the

19th century. No place mentioned. Preliminaries: priest Fl. Bucescu, Cântarea

psaltică în manuscrisele moldovenești din secolul XIX. Ghidul manuscriselor

psaltice – Moldova, sec. XIX [Psaltic Chant in the Moldavian manuscripts of 19th

century. The Guide to Psaltic Manuscripts – Moldavia, 19th century], Editura

Artes, Iași, 2009, vol. I, p. 28, vol. II, pp. 108, 126; priest Al. Barnea, Muzica

bisericească în Moldova secolului al XIX-lea [Church Music in Moldavia in the

19th

century], Editura „Sf. Mina”, Iaşi, 2009.

Studies

175

3. Date and Location

Since leaf 1, face of the first chapter bears the note 1877, the year when

Hermit Nektarios Protopsaltes translated the Great Cherouvika by Gregorios

Protopsaltis, while on leaf 76v the date “1882 January 12th” is written, Ms.7 is

likely to be from the decades 8-9 of the 19th century. Also, given that most

songs in the manuscript belong to Nektarios Protopsaltis at the Holy Mountain

as a translator and composer, Byzantinologist Priest Florin Bucescu

hypothesizes that this manuscript is likely to have been made at the Holy

Mountain, perhaps even by a follower of the protopsaltes (Bucescu, 2009, II, pp.

108, 126).

4. Musical-liturgical content

leaf (l.) 1 Gregory Protopsaltis' GREAT CHEROUVIKA. TRANSLATED

FROM GREEK INTO ROMANIAN BY H.[IS] H.[ΟLINESS] FATHER

NEKTARIOS THE ANCHORET, PROTOPSALTES [OF] the HOLY

MOUNTAIN ATHOS 1877 [Sunday Cherouvika, in “large” style (“arga”), on

the eight modes, Which to the cherubim, our note – o. n.] The 1st mode Pa

Which to the cherubim; l. 4v The 3

rd mode Ga; l. 8v The 4

th mode Di; l. 12 The

plagal of the 4th

mode; l. 16 The 2nd

mode [modulated in the plagal of the 2nd

, o.

n.] Pa; l. 20 The plagal of the 1st mode Pa; l. 24 The plagal of the 2

nd mode Pa; l.

28 The plagal of the 3rd

mode Zo.

l. 33 THE GREAT CHEROUVIKA BY THEODORE FOKAEFS

TRANSLATED FROM GREEK INTO ROMANIAN BY H. H. FATHER

NEKTARIOS PROTOPSALTIS, MONK AT S[AINT] M[OUNT] [extended

Cherouvika, on modes, Which onto the cherubim, o. n.], The 1st mode Pa, Which

onto the cherubim; l. 35 The 2nd

mode Di; l. 37 The 3rd

mode Ga; l. 39 The 4th

mode Di; l. 41 The plagal of the 1st mode Pa; l. 43 The plagal of the 2

nd mode Pa; l.

45 The plagal of the 3rd

mode Zo; l. 47 The plagal of the 4th mode Ni.

l. 48 The GLORIES AND the THEOTOKIA BY IAKOVOS

PR(OTO)PS(ALTIS) TRANSLATED BY H. H. NIKTARIOS PSALTES (of) S.

M. ATHOS. The 1st mode Pa Glory… Both now and ever... Onto which is the

glory of the world; l. 51 The 2nd

mode Di Glory... Both now and ever... The

shadow of the law passed away; l. 52v The 3

rd mode Ga Glory ... Both now and

ever... How can we not marvel; l. 54v The 4

th mode Pa Glory... Both now and

ever... The Prophet David; l. 56v The plagal of the 1st mode Pa Glory ... Both

now and ever... In the Red Sea; l. 58v The plagal of the 2

nd mode Pa Glory...

Both now and ever... Who will not call you blessed; l. 60 The plagal of the 3rd

mode Ga Glory... Both now and ever... Mother you were revealed; l. 62 The

plagal of the 4th

mode Ni Glory... Both now and ever... Lord of Heavens.

l. 63v THE STICHERA OF the SUNDAY GOSPELS TO SING ON THE

AINOI, DOXASTIKA [ΔΟΤΗΙΝΑ, ο. n.] WICH ARE TRANSLATED AND

ABBREVIATED ACCORDING TO THE VERSION BY IAKOVOS BY


176

FATHER NEKTARIOS [the] A[nchoret]. The 1st mode I Pa, the 1

st Stichera

[eothina, o. n.] Glory... The disciples hastened to the mountain; l. 64v The 2nd

Mode Di, the 2nd

Stichera Glory... The women with their ointments went with

Mary to the tomb; l. 66 The 3rd mode Ga, the 3rd

Stichera Glory… Mary

Magdalene; l. 67 The 4th

mode Pa the 4th

Stichera Glory ... It was early dawn; l.

68v The plagal of the 1st mode Pa, the 5

th Stichera Glory... Oh, too wise Thy

judgments; l. 70 The plagal of the 2nd

mode Pa, the 6th

Stichera Glory... Thou

Christ are the true peace; l. 71v The plagal of the 3rd mode Zo, the 7

th Stichera

Glory... Behold it is early and still dark; l. The plagal of the 4th

mode Ni, the 8th

Stichera Glory... Not in vain were the tears of Mary; l. 75v The plagal of the 4

th

mode Pa, the 9th

Stichera Now in these last times; l. 74v

The plagal of the 2nd

mode Pa, the 10th

Stichera After the descent into hell.

l. 77 The AKATHIST SERVICE The plagal of the 4th mode Ni Our God

is the Lord; l. 78 Another [troparion], short, the plagal of the 4th

mode Ga like

from Ni, God is the Lord; Another similar [troparion], the plagal of the 4th

mode

Ni, God is the Lord; l. 78v [the plagal of the 4

th mode, ο. n.] Ni The mysterious

Commandment [in “large” style, o. n.]; l. 79v Another shorter one [the plagal of

the 4th

mode] Ni The mysterious Commandment; l. 79v Kontakion of Our Lady

the Protectress, the plagal of the 4th

mode Ni Our Lady the Protectress [in

“large” style, o. n.]; l. 82v Another [kontakion, o. n.], shorter, by Petros

Bereketis, The plagal of the 4th

mode Ni Our Lady the Protectress.

l. 84 DURING THE HOLY AND GREAT WEEK of the PASSIONS the

plagal of the 4th

mode Ni Alleluia... Behold the bridegroom [in “large” style, o.

n.]; l. 84v “Syndoma” [abbreviated, o. n.] The plagal of the 4

th mode Ga as from

Ni Alleluia... Behold the bridegroom; l. 86 Another [troparion], shorter, as from

Ga Behold the bridegroom; l. 86v On the Holy and Great Thursday. The plagal

of the 4th

mode Ga as from Ni When all the blessed disciples; l. 87v Another

shorter one Ga as from Ni When all the blessed disciples.

l. 88 The Doxastikon from Aposticha of the Great Wednesday abridged by

one among bishops Nektarios Tripoleos. The plagal of the 4th

mode Ni Lord, the

fallen woman.

l. 91-97v Polyeleos of the Holy Mother of God composed in Greek by

Theodor Fokaefs, translated by His Holiness Father Nektarios Protopsaltis of

the Holy Mountain in Romanian Monastery of S(aint) John the Baptist 1874

November Mode VII Zo Good word.

l. 98 Antiphon Legetos mode Vu From my youth;

l. 100 Happy is the man by Theodor Fokaefs translated into Romanian by S.

S. F(ather) Nektarios Protopsaltes, Legetos mode Vu in 1880 Happy is the man;

l. 106 THE MONTH OF JULY IN 25 DAYS THE SERVICE OF THE

HOLY MIRACLE-WORKING ICON OF OUR LADY, MOTHER OF GOD

AND EVER-VIRGIN MARY OF PRODROMOS. OF 29 JUNE 1864. NOW

AGAIN COMPOSED BY H. H. F. NEKTARIOS PROTOPSALTIS. Glory…

Studies

177

Both now and ever…. The plagal of the 2nd

mode Pa At Vespers Let us call

today with the sweet songs; l. 108v Glory… Both now and ever…. Glas IV Pa

The miracle of miracles too glorious; l. 110 At the Aposticha Glory… Both now

and ever…. The plagal of 1st mode Pa On the light carrying cloud; l. 112 The

troparion The 1st mode Pa Oh, Virgin Theotokos, your holy and divine icon; l.

112v The Troparion at Lity The 1st mode Pa Oh, Virgin Theotokos, your holy

and divine icon.

5. The list of recorded authors and translators

Gregorios Protopsaltis, Theodor Fokaefs, Iakovos Protopsaltis, Nektarios

the Anchoret, Nektarios Tripoleos.

6. Complementary elements. Extra-musical notes:

On the back overleaf I: the note “My books I.V. Erbiceanu”;

leaf 76v : “1882. January 12”.

Slava dela Stihoavna MiercuriiCei Mari

Prescurtată de cel între ArhiereiNectarie Tripoles (Ms. 7 BMMB)

Glas~$6p D vajsemjijiau7&aed/jjicw oa a a a a am ne fe me e e e

su/jijijivku\a9jD?jAj?jrVjji e e e ia ce ea ce e e e e e e e e e

sxSjsxau\ajr*\ajr*jisemjj ce e că ă zu u u u u u u ce e e că

SjjiauaAfavta/jj$jj\fae, zu u u se în pă ca a a a a a a a

jiv\ajrM*jrDjjr\a9js?usa,J z te e e e e e e e mu u u u u u

h\sae,\ajr_r?kuscs/'* r în pă ă ca a a te mu u u u

\j' rxrsu<jiaxfDsCceau_rj\jj u u ul te e sim ți ind dum ne e ze e

D

II The score of Doxastikon Lord, the Fallen Woman abridged by Nektarios Frimu

178

scV-rj' rsmejau4&`as i i i rea a a a a Ta au lu

\sae,a:edawa\sjrV?kuaj a a a a a at rân du ia a a lă de

aaujiSjJyjjrau7&fx@am8jr Mi ro no si i i i i țe și i i i

\djrV?k9\sae,jjjsCae,jx

i i i tâ și i tâ ân gu u u i i

_/\ji:semjau2`%s ha\aae,a: in du u u se au a du u u u

jfIva/jjjnsu3#sjaFIjjja us Ți e e e e e mir mai 'na i i in te de

auluscjvau\ajr*ji\jjrV? în gro pa a a a a rea a a de e e

jjs/jjiau7&\f0j e?\am8j eSjj ea9 în gro pa a rea Ta va a a a a a ai mi

\gae,ji$:sae,\aj e*jia\aae, va ai mi i i i e e zi câ â â

au4%aEa-m8j eVjj es/e* jjd/jjjn ând că noa a a a a a a a că noa a a ap

179

su7#aEdsCssm8j e\aj e\fae, tea îmi es te mi i i i i i

\aj* e4&`aqsuVjjsuCv\aj*M e e e în fier bâ â ân ta a a a

j eDjj ea9jsuVj\jjaj?-r a a a a rea a a î în fie e er bân ta

jcesSj\aj* e\aj* ejia\aae, a a a rea a cu ur vi i i e e e

au4%;Daajxam8j e\am8j eSjj e ei în tu ne ca a a a a a a a a

a9gmj(jDjAj?j es< ujiaesx tă și fă ă ă ă ă ă ă ă ă și fă ă

Sjvaujiji\jj eVj? js/jji ră ă lu u u u și i i fă ră lu u u

au4&gfIdemjjkFzjsm\aj* eji nă po of ta pă ca a a a a tu

a\aae,au1!faFm8j e\am8j e lu u u ui pri i me e e e

Sjj eauaEGjJjj eauxRs/j e e eș te iz voa a re e e le e la cri

180

jij*Mj eDjj eau2@d/jjjacejjmi lo or me e e le Ce e la ce sco oți cu u

jxsdauj*Mj e\au:semjau7&no o rii a pă di in ma a a a re

fx_Kz:semjau1!sssup plea a a că ă ă ă te spre sus pi

_rjj eSe*Vjsu4#skcWjD i i i nu u ri i le i i i i

jAj?j eVjjiaesxSjsxau i i i i i i i (n)i ni i mi ii me e e

\aj* ejij_r?jjSjjiau4&ax e e e i i ni mii me e e le Ce el

am8j eSjj eauHjf\aj(_rjjjn ce e e e e ai ple e ca a a a a a

su3#g;\aae,aj\aj* eVjj e at ce e e e e ru u ri i i

suxRau7#~laSjjTrkusu le e e cu nes pu u sa a ple că

axSzj e\au:semjau7&auxRs ciu u u u nea a a a Ta ca a să

181

ss92j ?e\sCj eVj? esu4`%aja să ru u u u u u u ut prea cu

Sjjjjicej e\fae,JM 8j e\aj e ra a te le Ta a a a a le e pi i

V\jj* ejia\aae,au1!_rjj i cioa a a re e e e și i să

dAzjkuxRsudemj:suwzej e le șterg pe e e e le e ia a a

\dj eVj?esu4`%aE jA-rjjj a a a ră ă ăși cu pă ă ă ă ru

s/jksCae,jx_r\aj e\au: ul ca a a pu u u u u lu u

semjau7&afxauqsud/jj*Mj e u ui meu al că ă ro ra su u u u

au4`%ajaVjjiaa\aae, net a u zi in du-l cu u re e

ajkssuVjax_r\aj e_?r e chi le E e e va a a a a î

j:semjau4&`aE9a/u:*demjideymjjjj î î î în rai de fri i i i i i i i i

182

j(DjsemjijiSji5!f :CI_r ?jj e_rjjrS că ă ă s-a a scu uns ci i i i i i i i

jjrausxsxSj_r?jjrace: i i ne va a ce er ca a a a a a a a

js\aae,au7#~aes/jJjjra9 a a a a a mul ți i i i i mea

sae,jj\jjjc\fae,jM*jr\ajr a a a a pă ă ca a a a te e lo o

\sCae,\ji:semjau1!a qasc o or me e e e le și no ia a

sjiaja_rjjjjxsu\ajr*jM*jr a nul ju de că ă ă ă ți i lor Ta a a a

\sjr*7&afxauasa/j\jjs le e de su uf le te Mân tu u i i to

cV\ji:semjau4`&aau;isud/e o o ru u u u le iz bă vi to o

jjJz:xR\sjrsu7&fSjjns0jr_r? o o ru u u u ul meu să nu u u u u u

183

jjrSjjra9ga/jjjj(sa,ejjjj u u u u u mă să nu u mă ă tre e e e e e eci

j(jD-rjj\ajr*aEsxSjvau cu ve de e e e rea a pre mi i ne e roa a

\ajr*\ajr*j_r?jjs/jjiauaAdh x a a a a ba a a a roa a ba Ta Ce e

_rjjrauhsemjau1!aEsxSj e e e la ce e e ai ne mă ă su u

vau\ajr*\ajr*js/:sae,\ajr* ra a a a a a tă ă ă ă ă mi i

jsCae,j('jcejr\sae,a9 i i i lă ă ă ă ă ă ă ă

184

Studies

185

The last lieder of Theodor Grigoriu.

Stylistic and interpretive aspects

CEZARA PETRESCU “George Enescu” National University of Arts Iasi

ROMANIA

Abstract: Theodor Grigoriu, a reference figure for the XXth century Romanian music,

as a senior of the post-enescian generation of composers, with a moderately modern

attitude towards composing, had explored the expresive resources of the human voice

in the vocal-symphonic and vocal-chamber genres. Although, from a quantitative

point of view, his voice and piano works are not too numerous and the vocal-chamber

genre had not been a constant focus of the composer, lied remains one of the most

representative areas of his entire creation, marked by an accomplished literary taste

and harmoniously neighboured by the halo of poetry. The lied had marked Theodor

Grigoriu’s professional existence, beginning with the first childhood experiments

which proved decisive for his future career, up to the inconstant achievements of his

creative maturity. Although approached in a non-consistent manner, the diversity,

mastery of composition and the abutment to works from a more ample genre to which

he resonates and configures genuine “creation laboratories”, the voice and piano

cycles of works represent what can truthfully be called lied creation. Letter to birds on

words by St. Francisc of Assisi (2004) and The iconographer – The poem of a church

painter (2011) on words of a patriarchal, novel text with no poetic aspirations, are the

last lieder of Theodor Grigoriu, published posthumously. As a binding of music and

poetry into a one poethico-musical universe, they are an exponent of accumulations

and transformations of musical language, spectacular compositions, of paramount

originality, which harmoniously complete the spiraled path of the genre in the context

of the composer’s entire creation.

Keywords: Theodor Grigoriu, romanian music, lied, stylistic aspects.

1. Introduction

Theodor Grigoriu, “a great artist and thinker of our days”

(Constantinescu, 2013, p. 391), “a representative artistic personality for the

contemporary Romanian music” (Cosma, 2000, p. 246), a reference figure of

the XXth

Romanian music, had explored the expresive resources of the human

voice in the vocal-symphonic and vocal-chamber genres. The lied had marked

his professional existence, beginning with the first childhood experiments,

which proved decisive for his future career, up to the inconstant achievements

of his creative maturity. Although approached in a non-consistent manner, the

[email protected]

DOI: 10.2478/ajm-2019-0009


186

diversity, mastery of composition and the abutment to works from a more

ample genre to which he resonates and configures genuine „creation

laboratories” the voice and piano cycles of works represent what we will prove

that can be truthfully called lied creation.

His last two lieder are novel topic of research. Like the other 42 lieder

signed by Theodor Grigoriu, they are not a priority of the current theoretical

interest, the preference of those who analyse, discuss, investigate the works of

the Master sporadically focusing more on his works of ampler genres.

In the last two decades, the knowledge of individual contributions to the

history of Romanian music has become more difficult, due to drastic reduction

of the area of expression in spectacle-centered institutions and a limited

circulation of study materials. The exegesis of Theodor Grigoriu’s creation,

tackled either fragmentary or as a whole, is limited from a quantitative point of

view, being represented by lexicographic articles, essays dedicated to

Romanian music and scientific works, with the great monography still missing.

Precious information exists in greeting articles, concert cronics and, not least,

ample doctoral works where Romanian vocal-chamber compositions are

tackled sequentially.

Wanting, through the means of this research, to cover a part of the

present void of knowledge and to emphasize significant stylistic elements for

future interpretative investigations, I made use of accessible resources,

updating the existent data that I had, which, with the passing of the Master,

have found a deffinitive form.

Along with other own contributions to the knowledge of Theodor Grigoriu’s

lied creation – special CD recordings, recitals, Lieder on haiku and tanka words in

Romanian creation (2007, volume I), the Sonorous Hypostases for a Tanka Poem

study (2009) in Bulletin of the Transilvania University of Braşov, expositions in

various scientific contexts – through the found conclusions, this study aims to be

part of a new stage of knowledge and enhancement of contemporary Romanian

lied, especially with regard to the Master’s lieder.

Throughout this study, I am mostly addressing to possible interprets of

vocal-chamber compositions, be them singers or pianists, pointing them out a

series of elements that I consider necessary for a knowledge-based

interpretative investigation, which will lead them to the accomplishment of a

genuine interpretation. As such, by no means of a grid, but by adapting

everything to the target goal and by pointing out the main elements, I provide

the core information that, infused by particular stylistic aspects, leads to the

founding of a consistent core. This, alongside the sensitive sound cloud

generated by the listening of a composer’s music, determines a positive

evolution of instinct (Johnson, 2004, in: Parsons, editor, p. 320) and a state of

artistic mastery in which “the conscious and the subconscious, the rational and

intuitive sides become one” (Baremboim, 2015, p. 69).

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187

2. Aspects regarding the creation of a word-fascinated post-enescian senior

Inspired by “his models of beauty, the classical art, the monasteries of

northern Moldova and the grandious harmony of the space where he saw the

light of day” (Grigoriu, 2006, 2nd

cover), the composer, Theodor Grigoriu

(1926-2014), proudly self-situated himself inside the Romanian componistic

phenomena which, in the early 80’, he considered “constituted, through an

active dynamic of ideas from all generations, […] homogenous, through the

high value of the ideas that it contains and debates, […] solid, in a sense that it

shows a logically coherent reasoning which is not lost into details, […] lucid,

through the preciseness of observation done more relevantly on a universal

scale, […] permeable to all that is valuable and able to operate genuine

syntheses” (Grigoriu, 1986, p. 147).

A senior of the post-enescian generation of composers, with a moderately

modern attitude towards composing, as noted by the musicologist Valentina Sandu-

Dediu (2002, p. 68) the Master was sure of the value of tradition, which he

praised as a very precious “dowry, a memorial of our victories in the realm of

the sensible” (Marinescu, 2016, p. 110) and treated it with reverence, in a

contemporarious renaissance style, without carrying it as a burden of

standardised ambitions. He identified himself with and embraced the Romanian

melos, but “had always tuned it to the world’s music diapason” (Manolache,

2002, p. 53), moving intensively, like Enescu did, consistently following his

componistic calling, that of “a genuine modern following of Enescu’s

principles of creation, and also the one of capturing the ethos of modal music”

(Sandu-Dediu, 2002, p. 241).

Without turning his creation into a “shooting range of experiments”

(Grigoriu, 2006, p. 99), he developed innovative solutions and ideas of

maximum originality, which he considered “necessary in the process of

creation, in order to reach a certain expression, asked by institutions and

imagination” (Grigoriu, 2006, p. 99): the componistic process, the (re)return to

the idea of ethos through the summoning of imaginary folklor and its

investigation, the pioneering in the use of etherophonia, the invention of the

wavy series, the use of formal tier-based dispositions, the exploitation of

surprise and weary ideas in music, “the recall of neums (Grigoriu, 2006, p.

104), the sinthesys between the sound beam and the psaltic accompaniment,

the use of truncated scores, the first achievement of a tape-music in Romania

(1962), the patenting of the idea of a counterpoint between music and image in

film music, the invention of the musical topo-semiology method and, not least,

the approach on violin in a genuine manner, still unique at the present time1.

Theodor Grigoriu composed works of various genres, especially for

monumental genres, tackled with the equilibrium of an architect who he wasn’t

1 For detalis, check Theodor Grigoriu, Internet, 2006, pp. 99-111.


188

meant to be, with the rigor of the mathematician he could had become and with

the famous mastery of instrumental and voccal-instrumental ensemble’s sound.

He rethought the internal influences that derive from the pupil-master

relationship and from the admiration towards the great spirits of mankind,

keeping them at reverent distance and realizing a genuine sinthesys with

elements that lasted and evolved in time in spiral, generating factors that

individualize its cultural physiognomy.

For this study, I mention the usual possibilities of mapping for a

composer’s creation – the usual staging of creation from a chronological

perspective, the ordering of works depending on their membership to a specific

musical genre and the ordering in correlation to the preffered sound material –

and I reiterate the opinion of Grigore Constantinescu, musicologist, friend and

fine expert of Theodor Grigoriu’s creation, who proposes a possible

classification of his works depending on “some inspiring enumerations” which

he considers, citing the composer’s opinion, “indicators […] leading in the

artistic process […] pairs of intuition-reaction”: The Byzantium, Ovidius,

Orpheus, Divinity, waters, space, Antiquity (Constantinescu, Theodor Grigoriu

– The master has left us, 2014).

With the aim of refining the classifications, I bring to attention a different

perspective, starting with an affirmation of the composer, apparently voided of

signifficance, casually stated, as a matter-of-course fact: “the mission of man

on Earth is to grow in spirit”2 He understood the means of achieving this

through music and words (Grigoriu, 1986, p. 281), means precious to him

through which he generously yielded time and music. All of his works can be

considered reverences, (towards universal culture personalities, towards

musicians who decisively influenced him, towards the performers who he

admired and, not least, towards Divinity), impressions (due to various places,

situations etc.) or offerings (unselfish gifts from others’ music, returned to

contemporaneousness).

The reverence, be it also musical, a condescendent salute of supreme

elegance, seems to me as a natural attitude for a noble, subtle and refined

musician, who „cultivated that elevated saloon behaviour in all aspects of life

(Bura in: Marinescu, 2016, p. 96). The research can detect the variety of

reverences amongst Theodor Grigoriu’s works and the surprisingly large

number of compositions that can be included under this generous curtain.

The category of works which I consider impressions resides under the

effect of some of the composer’s affirmations who, in a mix of modesty and

playfulness, explained himself in front of his readers or co-speakers. Inspired

by Messiaen, the Master simply admitted the existence of the profoundly-

2 Transcript from the interview granted to Eugenia Vodă for “The Professionals”, National

Romanian Television (TVR)

Studies

189

subjective substrate of his works and the variety of experiences that he caused

(Grigoriu, 2006, 2nd

cover), oftenly admitting that, being motivated by state of

being determined by an image in a certain moment, he has a personally-

verified recipe, freeing himself of an idea by writing it3.

Theodor Grigoriu’s offerings are unselfish gifts of other’s music.

Especially in the last decades of his life, the Master, seeking to preserve to

posterity old foundation stones, reiterates models for the anchoring in safe

componistic principles, with a high degree of force, opposed to some post-

modern impulses which are yet to confirm their perenniality. Being interested

in the “paths in time of some masterpieces” (Constantinescu, „Viaţa de

creaţie”, continuitate în timp a destinului artistului dispărut – compozitorul

Theodor Grigoriu [The creation life, continuity in time of the disappeared

artist’s destiny – Theodor Grigoriu the composer]), offered a new sound to

some works, for an easier circulation on concert life. Admiring his

Renaissance-type cultural profile, I noticed that the Master has returned to his

public, not only music, but also fascinating literary pages, unique, which

became vocal-chamber or vocal-symphonic compositions. Throug the

aforementioned works, the Master Theodor Grigoriu discretely and

consistently places himself in service of music, loyal to his convictions: “to not

especially put yourself in the light is the fate of music, but to reflect it around,

through the gift and power of the spirit, warming the hearts and the

imagination” (Marinescu, 2016, p. 121).

Theodor Grigoriu had a special relationship, privileged and assumed with

literature, placing his work in the vicinity of the poetic halo4. Olga Grigorescu,

musicologist, noted that “the word-music duality accompanied him his whole

existence, argumenting not only through her large number of conclusions,

studies, articles about the artistic phenomenon and about great musicians which

she celebrated, but also through the solicitude with which he presented each

creation, demonstrating the exact same thing, the availability to use the

apparently more accessible literary language, alongside the more difficult to

translate sound language, […] with great talent, with a special gift of words,

phrases, figures of style, image associations’ expressiveness” (Grigorescu, in

Marinescu, 2016, p. 92). The mottos, the subtitles attributed to compositions or

parts of the compositions, the dedications and auto-presentations are, on the

one side, guidelines for interpreters and public for the understanding of

poethico-musical meanings and metaphors, and on the other side, are charming

literary pages written with talent and love for verb and sound.

3 From the talks with the Master Theodor Grigoriu.

4 Muzica şi nimbul poeziei, ediția I [Music and the halo of poetry, 1

st edition] is the title of the

collection of essays (1986).


190

Anyone who covers Master Grigoriu’s list of creations can observe a

defining aspect, his fine literary taste. The preference towards quality texts

can be seen in works for voice and piano (Dinu Athanasiu, Ion Zăgan,

Veronica Porumbescu, Mihai Eminescu, Lucian Blaga, Ion Barbu, Tudor

Arghezi, Şerban Codrin, St. Francisc of Assisi, text from the XIXth

century),

in stage music (Cehov, Moliѐre, Sofocle, Shakespeare, Edmond Rostand,

Eugène Labiche, Mihail Sadoveanu, Büchner, Arthur Miller, Ben Jonson),

in vocal-symphonic music (Nina Cassian, Ovidiu, Dante, Shelley, Puşkin,

Eminescu, Rimbaud, Rilke, Lorca, Iulia Haşdeu, biblical texts) and, not

least, in film music. The depth of knowledge and understanding of the

fusion between word and sound in universal music – a problem perennially

approached by philosophers, ethnographs, historians, musicians,

estethicians, as Theodor Grigoriu noted (1979) – fundaments and

legitimizes the composer’s exceptional achievements in genres that call for

the involvement of literature.

3. Theodor Grigoriu’s lied creation

It may seem self-understood that the pretentious lied genre, which

incorporates music and poetry into a sensible, organic and quasi-

indestructible phrasing, to take be of such importance in the creation of a

musician “seduced by a text [...] because he hears a possible music stirring

inside him” (Grigoriu, 1986, p. 167), fascinated by the poethico-musical

metaphor, by the possible, laborious and inspired binding between music

and word for the achievement of a pluridimensional reception environment.

Noting Theodor Grigoriu’s ópus-es, the density of his piano and voice

compositions, throughout the span of his variously themed creation, is more

pronounced in his last two decades of activity, the lied being neighbored by

works of ampler genres, with which he constitutes “creation laboratories”5.

These areas of interest are detectable from an initial analysis through the

communicating vessels represented by the musical material used and

through the technical manner of his approach. Inside the seeming musical

maze, as more profound research is completed, more subtle paths and

connections are revealed, based on influences, resonances, impressions.

I use the phrase creation of lied regarding the Master’s 44 lieder, in the

spirit of the necessary clarification suggested by the musicians who,

hovering over the line of a more refined musicological analysis, take into

consideration the usage of adequate terminology: creation of lied or

collection of lieder (Sandu-Dediu & Dediu, 2013, pp. 161-162). The main

arguments for are:

5That phrase belongs to the Master Theodor Grigoriu.

Studies

191

- The songs belong to different creation periods, the spacing marking

specifically the stylistic changes and the belonging to the sound sinthesys that

took place in the composer’s melting pot, in his journey to universality6;

- There’s a strong anchoring in the philosophical and musical dominant

ideas of the creating moment when they appear;

- The songs for voice and piano are representative for the entire creation,

configuring a defined compartment, periodically updated, and defining, being,

as the Master described it, “sound documents of thought and sensitivity of a

certain moment in time”7;

- The grouping into cycles, from and editing and naming point of view

(an exception being Three sheperd songs, Under the birch and the last two

compositions, Letter to the birds and The Iconographer – The poem of a

church painter);

- In the process of naming, the composer uses, either the name of song,

assumed via Jora, or the one of poem, which establishes the symbiosis between

text and music, or suggestive titles, infused with poetry – a “dreamed, far away

and boundless” (Grigoriu, 1986, p. 7) space, with great power of suggestion,

leading to “a certain universe if ideas and feelings” (Grigoriu, 1986, p. 185);

- Lieder are representative for a certain corpus of works of his creation

(the use of wavy series, the reference to God) and for a part of his this genre of

compositions in Romanian music (religious lied, lieder on lines of haiku and

tanka);

- For each cycle, there is unity regarding the sound imagery, composition

technique (a modal, serial, tonal enlarged sound material; the technical means

of approach), the text-music relationship, formal structure, type of voice (song

parameters) and the relation with the instrumental match (be it simultaneous or

successive), the type of piano writing (accompaniment formulas, preferences

regarding harmonic and/or polyphonic approach), unity in terms of expression

(various poethic sources, sometimes unitary, but always aiming for a one idea,

central theme, a coherent message) and structure (there is a quasi-

dramaturgical idea in the organization of cycles, an intersection of keywords

and poethical-musical images).

Theodor Grigoriu’s contact with lied was early, atypical and determining

for his musical and professional future. From the dialogues with the Master and

subsequent readings, I found out that, as a student in primary school, in a

childish spirit of competition, he declared that he can write a song. And he did

so, the teacher praising him and singing along with the children his first try of

writing music on poetry. The composer confessed after decades: “the

6 For terminological clarifications, check Octavian Nemescu, The semantic capacities of music,

Muzicală Publishing House, Bucharest, 1983, p. 152. 7 Free quotation, from the talks with the Master Theodor Grigoriu.


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multiplying of my own thought with fifty voices seemed to me a miracle.

Probably that was the moment when the idea of being a composer felt so clear

to me” (Manolache, 2002, p. 54).

The first lieder, Three sheperd songs (1950), appeared from the desire of

linking his creation to the Romanian geographical space – which he began to

know directly through his trips around country in the company of his good

friend, the poet Dinu Athanasiu (Ion Zăgan), author of the lieder’s lines – and

under the strong impression that the phenomenon of transhumance made on

him. Theodor Grigoriu confessed that he was inspired by this phenomenon, by

the sheperds’ state of being in different situations – Towards the valley, To

wintering and On the hill – discovering the Romanian sound and scenery, in a

juvenile “thirst for space”. The Master, at old age, interpreted this thirst for

space as “a thirst for knowledge, in fact, a redescovery of some data that you

have inside yourself” (Manolache, 2002, p. 57) marked by formative

aspirations, by the wish of identification with a popular creator, of aligning to

the time mainstream. The creation phase inaugurated by the Aromanian

(Macedonian-Romanian) sound inflections from his Sheperd songs continues

the investigation of man’s relation with space and time, up to the point of using

imaginary folklor. In the same “creation laboratory” I place Under the birch

lied (1952) for voice and piano, on words by Ion Zăgan, unpublished.

Autumn songs – Five poems on words by Veronica Porumbacu (1952-

1962) is a “composition began and continued on autumn-come […] the state of

being that inspired him” (Grigoriu, 2006, p. 23): the musical melancholy of a

good friend’s lyrics and the ineffable of a Romanian autumn. The five pieces

for voice and piano – The falling asleep of colors, The wind, The smile of light,

The Rain and October – use a post-enescian musical technique, based on a free

chromatism. The sound profiles attributed to voice arch especially from small

intervals, and the instrumental score realizes a comment, not an

accompaniment, with the aim of prolonging the poethic methaphor (Grigoriu,

2006, p. 23 and Grigoriu, 1986, p. 406), with the aim of creating, inspired by

his knowledge of film music, a pluridimensional space of reception. Poethic

stimulus generate sound interesting sound solutions, which bring unity of

atmosphere, a distinctive mark of expresiveness produced by the suggestive

sound equivalences for the poethic imagery and by semantic charges

highlighted surprisingly. The visual dimension involved represents the

common ground of the lieder, and the perception and just interpretative

realization of colors are the challenges raised to imagination and affective

memory of the interprets.

Autumn songs, through their succesive rethinking, neighbor very

different compositions, which, successively or simultaneously embracing neo-

classical impulses, liberties of modern techniques, the reporting to folklor and

the restless exploitation of ethos, reveal the experiments and decantations of

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Theodor Grigoriu with the aim of stylistic crystalization. Although published

during lifetime of the Master and collected in the Radio Sound Archive,

through reference interpretations of the 1960s, Autumn songs are unknown to

contemporary public, awaiting a well-deserved revisiting by young musicians.

After the achievement of the orchestral great refinement version of Seven

songs on lyrics by Clément Marot by George Enescu (1964)8, Theodor

Grigoriu left early the lied genre, dedicating himself to more ample genres.

The comeback to the more subtle, difficult and sophisticated lied genre

occurs in 1993, with the Poets and the abyss of time cycle. Uniquely for his

lied creation, Theodor Grigoriu chooses lyrics belonging to several poets

(Mihai Eminescu, Lucian Blaga, Ion Barbu, Tudor Arghezi), aiming “to

highlight the obsessive idea of the time in Romanian poethic art” (Grigoriu,

2006, p. 29) and to individualize through music “the genuine poethic tone”

(Grigoriu, 2006, p. 29) of Romanian culture. Believing that time is insensitive

to a certain ethos, the Master approaches the wavy series, of which

mathematical configuration underlines the main idea of the composition, the

irreversibility of time. Through the use of this technique, the cycle of lieder

borders with Cosmic dream and with the vocal-instrumental symphony The

sea’s vocalizations, the rigor of serial approach being less strict and the sound

dimension having offering a certain degree of liberty, in relation to the poethic

text.

The six lieder of the cycle – To the star-Prologue, Road to abyss, The

moment of Genesis, Nighted morning, Flight above the waves and To the star-

Epilogue – form a quasi-symmetric structure which highlights the inspiring

ideas of the poethico-musical composition: musical time, existential time,

cosmic time and the “instantaneous and long-lasting” effect of methaphor time

over men’s sensitivity (Grigoriu, 2006, p. 29). Most interesting is the placing of

To the star as, bot, a prologue and an epilogue of the lied cycle, the last

appearance suffering, as the composer noted, “the erosion of time, even though

between the two apparitions only few minutes have passed” (Grigoriu, 2006, p.

29). The aim of piano accompaniment is decisive in the accomplishment of

erosion, through the rhytmic and sound register diversification, in the context

of an identical voice line in both lieder. From a formal structure point of view,

each lied takes into consideration the poethic structure, its architecture being

the result of a novel interpretation of the poethico-musical metaphor.

Poets and the abyss of time lieder cycle is a suprising stage in Theodor

Grigoriu’s creation, through the use of wavy series and the omission (just for

the moment!) of ethos. Although the sound is novel, the moment of audition

8 For the autopresentations realized by the composer Theodor Grigoriu, check the volumes The

music and the halo of poetry, 1986, pp. 426-430 and Internet, 2006.


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reveals a series of now-characteristic elements of the composer: the complex

elegance, without the aim of it at all costs, the absence of flashy sound

densities, despite the occasional coarse and tensed surfaces, the vocal and

piano surprising colors, and, nevertheless, the role of piano in the ensemble

economy.

The instrumental score exceeds in complexit the traditional pattern of a

piano accompaniament for the lied genre, noticeable being the fusion between

the vocal dimension and the instrumental one. The decisive role of piano in the

sound mechanism is given by the generous ambitus (sometimes the piano

writing is noted on three staves), from which the variety and timbre

expressiveness, the rich color scheme, the expressive force. The difficult for

the pianist is the obtaining of the composer imagined sound, through the

diversification of means of approach (type of sound articulatio corelated to the

dinamic, large, rigorous outline noted in the score and the poethico-musical

expression of the composition as a whole) and a permanent placing – from a

sound-expressive point of view – inside the complex organism of a vocal-

chamber duo.

The piano and voice lieder cycles on lyrics by Şerban Codrin which

make up The haikai collection are essences of an extensive and complex

experience achieved by an aphoristic densely expressive manner of approach.

The resulting chamber trilogy seems an auto-reflexive creating process, an

investigation of own Ego, an oscillation between conflict and harmony,

between discontinuity and continuity.

9 Haikai – Beyond silence, Jesus meant a new shifting point in Theodor

Grigoriu’s creation, essentializing elements from previous works which

highlight Byzantine music tier, neighboring most profoundly the Byzantium

after Byzantium (“Trinity” concert; “In the great passing” sonata; “The

eternal return” sonata) cycle and initiating the report to Divinity (Aeterna

Verba in anno MM; 33 Psalms; A liturgical symphony; Letter to birds; The

Iconographer) under the influence of some perennial metaphors in his creation:

time, space, surrounding nature.

11 Haikai-Beyond silence, the spirit of the plain fall into the theme of

space inevitably intersecting the meditation regarding time, with the

impressions caused by the extent of Bărăgan plains. The lieder cycle takes the

aspect of an ideatic synthesis and is strongly connected to previous works by

means of the thoughts and ideas that inspired it: Romanian space (Three

sheperd songs; Symphonic variations on a song by Anton Pann; The four

seasons) which “arrive somewhere” (Grigoriu, 2006, p. 65) and are invoked

through a modal sound primordiality), the cosmos (Cosmic dream), the vast

plains (The sea’s vocalizations), time (Romanian seasons in which we

highlight the sound clock marking the passing of time), the ethos of Romanian

Music (The modal column in which, for their acoustic role, cvart, quint and

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octave intervals are being introduced); Symphonic variations on a song by

Anton Pann in which miniature themes invoke, alongside others, city folklor,

sound world at the intersection of the Orient and Occident; Pastorals and

transylvan love songsin which the imaginary character observes the ambience

of the world he lives in (Grigoriu, 2006, p. 54), the miracle of miniature world,

of the small creatures (Bucolic virgilian polyphony).

7 haikai – Beyond silence, journey with birds is a possible reply to

Messiaen’s Catalogue of birds, conceived in relation to Romanian geographic

space and with reports to universal symbolism of world of the winged. The

preffered sound language places lieder in the continuation of the Master’s

specific means arsenal, accumulated in time, molded on Japanese sensitivity,

on aphoristic previous cultural models and corelated to contemporary man’s

pragmatism.

The projected Comedia mundana cycle remained unfinished, Theodor

Grigoriu finalizing Letter to birds on lyrics by St. Francisc of Assisi (2004) and

sketching, without finalizing, The wise man of whom no one has need on lyrics

by Nichita Stănescu, for that time grew impacient with him.

4. Scrisoare către păsări a Sfântului Francisc din Assisi [Letter to the Birds

of Saint Franscisc of Assisi]

The lied for voice and piano Scrisoare către păsări a Sfântului Francisc

din Assisi [Letter to the Birds of Saint Franscisc of Assisi] (2004) enrolls in the

works which allude to belief without urging and to Christianity without

invoking. It ss a creation of full creative maturity which, according to some

possible tracing of Theodor Grigoriu’s works propposed by the musicologist

Grigore Constantinescu, finds itself under the influence of divinity, as an

indicator which determines what the Master called “pairs of intuition-reaction”

in the artistic process (Constantinescu, 2014, Theodor Grigoriu – The Master

left us).

According to the proposals of mapping the before mentioned creation,

the lied Scrisoare către păsări a Sfântului Francisc din Assisi Letter to the

Birds of Saint Franscisc of Assisi [Scrisoare către păsări a Sfântului Francisc

din Assisi] has triple grouping. On one side, it belongs to the group of pious

reverences of maturity of a tentative composer who rather prized the sovereign

creator principle, which he preferred considering, for now, arcane to the

inhabitants of Terra. The vocal-chamber works – the cycle Dincolo de tăcere,

Iisus [Beyond the silence, Jesus] (1999), Scrisoare către păsări and Iconarul-

Poemul unui zugrav de biserici [The Iconographer – The poem of a church

painter] (2011) – gravitate around the works of a monumental aspect,

composed in the last years of life and creation of the Master, as it follows: O

simfonie liturgică [Α liturgical symphony] (2000, 2002) for choir and orchestra

based on religious texts, dedicated to “those who do not believe”, has a strong


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autobiographic character, being “written under the influence of a certain space

and time. As space, Romania in the last decades of the 20th

century, notorious

worldwide as one of the most self-distructive country, and as time the approach

and passing of the year 2000, an astral privilege granted to those who lived this

moment” (Grigoriu, 2006, p. 87). Aeterna verba in anno MM (2000) for mixed

choir, awarded right in the year of its composition by The European Institute of

Choral Music and Loren Fillarmonic (Metz) is covered in the symphony as a

last bit which can be sang separately. The 33 Psalms (1989-1998) for mixed

choirs on biblical texts, with a superb motto – “At the end of the road on Earth/

we reached the edge of eternal solace of God./ On the road we picked some

flower./These psalms He dictated to us.” (Grigoriu, 2006, p. 90) – evoking the

lifetime of Jesus among men, it declares itself a “stilistic union” (Grigoriu,

2006, p. 90) with the Romanian choral creation which the Master notably

cherished. Theodor Grigoriu loved the interprets with whom he collaborated,

he had a unique communication with each individual, devoting to them, with

generosity and appraisal, the interpreted works. The lied is dedicated to the

mezzosoprano Mihaela Agachi, the one who interpreted it at the first audition

not long before she’d prematurely reach the end of her journey in this world.

On the other hand, I consider the lied Scrisoare către păsări a Sfântului

Francisc din Assisi belongs to both the category of impressions and to the

category of offerings, because the Master was surprised by the beauty and

novelty of the text, but even more so by the play of chance which made it so

that the words of St. Francissc landed in his hand, being provoked to compose,

to renew to the public a peculiar text, adorning it with surprising sound.

Profusely impressed by the situation created and convinced that the

nature of the notes coming from the composer are always meant to clarify and

direct the thoughts and emotions of the interprets, the composer notes in his

score: “This text of a great beauty was communicated to me by my friend, the

writer Constantin Țoiu who, at Paris, copied it from the noticeboard of Church

Saint Germain Prés. Following the next day to check if his transcription was

corect, the text was already gone. Asking a cleric where it had gone, the later

stated that those texts are changed daily, each saint being mentioned on the day

dedicated to him, once a year. Let us thank God and Saint Francisc of Assisi

for this encounter with a light of poetic divinity” (Grigoriu, 2016, p. 9).

Composed in the near adjacent temporality as the cycle Dincolo de

tăcere, drum cu păsări [Beyond silence, a way with birds] the lied comes to

complete the catalogue of the winged in a componistic manner far away from

the webernian aphorism of the haikai cycles, yet sublty touched by some

profound elements of the oiseaux style and the admiration of the Master for

Messiaen’s preocupation for birds and for St. Francisc of Assisi (Grigoriu,

1989, p. 22).

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Ever since the glossing over the score, it surprises the entwining between

vocally and instrumentally, the complementarity of the two discourse type, the

equilibrium, the floating aspect proposed by the melodic linse through sense,

the registry and type of articulation and not lastly the richness of indications

regarding the expression which models the discourse and guides the interprets

without equivoque.

The formal structure dictated by the literary text9 is asymmetrical,

consecvently following the unity of the poetico-musical metaphor in which the

word and the sound fraternize and unravel a visible componistic action of small

measure specifically done to showcase the value of word and the melodic

context in which those multiply their senses.

The thoroughgoing study of the reading unravels o modal-diatonic

melodic world, in which the mobility of musical intervals create a subtle

major-minor play, the ajoutée elements beieng used in moments of utmost

tension, for instance, in instrumental chord structures (quasi campane) which,

at the climax of the whole unfolding towards the end, before a codetta of 8

measures (meno mosso, senza rigore), which touch the orchestral complexity.

The cantabile melody emmanates simplicity without being facile,

contouring a descriptive atmosphere, evocative, calm, through the invoking of

gregorian melody and Byzantine melodicity (expressive force of concealed

accompaniament in accord structures). The equilibrium between the ascending

and descending directivity, between the slow buildup and small jumps in

intervals, alternated qualitatively, generates, alongside suggestive rhythmics, a

wavy mobility that follows the inflections in day by day speech and suggests

flight. The expressive resources of primary intervals, of the formatively modal

and of the seventh, interval with a heavy modal load resulting from the

succesion of fourths, are explored by Theodor Grigoriu in his own

unmistakable style. I remark the vertical and horizontal projection of the fifth

(perfect or reduced, filled or not with thirds) and to highlight the value of the

same type of resonance through the unraveling of the small seventh.

The melodic segments of the vocal score are suitibly articulated to the

size of a verse spoken in a single breath, the rhythm following the melodic

reflex of the text in a perfect synchronization with the expression. In

combination with the gradual buildup, small intervals are preferable, usually up

to a fifth, alternatting their quality and their ascendant or descendat sense on a

melodic line, in corelation with the poetic text. The overlapping between the

9 “Birds, sisters of mine,/ God helps you,/ For you do not sow, nor do you sickle./ He gives

you:/ springs and rivers,/ so you can drink from them when thirsty;/ hills and mountains/ and

tall trees, so you can make nests there./ And because you don’t know how to spin or to sew ,/

He gives you:/ warm and colourful clothes/ for you and your babies./ The Creator loves you a

lot/ if he makes you so many gifts./ And for that, my dear sisters,/ celebrate and praise/ Our

Lord.”


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vocal melodic line and the instrumental score is ingeniuous, the technical and

expressive complexity of the accompaniment and the melodic plasticity

required for their realisation requiring a rich imagination and superior levels of

technical means. I mention in the same vein the segment Con moto, leggiero

(mm. 27-33) in which on narration is bestowed a voice, commented giocoso by

the piano, through alternative jumps of third over eight and fifth, staccato, in an

acute registry, while in the grave registry are succeeded descendent chords of four

notes, unfolded sequentially, legato, alternated with small thirds staccato, in a

rhythmic configuration that suggessts the flurry of the birds that build their nests.

Fig. 1 Theodor Grigoriu, Scrisoare către păsări, mm. 27-30

The intonation types sometimes allude towards the cantabile of the

arioso but it constitutes especially in recitative situation: the recto-tono

recitative (m. 12 și m. 34, senza rigore, libero) the insinuation of the

schönbergian’s sprechgesang through ascending intervals solved tardily. The

interval used is so adherent to the word, at the inflections of the speech and

linguistic expression, that it seems a unique solution to the expression of

naturallity and the poetico-musical metaphor.

Fig. 2 Theodor Grigoriu, Scrisoare către păsări, m. 12

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Fig. 3 Theodor Grigoriu, Scrisoare către păsări, m. 34

The rhythm has expressive essence, being an element that strongly

highlights the poetic sense, the composer potentiates the semantic value of the

words through ingeniously combined rhythmic formula and in corelation with

the other parameters of the musical discourse. For example, Theodor Grigoriu

prefers the repettion of rhythmic structures or melodico-rhythmics that

generate a thematic ostinato, especially on the instrumental score (rhythmic

morif in uninterrupted repetition, mm. 15-20, con moto, disinvolto), but also

the frequent repeatability of the small third descending third (for example, the

word „nest”, in mp, p, pp, mm. 29-32).

Fig. 4 Theodor Grigoriu, Scrisoare către păsări, mm. 17-20 (piano)

Fig. 5 Th.Grigoriu, Scrisoare către păsări, mm. 29-32 (voice)

I remark a preference for symmetry in the case of rhythmic micro-

structures, realised through a personal alchemy: in an ingenius way it creates

diversity withouth the existance of fragmentation, the repeatability of the

formulas and the preference for anacruzal structures are restful, non

monotonous

I find it interesting to menion that, although the melodic line is sectioned

by pauses, these gestionate exiting the last sound and don’t share the purpose

of spliting the vocal discourse. Also, often times short values are tied to longer

values, which leads to a noted ritartando, on extended durations contoruing a

sublte rubato of the melodic discourse. There is an original way of using the


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syncope and contretemps, elements of metronomic conflict, which are

detectable especially from a visual perspective (reading the score), but from a

melodic standpoint they are melted in the context in which they appear. Thus I

do not adhere to the image of a melodic conflict which is detectable especially

on a teoretic lever, but ti the waving melody, caressing, floating, endearment, it

is about the lag of the voice on a certain syllable, prolongued through the

skilled game of rhythmic combinations.

Alternative measures offer elasticity, fluence and an impromptu aspect to

the musical discourse due to the fact decisive are the anatomy of the literary

text and the succession of accompaniment structures and not the binary or

ternary character of the melodic line.

Although from a visual stadpoint, the score is loaded with alterations, the

modal harmony is delicately iradiated with chromatisms, mobile intervals and a

few ajoutée elements being present. The melodic ambience close to the tonal

functionality is made whole by the highlighting of the expressive potential of

fifht and eight intervals, alongside thirds and sevenths, intervals remediated

and reinvested with reason by Theodor Grigoriu in his last two decades of

creation.

A last consideration about the lied Scrisoare către păsări a Sfântului

Francisc din Assisi refers to its poetico-musical universe in the two elements

seem to hold equal weight. In the moment of audition, of the poetico-musical

moment, it encompasses the parallelism, the complementarity and exemplary

equilibrium between text and music, the absence of thick brushes in expression

and the superb display of the technico-expressive arsenal of the composer.

5. Iconarul – Poemul unui zugrave de biserici [The Iconographer – The

poem of a church painter], coronat opera in a playful note

The last lied completed by the composer Theodor Grigoriu, before

parting beyond silence10

, is Iconarul – Poemul unui zugrav de biserici [The

iconographer – The poem of a church painter] (2011) for voice (bass-baritone)

and piano, (based) on an old text with no poetic aspiration published in the

supplement Aldine of a daily paper in Bucharest, a surprising and spectacular

work.

The text of Iconarul, dating back in the 18th

century, was discovered by

chance. As the composer notes in the score “in 1831, the painter Marin Todosie

restored the painting of St. Mina Church in Craiova. To justify his expenses

and due payment, he presents the list of executed works:

1) I’ve put a new tail to St. Petruși’s rooster and I straightened its comb.

2) I tied to the cross the right robber and gave him a new finger.

3) I put a wing on Archangel Gabriel’s back.

10

You will see the titles of the haikai cycles.

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4) I washed Caiaf’s maid and put a blush onto her cheek.

5) I renewed the sky, I added two stars and cleaned up the moon.

6) I restored the hellfire red, gave Lucifer a tail and sharpened his claws.

7) I repaird Saint Anton’s coat and put two buttons to his gown.

8) For Tobias’ son, who rides along Gabriel the angel, I put a new belt to

his bag.

9) I washed the ears of Avesalom’s donkey and put him horseshoes.

10) I tarred Noe’s ark and patched its bilge.

11) I whitened Saint Nichola’s beard.

12) I sharpened Saint George’s spear and I refreshed the green on the

dragon’s tail.

13) I washed Saint Maria’s gown.

14) I put a new tail to the devil from Saint Margaret and I patched the

semantron” [pseudo-instrument used in the monastery/church to anounce

the begginig of the offices, our note] (Grigoriu, 2016)

In the conversations with Master Grigoriu, it always surprised me that, in

spite of his senectitude, he had a very youthful way of getting enthusiastic in

front of a text which seduced him. His assessment was that, „the value of a text

consists, obviously, of the originality, the beauty and the richness of the

meanings of its ideas, and details must be as beautiful and interesting,

especially when they become the basis for music.” His accomplished literay

taste always led him towards inspired choices resonating with his indwelling

disposition and sound workshop in which the inspiration of the moment was

leading him.

In this case, “the plasticity and quality of images and metaphors, their

elevation and nobility, the fluency of expression, a special sound of words”

(Grigoriu, 1986, pp. 167-168) inspired in him a solid, essentialized and fluid

work, charming sound alchemy in a ludic key, filtered by the sharp sensitivity

of his lyrical nature and deep insight into essences. I do not hesitate to notice

that, with thoroughgoing study of the work, a part of the Master’s thoughts and

composing mechanisms are revealed. Once a text attracted his attention and

resonated with his own sensibility, inspired by the ideas, images and metaphors

of the verse, the music takes form and substance, the motifs, the harmonies, the

timbre colours revealing themselves in a flash. This graceful moment is

followed by “a profound reflection over the text, deciphering its deep meanings

and correlations, the desire to achieve an ideal musical transposition, […]

tenacious labour and long meditation, carried out on several levels” (Grigoriu,

1986, p. 167).

It resulted in a work that breaks structural originality, with inlfuences

taken from previous works of ample genres.The free form “with a rather

dramaturgical musical plan” (Grigoriu, 1986, p. 438) makes you think of the

string orchestra play Melodie infinită [Ιnfinite Melody], the insinuation of


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sound beams, combined with the Byzantine accompaniment and choral

suggestion essentialisedthe fresco idea used in the oratory Canti per Europa,

and the stylization of dramaturgical and architectural ideas, through the

instrumental lead with a courtain role which, once opened, alows for the scroll

of character-ideas, reminds us of Suita teatrală în stil clasic [The theatrical

suite in classic style].

Akin to Ofrandă clipelor eterne [Οffering to the eternal moments] (2007)

for cello and string orchestra, piano and horn, the lied Iconarul… [The

iconographer…] has an aspect of musical fantasy. The 14 formal articulations

of small dimension which follow the curtain’s raising (the pianist lead),

possible immanence of the 27 Haikai composed with the sporadic thoughts at

Webern and Messiaen, ar the expression of the thoughts and feelings of a

unique character, the iconographer, found in contact with the imaginary plane,

in which he carries his work as a restorer, and with the concrete plan, in which

he is situated as a quantification of his work, for the purpose of payment. As in

other works by Theodor Grigoriu, interesting is the dynamic plane, wide, very

diverse, and the agogic, scrupulously noted by the composer, efficient the

configuration of the poetic-musical metaphor, both firm and delicate guidance

of the interprets: 1) Laborioso, con pietà; 2) Grave; 3) Sereno; 4) Con

sentimento; 5) Laborioso I; 6) Con fuoco; 7) Calmo, con pietà; 8) Epico,

biblico; 9) Laborioso II; 10) Animato; 11) Con pietà; 12) Laborioso, Grave;

13) Soave, dolce; 14) Laborioso III.

The original musical solution of a seemingly trivial theme reveals an

energetic spiritual play that leaves the unuttered to unfold, the word to unravel

and enrich itself through the mysterious induction of text and visual imagery

suggested with humor.

Garnished with perceptible experiences and manifestations, the

iconographer’s feelings towards the characters within the paintings he is

restoring are reflected in an exhibition which borders the folk music’s theatric-

oratorical recitative, spiced up with diffuse suggestions stemming from film

music composition technique. The succesion of themes/motifs “after the epic

principes of folk narration of the ballad type” (Grigoriu, 1986, p. 77), the

perpetual rhythmic variation and richness of timbral colours create a peculiar

melodic image of a concentrated and suggestive expression which transcends

the possible influences from Jora and Haciaturian. Musical ideas apppear stated

with clarity and fidelity for his principle of not creating simultanious sound or

expression densities, with an ingenius simplicity which highlights their

diversity, cultivating the detail and contrasts in service of the equilibrium of the

whole.

The lied Iconarul… [The iconographer…] unravels a profound

knowledge of the sublte mechanisms of the folk melody thorugh the use of a

modal diatonic language with no enlarged seconds – which the Master

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considered inexhaustible – enriched with a “superiour technique of registry,

dispozition and an able movement of the voices or through an infinitude of

novel sound situations” (Grigoriu, 1986, p. 407) and though the use of small

intervals on the vocal line with expressive valences always embellished by the

voice-piano symbiosis.

Although the unfolding speed of the play, situated in the area of rapid

movements, is aparently uniform11

, still the prosody (alternative measures), the

subdivision of the reference value, the indications of expression, the caesuras

and fermatas on the double bar which delimit sond frescoes offers the

discourse, a special influence, a play of dramatic tension unique in the vocal-

chamber creation signed by Theodor Grigoriu. An unusual aspect is the

placement of the tempo note above the vocal score, while the metronomic note

is meticulously situated above the instrumental score. As such it’s induced the

intetion for the voice to narrate and the piano to to comment on the narration

either by leghtening the echo of the words in the text or by structuring the

thought, the feelig, the attitude of the iconograph towards the characters within

the pictures he is restoring wide.

If the vocal dificulty is due to the just and expressive coverage of a

generous ambitus (A-g1), the pianistic difficulty is to pull off the superb display

of complex technico-expressive arsenal attributed by the composer: subtle

combination of the articulation types, ritch rhytmics without the use of

exceptional division but the use of prosody to a great effect and the play of

exceedingly plastic accents, an array of nuances from fff to p.

I found, as is the case with other lieber by the Master, the visual spectacle

of the score: the finesse of the brushes in redacting the manuscript, as if

“expressing a charm of human sensibilities” (Cosma, 2016, in Marinescu, p. 9),

the apparent sobriety of the notations and their efficiency within the

interpretative investigation, the lack of ostentation correlated with sounds of

great plasticity and, paradoxically, the liberty grated to the interprets in the

conditions of the numerous articulation notes, the dynamic and agogic noted

scruplously. I would later find, shynthetically expressed – by the composer

Dan Dediu – a possible explanation for the seduction exerthed by the Master’s

writing: “He knew (Th. Grigoriu, o.n.) what resounded and what not as he

knew very well how to load with reason each note he laid down on paper. His

thoroughness was proved through the way he wrote his compositions, giving

them not only an optimal acoustic expression thorugh an ebullient instrumental

imagination, but also through an astonishing graphic expression” (Dediu in

Marinescu, 2016, p. 73).

In the relationship we can define as contrapuntal between the word and

the music, the melodic word becomes a deposit richer and more comprehensive

11

You will see metronomic indication for every structural articulation.


204

in sense, a summoner of images and ideas. Theodor Grigoriu, consistently

following the depth of the word’s sense, achieving this thorugh the almost

mathematical saving of means and thorugh the contribution of all the elements

which configure sounds without generating babylonian demonstrative

agglomerations, but rahter though a suple and plastic melodic discourse.

From the research up to this point it resulted that the lied has not yet been

presented to the public in the voice-piano formula but only though a solo

bassoon variant which could not unravel the whole value of this creation, still

waiting for an interpretation that does justice to it’s value as a coronat opus of

the vocal-chamber creation pertaining to Theodor Grigoriu.

6. Conclusions

The vast creation of Theodor Grigoriu, “a Patriarch, a great Wise in the

Fortress of Music” (Codrin, 2014 in Marinescu, 2014), is a subject of rare

research, the creation of lied, especially his last two lieder being novel topics.

“The view from the semi-distance [...], neither panoramic perspective,

nor microscopic view” (Banu, 2017, p. 18) on the last two lieder belonging to

Theodor Grigoriu and his vocal-chamber creations, offers a series of elements

resulting from significant contextualization and observation. These are

especially useful for practitioners, for the realization of an interpreter's strategy

(the practical study according to the analysis of the musical-poetic text, the

identification of the appropriate means of artistic expression and the

crystallization of an own interpretative concept) in which the novelty of the

information invested with sensitivity stimulates the fantasy andcreativity.

The voice and piano lieder, scatter over more than seven decades of work

by the composer Theodor Grigoriu configure areas of interest (creation

laboratories) along with works of broader genres (symphonic, vocal-

symphonic, concert, chamber, choral) around which they gravitate, being

unified as we have shown.

As I pleaded, I consider that the 44 lieder can be reunited under the name

of lied creation: they are representative works for the composer's creation, but

also for the Romanian lied of the 20th

century; are testament to the spiral

trajectory the music and the Master’s ideas partook in over the course of time;

are faithful expressions of what the lied means in the 20th

century – “The same

spirit comes forth from two different sources and flows into one configuration,

in wich word and tone become one, and the mood harmonizes with all this as a

pure consonance” (Hans Pfitzner, “Die neue Ästhetik der musikalischen

Impotenz” în Gesammelte Schrifften, vol. II, Augsburg, 1926, p. 212 apud

James Parsons, “The Lied in the modern age: to mid century”, in: James

Parsons (editor), The Cambridge Companion to the Lied, Cambridge

University Press, 2004, p. 283).

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205

The last two lieder completed by Theodor Grigoriu, Scrisoare către

păsări… [Letter to birds on words by St. Francisc of Assisi] and Iconarul…

[The Iconographer…] are atypical, completely different from what the

composer had done before, surprising by creative fantasy, the choice of texts

and original aproach. However his unconditional love and permanent

preocupation for the sound and word transpire, the two universes always

entwined. “The sound and word are floating islands in the infinite ocean of

Silence; the thought of one sent over the territory of the other returns enriched,

brings with it new colours and valences. Who invented the wings and went

further is a controversy: musicians will say that poetry, poets will say music.

The neighbouring and «conspiracy» between Sound and Word will forever

arouse Idea, the sovereign light that reconciles them” (Grigoriu, 2006, p. 98).

References

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neighbour. Translation by Vlad Russo]. București: Εditura Nemira.

Barenboim, D. (2015). O viaţă în slujba muzicii, traducere din engleză de Dana-Ligia

Ilin [Α life in the service of Music, translation from English by Dana-Ligia Ilin].

Bucureşti: Εditura Humanitas.

Bura, C. (2016). Privilegiul de a-l fi cunoscut personal [Privilege to have known him

personally]. In Marinescu, M. (superv.), In memoriam Theodor Grigoriu: (1926-2014)

(pp. 95-97). București: Editura Muzicală.

Codrin, Ș. (2016). Theodor Grigoriu, sau de la „eşec” la „dincolo de tăcere [Theodor

Grigoriu or from “failure” to “beyond silence”]. Ιn: Marinescu, M. (superv.). In

memoriam Theodor Grigoriu: (1926-2014) (pp. 85-90). București: Editura Muzicală.

Constantinescu, G. (2013). Nocturn şi diurn în muzică [Nocturnal and diurnal in

Music], 1. Bucureşti: Editura Muzicală.

Constantinescu, G. (2016). Patru secole de lied [Four centuries of Lied]. Bucureşti:

Editura Muzicală.

Cosma, V. (2000). Muzicieni din România. Lexicon biobibliografic, III [Musicians

from Romania. A biobibliographical lexicon]. Bucureşti: Editura Muzicală.

Cosma, V. (2016). Gânduri postume la reîntâlnirea cu prietenul dispărut [Posthumous

thoughts at reunion with the missing friend]. Ιn Marinescu, M. (superv.), In memoriam

Theodor Grigoriu: (1926-2014) (pp. 7-10). București: Εditura Muzicală.

Dediu, D. (2016). Acribie și visare [Rigor and dreaming]. In Marinescu, M. (superv.),

In memoriam Theodor Grigoriu: (1926-2014) (pp. 72-74). București: Editura

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Grigorescu, O. (2016). O operă ce va dăinui [A work that will last]. In Marinescu, M.

(superv.), In memoriam Theodor Grigoriu: (1926-2014) (pp. 91-94). București:

Editura Muzicală.

Grigoriu, Th. (1979). Fuziunea cuvânt-muzică [The fusion between Word and Music].

Muzica, 4. București.

Grigoriu, Th. (1986). Muzica şi nimbul poeziei, ediția I [Μusic and the halo of Poetry,

1st

edition]. Bucureşti: Editura Muzicală.

Grigoriu, Th. (1989). Olivier Messiaen la 80 de ani [Olivier Messiaen at the age of

80]. Muzica, 3. Bucureşti.

Grigoriu, Th. (2006). Internet. Consultant, coordinator and author of some texts

Mihaela Marinescu-Grigoriu. Paris: Editions Musicales Transatlantiques &

Amsterdam: Larghetto & Bucureşti: ArSSonora.

Manolache, L. (2002). Șase portrete de compozitori români [Six portraits of

Romanian Composers]. Bucureşti: Editura Muzicală.

Marinescu, M. (superv.) (2016). In memoriam Theodor Grigoriu: (1926-2014).


Nemescu, O. (1983) Capacităţile semantice ale muzicii [Semantic capacities of

Music]. Bucureşti: Editura Muzicală.

Parsons, J. (2004). The Lied in the modern age: to mid century. În: James Parsons

(editor), The Cambridge Companion to the Lied (pp.273-297). Cambridge: Cambridge

University Press.

Sandu-Dediu, V. (2002). Muzica românească între 1944-2000. Principali colaboratori:

Antigona Rădulescu [Romanian Music between 1944-2000. Μain collaborators:

Antigona Rădulescu]. Bucureşti: Editura Muzicală.

Sandu-Dediu, V. (2004). Muzica nouă între modern şi postmodern [New music

between modern and postmodern]. Bucureşti: Editura Muzicală.

Sandu-Dediu, V.& Dediu-Sandu, D. (2013). Dan Constantinescu: esenţe componistice

[Dan Constantinescu – Componistic essences]. Bucureşti: Editura Muzicală.

Codrin, Ș. (2014). S-a stins din viață maestrul Theodor Grigoriu. Obiectiv Ialomița

Slobozia. Retrieved from https://obiectiv.net/s-a-stins-din-viata-maestrul-theodor-

grigoriu-20440.html/

Constantinescu, G. (2014). Theodor Grigoriu – Maestrul ne-a părăsit [The Master left]

[Cronica muzicală on-line/ Musical Chronicle on-line]. Retrieved from

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Constantinescu, G. (2014). „Viaţa de creaţie”, continuitate în timp a destinului

artistului dispărut – compozitorul Theodor Grigoriu [The creation life, continuity in

time of the disappeared artist’s destiny – Theodor Grigoriu the composer].

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Grigoriu] taken from http://www.eugeniavoda.ro/ro/emisiuni/arte/theodor-grigoriu

Grigoriu, Th. (2016). Scrisoare către păsări a Sfântului Francisc din Assisi [Letter to

the Birds of Saint Franscisc of Assisi]. Bucureşti: Editura Muzicală.

Grigoriu, Th. (2016). Iconarul – Poemul unui zugrav de biserici [The iconographer –

The poem of a church painter]. Bucureşti: Editura Muzicală.


208

Art and Meaning.

Messiaen Influences on Romanian Composition Universes

CLAUDIA NEZELSCHI “George Enescu” National University of Arts Iași

ROMANIA

Abstract: In this paper, we will tackle several dominant Messiaen influences, as

concerns ideas and/or technical approaches, on important Romanian composition

systems, with reference to concepts such as musical character, number, Time/time,

repetition. We will refer to characters as structures, characters as tuning systems and

characters as musical/cultural paradigms as they occur in Aurel Stroe’s creation, and

then we will turn our attention to Ștefan Niculescu’s melody-musical character with

memory. Surprising but/and natural, objective but/and inspired, Niculescu opens up

different perspectives on the personality of musical character as well. Numbers (what

is fascinating is that they are mainly just figures) prove to be an example of simplicity

as they comprise in a condensed manner technical information, emotions and musical

inspiration. We will prove/illustrate this relying on three technical/semantic

perspectives: poetry of numbers-duration in Liviu Glodeanu’s creation, numbers

defining dodecaphonic series cells in Roman Vlad’s work, or numbers-foundation for

the whole modal edifice in Vieru’s perspective. As for time/Time, which is the main

character of Messiaen’s (and actually everyone’s, even humanity’s) musical, poetic,

philosophical and theological thinking, we will only dwell on two hypostases, namely

Stroe’s and Niculescu’s perspectives. Stroe conceives time as an element integrated in

the sphere of memory and identity, as the recurrence in the present time of slices of

memories involves the superposing of slices of time. For Niculescu, time is

foundation, a condensation of the fact that syntax relies on two temporal categories,

succesivity and simultaneity. We will dwell on the repetition “character” in the context

of Aurel Stroe’s mobiles, or in parts of monodies of periodicities, screens and loops in

Anatol Vieru’s creation. The conclusions will naturally follow the line of art and

meaning.

Keywords: Messiaen, Stroe, musical character, number, paradox.

1. Introduction

Any heart-felt action of an individual is life enriching. The core of this

action is the very source where art, meaning (and ultimately Logos), music

draw their juice from and rise above a person’s time-bound existence.

Due to his leaping/catastrophe/mutation/sublimation approaches, Olivier

Messiaen is well known and has become synonymous of one of the common

points for:

[email protected]

DOI: 10.2478/ajm-2019-0010

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209

– the map (of evolution/history) of composition technique,

– the map (of evolution/history) of ethos and reception, and of listening

to music,

– the map of the cosmos of brain activity, considered here from the

viewpoints of sharpness and synergy of senses, of assigning meaning to a

stimulus, of generalization and, symmetrically, of plasticization, by transposing

a nucleus of (abstract) information in concrete terms,

– the map (of evolution/history) of the man’s power of communication

on the vertical plane with the Heavens and the depths of the human soul, and

on the horizontal plane with the fellowmen and with the Creation.

Post-Enescu Romanian composers (with a refined and rich cultural and

composition universe, impregnated by essentially Romanian influences)

guessed the technical and especially philosophical, existential (implicitly vital)

thesaurus in Messiaen’s universe and thus their creation also draws its energy

from here, specifically integrated and sublimated, thus giving to the Messiaen

core new meanings and new coherences.

2. Musical Character

Both art and meaning have chosen life as a limit/ideal, with its

complexity, wonder, simplicity and harmony. Messiaen’s as well as “our

composers” composition idea of musical character goes along the same line

(string).

Traité de rythme, de couleur et d’ornithologie, a diary of the synesthetic

composer, also contains a vast counterpoint/accompaniment for the

Turangalila symphony, by describing its mosaic of techniques and sources of

motivation in poetic-compositional-mathematical terms. The core idea is that

of musical character, in accordance with what the author called “sound flesh”

(Messiaen, 1994-2002, p. 360), also known as figures-colors, timbres-durations.

When referring to the Messiaen universe, Theodor Grigoriu described

“characters acting on several superposed stages and a sequence of different

actions taking place simultaneously” (Grigoriu, 1989). From the technical

standpoint, in Messiaen’s work, the melodic character is a section of a melody,

a section that develops and evolves itself into a character, which is

transposition: the multiple notes of each melody tackled as a series of melodic

characters are divided into subsets-characters with their own transposition

range, which remains constant in a sequence of transpositions/adaptations. The

idea of sequencing is thus resumed in an evolved/refined/staggered form.

The procedure is thus fully illustrated in the second part of the

symphony, Chant d’amour I/ mark 29, where the starting motive is divided in 4

subsets: A and B with 2 elements, C and D with one element. A and C will be

constantly transposed with an ascending semitone, B will not be transposed, D

will gradually go down by a semitone.


210

The parallelism/analogy between the melodic and the rhythmic

characters results from the fact that the individualization of a “character” is

achieved by maintaining a direction of evolution: “the melodic character” is

constantly transposed with the same range or distinguishes itself from the

whole by maintaining a fixed pitch, “the rhythmic character” is constantly

subjected to the same variation process or distinguishes itself from the whole

by remaining constant. An example of rhythmic characters and an illustration

of the analogy with melodic characters may be found in Part Three,

Turangalîla I/9, where the percussion has three rhythmic characters:

R1 = 2 2,

R2 = 2 1 1 1 2,

R3 = 7 7.

The first rhythm-character will be successively augmented, the second

will remain unchanged, and the third will be successively diminished.

Fig. 1 Individualization of melodic characters by transposition

We further specify that the melodic/rhythmic parallelism extends, as

Merssiaen brings the concept of chromaticity of duration, of rhythmic basic

character in symphony dramaturgy, which consists of a sequence of

consecutive numbers, in increasing or decreasing order (e.g. rhythm 4 5 6 7 8 9

10 11 is chromaticity of durations, marked 4-11, its recurrence being also

chromaticity of durations, chromaticity marked 11-4).

Messiaen will also create harmonic characters, sequences of chords that

will be either repeated as a harmonic pedal, or transposed across sections,

generating stratifications, fans.

By overlapping and specific processing, any sound structure may become

a character in Messiaen’s work. For example, in the fourth part of the

symphony, Chant d'amour II/8, there are two overlapping trios: “two complete

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music evolving together, each with its own rhythm, melody, harmony, timbre”

(Messiaen, 1994-2002, p. 221). In Chant d'amour II/14, we find that the

scherzo theme is superimposed with other secondary constructions (“oiseaux”

song, 3 rhythms, etc.). The two trios are also added to them, and Chant

d'amour II/15 also includes the statue theme in trombone (thus reaching five

musical layers).

The main idea that comes out is that, as in life, what defines the character

(person) is its evolution, relation to time, and interaction with other similar

structures (socialization, communion with peers).

Aurel Stroe, son of a physician, which made him even more familiar with

the evolution (and pathology) of the living body, in the complex human context

(the organic, vegetative aspect being in this case influenced/stimulated/staggered

by mental, emotional, existential structures) achieved, in his composition process:

– characters as structures

– characters as tuning systems

– characters as musical/cultural paradigms.

When music reflects the relations, evolution/involution of certain

structures comparable to characters, the result is morphogenetic music, as for

instance Sonata I for piano, This will not win the Nobel Prize opera, Concerto

for clarinet, Orestia I, II, III operas. Whereas sound discourse is built to

highlight the compatibilities, incompatibilities, and especially the

incommensurability of certain tuning systems, systems that may thus be seen as

characters of becoming, confrontation or consensus, the result is the

composition with several tuning systems, as for example the works Garden of

Structures, Orestia II, Capricci and ragas, Ciaccona con alcune licenze.

Whereas musical characters are sound figures-characters with a predominantly

random "lifestyle", subjected to the moment and impulses, the result is

represented by mobiles, a mobile being “a reservoir of very different sound

figures that each musician executes in a free sequence” (Arzoiu, 2002)

In Ștefan Niculescu’s work, the idea of musical character (an expression

in line with the art and meaning perspective being the character/person in the

life called music) may be conceived in the contexts of

– heterophony,

– timbre, timber/color being comparable to the personality/psyche of

musical character.

In the case of heterophony, different hypostases-melodies of the main

melody/model overlap, heterophony also serving the revelation of inner

emotions, the dimensions of the concept of melody. Thus, it may be considered

in this context that melody is a character with memory, as it includes

polyphony/stratification of several psychological times, several

mental/emotional realities, a common idea of many composers, including

Messiaen and Stroe.


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Messiaen heard colors (just as, necessarily and naturally, many

violonists/strings players hear and feel segments, as on the reception of a

musical range, most often before becoming aware of it and before naming it,

spatial and tactile sensations are activated on the string) so in the Traité de

rythme, couleur et d'ornithologie, with the mathematical precision of poetic

truth, the presence of energy-colors is described. Color sensitivity, timbre-

related preoccupations (necessary concerns, for example in its consistent

rhythmic stratifications, as only the timbre of each layer allows the vital

delimitation/clarification/separation/contouring), and treatment on musical

characters may lead to the idea that timbre, and ultimately color, is the

personality of the character.

By explaining and objectifying himself, Niculescu explains Messiaen,

thus revealing deep, unifying aspects of disparities, even of opposites. The

main ideas of Niculescu's plea-mathematical demonstration are:

○ color is intrinsic to reality, timbre is intrinsic to any sound

manifestation;

○ totally different aspects of manifestation actually rely on the same

principle, i.e. the vibration principle;

○ (musical) color is a determinant (and not a resulting) factor of music;

○ color and time cannot be separated, (the latter idea bringing a new

motivation to Messiaen's preoccupation with time).

We reproduce Niculescu's ideas “Our consciousness senses the color of

objects in a way similar to the sensing of the timbre of sounds, color seems to

be a kind of garment for objects, just as timbre appears to be the cover of

objects; objects cannot be seen in the absence of color (light), just as sounds

cannot be heard in the absence of timbre; both colors and sounds are the result

of vibrations [...], which are placed at different levels in the huge scale

universal waves and which display the same absolute arithmetic continuity. [...]

The quality of sound to which color-timbre relates depends on the complex

synthesis of the other three qualities: pitch, intensity and duration [...]. Color

and musical construction must be conceived simultaneously. If the range is the

fundamental element of music, then this range must be a “total” range, i.e. the

one separating pitches (of the fundamental and harmonics), intensities (of the

fundamental and harmonics) and the duration of two sounds, and thus any

timbres. Music must be constructed with such “total” ranges in which color

penetrates as constituent element. If timbre is a function with several variables,

including duration, then it is not possible to separate color from rhythm”

(Niculescu, 1980, p. 256).

The idea of musical character thus gains consistency, this character

having personality/timbre and life with rhythm in time.

Roman Vlad works with emblematic characters, musical cells

comparable to mythical, biblical and archaic heroes, characters defined by

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precise, clear, integrative features in a multitude of contexts. An example is

reverse chromaticism (often also present in Messiaen’s work, both in his

creations and in his theories of creation, and this from the very beginning in the

Technique de mon langage musical), which is both mathematically precise and

artistically inspired, and generates a dodecaphonic series defining a section of

the Cantata for mixed choir and orchestra Le ciel est vide.

The series is:

S= (do#, fa, ti flat, fa#, do, re#, ti, la flat, re, mi, la, so).

We will show that this series is deduced from the generating cell

determined by a reverse chromaticism that is enharmonic with a diminished

third with resolution. If the notes are assigned index numbers from the

ascending order of the chromatic total, S becomes

2 6 11 7 1 4 12 9 3 5 10 8.

The differences between successive terms of this string of numbers are:

2 6 11 7 1 4 12 9 3 5 10 8

4 -4 3 -3 2 -2

Considering the pairs of differences with the same module, namely (4, -

4), (3, -3), (2, -2), there results a decomposition of the series of numbers into

three groups, groups corresponding to 3 sets of notes:

do# fa sib fa#

do re# si lab

re mi la sol

The columns in this matrix are variants, permutations of the generating

cell transpositions determined by the first column. By marking the cell 3do (do,

do#, re), it results that the S series is latent polyphony of the cells 3do, 3re#, 3la,

3fa#. As one may notice, the "cellular" plan (paraphrase of the notion of modal

plan) is determined by the arpeggio of the reduced seventh tuning do, re#, fa#,

la.

This attempt to understand the compositional mechanism has given us

the joy of discovering one of the hypostases of the elegance/beauty of

mathematical thinking, the hyperlucidity enhanced by living semantic,

emotional/status and communication needs. Vice versa, the apparent freedom

or transience of musical discourse (willfully suggesting chaos reflecting the

anxious quest for essentials) is actually generated by deep plans with full

source-like clarity. Analogously, in life, what seems to be just about feeling,

state or emotion is often deeply motivated and is related to psychoanalysis and

precision of the unconscious, a veil of complete primordial and apparently

impenetrable darkness, but having light/Light at its core, the root of vital,

mental and emotional processes. Thus, this approach of Roman Vlad may be

regarded as a reference for the unconscious of musical character, which,

according to the suggestions above, as it proves to have personality, life rhythm

and social (musical) interaction, is actually a musical person.


214

3. Number-composition character

Life around us, which, although we do not always understand, we believe

we know, is at the same time complex and organically varied (revealing,

through its organization and coherence, the Creator’s determinations, rhythm,

thought and hand, and suggesting, when it exceeds our limitations, either

infinity or chaos) and it is extremely precise, the number being one of its

simplest landmarks. In a necessary and analogous, though seemingly

paradoxical manner, we find the number as an amazing instrument in the

composers concerned (and not only), a true composition character. Although

“our” composers’ musical ideas and emotional states have to do with abyss and

the Infinity Heavens, the numbers used are generally figures, the operations

with which are, in general, pedal repetition (prime numbers are mostly chosen

for the length/mathematical cardinal of pedals; for pedal overlays it is often

preferred that the pedal lengths be prime numbers between them), addition

and subtraction to rhythmic transpositions and processes, permutation and,

last but not least, elimination (elimination may also be considered a

developmental technique, the essentialization intrinsic to elimination being

development. We find this in concrete reality, especially in the context of

spiritualization efforts).

The sharpness of perception, the character of motivations for

composition struggles, the need of essentializing and reaching the big infinity

through the small infinity of the revealing detail, brought Messiaen into

tangency and dialogue with the Hindu universe. The Indian starts by breathing,

taking heart beats as a unit of measurement. He reaches awareness and

construction of rhythms as fine as filigree, the number actually being the pulse

of order (initiatory order in most cases) in seemingly free and improvised

music. Having its starting point in the heartbeat, the devoted Indian’s rhythm

opens to seemingly infinite yet overwhelming Time, time in quartet with Life,

Death and God.

The number in rhythmic context leads to pedals in Messiaen’s work,

rhythmic characters with durations virtually close to the unimaginable in the

context of measure, with limit evolutions in sensitivity and

compositional/musical communication, evolutions consisting of

– augmentations

– diminutions

– stratifications / simultaneities of variants

– spaced out entries

– recurrences, concatenations, juxtapositions.

We notice that a symmetrical rhythm (juxtaposition of rhythm with its

recurrence) advances and reinforces, along with the idea of development

through elimination, the complementarity of opposites, the passage beyond

linear binary thinking.

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From the intonation point of view, numbers reflect in the first stage how

many semitones a range contains1, the spontaneity of the approach involving

the range-number association, and ideas such as:

– the determination of 5 (the perfect ascending fourth)

– the sensitivity of 1 (minor second)

– the tension of 6 (augmented fourth)

– the dramatic nature of 11 (major seventh).

The approach proves, once again, the consubstantiality of music and

mathematics, mathematical operations with numbers-ranges describing

perfectly musical operations with ranges-numbers. Anatol Vieru, in his Book of

Modes, utters in axiomatic style a theory of ranges and modes and reaches an

exhaustive musical treatment by mathematical approach.

An example of unexpected efficiency through almost static

compositional-mathematical gesture is Vieru's idea of monody of periodicities:

each number is assigned a sound, the respective sound being present every time

the corresponding number is involved. Vieru breaks down into primitive

factors, assigns these prime factors to sounds, sounds that are present every

time multiples of powers of the corresponding number come in.

4. Time

Time, seen through the magnifier of small infinity with the help of the

rhythms defined by the poetry of numbers, is a theme/character at the heart of

Messiaen's musical, poetical, philosophical and theological thinking. His

creation contains:

– catastrophically long phrases (“hard” time, contemplation time, etc.),

– overlapping cosmos/chaos (precipitated time of questions, anxiety, the

time of all consciousness),

– transformations of rhythm in which the identical-different distinction

becomes problematic, and so on.

Aurel Stroe expressed his time-related ideas by referring in his creation:

– to time integrated in memory, identity

– to time reflected in the evolution/catastrophic evolution of a structure,

morphogenetic music becoming a necessity.

In the sphere of memory there is the work entitled In our dreams we

unravel overlapping times dwells on time-memory and superposes three layers

of music, each layer corresponding to childhood memories: for clarinet,

folklore heard in childhood and “transfigured by memories and dreams”

1 Debutant guitar players naturally speak of mi11, ti5, re7, la4, most of them only contenting

themselves with number references in a musical context and not using la4=do# musical

definition. Without suspecting it, they penetrate in the world of musical expressivity of

numbers, as for them a song is a sequence of numbers.


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(Sandu-Dediu, 2002, p. 140), for piano, studies evoking Hanon's exercises, for

cello, a childhood composition called Sunset. A general conclusion is that time

in the context of memory makes it necessary for the presence of polyphony, of

stratification, so that central techniques are also found in Messiaen’s creation.

God is the end of Time. Thus, initially used in Stroe’s work as

background/framework for organic development, a development with inherent

catastrophes that later reveal their role/effect of leaps/stages of evolution, the

concept of time helps to coagulate some creations aimed at paradox,

perception/thinking limit, controlled/liberating/clarifying/revelatory effect fight

for Understanding, Truth, examples of such works being the Concerto for

clarinet, and the Orestia I, II, III operas. Stroe also makes direct references to

the revelatory dilemma, to the fight of the work of art and of the impossible

symbolized/expressed by it with the listener’s conscience, a fight that accounts

for the ethos present in most of Stroe’s creations. This fight is featured by

Stroe, the proof being the choice of the motto to his paper defining and

describing morphogenetic music: "our contemplation turns into a permanent

struggle with Goya’s paintings and with ourselves, because in the face of what

we see we do not know what to think, if it is good or bad, if the significance is

somehow or exactly the opposite" (Ortega y Gasset, 1972, p. 385).

As concerns time, Niculescu brings forward two essential concepts, with

an exhaustive axiomatic character, namely simultaneity and successiveness.

Successiveness features the triad rarefaction-detail-agglomeration, Messaien’s

long phrases illustrating the dyad detail-rarefaction, stratifications, the concept

of agglomeration. Simultaneity has stratification as a major representative.

Niculescu's heterophony is stratification of variants, variants that when

arranged in succession, not simultaneously, would build Messiaen pedals,

pedals with infinitesimal variations.

The dilatation of time, with a psychological effect of suspending it, also

implies (and is involved by) the perception of the complexity of simplicity. The

result is the contemplation of sound, sounds-long pedals (Messiaen’s Quatuor

pour la fin du Temps, Niculescu’s Unisonos I, II) becoming the center of the

inner space of music, a space that actually corresponds to the inner space of the

listener, of the one becoming aware of it and of oneself.

This sound awareness corresponds to the description/rendering of things

perceived/revealed, the “complexification of sound”, the presence of blocks, of

layers being often assimilated by both composers of a single sound/sound

object.

In the sound-center register we find the idea of sound-foundation, of

accompaniment. Comparable to essentialized melody, on necessary and

sufficient sound, accompaniment is primarily a reference of the sound space

determined by a melody. At the psycho-musical level, its seemingly steady

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state leaves room for the awareness of the dynamism of the inner universe,

possibly of its tensions, dissonances.

5. Repetition

Accompaniment is a continuous perspective of the discrete contribution

of repetition/pedal (terminology in mathematics, where the points in the set of

natural numbers give the discrete appearance, and the points of the whole axis

give the continuous appearance). Repetition, in line with the high/consistent

quests of our composers, appears in many initiatory traditions as an effective

multi-purpose tool. Taken by Messiaen (and not only by him) from nature

(song of birds), it is present in his creation especially in the form of the pedal

(rhythmic, melodic, harmonic). There are situations in which the progress in

time of a pedal stratification of different lengths (generally prime numbers

between themselves, in order to highlight all the combinations of

simultaneities, each constituent being connected to all the constituents of the

other pedals), although it consists of resumption/repetition and progresses

semantically towards the full opening of consciousness to infinity both simple

and complex, helps to increase the concrete, technically musical diversity. In

the Turangalîla symphony, in Part One, Introduction/12, we find a 14-chord

pedal built on a rhythmic pedal with 4 durations at the generator rhythm and a

13-chord pedal built on a rhythmic pedal with 6 durations in the generating

rhythm. In Part Nine, Turangalîla III, there are 5 complex overlapping pedals,

the number of chords and durations being shown in the table below.

chords durations

13

10

9

14

8

9

2

6

9

6

Table 1 Messiaen, Turangalîla, Part Nine

The 5 overlapping harmonic pedals

Pause gains special importance and one may notice several of its

hypostases. There are pauses interrupting rhythmical pedals, and where these

pauses occur periodically, one may consider that a pedal of pauses is

interjected.

In Aurel Stroe’s creation, repetition occurs in the context of mobiles (for

example, in the Concerto for Saxophone and Orchestra, "Prairie, prières", Part

One, ...des formes naissent dans un milieu homogene, "Multimobile"), whereas

Anatol Vieru expresses it by monodies of periodicity, screens, loops. We


218

would also like to point out that the persistent repetition (mechanical or not) of

a word, of an onomatopoeia occurs in everyday life in serious

psychological/mental/relational situations, so that Aurel Stroe and Liviu

Glodeanu employ such stratified pedals in Orestia and Zamolxis, respectively.

6. Conclusions

We tackled the concepts/categories of musical character, number,

time/Time and repetition in the works of several composers, namely Olivier

Messiaen, Aurel Stroe, Ștefan Niculescu, Anatol Vieru, Roman Vlad. Beyond

them, at the base, though seemingly in the background, non-

quantifiable/arguable, yet bringing about coherence and authenticity, one finds

forceful ideas, ideas that motivate and define. Here are a few of the main ones,

which are specific to all composers:

– the artistic effort, vertically searching for the Ultimate, expresses both

the essence and the transient, the vulnerable, the harsh proximity;

– the paradox, sometimes the absurd or negation, are necessary elements

for clarification, for limitlessness;

– emotion as the living source of (compositional) struggle, is expressed

most effectively via hyperlucidity through structure.

Weather prone to artistic inclinations or not, every man sees, wonders,

experiences inner struggles that seemingly/though invading his life, enrich it,

make him feel alive and immortal. Through art, man's problems, their solution,

the unspoken in him, find a possible (and, if inspired, successful) attempt to

express themselves.

Life, the ultimate art, is what lies both bellow and above, being at the

same time the core. Thus life itself is first and foremost in art and meaning: “So

live life until you pass,/ All that suffering amass,/ And you’ll hear the growing

grass.” (Eminescu, Vainly in those dusty classrooms)

Art and meaning, "and mystery its meaning half unveil" (Eminescu, The

years have passed), in an ideal, inspired case, have their correspondence in the

touch of sensitivity and complete communication/communion, essential

knowledge/Logos whisper. Man, in addition to his mundane preoccupations

(not random in essence), and due to his sensitivity, openness, on the one hand,

and to his understanding, structuring, hyperlucidity, on the other, feels

completely fulfilled in God: “I shall hear God’s voice in me” (Psalm 84.8)

References

Arzoiu, R. (2002). Aurel Stroe-70 de ani [Aurel Stroe-70 years]. Muzica, 3, București.

Eminescu, M. (2005). Poezii [Poems]. București: Editura EXIGENT.

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219

Grigoriu, Th. (1989). Olivier Messiaen la 80 de ani [Olivier Messiaen – 80 years].

Muzica, 3, 19-25.

Messiaen, O. (1994-2002). Traité de rythme, de couleur et d’ornithologie. Paris:

Leduc.

Niculescu, Șt. (1980). Reflecții despre muzică [Reflections on music]. București:

Editura Muzicală.

Ortega y Gasset, J. (1972). Velasquez, Goya. București: Editura Meridiane.

Sandu-Dediu, V. (2002). Muzica românească între 1944-2000 [Romanian music


Vieru, A. (1980). Cartea modurilor [The Book of Modes]. București: Editura

Muzicală.


220

Aurel Stroe – Ten Years of Eternity

(2008-2018)

PETRUȚA-MARIA COROIU “Transilvania” University of Brasov

ROMANIA

Abstract: Ten years after he passed away, Aurel Stroe remains one of the most

valuable composers that Romania has offered to the world in the post-Enescu era.

Belonging to an area of novelty and extreme originality of composition and musical

thinking, Aurel Stroe was similarly neither understood nor appreciated enough

(especially at home) and only to limited extent sung and scheduled within symphonic

concerts and chamber music. But abroad, Aurel Stroe remains one of the most

performed Romanian composers of modern music. Ten years after his passing away,

we will attempt to create an overall view of his musical creations, and the inheritance

of his composition thinking.

Keywords: composition, modernity, value, symphony, meaning.

1. Introduction

Although his musical creation covers almost all known genres in the

history of music for this period of time, his music is difficult to interpret and

understand, supposing a metaphysical education beyond the usual level

required for understanding music in general. Perhaps precisely due to that, also

during his lifetime, he was performed only with a work from the beginning of

his career (that did not represent him in an obvious manner) within the greatest

Romanian musical festival that bears the name of George Enescu.

After his passing away, the activity of interpreting his work was

supported by the same groups of people, musicians and organisers who also

supported it during the lifetime of the master. The relatively recent

interpretation of the concert for accordion and orchestra in Bucharest remains

an emblematical one (soloist Fernando Mihalache).

2. Aurel Stroe – The concerts (1990-2001), main aesthetical ideas

His creation includes a large variety of musical genres, represented by

masterpieces. For the opera genre, we mention remarkable creations, such as:

Asta nu va primi Premiul Nobel (This will not be awarded the Nobel Prize)

(1969 – opera in three acts, on the libretto of Paul Sterian), Pacea [Peace] by

Aristophanes (1973 – opera in three acts), Trilogia Cetății Închise [Trilogy of

the Closed Citadel] (1973-1988 on the libretto, according to Aeschylus, having

[email protected]

DOI: 10.2478/ajm-2019-0011

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three parts: Agamemnon/ Oresteia I (1973), Choephoroi/ Oresteia II (1983)

and Eumenides/ Oresteia III (1988), World Council (1987 – chamber opera in

two acts, by the writings of Vladimir Soloviev) and Copilul și diavolul [The

Child and the devil] (1989 – opera on texts by Maria Țvetaeva in 5 scenes).

Theatre music: Music for “Oedipus at Colonus” (1963 – stage music for the

play of Sophocles), Rituelle Handlung ohne Gegenstand (1967 – music for

dancers).

Vocal-symphonic music is represented among his creations by works of

remarkable value: Cantata festivă [Festal Cantata] (1957 – for mixed choir and

orchestra, lyrics by Pablo Neruda), Chipul păcii [The Face of Peace] (1959 –

chamber cantata for mezzo-soprano, mixed choir and small orchestra with

lyrics by Paul Eluard), Țării mele [To My Country] (1959 – cantata for mixed

choir and orchestra with lyrics by Victor Tulbure), Monumentum I (1961 –

poem for men‟s choir and orchestra with lyrics by Nichita Stanescu), Numai

prin timp timpul poate fi cucerit [Only through time can time be conquered]

(1965 – poem for baritone, organ, 4 trombones and gongs, with lyrics by T.S.

Eliot), Missa puerorum (1983 – for children‟s choir, organ and eight

instruments).

Symphonic music is very well-represented among his creations, the

master Aurel Stroe being a symphonist of European scope. The earliest of his

creations is not very representatitve of what master Aurel Stroe was to

compose at the age of maturity (Scherzo simfonic [Symphonic Scherzo] –

1951, Simfonia pentru orchestră mare [Symphony for grand orchestra] – 1954,

Uvertura burlescă [Burlesque Ouverture] – 1961, Arcade [Archways] – 1962,

Laude I [Praises I] – 1966, Canto I – 1967, Laude II [Praises II] – 1968, Canto

II – 1971, Simfonia – 1973, Accords et Comptines – 1988), because, in

maturity, the change in creations presents the largest range of concepts and

European musical scope: Ciaccona con alcune licenze – 1995, Preludii lirice

[Lyrical Preludes] – 1999, Mandala cu o polifonie de Antonio Lotti [Mandala

with a polyphony by Antonio Lotti] – 2000.

The same situation can be also recognised with respect to concertante

music, marked by significant masterpieces, in the case of placing some

instruments, without a concertante tradition, in a soloist stand (which implies

an exceptional originality level): Concert for string orchestra (1950, revised in

1956), Concert music for piano, brass and percussion (1965), Concert for

clarinet and orchestra (1975), Concert for violin and orchestra “Capricci and

Ragas” (1990), Concert for saxophone and orchestra “Prairie, Prière”

(1994), Concert for accordion and orchestra (2001), and Concertante

symphony for percussion and grand orchestra (1996).

Chamber music is another field in which Aurel Stroe shone in the

brightest way possible, creating works or series of works left in the history of

Romanian musical art: Carols for piano (1947), Ballad for piano (1948), Trio


222

for oboe, clarinet and bassoon (1953), Sonata no. 1 'Morphogenetic' for piano

(1955), Fragment from a sound process (1969), În vis desfacem timpurile

suprapuse [In our dreams we undo overlapping times] (1970), String Quartet

in A Major (1972), Grădina structurilor I [The Garden of Structures I] (1974),

Ten pastoral works for organ and hapsichord (1979), Sonata no. 2

'Thermodynamic' for piano (1983), Anamorfoze canonice [Canonical

Anamorphoses] (1984), Sonata no. 3 'en palimpseste' for piano (1992), and

Mozart sound introspection (1994).

Choir and vocal music is represented by choirs and series of lieds, and

electronic music is a field in which the master Aurel Stroe holds a pioneering

role in the history of universal music for his practices used in works composed

in the United States of America. Musicological writings are deep and original,

although short; his thinking horizon and system can be analysed, especially

through the concepts that are launched and used in his sound creation.

One of his deepest and most original concepts is the analysis of ways in

which time is exposed within his musical opera: for instance, we render the

situation in a work entitled În vis desfacem timpurile suprapuse [In our dreams

we undo overlapping times]. The work musicalises a concept of the French

philosopher Bachelard, who in his Dialectic of Duration launches the concept

of a discontinuous time ˮthe string of time is full of knots”), placed at a sound

level by the co-existence of three musical works different in terms of

expression, colour and dynamics, which unfold independently (but not at

random), synchronised by time-keeping (devoted to the clarinet, cello,

hapsichord and piano – 1970) (Bughici, 1980, pp. 15-16), creating an original

counterpoint. The three levels render, at a sound level, three disparate

memories from childhood:

– the folklore phenomenon perceived in childhood (transfigured in

memories or dreams), represented by the presence of the clarinet, that

interprets fragments close to folklore melos, of approximately 20 seconds each;

– childhood studies, that contrasted with a desire to play, represented by

the presence of the piano and the hapsichord, which interpret 12 segments sung

alternatively (reminding of study exercises for an instrument);

– a composition from childhood years – Apus de soare [Sunset], re-written

by memory, represented by the level of the cello, that interprets a continuous

and descending variation of some strict and free sequences.

This is not the only work in which the theme of time and its ways of

transforming and transfiguring are approached; presenting some of them:

Oresteia II (1983), Numai prin timp timpul poate fi cucerit [Only through time

can time be conquered] (1965 – poem for baritone, organ, four trombones and

gongs, with lyrics by T.S. Eliot); Ciaccona con alcune licenze – 1995;

Mandala with a poliphony by Antonio Lotti – 2000; Concert for violin and

orchestra “Capricci and Ragas” (1990); Concert for saxophone and orchestra

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“Prairie, Prière” (1994); Concert for accordion and orchestra (2001); Sonata

no. 1 'Morphogenetic' for piano (1955); Sonata no. 2 'Thermodynamic' for

piano (1983); and Sonata no. 3 'en palimpseste' for piano (1992).

The musicological work we now forward through these words contains

the analytical effort oriented towards the most important ideas of the last three

concertos composed by Aurel Stroe (chronologically situated in the composer‟s

last decade of creation, testimonies of the newest conceptions launched by

him). Proof of his compositional maturity, the three concertos belong to the

same musical genre, even if the Concerto dedicated to the saxophone has a

more likely dramaturgic profile which resemble more to a concerting-

symphony than to a concerto.

As well, the fact that they belong to this last years of the composer‟s life

makes these three concertos be the proof of a syntheses specific to the

completing of a career, syntheses that has resonances in a spiritual dimension

difficult to evaluate and to assimilate. That is why it has been imposed the

configuring of the dramaturgy of the musical discourse, an internal ideal

procession developed in the frame of the comprehensive reality of the

personality of the one who carries the responsibility of creating.

The last three concertos from the Aurel Stroe‟s creation were composed

between 1990 and 2001: the Concerto for violin solo and soloists ensemble, the

Concerto for saxophone and grand orchestra and the Concerto for accordion

and soloists ensemble. These works can provide a unitary view on the stylistic

characteristics of Aurel Stroe‟s symphonic thinking.

Fig. 1 Aurel Stroe, Concerto for violin and soloists ensemble (Paganiniana I)


224

The Concerto for violin and soloists ensemble is the first one in the

works belonging to the genre analyzed in this work; it has been finalized in

Mannheim, at 11 July 1990, being the first one from the series which we will

analyze in this work which includes the last three concerting works of Aurel

Stroe. Just from the beginning one can notice the structuring of the concerto in

six movements which through the grouping suggested by their alternation, they

constitute in fact three sonorous beings with a double meaning: “Paganiniana”

şi “Ecoute fine”.

The main problem in this concerto is its esthetic, stylistic, spiritual

resistance, at the pressures imposed by the vicinity of some incommensurable

terms, in a work with many cultural paradigms (the European one, represented

in the violinist patrimony by Paganini‟s “Caprices”, and in the oriental one –

embodied by ragas, performed at some “exotic instruments”). We consider that

the consequences at the sonorous level are impressive, being observed

processes of intercontamination between the two spheres of values, which

leads in the final part of the concerto toward its stylistic collapse.

The Concerto for saxophone and grand orchestra “Prairie, priers”

represents the expression of a new vision on the symphonic thinking with a

concerting specific in the musical frame of the XXth century. The inauguration

of this original conception was produced in the same time with the emergence

of the Concerto for clarinet and orchestra, which modifies the main developing

coordinates of the instrumental discourse with orchestral accompaniment.

The author mentioned that it is a concerting symphony for saxophone and

grand orchestra. The Concerto is impressive through its technique and stylistic

way of artistic realization, and most of all through the intimate atmosphere that

it induces and which is sonorous externalized. The concert sonorously

transposes the individual expressive paroxysm, brutally estranged of his usual

condition, through a non-evolving discourse, which surprises the listener by his

position outside the symphonic XXth century customs.

The first movement of the Concerto (entitled “… des forms naissent dans

un milieu homogene.....”) contain the following programmatic sections:

Multimobile – Prairie 1 – La Carnaval d‟Arlequin – Prairie 2 (fact that entitle

us to have analytical micro-sections dedicated to the intercontextuality,

polyphony and the superpostional complexity, as well as on the manieristic

symbols).

The second section represents the re-exposition “through rarifying”

(reprise par rarefaction) of the Multimobil (in the hypostasis of a phenomenon

of degradation of the musical discourse), and the last three parts are organized

on a superior level of instrumental expressivity: “Ascension vers une melodie

lontaine” (the sonorous metaphor of the composer‟s spiritual ideal), then “Un

reste non assimile: Ondine” (where appears the stylistic dissolution, the

disconcert of thinking, the destabilizing of the superficial/apparent equilibrium)

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and a last “Un dernier reste” (the ending of an open opera, whose last part is in

fact the moment of a continuous semantic communication, the break between

levels, between the objective and the semantic levels).

The Concerto for accordion and orchestra is a state order and it is

dedicated to an soloist instrument with a insignificant concert tradition,

especially in the main appearance: the accordion, having as a accompanying

gesture of an ensemble of soloists. Forwarded by the word of the French writer

Francis Ponge, (“... entre le glorieux et le bizzare, une certaine proportion...”),

the concert illustrates the catastrophical morphogenetic moment – the time of

confession which remains – always-unrevealed.

Fig. 2 Aurel Stroe, Concerto for accordion and orchestra (sound object)

This is the expressive enigma of the rupture to which Aurel Stroe has

appealed so often. The first movement, (“Cinq petits chorals (et une invention)

en hommage pour Erik Satie”), permits us the outlining of a compendium of

the types of the harmonic disposal, integrated in the miniature musical forms

(with special references regarding the evolution of the concepts of

“consonance” and “dissonance”, the harmonic archetype importance and to the

structural consequences of the interruption of the chorals by the invention).

The other movements of the Concerto are “Fugue dissipative” (which

illustrates the morphogenetic break from the structural level of the work) and

“Accord-Matrice” (the harmonic synthesis of the stylistic archetype of the work)

and “Multimobile et Boucles”.


226

Fig. 3 Aurel Stroe, Concerto for accordion and orchestra (accord-matrice)

Our musicological approach has been facilitated by the permanent

contact in the last ten years established with the author, one of the most

important creators of the Romanian culture in the XXth century; more than a

mere composer, Aurel Stroe is a thinker free of his own thoughts, a musician

free of his own personality; the phenomenon can have severe consequences in

the ulterior performance of the art of another culture creator; the conceptual

brakes, free from the strict control of the creative consciousness – could

crumble the construction which support a major act, with multiple artistic

resonances.

As we can see, the programmatic dimension of Aurel Stroe's music is

present, being the composer who sees ideas, materializing ideas in his music

under the most diverse names: “Peter Kivy claims that there is a clear

opposition between „absolute music‟ and programme music and between

musical form and musical expressiveness. But much music falls somewhere

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227

between absolute and programme music […] and that such music is often

primarily organized not on purely formal principles but by means of the overall

expressive trajectory or poetic idea of the piece” (Robinson, 2015, pp. 23).

3. Conclusion “His music was not just a symptom of our time (like other genius works),

it was also an examination and a critique of her, a cry out of the very

disintegration of the traditional musical ontology. [...] Aurel Stroe was highly

educated not only in music, but also in sciences. In his courses, the references

in mathematics and physics were not rare, and the philosophical framing of the

themes he had was obligatory. He did not use these ornamental references, but

with a cognitive, exploratory purpose. In his lectures, the world became a

world, and well-tempered culture and sensitivity were the normal way of

access. This formidable intelligence was, must be said, engaged. Engaged in

ethics, in character, in the belief that the ultimate justification of the world is

not at all aesthetic but ethical and religious.” (Patapievici, 2008)

Fig. 4 Centrul cultural Aurel Stroe din Busteni, Jud. Prahova, Romania

There can be thus sketched the general coordinates of an entire typology

of sceneries which animate, in an unique way, each work of art. We can

establish, in the end, which are the most used means of transferring in music

the composer‟s inner universe, through these it could become communicable.

The goal of our studies is the strictly compositional travail only as it supports

the superior, spiritual level of an opera.

Aurel Stroe remains, in the ten years since his passing to the eternal

life, one of the most valuable composers that Romania offered to the world in

the Enescian post-generation. Enrolling in an area of novelty and extreme


228

originality of compositional and musical thinking, Aurel Stroe was equally

unintelligible and unappreciated, rather unappreciated (more at home),

insufficient scheduled in concerts or chamber recitals.

Outside the country's borders, Aurel Stroe remains one of the most

loved and sophisticated Romanian authors of modern music. Ten years after its

passing to the eternal, we still try to create an overall picture of his musical

heritage, of his creation and of his componential thinking.

References

Bughici, D. (1980). Particularități ale formelor muzicale, II [Particularities of musical

forms]. Muzica, 2, București.

Patapievici, H. R. (2008). O inteligență angajată [A committed intelligence], retrieved

from https://evz.ro/patapievici-o-inteligenta-angajata-823406.html

Robinson, G. (2015). Yet Again, Between Absolute and Programme Music. In The

British Journal of Aesthetics, 55, 1, 19-37. Oxford University Press.

https://evz.ro/patapievici-o-inteligenta-angajata-823406.html

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Sound Banks – a Priceless Aid

in Contemporary Music Writing

CĂTĂLIN RĂSVAN National University of Music Bucharest

ROMANIA

Abstract: Sound banks are collections of sound samples from musical instruments of

the symphonic orchestra, traditional instruments from various areas of the world and

sounds of virtual devices, such as synthesizers, which are increasingly present in

contemporary musical creations. Sound banks are loaded in a device called sampler,

which can edit and play them. The article describes analog and especially virtual

samplers, complex devices that can store or play sounds from specific libraries of

sound banks. It also defines and catalogs the main types of digital virtual instruments

(that include traditional symphonic orchestra instruments, ones with modern electronic

instruments/percussion instruments, and ethnic collections for various geographic

areas. Our research on digital applications used in music writing relies on 20 years of

experience. Currently, applications are valuable tools for composers and musicians,

and for everyone in the contemporary music industry. In 2006, I created the first

collection of sound banks made in Romania "The Essence of Panflute", library

containing sound samples 583, grouped in 33 virtual instruments. This is the most

complex virtual version of the Romanian pan flute, played by the renowned Cătălin

Tîrcolea. The library is designed and edited by Cătălin Răsvan, for the company S.C.

Canira Music Internațional. This collection of sound banks presents in minute detail

the laborious process of recording and editing this virtual library. "The Essence of

Panflute" has seen international acclaim, is distributed by the German company Best

Service, one of the major companies in the world, was reviewed in the most

prestigious magazine in this field, Sound on Sound, and has opened the door for

current/future creators of music. We hope that it is only the beginning for our work in

the research and development of digital virtual sound, which is a special category for

the instruments in our country.

Keywords: Sound banks, digital techniques, virtual instruments, sound samples,

distinct category.

1. Introduction

Sound banks are collections of sound samples (sound files) that can be

loaded and played by a device called sampler1.

[email protected]

1 A sampler is an electronic musical instrument, having its own RAM and containing multiple recordings

(samples) of different sounds for musical instruments;

https://en.wikipedia.org/wiki/Sampler_(musical_instrument)

DOI: 10.2478/ajm-2019-0012


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The file is a digital recording of both sounds produced by electronic

musical instruments and of natural sounds. The most know sound file formats

are Wav fille (on PC) and AIF (on MAC). There are compressed audio files

(.mp3), which lack in quality compared to uncompressed ones. For each sound

in the range of a musical instrument, a sound file is included. These files,

loaded in the sampler are laid out so that each key corresponds in frequency

with the sound that is recorded and stored in the collection. For instance, the

file with the sound having the frequency C3 (Do 3, 130.81 Hz2), will be placed

on the key for C3.

By definition, the sampler is an electronic musical instrument that can

store, play and edit sound samples, organized by certain criteria. The sampler is

a useful device for musical creation, and it can use sound banks. It allows the

sounds included in sound libraries to be created, stored, organized and used.

There are two types of sampler: Hardware and Software. A hardware sampler

is an actual device that has its own RAM, while the software one is a computer

simulation of the actual device. Currently it can be said that there is no

difference in quality between the two, considering the development of

computers. By its design, the sampler can have an infinity of sounds, which

makes it next to indispensable for a modern composition. The best known

hardware samplers were (QASAR M8 – Fairlight Instruments, Fairlight – CMI,

Emulator I,II and III manufactured by E-mu Systems, Roland SP808, Roland

SP-505, Roland SP-303, Roland SP-202 – Roland, Mirage – Ensoniq, Korg

and Kurzweil), Akai series S and Z, and software samplers (Giga Sampler,

Giga Studio – Nemesys, HALion – Steinberg, Media Technologies GmbH,

KONTAKT – Native Instruments GmbH, Sample tank – IK Multimedia.

Software samplers have the advantage of running on a computer. Modern

computers include strong processors, a lot of RAM and hard drives with

extensive data storage capacity, allowing sampler software to run as well or

even better than hardware samplers. This has been achieved in time, as

computer technology has grown exponentially.

The sound banks that are made to be used in a sampler are divided into

several categories. The largest category includes collection of instruments from

the symphonic orchestra. Many companies have released products that are

representative for this category, because such products are preferred by

soundtrack scoring composers, due to their timbral particulars, the versatility

and complexity of the component instruments, and are probably the most

widely used sound banks. Many companies have released such libraries, but

only some of them have become famous and appreciated worldwide. The best

known and most widely used are: Miroslav Philharmonik, Peter Siedlaczek

2 According to the site:

http://ro.wikipedia.org/wiki/%C3%8En%C4%83l%C8%9Bimea_sunetelor, accessed on 3.04.2018.

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Advanced Orchestra, Gary Garritan Personal Orchestra, Sonivox Complete

Symphonic Collection, The Vienna Symphonic Library, HALion Symphonic

Orchestra, E-MU´s Modern Symphonic Orchestra, MOTU Symphonic

Instrument (MSI), East West/Quantum Leap Symphonic Orchestra, 8 Dio

Adagio, Agitato and Adagietto, Cage Bundle or the renowned Orchestral Tools

with its products Berlin Brass, Berlin Woodwinds, Berlin Brass, and Berlin

Percussion.

Another important category consists of traditional instruments sound

banks. I would mention here, first of all ETHNO WORLD, created by

composer Marcel Barsotti, who has written the score for 80 motion pictures.

The library contains about 10 GB (14000 sound samples organized in 200

instruments, recorded under professional conditions). These are grouped in

bowed string instruments, plucked string instruments, keyboard instruments,

woodwinds, brass, percussion and vocal parts from various geographic zones.

The collection is accompanied by the sampler Kontakt Player, allowing each

instrument to be played in any tonality, using the Time Machine 2 technology.

The library includes an impressive number of instruments: Tibetan bells,

kantele (similar to a dulcimer), Irish flute, saron (a small percussive

instruments, with plates laid in a single row, similar to the xylophone), saz (a

plucked string instrument), santor (similar to the lute), military bass drum,

angklung (percussion instrument made of bamboo tubes), Egyptian violin,

erhu, gaohu (bowed string instruments), armonium, bouzouki (Greek plucked

string instrument), hulusi (a wind instrument), dung (telescopic wind

instrument (used in Tibetan sacred ceremonies), cajon (a string percussion

instrument), balaphone (percussion instrument similar to the portable

marimbaphone, without resonance cylinders), duduk (folk woodwind

instrument specific to the peoples of the Caucasus), dvojacka (a kind of twin

flute), hotchiku (a wind instrument made of bamboo), shakuhachi (a folk flute

specific to traditional Japanese music), fujara (a large whistle), Ciaramella (a

folk flute with double reed, similar to the zurna).

The library is released as VST 2.4, AAX and ASIO for Windows and

VST, Audio Units, AAX, Core Audio, for MAC. The collection Ethno World 5

also includes three of the 43 pan flute variants from the Romanian collection

The Essence of Panflute, released by S. C. Canira Music International S.R.L.,

which I coordinated as director. The proposal to include the two instruments in

the above-mentioned collection (which was an honor and a confirmation of the

product made by our company) came from the renowned German company

Best Service GMBH. Other libraries in this category I would like to mention

are Conexion Latina released by Future Loops, or the famous Heart of Asia

and Heart of Afrika released by Spectrasonics.

Another category of sound banks are percussion instruments. Most

companies in this industry have released such collections. The German Native


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Instruments GmbH has created a virtual instrument, Battery, which has reached

its version 4. It is a sampler specializing in percussion instruments. It includes

almost all categories of instruments, both natural and electronic, some coming

from famous digital drum machines. The percussion instrument kits are

organized in distinct categories.

The first category is called Acoustic Kits, and includes five kits: Full

Jazz Kit, Heavy Rock Kit – Multi Mic, Pop Kit, Rock Kit – Multi Mic and

Tight Kit. These are acoustic drum kits, recorded under professional

conditions, with sounds that are appropriate for jazz, rock and pop. The second

category, Production Kits, includes eight hybrid percussion instruments

obtained by combining electronic and acoustic instruments: Dragon Kit, Dub

Remix Kit, Elektro Acoustik Kit, GVA Kit, Hardkore Gothik Kit, Live

Scrapyard Kit, NuPop Kit and Studio Gong Kit. The third category, Percussion

Kits, includes five kits of percussion instruments that are specific to geographic

areas (Africa, Asia and South America): East Asian Kit, Marching Band Kit,

North Indian Kit, West African Kit and World Music Kit. The last two

categories, Synthetic Kits and Special Kits consist of electronic and

atmospheric percussion instruments and include the kits Glitch Kit, Mega

Synthetic Kit, Orgami Kit, Robati Kit, Sintheti Kit, Vrtrel Kit, Wooden Clog

Kit, Armageddon Kit, Berlin Headquarters Kit, Factory Kit, Microwave Kit,

Noise Kit and Prepared Percussion Kit. Due to the variety of its sounds,

Battery 4 is one of the most widely used collection of percussion instruments.

Another virtual percussion instrument, called STYLUS RMX ™ – REAL

TIME GROOVE MODULE202 release by Spectrasonics3 is considered one of

the most complex virtual rhythm modules. It runs on Windows and MAC, as

VST or AAX. Due to the technologies Groove Control™ and Advanced

Groove Engine (S.A.G.E.™), each of the included loops can be edited as audio file

(tempo, pitch, duration) in the host application. The virtual device includes 7 GB of

sound loops and can be expanded to 13 GB if the user acquires the five extensions:

BackBeat, Retro Funk, Liquid Grooves, Burning Grooves, Metamorphosis. The

musician can easily access each element of a loop included in the project using the

Slice Menu. This makes it possible to create new rhythms consisting of the

individual elements of a rhythm loop that is included with the module. Starting with

version 1.7 it includes a new technology, Time, allowing to change the time

signature of an audio loop. Worldwide, this is an innovation achieved by the hard

work of the engineers from Spectrasonics under the guidance of the manager, sound

designer Eric Persing. Due to the complex options for editing, fast workflow and

quality, this sound module is used by many artists, such as Pat Metheny Group,

Bjork, Peter Gabriel, Herbie Hancock, U2, Elton John, Pink, The Dave Matthews

Band and Shakira and many others.

3 http://www.spectrasonics.net/companyinfo/users.php, accessed on 29.03.2018.

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2. Personal Contribution in taking advantage of the Personal Performance

The Essence of Panflute is an ambitious project to create a new collection of sound

banks that contains the wondrous Romanian instrument – the pan flute – and it was

created 2006, making the most of the instrument’s expression possibilities. The

basic idea of the project was to capture the pan flute at exceptional quality, with

regard to both the studio equipment and the live performance by Cătălin Tîrcolea.

The musical production was designed and carried out entirely under my supervision

(together with my wife Nicoleta Răsvan) by S.C. Canira Music International S.R.L.,

in which I was the director. Personally, I handled the full design of the product, the

recording and editing of the sound material. The General MIDI bank that comes

with digital synthesizers includes a pan flute preset, but a connoisseur of the

instrument’s technical possibilities will never be satisfied with that one preset.

Knowing the market’s requirements and the limited offer for this, I got the idea of

achieving this difficult task. I was aware that hard and long work would follow, I

knew that all efforts would be worth it, because when the project was finished the

country’s reputation would stand to gain. None of the established sound bank

production companies had the idea to release a pan flute at the highest standards. It

is no small feat to complete an idea and end up with a quality product, made in

România.

Fig. 1 Front cover of the DVD for the collection “The Essence of Panflute”


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Fig. 2 Back cover DVD for the collection “The Essence of Panflute”

The first stage in the production process was the recording, which took

place using the German application Cubase, from January until the end of

February. This involved almost daily recordings and added up to hundreds of

hours of recording. The capture was done in a small, soundproof booth (4

square meters). For the stereo recording of the sound material, we used two

microphones (specializing in the high frequencies). These are the models C

3000B and C 4000 B of the German AKG. Over 3000 sound samples were

recorded (for the selection of the best versions), which were in the end selected

down to 583. Choosing the most representative sound samples that fully met

the performance criteria was a first decisive stage in the musical production

and it was done by hearing the samples together with the performer.

The second stage of the library production process was editing and

processing the recorded material. This involved almost six months of

exhausting work for editing and processing (hundreds of hours of work,

sometimes even eleven hours per day, with no days off). From the raw product

– the recording – to the end product, the way was very long. The processed

followed an algorithm consisting of several stages. The first was hearing and

picking the best samples. Then the samples were cut and cleared of unwanted

sounds (produced during the recording). There are invariably such situations.

The sound engineer must decide whether a sound can be cleaned up under

optimal conditions without the process being noticeable. I used the virtual

sound effect Redunoise by Voxengo which is able to analyze a portion of

background noise, and then remove it from the sound sample without affecting

the musical part. The following stage was tuning the instrument to 440 HZ.

Any sound bank is tuned to the same frequency, and so the one included in the

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project had to meet the same standards. As it is known, the pan flute is an

untempered instrument. While during recording I noticed that some sounds

were played slightly flat or sharp, I knew that this could be corrected by

processing. Thus I listened to each sound and brought it to the desired

frequency.

The third stage was the most difficult part of the editing process and

consists of determining the musicality of the instrument, in that, while the user

operates with pan flute sounds, this is controlled using an electronic keyboard

(a different playing technique than the natural instrument). For this reason,

each recording must be heard hundreds of times. One must also check the

attack of each sound in the bank, by playing different musical parts at different

tempos and styles. Many times there are sounds that lose the natural sound of

the instrument at a faster tempo. Such sounds are marked and then the start of

the sample is edited in a special audio editor, at the level of milliseconds. It’s

like a “painting” of the sound start to obtain an attack that is as close to the real

one as possible. I used the WaveLab audio editor of the German company

Steinberg, which has been an invaluable help. After editing, the bank needed to

be loaded back into the sampler to check the result. Many times, for a single

bank including around thirty samples, the process had to be repeated at least

ten times.

I tried hard to work perfectly in this stage, because I knew there were

collections, some of them well known that had this defect. I also knew that this

was the first product of its kind coming from Romania and it had to be

impeccable. Any user is much more careful and curious when a product does

not come from a well-known source with established tradition in the field. I

only had the option to have a perfect product or give up, so I worked very hard

to complete this editing stage impeccably. After almost three months, I finally

reached the conclusion that the product was technically perfect and could

measure up with the most renowned sound bank collections. The Essence of

Panflute is made in three of the most widely used sampler formats, namely:

HALion, Gigastudio, and KONTAKT. I initially made the prototype in

HALion format, and then I converted the banks to the other two formats. For

conversion I used a professional application, Extreme Sample Converter 3,

released by a well-known Polish programmer, Wlodzimierz Grabowski. I had

some correspondence with the programmer, as I had discovered a bug of the

application in the conversion from HALion to Giga Studio. Wlodzimierz

thanked me, as he hadn’t noticed it, and fixed it. At that time I had the banks in

all the three desired formats.

For the international recognition of copyright I described the content of

the library in detail and filed with O.R.D.A. (Romanian Copyright Office). I

have the hope and conviction that the road I have opened will be followed by

other Romanian creators of sound banks. This is why I attach the form I filled


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in, as a model. Because this is an official document I reproduced it identically,

even though the text includes repeated words (e.g. includes). „The Essence of

Panflute“ is a collection of samples WAWE SOUND format. These are

arranged in directories, named as follows: “24 Bit Panflute Content“ and “16

Bit Panflute Content“, „24 Bit Key Switch Panflute Content“ and “16 Bit Key

Switch Panflute Content”.

The directories “24 Bit Panflute Content“ and “16 Bit Panflute Content”

are in turn organized in 34 Sub-directories, in which the 583 sound files

(WAWE SOUND) are placed, named and grouped as follows: “Appoggiatura

Ascending to Half Step”, “Appoggiatura Ascending to Whole Step”,

“Appoggiatura Descending to Half Step”, “Appoggiatura Descending to Whole

Step”, “Baroque”, “Bass Panflute Demo”, “Blues”, “Brâul”, “Chirping_01”,

“Chirping_02”, “Classical”, “De-a lung”, “Doina _01”, “Doina _02”, “Flatter”

, “Geampara”, “Glissando Ascending to Half Step”, “Glissando Ascending to

Whole Step”, “Glissando Descending to Half Step”, “Glissando Descending to

Whole Step”, “Hora _ 01”,”Hora _ 02”, “Long Notes”, “Portamento”,

“Quadruple Staccato”, “Rustem”, “Sârba”, “Short Notes”, “Staccato”, “Triple

Staccato”, “Quadruple Staccato”, “Vibrato”, and “Wild Vibrato”. The

directories “24 Bit Panflute Content” and “16 Bit Panflute Content” include the

583 sound samples at 24 and 16 bit, at 44100 Hz. The directories “24 Bit Key

Switch Panflute Content” and “16 Bit Key Switch Panflute Content” were

created only for the Kontakt sampler, due to its particular features.

After six months of hard work, the “miracle” I wanted so much

happened. I contacted the renowned German company that produces and sells

sound banks, Best Service. Following my request for them to become

international distributors of the collection The Essence of Panflute, the

manager of the company, Mr. Klaus Kendler, answered. He was downright

enthusiastic and agreed to become the official distributor of the product. When

I created The Essence of Panflute, I intended for it to be a very musical library,

including most of the usual articulations of the pan flute, but I also wanted it to

include musical phrases from Romanian folklore, wanting the beauty of

Romanian folk music to be known abroad.

Soon there were several articles about The Essence of Panflute in the

most important magazines in this industry. Among these I will mention Sound

on Sound, one of the most reputable publications for musical applications, in

May 2007 and the article in Sound & Recording of February 2007. Sound on

Sound had a lot of praise for The Essence of Panflute, rating it five stars for its

production and price, which is the highest score for such a product. The article

in Sound on Sound of May 2007 gave me the certainty that I had achieved my

goals, stating that: “This panflute is mapped chromatically in concert pitch

over a range of nearly three and a half octaves (D3 – G6). [...] Other effects

include 'special glissando' (a fast sweep up, reminiscent of a slide-whistle) and

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a set of bird-like calls, tweets and flutings. There are also many licks and

phrases ready to insert in your scores: extremely rapid, virtuosic rhythmic

passages, mournful, soulfully-played rainforest laments.” This was the first

Romanian product reviewed in a magazine of this level, and I am sure that it

could open a gate for Romania to the world. The article can be found in the

magazine or directly on the Internet4. In September 2010, version five of the

renowned sound library Ethno World, released by the well-known German

company Best Service GmbH. The collection includes 3 of the 43 presets from

The Essence of Panflute, also specified in the presentation manual. This is a

great achievement, as it is an acknowledgement of the quality of The Essence

of Panflute. Here is the presentation text from the Ethno World 5 manual: “The

Pan Flute Canira Instrument is from the Essence of Panfute album made by

Canira Music International from Romania, in the original conception of the

musician Catalin Rasvan licenced by the Essence of Panflute collection,

produced by S.C. Canira Music International S.R.L.”; “This panflute is mapped

chromatically in concert pitch over a range of nearly three and a half octaves,

from D3 to G6 […]. Other effects include 'special glissando' (a fast sweep up,

reminiscent of a slide-whistle) and a set of bird-like calls, tweets and flutings.

There are also many licks and phrases ready to insert in your scores: extremely rapid,

virtuosic rhythmic passages, mournful, soulfully-played rainforest laments, Eastern

European”. The above quote is from the article in Sound & Recording,

published in May 2007.

Fig. 3 Image from inside the Ethno World 5 manual

4 http://www.soundonsound.com/sos/may07/articles/sampleshop05 07.htm


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The essence of Panflute is not just a music library, but also a series of

unique emotional states of the performing artist, and tries to synthesize his own

personal performance fingerprint. A performance fingerprint is the signature of

the performing artist that can be found and used in sound bank collections.

Achieving it depends on the cooperation of the performing artist with the

musical producer. The main feature of a musical production is unique

performance, and this is why the two must choose the best musical moments.

Later, such moments will represent the musician’s performance vision. Sound

banks consider two essential aspects: studio expression (studio recording of the

sounds emitted by a performer) and live performance particulars (taken from

stage performances). In both cases, regardless of the chosen approach

(elementary or contextual sound, phrase, pitch, duration, intensity or timbre),

the producer and the performer have the duty to choose the brightest examples

of performance. Recording phrases, motifs and musical periods is a complex

product of selection from the most representative musical moments, with a

decisive role in achieving a quality musical product.

3. Conclusions

An important feature of the last decade of the 20th century was the wide-

scale use of digital means in all sectors. Currently, it is hard to imagine an

industrial, economic or medical activity without computer assistance. There is

a wide variety of specialized software, created to optimize the planning and

activity of various social and economic fields. Many Romanian companies

operate in the systematization of industrial activities, assisted by complex

computer networks, and there is no field of activity without complex computer

networks.

In order to fully take advantage of the digital system, the musician must

gain good knowledge of digital devices, virtual digital instruments (digital

audio workstation, synthesizer, sampler, and sound banks). The effort to learn

the digital technology will be greatly rewarded by the excellent results obtained

in sound. A musical digital sample is a recording of one or several sounds

emitted by a musical instrument, a phrase or period to be then used as a

component of a sound bank. As the crown jewel of a sound bank, the musical

phrase must be recorded repeatedly at varied tempos, in distinct times, days,

seasons, personalizing the uniqueness of a phrase, dressed in a well-determined

temporal attire.

The collection I have created, “The Essence of Panflute” contributes to

enriching the sound banks in the international music field. The basic idea of th

project was to capture the pan flute at exceptional quality, both in studio

recording and in performance particulars (live) of the performer Cătălin

Tîrcolea.

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References

Barsotti, M. (2010), Virtual Ethno Instruments & Voices, User Guide. Best service.

Klag, M.&Bachmann, M.R.C.& Bischoff, H. et al (2018). © Steinberg Media Technologies

GmbH, HALion_6.2.0_en-US_2018-11-15

Klag, M.& Ruf, M. & Bachmann, M.R.C. & Bischoff, H. et al (2014). HALion

Symphonic Orchestra, Operation Manual, pdf /HALion_Symphonic_Orchestra © Steinberg

Media Technologies GmbH. Retrieved from http: //download. steinberg. Net / downloads _

software/VST_SIS_HALion_Symphonic_Orchestra/HALion_Symphonic_Orchestra_Operati

on_Manual_en_ja.pdf

Kontakt 5 Library Manual (2017). NATIVE INSTRUMENTS Gmbh.

Miroslav Philharmonik 2 The New orchestra with legendary soul (2017), IK

Multimedia Production srl. Retrieved from

https://www.ikmultimedia.com/products/philharmonik2/.

Morgenstern, J. Hanley, A. (2017). Kontakt 5, Manual. Software version: 5.6.8.

Native Instruments, GmbH, Best Service Complete Classical Collection KP2 Manual.

Răsvan, C., The Essence of panflute (2006), Register_Content_ Install Notes, Canira

Music International S.R.L.


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Canti prophani by Sabin Pautza: innocent child's play

illustrated through elaborate composition play

CIPRIAN ION “George Enescu” National University of Arts Iași

ROMÂNIA

Abstract: Composer Sabin Pautza's creation, of a style diversity that is rare in the

contemporary landscape of Romanian music, stands out through its effervescence and

colourfulness, backed by the extraordinary mastery of writing techniques. The work

we are referring to in this article, Canti prophani, is a vocal-symphonic suite written

for a children's choir. The suite includes three contrasting miniatures (fast-slow-fast),

united through their motif, Maico, Maico..., Dalbe flori and Dimineața ziua bună,

representing a translation into music language of the main features of childhood

games: repetitive action, rhythm, word play. In terms of language, the children's choir

is assigned only the pure sonority of diatonic modes, while the orchestra overlays

harmonic and polyphonic structures that are much more elaborate. The lay character of

the lyrics, underlined in the suite's title, shifts the emphasis from the religious area to

that of purity of heart and of sincere joy, the focus being on the high emotions around

the feast of Christmas. This brief analytical examination will only highlight the main

approaches to the sound material, looking at both archaic influences and at the modern

composition techniques, as well as at the manner in which the two blend together. The

actual thread that binds all three sections of this work, the image of the mother, occurs

everywhere, as the mother is invoked throughout the length of the three parts.

Keywords: Sabin Pautza, Canti prophani, composition play.

1. Foreword

Sabin Pautza is the composer that has crossed the most often the fine line

that separates the so-called academic music from the popular, entertainment

music. The natural manner in which he managed to do this, as well as his

mastery of blending together styles and genres that were apparently

antagonistic, make him an unpredictable creator, at the same time ludic and

fascinating, impossible to fit in the generally-accepted classifications. Jazz,

folklore, the serial dodecaphonic technique, modalism, tonality, the so-called

“light music”, have all been approached in an effervescent playful manner, in

pure form or in unusual style mixes, the foundation of the value of these

eclectic creations being the absolute mastery of all composition techniques.

Sabin Pautza composes similar to a child who is given a large number of

beautiful toys, which he uses all at once, and his play is so creative that it never

[email protected]

DOI: 10.2478/ajm-2019-0013

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ceases to amaze those who watch him. Maybe this is the reason why he has

turned with fascination towards the sounds and the feelings of the age of

innocence in two of his masterpieces, Ofranda copiilor lumii and Canti

prophani, and the manner in which he did it shows emotional depth and

synthesis capability. The composer did not stop at developing musical

structures based on folklore and child's play, but instead he depicted the depth

of an universe which is astonishing in its simplicity and innocence.

The two works mentioned above were written in approximately the same

period (Ofranda copiilor lumii – pentru cor triplu mixt in 1973 and Canti

prophani – suita pentru cor de copii și orchestră in 1974), the former being

recognised by the country's highest scientific and cultural forum, the Romanian

Academy, and awarded the George Enescu Prize. Although both works depict

with sound the universe of childhood, focusing on play, the major difference

between them consists in their degrees of difficulty. Ofranda requires an

experienced ensemble, consisting of high-level professionals, while Canti

prophani is written for child ensembles. Paradoxically, the way children would

not be able to perform the former solely for technical reasons, the same way a

professional choir would not be appropriate for the latter, for reasons of

expression. Another difference is the relationship between the universal

(represented by Ofranda) and the national (Canti prophani). Ofranda relies on

melodic structures and on word play that cover a significant number of

geographical areas, people and languages, highlighting the unity of play,

innocence and children's folklore across the globe, while Canti prophani only

refers to the Romanian geographic space and to the winter Holiday Season

traditions that the children are involved in.

2. Style and compositions elements

Canti Prophani is characterised by an ostinato rhythm and motif

repetition, a translation into musical language of the main features of childhood

games: repetitive action, rhythm, word play. The suite includes three

contrasting miniatures (fast-slow-fast), united through their motif: Maico,

Maico..., Dalbe flori and Dimineața ziua bună. The sound and some of the

word play refer, doubtlessly, to the winter Holiday Season, but it is worth

mentioning that no line refers to the religious underpinnings of this period of

the year. The lay character of the lyrics, underlined in the suite's title, shifts the

emphasis from the religious area to that of purity of heart and of sincere joy,

showcasing an intense experience of the holidays “separated” from the dogma.

A few symbols evoked in the text remind the listener of the sacrality of carols

(the basil, the mother, the mantle of stars), as do some orchestration elements –

the presence of a quasi-improvisational moment in which the semantron and

the bells take centre stage. Through the eyes of children, this is how the sacred


242

is perceived: a few peripheral symbols, visual, olfactive or sonorous in nature,

overpowered by the symbol of love and security – the image of the mother.

It is obvious that the foundation of the entire structure stands simple

diatonic modes, with few elements (tetrachords and pentachords), characteristic

of children's folklore and of Romanian traditional carols, a language enveloped,

in a complementary manner, in various other forms of sound organisation.

More to the point, the children's choir is assigned only the clean sonority of

diatonic modes, while the orchestra ensemble overlays harmonic and

polyphonic structures that are much more elaborate. We could state that this

kind of harmonisation departs from the very clear canons of the 20th

century,

but Sabin Pautza is precisely the kind of creator that cannot be pigeonholed by

conventionalism. The result is therefore an overlay of languages that is seldom

found in music history (the diatonic choir based on oligochords of diatonic

modes and a chromatic orchestra with sounds that cover a wide range of

styles). It becomes obvious that, in this context, the analysis of the vocal layer

must be carried out separately, while the orchestral part must be examined both

independently, and together with an observation of the areas of intersection or

complementarity in relation to the sound of the children's choir. The fact that

the voices were assigned the oligochordic diatonic modal language has two

explanations: a practical one, as this makes rehearsing and performing easier,

and a symbolic one, hinting at the purity and innocence of the young singers'

universe.

2.1. The children's choir – diatonic language and polyphonic play

If we dwell on the music written for the choir, we must mention the

composer's vast experience, this time in performing the repertoire of this genre.

Sabin Pautza used to be the conductor of the Animosi choir, a group that “for

more than a decade used to be a school for choir singing, harmonious,

expressive and absolutely professional” (Cozmei, 2010, p. 186). There are a

few features that can be identified in all three parts of the work. First of all, the

ambitus used is restricted, the phrases are short, repetitive, the rhythm

parameter is simple and ostinato, all these features being characteristic for

children's folklore. Secondly, to the musical play, the author adds word play,

the result of a remarkable, humorous inventiveness, with a remarkable effect

on both the performers and the audience. Canti prophani is, without a doubt,

the type of work that is performed and listened to with delight, despite its

complexity.

The main motifs of the three parts are related to each other in terms of

mode, rhythm and melody.

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Fig. 1 Sabin Pautza, Canti prophani

The four phrases shown in the figure above represent the entire thematic

material of the work. The first phrase belongs to the first part and is based on a

major diatonic tetrachord. The next two belong to the second miniature (Dorian

on E and, respectively, a minor diatonic pentachord), while the fourth

represents the fundamental thematic structure of the last miniature, being

constructed in the Ionian mode, on A. The use of these modes results in a

contrasting palette of emotional states, and the composer is recognised for the

masterful manner in which he creates sequences of antagonistic musical

moments, without affecting the structural and emotional unity of the whole.

The external miniatures, depicting the playfulness and the festive atmosphere

of the Holiday Season, are assigned major modes, while the median miniature,

more introspective, is based on minor modes.

One fascinating thing is the manner in which the author manages to

depict the lack of precision, the ruckus, the apparent lack of decorum deriving

from the cheerfulness of children's performance. We could say we are dealing

with a depiction of disorder through very precise, calculated, super-organised

composition devices. The most often used technique is that of imitation, taken

to the level of a small-size canon, but there are other forms of superposition as

well: the original with its reverse, two different melodic structures previously

appearing separately, the same motif in transposed modes (thus obtaining

bimodal moments).


244

Fig. 2a Sabin Pautza, Canti prophani, part I, mm. 102-108, small-size canon

Fig. 2b Sabin Pautza, Canti prophani, part I, mm. 111-115, superposition of the original

version with its reverse

The superposition of minor seconds in example 2b are the result of the

simultaneous use of two symmetrical modes with the axis interval of a minor

second (F#-G). Dissonances (bad singing), in children's performance are quite

frequent, we could say they are part and parcel of the charm of such

performances for this particular age group. Sabin Pautza uses elaborate

technical means in order to obtain the beauty of this effect, showcasing the

children's lack of inhibition in their artistic effort filled with intonation

accidents.

It is not uncommon for different groups of children to simultaneously

sing different carols. The composer's skill has captured in this work precisely

such a moment of overlapping, but the musical discourse has at the same time

an outstanding expressive intensity. We note here the presence of two vocal

groups: the first is singing as a responsorial a carol cased on diminished values

in a pentachordic sequence, while the second overlaps with a slow melodic

line, expressive in the Dorian mode in E. The pentachord intoned by the first

group consists of the first five sounds of the Dorian mode, thus the

superposition of the two carols becomes natural and fluent.

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245

Fig. 3 Sabin Pautza, Canti prophani, part II, mm. 23-29

All the predictable and unpredictable circumstances of a carolling round

are depicted throughout this work. We have, for instance, chants consisting of

wordplay that makes no sense or of onomatopoeia that the composer merely

organises around a rhythm. The onomatopoeias occur in unison or chanted by

only one group of children, while the other group sing fragments of a carol – a

situation that is common in real life, when there is a lack of consensus among

the group. The combination between the collective declamation and the singing

is a result both of the artist's inspiration and extraordinary mastery of

composition techniques, but also of his ability to lend music an undeclared

dramatic meaning, which becomes apparent as the work progresses. The effect

has an immediate and definite effect on the listener, since it is spectacular and

surprising.

Interestingly, the “plot” of this suite cannot be deduced based on the text,

but instead based on a combination involving fragments of phrases and the

musical meaning. The text itself is a mosaic composed, in a manner that is

deliberately lacking coherence, of phrases specific to traditional carols (dalbe

flori), fairy-tale characters (Călin, Daliana), Christian symbols the basil, the

mother, the mantle of stars), wordplay (roască-broască, race-drace), without

giving any hints to a narrative thread. Instead, the expressiveness of music

allows us to distinguish the image of a group of children going carolling, going

through various moods: singing (part III, mm. 30-107), playing (part I, mm.

93-109), being sad and longing for their mother (part III, mm. 108-135),

disagreeing and, on the contrary, radiating happiness. The transition from one

mood to another takes place abruptly, the way it happens with children of

young age, in a short segment of time. Moreover, the entire suite ins

concentrated in a short time interval (around 15 minutes). The composer


246

himself stated: “Many have told me that my music is film-like. I'm not aiming

specifically for that, but my desire is, indeed, to express myself, I believe in

communication, I'm not writing music for myself, I'm writing thinking about

those who will listen to it” (Vasiliu, 2005, p. 63).

2.2. The orchestra – complementarity and colours

Sabin Pautza's composition fantasy is fully manifest, however, in the

manner in which he envelops in terms of timbre the children's choir, using a

not-too-large, but a diverse orchestral formula. It is worth mentioning that,

originally, the formula for the instrument group included only two pianos, a

celesta and a few percussion instruments; later on, the composer expanded this

ensemble, bringing it to the level of a generous chamber orchestra. Its

composition, of an unusual diversity, includes a group of wind instruments

(piccolo, oboe, clarinet, bassoon, horn, one trumpet and one trombone), piano,

celesta, harp, a string instrument group and a large number of percussion

instruments, requiring three performers.

The mere listing of instruments gives a strong indication regarding the

two parameters on which the composer based his work: rhythm and colour.

Moreover, remarkably delightful timbral mixes are achieved, sometimes

underlining the delicacy of young age, other times showing humour, and yet

other times, more seldom, highlighting the mystical atmosphere of Christmas.

The suite structure includes several instrumental sections: the

introductions of the first and the third part, several short bridges between the

verses that are mainly sung by the choir, as well as a synthesis section located

before the coda of the last part. Whereas the two introductions have the well-

defined role of presenting the sound world specific to each of the parts, the

abovementioned synthesis section (mm. 108-135) stands out among all the

other moments of the suite in terms of depth. Firstly, it is remarkable due to the

oppressive sound, suggesting sadness caused by an unnamed event. The

children's sadness, so hard to bear in the eyes of adults, is masterfully described

by the piano, harp, celesta and a few effects produced by percussion

instruments, the most striking being that of a violin bow, which makes a

cymbal vibrate. This is the only part where rhythm disappears and the author

uses only elements he gives the variation treatment to, and which he augments

with the motifs that had previously constituted the base of the singing game.

Periodically, but not necessarily in a symmetrical manner, the choir sings about

the mother's arrival. The modal superpositions are joined by the polyrhythmic

ones (the celesta in triplets, the piano in syncopations on half-beats and the

harp in asymmetrical syncopations), the writing technique reaching the limit of

a texture polyphony based on an ostinato on the C#. For a brief period, the

composer suspends all play, rhythm, effervescence, in a static music, an

oppressive sound that lacks a gravitational centre.

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Another moment that makes use of polyrhythmy is assigned to the bells,

semantron and piano, precisely in order to suggest the random manner in which

the two percussion instruments are used during the religious ritual.

Fig. 4 Sabin Pautza, Canti prophani, part II, mm. 90-91

The richness of timbres is enhanced using various effects from the string

instrument group. The most common in this piece is the flageolet, followed by

the use of extreme registers, of alternations of pizzicato with legato and of

superpositions of effects that increase the charm and the richness of the

orchestration. We also note the use of the trill not as a mere ornament, but

instead as a colour effect in combination with the muting effect and with

playing sul ponticello (m. 16, m. 17 in part II). The composer's imagination,

combined with an astonishing mastery of the science of orchestration,

contributes to creating an original approach of the way in which the ancestral

melodic lines distributed to the choir are accompanied and completed in a

modern manner by the orchestra.

Complementarity also works in terms of harmony. It is easy to

understand that, in the context of a diatonic modal language, the choir does not

display very elaborate chordal structures and linkages. The orchestra overlays

on this harmonic simplicity, which is in its own way sufficient and fascinating,

complex complementary structures that do not de-structure the modal vein, but

instead lend it a modern nuance.

The composer also plays with the metric organisation, using extremely

unusual superpositions. The performance of juxtaposing a voice (the flute)

intoning a melody in a giusto-syllabic rhythm and another, whose metric

structure is divisionary (2/4 measure) cannot go unnoticed. We also note the

concern Sabin Pautza shows for the performers, taking care that they do not

exert themselves: whenever the melody in giusto-syllabic is exposed on its

own, an alternance of measures is used, but whenever the melody is in a


248

polyphonic and polymetric context, it fits the base measure, and the strong

beats are underlined using accents.

Fig. 5a Sabin Pautza, Canti prophani, part III, mm. 1-5

The initial metric of the theme, exposed monodically

Fig. 5b Sabin Pautza, Canti prophani, part III, mm. 14-18

Fitting the theme in a divisionary metric in the context of a superposition

of different metric plans

If we take a closer look at the second half of the example above, we note

the elaborate manner in which the accompaniment is achieved. The harp

clearly marks the beats, while the two voices assigned to the piano create

polyrhythmic and polymetric effects by using triplets, however with the values

clearly grouped in fours using legato and accents. This is the reason why the

lower voice is a rhythmic augmentation of the upper one, by doubling the

values. This counterpoint device is also used in relation to the voices of the

choir ensemble. Throughout the suite we can see that the orchestral

composition is to a great extent polyphonic, elaborate, frequently using motif

variation, augmentation and diminution, sectioning motifs, using polymodal

and polyrthythmic superpositions. All these complex devices never overload

the musical discourse, the auditory effect being always a natural fluency,

clarity, suspense and contrast.

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The architecture of the three parts of the suite is simple, strophic, without

any ample developing sections, unitary due to the circulation of the motifs

within the genre.

3. Conclusions

This article is just a brief analytical examination of the structure and

depth of this suite, a starting point in the effort to clarify that behind its light-

hearted and delightful sound stand, in fact, carefully elaborated constructions.

The combination between the archaic, the children folklore's naïveté (in the

best sense), the neoclassical and the modern composition techniques requires

creative force, spirituality and much stylistic and aesthetic taste.

The result is a rare masterpiece in contemporary music, speaking to all

ages, even though the performers are themselves children. Each of us,

depending on our level of musical knowledge, can find something in this

musical text: the children will enjoy the playfulness, the effects, the ruckus,

while the commentators (the erstwhile children) will appreciate in the

superlative the composition technique, the polystylism, the profundity.

Canti prophani, although a suite of carols clearly referring to the winter

Holiday Season and to the traditions of the period, does not refer to the

religious essence of Christmas. However, the icon that all children can relate to

– the mother's image – is present throughout the work. When playing, when

squabbling, when crying, always the carollers in the piece call the name of the

person who is the centre of their universe “maico” (“mother”). The actual

thread that binds all three sections of this work is the image of the mother.

References

Buciu, D. (1981). Elemente de scriitură modală [Μοdal musical writing elements].


Cozmei, M (2010). Pagini din istoria învățământului artistic modern din Iași la 150

de ani [Pages of the history of modern artistic education in Iaşi at 150 years from its

foundation]. Iași: Editura Artes.

Pautza, S. (1973). Canti prophani – suită pentru cor de copii, 2 piane, celestă și

percuție (manuscris) [Canti prophani – suite for children’s choir, celeste and

percussion (manuscript)]. Iași: Biblioteca Universității de Arte „George Enescu”.

Pautza, S (1978). Ofranda copiilor lumii – scene pentru trei grupuri vocale mixte și

percuție [Offering to the children of the world – scenes for three mixed vocal groups

and percussion]. București: Editura Muzicală.

Pautza, S. (1988). Canti prophani – per coro di bambini ed orchestra [Canti prophani

– for children’s choir and orchestra]. New York: San Nicobian Edition.


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Sandu-Dediu, V (2002). Muzica românească între 1944-2000 [Romanian Music


Vasiliu, A (2005). Dialoguri neprotocolare [Nonprotocol dialogues]. Iași: Editura

Cronica.

Voiculescu, D (2005). Polifonia secolului XX [The poliphony of the 20th century]


Studies

251

Jazz Influences in Chamber Musical Works created by

Composers from Iaşi at the Beginning of the 21st Century

AURELIA SIMION “George Enescu” National University of Arts Iaşi

ROMANIA

Abstract: Chamber Music has always been a genre predefined to a certain audience.

At the merge of the 20th and 21

st Centuries, the interest for this genre has grown

exponentially, from Romanian and Bessarabia composers alike. Because the concept

of Chamber Music has evolved during the ages and has always offered the possibility

for experimentation, it has managed to infiltrate into present day Ensembles, by

associating timbre and constructive heterogenic instruments. The search for new ways

of expressing oneself, new sounds and new stylistic methods and the desire to use new

types of sound emission represent a continuous motivation for the composers, whose

contribution to the Chamber Ensembles is frequently enrichened. Thus, the Jazz

influence has a significant role inside the works of Sabin Pautza, Romeo Cozma

(Romania) and Oleg Negruța (Republic of Moldova). The article is focused on

Chamber Music compositions with Jazz influences, written by Iași authors. The

purpose is to create a general presentation and also a structural-interpretive analysis of

some works from my personal repertoire, which was actually one of the main criteria

of selection. The objects of the research are: highlighting the particularities of the

genre and style of contemporary works; presenting the interpretive aspects of the

compositions and proposing some personal suggestions and tips. Although the

selected works have been initially composed for different instruments and have been

played to live audience, they have not presented themselves, so far, as a research

subject, and thus have not been analyzed. Taking into consideration this deduction, the

novelty and the personal contribution are visible in the scientific research that deals

with the autochthonous compositional patrimony. The aspects presented in this article

can be used for pedagogical processes and, at the same time, they can behave as a

practical method in managing the chosen repertoire.

Keywords: chamber music, jazz influences, Iași composers, stylistic-interpretative

aspects.

1. Introduction

Chamber music has always been a particular genre in the artistic field,

requiring a certain audience: select, knowledgeable, demanding, critical, but

also eager to listen to new works or to listen again to their favorite works,

communicated through an artistic act which can’t be associated with

dilettantism.

[email protected]

DOI: 10.2478/ajm-2019-0014


252

Because the concept of chamber music has evolved over time, it has

always provided the opportunity to experiment. The search for new ways of

expression, new stylistic procedures and new sounds, the desire to use new

emission techniques were a constant concern for composers, and it is not

surprising that at the confluence of the 20th

-21st Century, the interest in this

genre of both Romanian composers and Bessarabia composers has especially

grown. Through their compositional contributions, the repertoire of the

chamber ensembles is frequently enriched, this fact being reflected also in the

composition of the chamber ensembles, made at the present time also by the

combination of some heterogeneous instruments in terms of construction and

timbre. A significant role in this direction lies also with the sources of

inspiration to which they are appealing. And one of the sources, which offers

precious rhythmic, coloristic, melodic, harmonic, even architectural-sound

suggestions, turns out to be jazz, which has contributed to the development of

an original musical synthesis system and of new genres: symphonic jazz and

chamber music jazz. This system is distinguished by the expansion of the

sound universe achieved by the widening of the spectrum of compositional

procedures and techniques, by the use of new instrumental combinations, both

in the ensemble and in solo music (usually with the predominance of wind

instruments). There is also a new relationship between the elaboration of the

work and the improvisation style, generated by the promotion of a new

musician-performer type, who combines in a creative, original manner the two

sides of the musical act: composition and performance.

In Romanian music, following the great example of some famous

American or European composers (George Gershwin, Darius Milhaud,

Maurice Ravel, Igor Stravinsky, etc.), there are many examples where

contemporary composers felt the inner need of renewal by using jazz

influences and transposing its spirit into valuable symphonic or chamber

works. It is important to mention the Romanian composer who gave a first

impetus in this field and acquired important achievements in the field of

symphonic and chamber jazz – Richard Oschanitzky, whose disciple was

another great composer – Sabin Pautza. A great admirer of Richard

Oschanitzky, who has been among his idols, is also the Romanian composer

from Iaşi, Romeo Cozma. In the creation of the two composers – Sabin Pautza

and Romeo Cozma – the influence of jazz has a particular significance.

Being attracted to jazz in my piano performances, I discovered in the

genre of chamber music with jazz influences, signed by authors from Iaşi,

some valuable works that I have included in my personal repertoire: Grand

Concert Duo for clarinet and piano by Sabin Pautza and Balkano Dance Trio

for clarinet, horn and piano by Romeo Cozma, works that have had a great

impact on the public, achieving a real success.

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2. Sabin Pautza – Grand Concert Duo for clarinet in Bb and piano

A composer and conductor with an impressive career in the Romanian

and international musical life, professor and manager, Sabin Pautza has a

biography that is distinguished by his dedication, leading to a remarkable

creation in terms of originality and mastery. Polyvalent musician, Sabin Pautza

engineered various sounds, either in works where the subtle and masterful

transfiguration of Romanian folklore has universal resonances, or in works

characterized by “neoromantic with blues or jazz intonations, echoes from

Bartok, Stravinsky or Shostakovich” (Sandu-Dediu, 2017, p. 17), but also in

entertainment music or musicals and theater music.

Born on February 8, 1943 at Câlnic – Reșita, Sabin Pautza was formed at

the “Ciprian Porumbescu” Conservatory in Bucharest, graduated in 1965,

having as mentors Marţian Negrea, Tudor Ciortea, Dumitru D. Botez, Emilia

Comişel, Ştefan Niculescu, Aurel Stroe and Ion Dumitrescu (composition), but

especially Marin Constantin (founder and conductor of the Madrigal choir). It

is not to be omitted the fact that Sabin Pautza has been orchestrating songs

from the period of his studies, under the guidance of his older colleague, the

famous jazz musician Richard Oschanitzky.

In 1970, he specialized in composition and conducting at the Accademia

Chigiana in Siena, Italy, having as mentors Franco Donatoni, Bruno Maderna

and Franco Ferrara. He was an assistant professor and lecturer at the “George

Enescu” Conservatory in Iaşi, between 1966 and 1984, where he taught

harmony and composition. He was also conductor of Animosi Choir and of the

Students Symphony Orchestra – with these two ensembles having successful

concerts in Romania, Poland and Germany.

After receiving a scholarship from the Union of Composers, Sabin Pautza

leaves for the United States in 1984, where he remains onwards. Here,

following a very competitive contest, he was appointed artistic director and

principal conductor of the oldest New Jersey orchestra, The Plainfield

Symphony. “According to his testimonies, Sabin Pautza believes that his true

debut on the American continent occurred in 1985, when in the prestigious

Carnegie Hall in New York, he presented himself with a double status:

conductor at the New York University Symphony Orchestra and composer.

The Plainfield City Hall named Sabin Pautza an Honorary Citizen and

Emeritus Conductor for life of the Symphony Orchestra, deciding that May 7,

2007 was Sabin Pautza Day in Plainfield, a recognition of his 20-year-old

service for the community and for the prestige of this American city.”

(Gorghiu, 2017)

As a conductor, Sabin Pautza led some of the most famous orchestras in

Europe, America and Australia on famous scenes: Carnegie Hall in New York,

Santa Cecilia in Rome, “Frédéric Chopin” in Warsaw or Sydney Philharmonic

Hall. He also held courses at various American universities, including the


254

Atlanta Institute of Music, the New York University, St. Rose University –

Albany, New York, Rutgers University, New Jersey. He was a professor at

Emanuel University in Oradea.

Sabin Pautza's name appears in Who's Who in Music (Cambridge, 1980,

1984, 1990, 1996), as well as in the 2000 Notable Americans volume,

published by the American Biographical Institute. He is a member of the Union

of Composers and Musicologists of Romania, of ASCAP (American

Composers Union), member of GEMA (German Composers Union) and

honorary member of the Bureau of Counselors of the American Biographical

Institute. In 1996 he received the Honorary Title of Doctor in Music at the

London Institute for Applied Research. Sabin Pautza also obtained the title of

Doctor in composition at the “Gheorghe Dima” Academy in Cluj-Napoca. He

is Doctor Honoris Causa of “Valahia” University of Târgovişte and Doctor

Honoris Causa of “Eftimie Murgu” University in Reșita. Sabin Pautza is also

an honorary citizen of Plainfield, New Jersey, Reşiţa and Caraş-Severin. From

2014, the International Contest and International Festival of Piano Performance

and Composition “Sabin Păutza”, is being held at Reșița, organized by the

Society for Culture “METARSIS”. Also, the High School of Art in Reșița is

named after him. The Swift Music Group in the United States has edited his

Opera Omnia series on CD, 15 of them being printed up until now. Also, the

San Nicobian music publishing house in New York has exclusively published

his scores. Through his musical creation, regardless of the styles he traversed, the

composer Sabin Pautza knew how to impose his authentic voice, his works

being valued both by performers and public and awarded both in Romania and

in America: the “George Enescu” Award, Romanian Academy Award,

Romanian Composers' and Musicologists' Prize, Romanian Television Grand

Award, Salt Lake City International Contest Award – Utah, American

Organization ASCAP “Rudolf Nissim” Prize, the grand prize “Doctor Martin

Luther King Jr.” (for the composition of Chimes). The most recent distinction –

The Royal Decoration “Nihil Sine Deo” – was given to him by the Royal

House of Romania in October 2016. Even though he lived 33 years in America, Sabin Pautza says

everywhere: “I am not an American composer, I am a Romanian composer

forced to live in exile. Home is home. At Reșita” (Chițan). Although home is Romania, Reșița, Sabin Pautza confesses that

“America has opened other windows, other doors” (Chițan), because there he

had to write music for Americans, for their tastes: “I mean music that is rather

oriented towards jazz, gospel, so as to be welcomed there” (Chițan). His music

was described by a critic from New York Times in a review as a music that

“could be seen it was written by a Romanian.” (Chițan). When asked how he

realized that, the authour confessed that “he was a colleague with Lipatti, he

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255

met Enescu. I could not hide, Pautza says, there were some things out there that

betrayed me”. Still, one might say that Pautza has absorbed avidly elements of

American music, creating a musical language characterized by premeditated

simplicity, transparency and a pronounced clarification of means of expression,

which is clearly seen in his works inspired by black-spiritual and jazz folklore;

even the great Leonard Bernstein entrusted him pages of the music of his

Broadway shows, including the West Side Story, to be re-orchestrated in the

form of suites that can be performed in concert halls.

The works of Sabin Pautza, such as: Divertissement No. 2 (Silent movie –

a rag time, Bossa-Nova, Charleston, Tango, Fiesta), Divertissement No. 3

(Capriccio, Ragtime, Cha-Cha) that can be performed in different instrumental

and orchestral versions, the exceptional Concerto for Saxophone and

Orchestra, as well as the large number of vocal and choral works in gospel

style etc. prove a colourful writing, revealing the talent, the grace with which their

author knew how to emphasize sounds, harmonies and rhythms of jazz-aesthetic

inspiration. These works also show a richness of orchestration with a wide

range of wind instruments and percussion, as one may observe in another

musical work, composed with the same features – Grand Duo for clarinet in

Bb and piano1 – dedicated on February 14, 2013 to Professor Doru Albu and

his disciples.

Grand Duo for clarinet in Bb and piano, is distinguished by the swing

characteristic of American jazz music, made especially by the syncopated

rhythm that imposes the specific rhythmic pulse with special accents which are

imposed on syncope formulas or half accentuated and non-accentuated beats.

Fig. 1 Sabin Pautza, Grand Duo pentru clarinet în Sib și pian, mm. 12-15

Composed in d minor, initially in the 4/4 time signature, during the

musical discourse, besides synchronic rhythmic formulas and accents, in order

to impose and sustain the syncopated rhythm, the author often uses alternating

time signatures, generating a binary-ternary succession.

1 A fragment of Grand Duo by Sabin Pautza was played at the show Nichita 100% iubire

[traducere] which was realised together with the actors Octavian Jighirgiu și Laura Bilic and

presented to audiences in Iași, Suceava, Vatra-Dornei, Bistrița-Năsăud and Chișinău.


256

For example, in bar no. 23, when the solo piano begins alternating the 3/4

– 2/4 time signatures, but stays in the fifth on the 3/4 ternary rhythm, it imposes

even more vigorously at this moment the syncopated rhythm:


The alternation of ternary-binary rhythms is maintained throughout the

musical discourse, which implies a special attention from the soloists,

including the syncopes and accents which are prevalent throughout the whole

musical discourse. It is imperative, for example, that the unison in the Duo's

debut be well studied by the performers, so even from the first quavers they

can achieve that swing movement indicated by tempo.

After the extensive Introduction realized in unison by the clarinet and

piano on the right hand (in the deep register), at bar 27 starts the ternary

exposure of the Refrain Theme – a symmetrical phrase, composed of 2

segments of 4 bars, played in quasi-unison by the clarinet and the piano on the

right hand, on which the whole discourse is built; we could appreciate the

“original” Rondo-Sonata, with the following structure:

Introd. (M.1-22) – trans. (mm. 23-26) – A (Refrain) (mm. 27-34) – B

(Couplet) (mm. 35-90) – A (Refrain) (mm. 91-106) – trans. (mm. 107-115) –

C (Development) (mm. 116-176) – trans. (mm. 177-180) – Recapitulation –

Introd. (mm. 181-187) – trans. (mm. 188-193) – A (Refrain) (mm. 194-201)

– B varied (Couplet) (mm. 202-289) – A (Refrain) (mm. 290-305) – D (Dev.)

(mm. 306-417) – trans. (mm. 418-425) – A (Refrain) (mm. 426-433) – B

varied (mm. 435-489) – A (Refrain) (mm. 490-497) – trans. (mm. 498-504) –

Final (Coda) (mm. 505-601).

The Refrain theme, with a simple but syncopated melody, consists of a

symmetrical phrase of 8 bars, with two equal segments in size. The first

segment ends on the dominant chord, A Major:

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It is repeated identically, with a clear ending on the tonic chord, d minor:


After the ample introduction of the two instruments: the clarinet and the

piano and a moment of transition played by the clarinet, then by the piano, the

Exposition section starts by presenting the theme seen above, played by both

instruments, which is also the Refrain Theme – A, then continues with a B

Couplet. In this part, the theme is presented alternately – by the clarinet

accompanied by the piano and conversely, as one can see in the two following

examples, always preserving the syncopated rhythm:

–

Fig. 5 Sabin Pautza, Grand Duo pentru clarinet în Sib și pian, mm. 34-38,

clarinet accompanied by piano


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Fig. 6 Sabin Pautza, Grand Duo pentru clarinet în Sib și pian, mm. 39-43,

piano accompanied by clarinet

After the Refrain Theme – A, again presented in unison with the two

instruments and a transition of the clarinet, the C section, – Couplet (bar 116)

has the character of a Development based on variations of the motifs presented

by both piano and clarinet, through sequencing, rhythmic, harmonic and

melodic variations and dialogues between the two instruments. But each of the

theme inceptions in the dialogue must be clearly highlighted by each

performer.

A very important aspect in playing is the attention to be given to the

tempo, because the alternation of moments at different speeds suggests,

somehow, the improvisation sensation specific to jazz.

The tempo initially proposed by the author is = 160, but after the first

acceleration of the solo clarinet (also made in an alternation of time signatures:

3/4, 2/4 with 4/4 settling) before 4 measures of the 10th reference point, the

tempo becomes = 165. The pianist has to keep in mind both the change of the

time signature (2/4, 4/4) and the rhythmic drawing that requires a precise

emphasize of the syncopated pulsation. Also, starting with bar 126, there is a

gradual acceleration, reaching the tempo with = 175 at bar 130 (the 11th

reference point). In fact, the section that begins with number 11 is a more

difficult one, because it contains numerous accidentals, cromatisms and dense

chords. From the point of view of the ensemble, at the 12th reference point, the

musical discourse requires a special attention to performers in terms of

dialogue between instruments, in order to highlight certain features of the

score.

With 3 bars before number 15 (bar 175), in rallentando poco a poco, the

tempo returns to = 160. So, there is an oscillation of tempo, in which it is

introduced the Meno mosso movement (bar 175) and a short fragment that

follows, with =145; in fact, we are talking about a brief dialogue between the

piano at the right hand and the clarinet, during 2 bars, followed by the piano's

solo intervention, ending on the cesura.

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An interesting fact is that after the developping episode, the author

specifies the return to Tempo primo (bar 181), as a false Recapitulation, which

also returns the pace of the initial tempo: = 160 that is maintained until the end.

The Introduction, Refrain A and Couplet B, to which it is still applied a short

closing with elements from the Refrain A theme in the same way, are continued

with a D Couplet (bar 306), which starts with a short clarinet-piano dialogue.

Couplet D (bars 306-425) is a test-piece for both performers because,

starting with the 24th reference point, they encounter particular problems, both

rhythmically (syncopes, pauses, binary meter alternating with ternary meter)

and in the performance of the ensemble, in which the clarinet holds the melodic

line and the piano has the accompaniment with drenched chords, with rhythmic

values of crotchets or dotted crotchets.

Between the 27th and 32th reference points, the discourse still takes the

form of a continuous dialogue between the two instruments, creating a more

lyrical, blues-like atmosphere. The return of the Refrain in a wider

configuration emerges for the moment also that specific swing. At 37, suddenly

appears, again, in Meno mosso, a tempo slowing: = 145, then, after a rit. in

the solo exhibition of the clarinet, at 38 (bar 504), the musical discourse is

continued by the solo piano with a large exposition, this time in binary beat

12/8 ( . = 110). This fact imposes another rhythm at the Ending, in a blues

balance whose debut is entrusted to the pianist, who must emphasize the

syncopations very well at bars 508-510.

In the end, the pace is accelerating in a dynamic growth – poco a poco,

crescendo molto – from mp to f – ff – fff, which the two performers have to

handle with care, both in terms of sound intensity and rhythm.


All the musical indications for rhythm and dynamics, which the author

has specifically mentioned and must be observed, have the role of contributing

to the full value of this entertaining music, so it is necessary for the two soloists

to take into account the placement of every accent, the expression legatos, the

dynamic alternations and tempo oscillations. Nevertheless, the flavor of this


260

work is amplified by the short dialogues between clarinet and piano, the

rhythmic support of the piano or the small glissandos and the slap tongue and

the multitude of appoggiaturas in the melodic discourse of the clarinet.

3. Romeo Cozma – Balkano Dance Trio

Romeo Cozma is today a reference name in Romanian jazz, being the

first musician in Romania to receive the title of Doctor in Music in the field of

jazz, obtained in 2004 at the “Gheorghe Dima” Music Academy in Cluj-Napoca

with the theme Ipostaze ale jazz-ului în creaţia muzicală proprie [The Aspects

of Jazz in my own Musical Creation].

Born in November 13, 1955 in Bucharest, Romeo Cozma made his first

steps towards a career in the musical field by studying the piano at “Octav

Băncilă” High School of Arts in Iaşi. He then attended the courses of

Composition, Musicology, Conducting and Pedagogy at the “George Enescu”

University of Arts in Iași, specializing in musical pedagogy and composition under

the guidance of renowned masters of Romanian music such as Vasile Spătarelu,

Anton Zeman, Sabin Pauțza, who had an important influence on his career.

Being fascinated by jazz music since high-school, a musical direction

that is realized through a different type of musical language than the one

learned in school, based on improvisation and inspiration, but also on solid

knowledge and professionalism, Romeo Cozma passionately dedicated himself

to this genre, having idols such as Chick Corea, Herbie Hancock, Dave

Brubeck and Richard Oschanitzky.

A representative figure in the world of Iași's music, Romeo Cozma has been

a talented pianist, composer, arranger and leader of the Studio-Jazz-Quartet, and

his presence on various stages in Romania and abroad (Republic of Moldova,

Germany, France, Austria, Italy, Belgium, Sweden, United States of America,

etc.), have had a great impact, surprising the audience through creativity and

also through a variety of formulas undertaken, from piano solo works to jazz

combo and big band, but also as solo pianist alongside symphonic orchestras.

In 1979, one month after the passing of the great jazz musician Richard

Oschanitzky into the world of shadows, one of the idols he had in his musical

training, Romeo Cozma created a new department in the Students' House in

Iaşi – the Jazz Music Club named “Richard Oschanitzky” – whose purpose was

to promote both the creation of the great composer and the modern Romanian

music, but also to develop skills in this field for students from all universities

in Iași.

Since 1991 Romeo Cozma is a member of the Union of Composers in

Romania, who also granted him two awards in 1995 and 1999 for his

compositions in jazz music.

Currently, Romeo Cozma is PhD. Professor at the National University of

Arts “George Enescu” Iași, where he has established the Jazz and Modern

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261

Music Specialization in the Music Department since 1994, many of the

graduates of this section succeeding to become national and international

performers; his didactic activity for almost three decades has also been

involved in editing important jazz music volumes, such as: Universul muzicii

de jazz [The Universe of Jazz Music], Stiluri de compoziţie în muzica de jazz

[Composition Styles in Jazz Music], Teme de jazz [Jazz Themes] – vol. I, and

Teme de jazz [Jazz Themes] – vol. II which is still being written. With a prodigious activity in the field of teaching and performance,

Romeo Cozma is also remarkable in composition, reaching an impressive

number of works, in various genres: jazz music, pop music, electronic music,

stage music, orchestral works and chamber music, etc. Blues, Fantasy in Swing

Rhythm, The Colors of Tears, Waltz, Balkano Dance, Gravity, Samba,

Nostalgia, The Dream of Sheherezada, Negro – Spirituals Suite, Fantasy for

Clarinet Quartet, Piano Sonata, Jazzissimo for Viola Ensemble, Orchestra

Divertimento, all are just a part of the scores he gave life to. We also remind

some of his edited CDs: Solo piano ... in Paris, Blue Note and Tribute to Dave

Brubeck, where one may find some of his original creations, his mature artistic

achievements, which have synthesized experiences lived in a sensible and

imaginative, meditative and exuberant music.

Originally conceived for the clarinet quartet with the title Orient Express,

the Balkano Dance Trio was subsequently arranged for a heterogeneous trio:

clarinet, horn and piano, to be performed in the 54th edition of the

International Chamber Music Festival in Plovdiv, Bulgaria. 2

The song is conceived in a tristrophic form: A – B – A'– Coda,

developed as follows: A

Introduction (mm.1-4) – a (m.5-18) – a1 (m.19-29) – a2 (mm.30-43) – a3 (mm.44-54)

B

transition (mm.55-59) – b (mm. 60-73) – b1 (mm.74-83) – b2 (mm.84-96)

A’

transition (mm.97-105) – a’ (mm.106-118) – a’1 (mm.119-130) – a’2(mm.131-144) –

a’3 (145-1152)

Coda (mm.153-157)

The element that draws attention from the very beginning after the piano

introduction is the Theme of the clarinet in mp, on which the whole melodic

2 The Balkano Dance Trio was performed on June 15, 2018, at the International Chamber

Music Festival in Plovdiv, Bulgaria, in a recital performed at the Ethnographic Museum by the

trio Mihai Ailenei, clarinet, Petrea Gâscă, horn and Aurelia Simion, piano. References to this

recital, signed by Paunova-Tosheva, appeared in the article 54-tii Mejdunaroden festival na

kamernata muzika v Plovdiv, published in the Bulgarian Union of Bulgarian Musicians and

Dancers Muzikalini horizonti, no. 7/2018, pp. 13-14.


262

discourse will be built, a theme with a simple melodic line, conceived on near

scale degrees, with accents and syncope in the time signature marked as 7/8, in

aksak rhythm, which gives that Balkan-Oriental sonority:

Fig. 8 Romeo Cozma, Balkano Dance Trio, mm. 4-9

The work starts in 7/8, at a fast metronome indication of = 170, which

is maintained throughout the melodic discourse, the author also using frequent

exchanges of time signatures: 7/8 – 3/8 – 4/8 – 4/4. In the Finale section, it is

required an intense acceleration in 7/8.

A distinctive character of the work is given by the strongly emphasized

rhythms in some particular moments, containing tenuto accents indicated in the

score of all three instruments, usually inserted in the A and A' sections,

between the solos of the clarinet. These moments are written in the 3/8 and 4/8

time signatures, which predict the 7/8 combination, in which all these solos of

the clarinet are presented. It is also important to mention the features of the

melodic level performed by clarinet, which usually contains accents, staccato-legato

sounds, mordentos and sometimes short glissandos, which give that specific

oriental sonority:


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From bar 60, when the B strophe begins, in the solo section of the piano, the

author asks for an accentuated tenuto, with a lot of pedal. What characterizes this

section is the dialogue involving all three instruments. However, the two moments

of bars 71 and 91 must be taken into consideration, in which the piano and the

clarinet must play together a chord that requires a precise attack. At the same time,

in solo interventions of the piano conducted between bars 74-78 and 84-88, the

syncopes should be played with more ease. At bar 95, before the transition to

section A', one has to easily overcome that difficult moment at the rhythmic

melodic level and for the main melodic line which must be accomplished in

perfect timing by the two wind instruments:


The trio’s Coda, with an intense accelerando and a crescendo to ff, is

finalized on a last chord that has to be played with accentuated sfz.

Romeo Cozma's Balkano Dance Trio, a jazz-style work with Balkan-Oriental

influences, has great success on the stage with every performance, in both

versions as the clarinets quartet (Orient Express) and the trio for clarinet, horn,

piano.

4. Conclusions

By approaching these two jazz inspired works, which belong to the

composers Sabin Pautza and Romeo Cozma, both connected to Iaşi (works

included in the personal repertoire), I wanted to achieve, in addition to an

overview of the authors of the two works (Grand Duo and Balkan Dance Trio)

also an emphasis on the particular features of the genre and style of the works.

The structural-interpretive analysis and the elucidation of some performance

issues of the mentioned works, as well as the personal suggestions for solving

some technical difficulties or recommendations regarding the musical


264

expressiveness, I consider them a practical support in approaching the analyzed

repertoire, also used in the process of teaching.

References

Chiţan, S. Compozitorul și dirijorul Sabin Păutza: „America mi-a deschis alte ferestre

și alte uși însă acasă este Reșița [Composer and conductor Sabin Păutza: „America

has opened new windows and doors, but home is Reşiţa”], retrieved from

https://adevarul.ro/cultura/arte/compozitorul-dirijorul-sabin-pautza--america-mi-a-

deschis-alte-ferestresi-alte-usi-insa-acasa-este-resita

Cozma R. (2006). Universul jazz-ului [The Universe of Jazz]. Iași: Editura Artes.

Cozmei, M. (2010). Existențe și împliniri. Dicționar biobibliografic [Existence and

fulfillment. Biobibliographic dictionary]. Iași: Editura Artes.

Gorghiu, A. Sabin Pautza diagnosticat de americani ca workaholic [Sabin Pautza

diagnosed by Americans as workaholic], retrieved from Cotidianul.ro, 27 March

2017, https://www.cotidianul.ro/sabin-pautza-diagnosticat-de-americani-ca-

workaholic/

Sandu-Dediu, Valentina (2017). Prolog [Prologue], in Sabin Pautza, Maestrul [Sabin

Pautza, The Master], Daniela Caraman Fotea (Ed.). București: Editura Palimpsest.

https://adevarul.ro/cultura/arte/compozitorul-dirijorul-sabin-pautza--america-mi-a-deschis-alte-ferestresi-alte-usi-insa-acasa-este-resita

https://adevarul.ro/cultura/arte/compozitorul-dirijorul-sabin-pautza--america-mi-a-deschis-alte-ferestresi-alte-usi-insa-acasa-este-resita

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The Balkan tradition in contemporary jazz.

Anatoly Vapirov

ALEX VASILIU “George Enescu” National University of Arts Iași

ROMANIA

Abstract: The folkloric character of the beginnings of jazz has been established by all

researchers of American classical music. The African-Americans brought as slaves

onto the territory of North America, the European émigrés tied to their own folkloric

repertoire, the songs in the musical revues on Broadway turned national successes –

can be considered the first three waves to have fundamentally influenced the history of

jazz music. Preserving the classical and modern manner of improvisation and

arrangement has not been a solution for authentic jazz musicians, permanently

preoccupied with renewing their mode of expression. As it happened in the academic

genres, the effect of experiments was mostly to draw the public away, as its capacity

of understanding and empathizing with the new musical “products” (especially those

in the “free” stylistic area) were discouraging. The areas which also had something

original to say in the field of jazz remained the traditional, archaic cultures in Eastern

Europe, Asia, the Orient. Compared to folkloric works from very distant areas, the

musical culture of the Balkans bears the advantage of diversity, the ease of reception

of melodies, rhythms and instrumental sonority. One of the most important architects

of ethno-jazz is Anatoly Vapirov. A classically-trained musician, an author of

concerts, stage music and soundtracks, a consummate connoisseur of the classical

mode of improvisation as a saxophone and clarinet player, Anatoly Vapirov has

dedicated decades of his life to researching the archaic musical culture of the Balkans,

which he translated into the dual academic-jazz language, in the hypostases of pre-

determined scored works and of improvised works – either as a soloist, in combos or

big bands. This study focuses on highlighting the language techniques, emphasizing

the aesthetic-artistic qualities of the music signed Anatoly Vapirov.

Keywords: Ethno Jazz, Iancsi Körössy, Richard Oschanitzky, Slavic Jazz, Balkan Jazz.

1. Introduction

For several decades, entertainment music, academic genres, jazz have

been influenced by folkloric melodies, rhythm and sonority. If, three-four

decades ago, lyrical evocative melodic phrases of Asian or Arabic origin

displayed at wind instruments, supported rhythmically by percussion

instruments from these regions, only illustrated the action musically and the

nature images chosen by directors of artistic movies, nowadays the Eastern,

Balkan tradition also impacts the recipe of Western-European academic

[email protected]

DOI: 10.2478/ajm-2019-0015


266

compositional style, influences strongly the generating core and the

spontaneous creation of jazzmen. It is a reality that is more than half a century

old, 1967-2017, it went beyond the limitation of a phenomenon and became a

permanence of a culture. I will mention a few milestones in the evolution of the

type of music I researched.

We should mention first the Art Ensemble of Chicago, appeared in the

first motherland of jazz, mentioned by historians as the experiment of the

1961-’70 decade. Named New Thing, Free Jazz or Avant-garde, the production

of this group took again African folklore as a point of reference, similarly to

the first jazzmen of late 19th

and early 20th

centuries, who were the descendents

of slaves from the Black continent, brought to North America. However, the

relation with traditional African music had been much longer and deeper.

Founded in 1966, but named later Art Ensemble of Chicago, the band “used” in

their improvisations (that mixed the melodic-rhythmic reminiscences of the

first style proper to modern jazz, bop, with almost totally free invention)

percussion instruments and short simple melodies belonging to their

motherland. From 1966 to 1969 the American and European public got to

know the rich instruments, similarly original costumes that represented the

ancient African culture. Out of a long series of productions recorded over more

than half a century, we may choose examples such as Promenade: Cote

Bamako 11 (more a performance of local percussion from Mali), Chi-Congo

2,

Toro (an amazing combination of African and Spanish percussion with the

modern type of jazz trumpet singing)3.

2. Romanian Ethno Jazz

Considering the old age of the sonic documents available now, the first

important insertions of musical folklore into the language of jazz appeared in

Romania. A few years ago, I discovered a series of records from 1956, that

were considered lost, of the band conducted by the Romanian pianist of

Hungarian origin Iancsi Körössy, born in Cluj in 19264. During a public recital

with his quartet, the tracks In a hurry and At the Round Dance5 were recorded

6.

For a decade, he had been the only Romanian jazzman interested in the

1 The album Urban Bushmen, ECM, 1982.

2 The homonymous album, Decca, 1972.

3 The album The Spiritual, Freedom, 1972.

4 He appeared under one given name in the Romanian press and records and under another

given name abroad. After moving to North America in 1969, he preferred the form “Jancy”. 5 These tracks were issued for the first time on the CD that accompanies the volume Jazz in

Romania – Romanian Jazz, vol. I - Jancy Körössy, by Alex Vasiliu (Vasiliu, 2014). 6 The songs were also recorded by the author with different players in 1967 (Radio Romania)

and after 1989 when he came back to his motherland.

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folkloric melody, harmonies and rhythm of his native land, and especially in

urban folklore.

1969 was the year when the free and ethno styles expanded, bringing

colour to the international avant-garde (not only to jazz). It was the year when

the album Identification was recorded by the German record company MPS

(Most Perfect Sound). The name of the disc, Identification, is important as

regards the author-performer’s origin and the special elements of the musical

language. It was then that the traditional Romanian rhythm-melody entered for

the first time the international jazz circuit through the recording of the track

The Round Dance from Viziru (Hora de la Viziru), a dance melody chosen by

Körössy from the region of Brăila. Reedited several times, this disc is

considered to be one of the most important in the world for pianist Körössy’s

standing, a model in terms of understanding the true principle of the free style,

controlled freedom, an original way of adapting the concept of American jazz

to specific features of the ethno-cultural region located so far from the

motherland of this art.

Resident for more than two decades in the United States of America,

Jancy7 Körössy allowed the Romanian musical tradition to feed his

spontaneous keyboard creations. The last proof of the fortunate relations with

American jazz, of the impressionistic and post-Romantic academic perspective,

of the Romanian methods of composing a musical discourse was a series of

solo piano records made in Atlanta, U.S. in 1975, and released 38 years later on

a double CD8.

Starting with 1967, several important Romanian jazzmen became

interested in musical tradition. That year, Richard Oschanitzky recorded three

tracks: two with melodic motives invented by him in the folkloric style –

Rustica, Dans9 – and one inspired from the folk tune Pe deal pe la Cornățel

(On the Cornăţel Hill)10

. As a jazz musician, Richard Oschanitzky was most

sensitive to the melodic, rhythmic and sonic resources of folklore. From 1967

to 1968 he went through a first phase of the relation between folklore and jazz

by displaying the original theme on a swing rhythm and developing the

improvisation in the style of American jazz while maintaining the harmonic

cipher that did not betray the initial melodic motive.

In 1969 Richard Osxhanitzky passed to a second phase of inventing

melodic motives in the style of Szekely (Hungarian) and Romanian archaic

7 Having settled in North America, the musician adapted his given name to his adoptive home-

land. 8 American Impressions and Romanian Landscapes, 7 Dreams Records. 7D-113. 2013.

9 Radio Romania recordings edited in the series Romanian Jazz Masters on the double CD

Memorial Richard Oschanitzky vol. I, 7 Dream Records, 2006. 10

A recording from 1967, edited on the disc Jam Session with Friedrich Gulda, Jazz Series no.

5, Electrecord, EDD 1180, 1968.


268

folklore, by preserving the novel rhythmic bases, the spontaneous

improvisations in bop and free styles. Oschanitzky’s originality in relation to

the creations of combo Art Ensemble of Chicago and of pianist Vagivmustafa

Zadeh, to which he listened to when these albums appeared (1966, 1968), grew

by multiplying the sonic sources up to the breadth of the big band as in the

tracks Procession or Neurasia11

. Oschanitzky’s inclination towards archaic

music may be explained by the fact that he studied it rigorously at the

Conservatory under the guidance of composer and professor Mihail Jora, who

also supported orienting the creator towards rural, authentic folklore, and by

the empathy with the compositional principles of Béla Bartók.

The third and most complex phase in the development of the folklore-

jazz relation in Richard Oschanitzky’s creation meant the inclusion of Arabic,

Chinese, Romanian melodic samples in a musical mixture that also featured the

Viennese waltz, the classical academic type of writing for a symphonic

orchestra, and the jazzy spontaneous melodic invention obviously not written

in a score. The last two stages meant paths opened by the Romanian composer

towards world music, a universe so familiar today, and towards the hard terrain

of symphonic jazz through the Toccata for piano and jazz septet (1966), the

Double concerto for piano, tenor saxophone, symphonic orchestra and big

band (1969) and the (Mountain) Variations ’71, composed and recorded in

1971.

Most Romanian jazzmen chose local traditional music as a source of

inspiration, with their works being documented in radio recordings, such as the

Quintet of Bucharest (Radio Romania, 1973), and especially on discs. Johnny

Răducanu, Marius Popp, Ramon Tavernier, Harry Tavitian (I only quoted a few

names) represent various ways of combining the two traditions – jazz and

(Romanian, Armenian, Balkan) folklore. As the overview of Romanian ethno jazz

history cannot feature all important achievements, I shall conclude with

Nicolas Simion, a saxophonist and composer who released many recordings

from festivals, clubs and concerts at his own record company 7 Dream, pianist

and composer Lucian Ban, the first Romanian musician on the discography of

the prestigious German label ECM, the Arifa trio – cultivating exclusively the

ethno genre by combining Eastern European and Balkan traditions with

elements of academic contemporary music. The advantage of this small group

in mapping a vast ethno-cultural territory lies in the diversity of musical

education and experience of clarinet player Alex Simu (Romania), Sjahin

During (Turkey – the Netherlands) playing African and Anatolian percussion,

and German pianist Franz von Chossy. In order to broaden the area of the

ancient tradition they are exploring, in 2014 the members of the trio started the

11

Radio Romania recordings from 1970, released in the series Romanian Jazz Masters on the

double CD Memorial Richard Oschanitzky, vol. I, 7 Dream Records. 2006.

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269

project Arifa and Eastern Voices by adding to the sound sources of the initial

band (bass clarinet, piano, percussion of different types) three female voices

from China, Iran and Bulgaria, with the singers enriching in their turn the

musical sound spectrum by handling ancient instruments from the countries

mentioned above.

3. Slavic jazz – Anatoly Vapirov

In another placed under a communist regime, Poland, melodies from

peasant folklore were quoted in the works of authors and improvisers retained

not only in their country but in the entire history of jazz. I am referring to

Andrzjey Trzaskowski, Zbignew Namislowski and Krzystof Komeda – the

latter, best known in the jazz and cinema environments of the United States of

America, considered to be the first one who conferred personality to European

and not only to Polish jazz. It is interesting to note: this achievement did not

occur in a country accustomed as early as the 1930s with the most important

American jazzmen due to radio and very successful concerts and discs (France,

England, Italy, Germany, the Netherlands, Sweden) but in areas where the

rural, especially the ancient, musical tradition survived. The general Slavic

melancholy melodic profile, the poetically sad character of Polish songs found

their way into the jazz creations in the early 1960s in the recordings of trumpet

player Tomas Stanko and especially of composer and pianist Krzystof

Komeda.

Also halfway through the 1961-1970 decade, jazzmen learnt about a

pianist and composer who combined modern harmonies, the post-bop

improvising style with the melody and rhythm of Azerbaijan. The two

contrasting modes, shur (melancholy, sadness) – rast (joy) found their

temperately modern expression in the already highly ornate pianistic

production of Vagivmustafa Zadeh, as the relation of blues and modern jazz

with the Azeri mugham turned a successful artistic couple. His daughter,

nowadays a headline of festivals and concerts hosted by prestigious stages,

pianist and singer Aziza Mustafazadeh has enriched and refined the fusion of

mugham with modern jazz by adding to improvisations “particles” from the

classical vocal culture and from jazz-rock.

One of the musicians who have been arguing for four decades for the

ability of the musical language of Central and Eastern Europe to influence the

ways of expression in jazz is Anatoly Vapirov. Born in the Ukraine, in

Berdiansk, on 24 November 1947, Vapirov studied clarinet, saxophone and

composition at the Conservatory of Sankt Petersburg, later graduating the

course of big band conducting. His musical background in the academic genres

and the talent to improvise gave him early on the possibility to express himself

dually: in jazz as a player of tenor, alto and soprano saxophone, and in the area


270

of academic music as a player of clarinet and bass clarinet and an author of

chamber, concert and vocal-symphonic works12

.

Almost all his creations in these genres are influenced by the Balkan-

oriental and Russian musical tradition. The first explanation of Anatoly

Vapirov’s way to feel and create music in the entirety lies in double

ascendency: his father was Bulgarian and his mother Russian. Growing up and

developing as a musician in the first part of his life, up to the age of 40, in the

Ukranian ethno-cultural space, in which the oriental, Hungarian, Romanian and

Russian traditions mingle, Anatoly Vapirov brought to original spontaneous

variations and compositions traditional melodic, harmonic, rhythmic elements

belonging to an area studied at the beginning of the 20th

century by ethnologist

and composer Béla Bartók.

The second layer of the musical-spiritual climate in Vapirov’s music is

represented by the Russian, Slavic emotional model, that poetic melancholy

present in the creations of Tchaikovsky, Rahmaninov, Stravinski and

Shostakovici, to name only four well-known composers. The strings of

musician Anatoly Vapirov’s sensitiveness were tied even tighter when he

moved to his father’s native Bulgaria, as the Balkan tradition marked even

more almost all of his written and improvised works for small bands (combo),

ensembles (symphonic orchestra and big band) or for one player (Vapirov).

The third layer comes from North America and represents jazz in three

main hypostases – blues matching the oriental-Russian melancholy, bop

favouring the imagination in improvisation and the modern-type virtuoso

instrumental technique, impressive in rapid tempos, with the free style proving

that the musician understands the total melodic-harmonic-rhythmic-expressive

freedom only as a corollary of the bank of ideas, of the incandescent internal

combustion, which all complete the dual traditional-modern form of an artistic

event.

As always, the artist melts his personal life experiences into his art. The

fourth explanation of the constitutive drama in Anatoly Vapirov’s music lies in

the story of his life, the main coordinates being his long-lasting search for his

sister, who had disappeared during World War II and the years of

imprisonment due to a conflict with the Soviet authorities. The latter layer was

revealed to me by the musician during a conversation occasioned by his first

presence at the International Jazz Festival “Richard Oschanitzky” that I

12

We may mention Macbeth for tenor saxophone and chamber orchestra (The Orchestra of the

Mali Opera and Ballet Theatre, soloist and conductor Anatoly Vapirov); Lines of Destiny

(dedicated to Alban Berg) for tenor, alto, soprano saxophones, bass clarinet and string quartet,

Leningrad 1985; Concerto grosso for symphony orchestra and jazz quartet (Orchestra of the

Ruse Philharmony, Anatoly Vapirov, Iuri Kuzneţov, Stoian Iankulov, Dimităr Şanon), Ruse –

2000.

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organized with the support of the Iaşi division of the National Television of

Romania.

To exemplify his constant interest in musical folklore, I will comment on

a series of his recordings representing over four decades. The album Ucracia,

released in 1976 together with the Jazz Ensemble of Leningrad, sheds light

right from its title and the first notes of the melodic theme on an ethno-cultural

area of the Ukraine that inspired the composer and the improvisers. Including

the Ukranian and Romanian Maramureş, the area is illustrated through the

spontaneous melodic line produced by Anatoly Vapirov on soprano saxophone,

with a timbre similar to the tárogató. Called zurna, this instrument was brought

by the Turks in the Middle Ages from the Middle East to Eastern Europe,

acquiring the name of Turkish flute, in Hungarian töröksip or tárogató, where

the Romanian name taragot came from. The work that opens the discographic

album Ucracia has two-fold traditional melodic aspects representing the

Romanian and Hungarian folklore, convincingly expressed by Anatoly Vapirov

on soprano saxophone (replacing the tárogató). Vapirov’s interpretation on the

saxophone and the double bass solo remind one of a traditional Szekely song

arranged by the Romanian Richard Oschanitzky in his free jazz work

Procession (Radio Romania – 1970, Double cd Romanian Jazz Masters.

Memorial Richard Oschanitzky vol. I, 7 Dream Records – 2006). The

difference between the two works lies in the fact that the soprano saxophone

and double bass solos are longer on the disc Ucracia, Vapirov having the time

to adorn with opulence the traditional melody with ornaments runs stressing

the specificity of the area13

. It is important to note that medium, rapid and ultra-

rapid tempo ornaments, especially on soprano saxophone, are a brand of the

improvisational style, present in all his creations.

By placing the modern monodic performance before the Orthodox

tradition of the male choir, followed by the tenor saxophone solo combining

traditional elements from the area with the free jazz-type improvisation,

Anatoly Vapirov was establishing in 1980 through his album Mysteria – a

dangerous link between the Ukranian folklore and the radical style of free

modern jazz. The link was all the more dangerous in the 1980s of a certain

political intransigence of the Soviet authorities, when the rhythmic-melodic

elements of a march are inserted parodically over the course of the ample work.

The relation archaic tradition – instant composing (with or without jazz

elements) is impressively illustrated by Anatoly Vapirov when he has as a

partner a percussionist (on stage or in a studio) using an entire set of

instruments of this kind. On 20 May 2005 Vapirov took part for the second

time in the International Festival “Richard Oschanitzky” in Iaşi, Romania,

13

Radio Romania - 1970, Double cd Romanian Jazz Masters. Memorial Richard Oschanitzky

vol. I, 7 Dream Records – 2006.


272

playing together with Vladimir Tarasov. The communication between the two

musicians was impressive. The matching between Tarasov and Vapirov in the

context of this study was expressed when Vapirov played on the tenor

saxophone the melodic line perfectly resembling the traditional Romanian song

doina. The ornaments of the Vapirov label became one with the traditional

Romanian melody – an outstanding achievement as Anatoly Vapirov told me

that he had never listened to Romanian folklore. As an example, Vladimir

Tarasov’s kettle-drum is not merely a rhythmic supporter but comments on

Vapirov’s melodic discourse by offering ideas, as his instrument also has subtle

melodic-expressive qualities.

The archaic aspect of the music in the case of the sonic sources wind

instrument-percussion is achieved especially when Anatoly Vapirov

improvises on soprano saxophone. As I have mentioned, the timbre of this

instrument is similar not only to that of the tárogató but also to Asian and

Arabian instruments, the sonic image being completed by the drums skillfully

handled by Vladimir Tarasov.

The guiding lines tracing the ethnographic regions of Turkey, Bulgaria

and Hungary, mentioned earlier, have always influenced the creation of

Anatoly Vapirov. In 2002, at the International Festival he organises in Varna,

Anatoly Vapirov improvised on the same soprano saxophone together with

guitarist Enver Izmailov and percussionist Kornel Horvath, providing a

synthetic picture of the nostalgic, evocative transfigured melodics, much like

the sonority of the percussion in a modern, urban landscape.

Conclusions

An excellent improviser in the style of the American saxophonists who

have authored modern improvisational concepts, the Russian/Bulgarian

Anatoly Vapirov has not only added to the melting pot of contemporary jazz

exotic ingredients from the areas where he has been living. He has proved the

viable togetherness of the two traditional, folkloric musical cultures,

contributing to the renewal of jazz, helping tradition to assert itself in the forms

of contemporary music. His predetermined or spontaneous achievements

represent a defining stage in the history of modern jazz.

We should acknowledge that a large number of festivals initiated many

years ago as events of American jazz proved openness towards the elements of

old folklore from various countries. These meetings gradually became world

music festivals in which an increasingly large number of performers and

singers from Europe, Asia, Latin America, the Middle East have been

cultivating the melting pot which is so appreciated today, in which the blues,

swing, improvisation, the sounds of instruments typical of American jazz

mingle with the intonations, ornaments, rhythmic accents, novel timbres of the

instruments in the area under discussion. The free movement of information,

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the presence of samples of this type of music, rich in exotic traditions, in the

media, feature films, documentaries, multimedia theatre performances have

already caused the public to become accustomed to the musical productions,

which seemed foreign or exotic before. Ethno jazz and world music are two

original sonic-artistic facets rich in musical ideas, in instrumental aspects that

are worth researching.

References

Davis, F. (1990). Outcats. Jazz composers, Instrumentalists and Singers. Oxford

University Press.

Gridley, M. (2000). Jazz History and Analysis, ed. VII. New Jersey: Prentice Hall, Inc.

Englewood Cliffs.

Körössy, J. (2013). American Impressions And Romanian Landscapes. 7 Dreams

Records. 7D-113.

Vapirov, A. & Kuznetsov, Y. (Recorded Live 1997/1998) Bridge Over Sea. AVA

Records 007.

Vasiliu, A. (2014). The Works of Richard Oschanitzky: Stylistic features. Frankfurt:

Peter Lang.

Vasiliu, A. (2015). Jazz în România – jazz românesc: Jancy Körössy [Jazz in Romania

– Romanian jazz: Jancy Körössy]. Iaşi: Editura Artes.

Tavitian, H. & Vapirov, A. (2007). Dancin' 'round The Black Sea. Pirate Records 005.

Wagner, J. (1992). Guide du Jazz. Invitation a l’histoire et l’esthétique du jazz. Paris:

Syros/Alternatives.

(2006). Memorial Richard Oschanitzky, I. Romanian Jazz Masters. Radio România –

1970: 7 Dream Records.


274

Values of neo-protestant choral works

in Romania

CARMEN ALMĂŞANU “George Enescu” National University of Arts Iasi

ROMANIA

Abstract: Borne from the relevant and efficient expression in the context of

contemporary culture, neo-protestant choral spirituality uses a diversified and

meaningful language. From the very beginning of the existence of neo-protestant cults

on the territory of our country, the establishment of a liturgical repertoire intended for

common intonation or by various choral or vocal-instrumental bands has been one of

the primordial preoccupations. Along with choral creations translated from the

universal literature, there is a significant number of original works created by

Romanian composers within the religious services. Due to extremely diverse themes

and extrovert character, neo-protestant choral music includes different styles specific

to the great tradition of classical, romantic or modern music as well as influences from

the extra-European sphere. The text of these creations, which has biblical inspiration

or created by the composer, is a means of great diversification in the reproduction of

the sound material. Composers and arrangers with high quality music training and a

profound understanding of biblical truths, through sound art wanted to contribute to

the enrichment of contemporary neo-protestant choral music repertoire, leaving

posterity a significant amount of valuable choral pages as inheritance.

Keywords: choral music, contemporary neo-protestant composers.

1. Introduction

As a continuation of the religious reforms that prompted the protest

against the Western Church, starting with the second half of the 19th century,

through foreign missionaries, some confessional movements have emerged in

Romania, which have been called Neo-protestant cults. The cult of the Baptist

Christian Church, the cult of the Christian Church after the Gospel, the cult of

the Pentecostal Christian Church and the Seventh-day Adventist Church cult

were part of the Neo-protestant cults.

The liturgical music of these cults was originally made up of the

Anglo-American and German songs brought by the missionaries. In the

religious service, the translation of these songs and their intonation by the

entire community of believers first in unison, then by choirs to two or four

voices, was the main form of musical manifestation until the period between

the two world wars and that of the communist regime, when we witness an

[email protected]

DOI: 10.2478/ajm-2019-0016

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opening towards the native music, the first generation of composers

representing the Classics of the Romanian neo-protestant choral music, who

created a music similar to that of the great Romanian composers of choral

music in the second half of the nineteenth century. The most important poets of

this period were Costache Ioanid and Traian Dorz, while the most

representative musical creations were accomplished by the composers Nicolae

Moldoveanu, Daniel Stăuceanu, Jean Staneschi, Iovan Miclea, Mircea

Ciugudean, Valeriu Burciu, Horst Gehann, Mircea Valeriu Diaconescu, Teodor

Caciora.

After the 1989 revolution, highly trained composers and arrangers gave a

new impetus to the choral creation, adopting a modern and flexible liturgical

expression, contributing to the creation of a significant amount of valuable

coral pages.

2. Contemporary neo-protestant choral creations

One of the major concerns among neo-protestant churches over time has

been the defining of the songs repertoire both for the joint singing of the

congregations as well as for the various choral or instrumental bands. Within

the religious services of the neo-protestant churches in Romania, during the

contemporary period there are both choral works with foreign songs, whose

texts have been translated into Romanian, as well as original choral

arrangements and works, composed in Romanian by Romanian composers

belonging to neo-protestant cults such as: Teodor Caciora, Kenneth Tukker,

Iulian Teodorescu, Dor Niculescu, Emanuel Bălăceanu, Răzvan Nemeş, Lari

Muntean, Silviu Bratu, Onişor Rodila, Marian Fedur, Andrei Dunca, Mircea

The neo-protestant choral music is an optimistic, bright, cheerful, tonic,

exuberant music, capable of mobilizing the believers' souls, who fully

participate in the singing within the divine services, a music that responds to

their different spiritual needs, amplifying the evangelical message and helping

to its anchorage into the affective memory.

The neo-protestant choral music contains a very significant quantity of

songs that are chosen according to the liturgical needs or according to their

musical value. One of the most important features of liturgical music, that has

influenced neo-protestant music throughout its existence, is the primordialness

of the word over the melody. The text of the choral works, inspired from the

Holy Scripture or created by the composer, due to its extremely varied and rich

themes, is a means of nuance and infinite diversification in finding specific

modal, harmonic or polyphonic solutions for each song. From this perspective,

neo-protestant choral music encompasses different styles of classic, romantic

or modern musical tradition as well as influences from the extra-European

sphere (pop, rock, gospel, jazz).


276

From the structural point of view, the most common in the choral

creations present in the liturgical repertoires are the simple forms, the stanzaic

ones with chorus (found in coral, hymn, lied), because of their accessibility

(given that the choral groups in the non-protestant churches are mostly made

up of amateurs), and relatively limited space in cult services. Extensive musical

genres such as motet, cantata, oratorio are found in the repertoire of

extraliturgical sacred music, intoned in the concert halls by some professional

neo-protestant choral or vocal-instrumental bands.

From the point of view of the organization of the musical discourse, the

neo-protestant choral music contains both characteristic features of the singing

in the primary church (rendered by speech and anaphonic singing), as well as

the elements of the Byzantine or modal music such as the ison, the ostinato, the

sequences, the movable steps, the chromatic elements, alternative measures,

polymethry and polyritmia. Some works are monodic, some harmonic or

polyphonic handled, or we can capture all three ways of writing in the same

work. Among the polyphonic creation processes used, we find the severe and

the free imitation (canon, stretto, fugato). We also mention the possibilities of

enlarging the morphological framework by applying the double counterpoint,

the use of modulation and transposition, the partitioning of parties. We find a

variety of tempi and timbre colors, some of which come from the combination

of human and instrumental voice. Harmonically, surprising are the passages in

which chromatic elements, the four sound, with seventh, with ninth, with added

sounds chord, the placement of the melody in the acute register, elements that

contribute to amplifying and enhancing of ideas or feelings transmitted by the

text.

In the successive paragraphs we shall stop on some recent works,

representative for the neo-protestant liturgical repertoire, signed by the

composers Teodor Caciora, Iulian Teodorescu, Kenneth Tukker and Emanuel

Bălăceanu.

2.1 Numai harul1 [Only the gift] – Teodor Caciora

Taking over the well-known melody Numai harul/ Only the gift, created

by the composer Nicolae Moldoveanu, on the lyrics of the poet Costache

Ioanid, Teodor Caciora creates a remarkable coral arrangement in which the

melody and the text, in a perfect interflow, describe in a dazed atmosphere of

the Romanian folk song, that gift offered by God to the faithful man.

The form of the piece is bipartite, A (a+av) B (b +bv), in its composition

identifying 5 stanzas and one chorus, intoned by the mixed chorus alternating

1 Piece no. 7 from Caciora, T. (2011). Concepte componistice şi interpretataive moderne. O

viziune asupra propriei creaţii şi activităti interpretative [Modern composing and interpreting

concepts. A vision of their own creation and interpretative activities]. Iasi: Editura Artes.

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277

with the accompanying soloist, according to the following scheme:

tutti solo tutti solo solo tutti/solo

str.1,2 str. 3,4 str. 5

‖: B A :‖: A B : ‖ A ‖: B :‖

re I-IV-I la re I-IV-I re re I-IV-I

Stanza A, made up of two simple square phrases (a, av), brings a simple

melody, embossed with embroidery, passages and appoggiatura, intoned by

solo baritone on the long chords of the choir, following the I-IV-I concatenation

model.

Fig. 1 Teodor Caciora, Numai harul [Only the gift], mm. 9-16

The sound clime of the work is reflected in the oscillations of Dorian

mode on the re and la, describing human impotence, that soul-struggle between

fall and exaltation.


278


The descant of B chorus, made up of two simple square phrases in which

the composer uses a series of sequences according to the VI-II7 model, contains

the central message of the piece: Numai harul, numai harul mă păstrează ne-

ncetat/ El mă face, el mă ține credincios cu-adevărat./ Only grace, only grace

keeps me unceasing/ He creates me, he keeps me trully faithful.


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The last refrain, after the fifth stanza, renders the song intoned by the

soloist and the choire together, a process used by the composer to emphasize

the importance of the text, the final cadence being achieved through the I-IV

major-I chord relation, which is actually a Doric cadence.


2.2 Gata îmi este inima să cânte2 [Ready is my heart to sing]

– Kenneth Tukker

One of the highly appreciated choral pieces from the repertoire of

contemporary neo-protestant music, Gata îmi este inima să cânte-Ready is my

heart to sing, belongs to the American composer Kenneth Tukker, who has

established itself in Romania for over two decades and has made a remarkable

contribution to the revival of choral music. Designed for 4 mixed voices and

organ accompaniment, with text taken entirely from Psalm 108 (verses 1, 3, 4

and 5), the piece generates a solemn atmosphere in which feelings of gratitude

for the goodness of God that rises above the heavens are expressed.

The text of verse 1, Gata imi este inima să cânte, Dumnezeule./ Ready is

my heart to sing, Lord. Voi cânta, voi suna din instrumentele mele, aceasta este

slava mea/ I shall sing, play my instruments, this is my lustre, has an

introductive function, being intoned in unison by the vocal ensemble, on a

simple melody, made up in rising gradual course, combining the binary and

triple metre.

2 Piece no. 9 din Un ospăţ nesfârşit [A neverending feast], Collection of choral pieces for

mixed choir ( 2012). Oradea: Editura Jubilate.


280

Fig. 5 Kenneth Tukker, Gata îmi este inima să cânte [Ready is my heart to sing], mm. 1-6

The text of the verse 3, Te voi lăuda printre popoare, Doamne,/I shall

praise you amongst nations, Lord/ Te voi cânta printre neamuri/I shall seek you

amongst nations, brings a new melody, exposed in unison both by the tenor

and the bass, taken over by a sopran-alto and continuing with a dialogue

between the two vocal groups.


Verse 4, Căci mare este bunătatea Ta şi se înalţă mai pe sus de ceruri, iar

credincioşia Ta până la nori/ For great is thy lovingkindness, and rises above

the heavens, and thy faithfulness unto the clouds, presents us with a page of

rare beauty, which reveals the maturity of the compositional thinking and the

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skill of an experienced composer. After the presentation of a new song exposed in

unison by the four voices, we see an indedited fragment, made in double

counterpoint, by overlapping, then reversing two sound planes with different texts,

one of which is the melody of verse 3, intoned by the bas (mm. 41-51).


In verse 5, Înalţă-Te peste ceruri Dumnezeule, şi fie slava Ta peste tot

pământul/ Rise above the heavens, God, and may your glory effuse all over the

earth, to render the feeling of exaltation, the composer uses a rhythmic-

melodic cell based on the tierce interval, which, by sequencing, gains more and

more in height, the ascension being supported by the gradual increase of the

intensity.


282


2.3. Colindul păstorilor3 [Shepherds' carol] – Iulian Teodorescu

Unparalleled from the choral repertoires dedicated to the Savior's birth,

the choral work Shepherds' Carol, of the composer Iulian Teodorescu, on lyrics

by Carmen Gavril, has a varied form on the multiple ostinato. The gradation

made with great art, is built up by the gradual accumulation of voices from 1 to

6, each party having an ostinated melodic phrase.

Fig. 9 Iulian Teodorescu, Colindul păstorilor [Shepherds' Carol], mm. 9-16; 17-24

The piece starts with a main song of 8 measures, followed by another five in

overlap. The main song, grafted on a ternary meter (3/8), conceived in Aeolian mode

3 Piece no. 4 from În mijlocul laudelor [In the middle of praise], choral religious works, special

edition for the Nativity Feast, Volume II/2003. Oradea: Editura Jubilate.

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283

on do, intoned in unison by the tenor and baritone voices, on the la-la-la sylables, in

the piano, persists in the listener's ear until the end.

Fig. 10 Iulian Teodorescu, Colindul păstorilor [Shepherds' Carol], mm. 73-80

The descending slope of the dramatic arch is made in a concentrated

time, reaching the repeat of the first idea at the tenor-baritone, the composer

Iulian Teodorescu thus succeeding in capitalizing on the beauty of the poetic

text and emphasizing the central idea of the message Slavă’n locurile ‘nalte/

Pace fie pe pământ/ Glory in the high places/ May the earth be covered in

peace.

Fig. 11 Iulian Teodorescu, Colindul păstorilor [Shepherds' Carol], mm. 41-48

2.4. Toţi să fie una4 [Let all be one] – Emanuel Bălăceanu

One of the most beautiful prayers presented in the Holy Scripture is that

of the Savior's before His ascension to Heaven, as the Gospel of John, chapter

17 relates. The central point of the chapter is the unity of the believers for

whom the Savior prays, by entrusting them to the Father for be guarded by the

4 From the collection De laudă slavei Sale [Praise to His glory] (2015). Oradea: Editura

Jubilate.


284

evil one, and to be witnesses of his saving work for the next generations.

The choral work Toți să fie una/ Let all be one of the composer Emanuel

Bălăceanu is inspired from verses 11, 17 and 21 of this chapter (Eu nu mai sunt

în lume, dar ei sunt în lume, și Eu vin la Tine. Sfinte Tată, păzește, în Numele

Tău, pe aceia pe care Mi i-ai dat, pentru ca ei să fie una, cum suntem și Noi.

Sfințește-i prin adevărul Tău: Cuvântul Tău este adevărul. Mă rog ca toți să fie

una, cum Tu, Tată, ești în Mine, și Eu în Tine; ca și ei să fie una în Noi, pentru

ca lumea să creadă că Tu M-ai trimis/ I am no longer in the world, but they are

in it, and I come to you. Holy Father, watch over those whom You have given

Me, that they may be one, as We are, sanctify them by Your truth: Your word is

the truth. I pray that all will be one, as You, Father, are in Me, and I in You; so

that they too, may be one in Us, that the world may believe that You have sent

Me), and they are intoned in the evangelical churches usually on the Sunday of

the Lord's Supper (an act in which the believers share bread and wine), before

preaching from the Holy Scripture, according to a theme appropriate to the

moment.

To render the idea of unity as stated in the Scriptural text (Mă rog ca toți

să fie una/ I pray that all will be one), composer Emanuel Bălăceanu uses the

unison he alternates with writing in 4 voices. The piece starts with a warm

melody that drives us into the atmosphere of prayer, intoned by the tenor-bass

voices, to whom the sopran-alto gradually joins.

Fig. 12 Emanuel Bălăceanu, Toţi să fie una [Let all be one], mm. 6-15

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285

After a short passage of four voices, the first part of the chorus is

rendered in unison by the whole coral ensemble, while the piano performs a

discrete accompaniment, made of arpeggios.


By repeatedly using the verse Mă rog ca toți să fie una/ I pray that all

will be one, the gradual accumulation of intensity (p, mf, f), the presence of a

short imitation passage, the pedal to four voices, and the use of quote (over the

pedal to four voices, the first verse of a well known song, that is sung with the

entire community, Noi suntem una-n Isus/ We are one in Jesus is heard intoned

by the sopran solo), the work follows an expressive forceful evolution.


The entire fragment is supported by the piano with a harmony made from

chords with added sounds.


286


The idea of unity is also found in the final refrain that modulates at an

ascendent large second interval, also exposed in unison.


The piece ends with a forceful and brilliant sonority (ff), which comes to

strengthen the believers' faith and optimism, expressed in the verse Pentru ca

lumea să creadă că Tu M-ai trimis/ For the world to believe that You have sent

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Me, and in order to accomplish this, the composer calls for increased support

from the voice and piano apparatus.


3. Conclusions

The course of music in the life of non-protestant churches and the

constant preoccupation for defining the songs repertoire has been and is in

constant change. Both in liturgical serivices and in a secular framework, the

ability of the art to communicate biblical truths represents the most important

liturgical feature. By browsing the pages of the Holy Scripture, we discover

that Christians have always been involved in art. As they headed for eternity,

they contributed to the most beautiful forms of artistic expression for God.

Using a varied and meaningful language, contemporary neo-protestant

choral creation evolves in the rhythm of the development of human

civilization, reflecting society in its diversity, and at the same time being an

effective way of communicating between past and present.

References

Bălăceanu, E. (2015). Toţi să fie una [Let all be one] din colecţia De laudă slavei Sale

[Praise to His glory]. Oradea: Editura Jubilate.

Buzduga, S. (2015). Închinarea și lauda în acord cu Sfânta Scriptură [Worship and

praise in accordance with Holy Scripture]. Suceava: Editura Little Lamb.

Caciora, T. (2011). Concepte componistice şi interpretative moderne. O viziune

asupra propriei creaţii şi activităti interpretative [Modern composing and interpreting


288

concepts. A vision of their own creation and interpretative activities]. Iaşi: Editura

Artes.

Caciora, T. (2011). Aranjamente corale [Choral arrangements]. Iaşi: Editura Artes.

Eisikovitz, M. (1976). Introducere în polifonia vocală a secolului XX – prelucrarea

corală a folclorului [Introduction to vocal polyphony of the 20th century – choral

processing of folklore]. Bucureşti: Editura Muzicală.

Filip, I. (2012). Elemente de limbaj muzical [Elements of musical language]. Arad:

Vasile Goldiş Press.

Geantă, C. (1999). O istorie subiectivă a muzicii în Biserica Adventistă de Ziua Șaptea

din România [A subjective history of music in the Seventh-day Adventist Church in

Romania]. Bucureşti: Editura Viață și sănătate.

Geantă, C. (2009). Estetica muzicii sacre [Aesthetics of sacred music]. Bucureşti:

Editura Viaţă și sănătate.

Gelman, K. S. (2004). Polifonia imitativă în creaţia corală contemporană românească

[Imitative polyphony in contemporary Romanian choral creation]. Cluj-Napoca: Editura

Napoca Star.

Jarda, T. (2003). Armonia modală cu aplicaţii la cântecul popular românesc [The

modal harmony with applications in the Romanian folk song]. Cluj Napoca: Editura

MediaMusica.

Talpoş, V. (1999). Studiu introductiv în Legea, Istoria şi Poezia Vechiului Testament

[Introduction to the Old Testament Law, History and Poetry]. Bucureşti: Editura

Didactică şi Pedagogică.

Terényi, E. (2001). Armonia muzicii moderne [Harmony of modern music]. Cluj-Napoca:

Editura MediaMusica.

Timaru, V. (1991). Morfologia şi structura formei muzicale. Curs de forme şi analize

muzicale [Morphology and structure of musical form. Course of musical forms and

analysis], I. Cluj-Napoca: Academia de Muzică „Gheorghe Dima”.

Timaru, V. (1994). Principiul stroficităţii. Curs de forme şi analize muzicale [The

Principle of stanza. Course of musical forms and analysis], volume II, Cluj-Napoca:

Academia de Muzică „Gheorghe Dima”.

Velea, M. (2004). Evoluţia muzicii psaltice şi a mişcării corale religioase din România

[The Evolution of psaltic music and religious choral movement from Romania].

Bucureşti: Editura Daim.

Un ospăţ nesfârşit [A neverending feast], culegere de piese corale pentru cor mixt

[collection of choral pieces for mixed choir] (2012). Oradea: Editura Jubilate.

În mijlocul laudelor [In the middle of praise], lucrări corale bisericeşti [religious

choral works], ediţie specială pentru Sărbătoarea Naşterii Domnului [special edition

for the Feast of Nativity], I (2003). Oradea: Editura Jubilate.

BOOK REVIEWS

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The Book of Honor of the Iași Conservatory

Returned Home!

CARMEN CHELARU “George Enescu” National University of Arts Iași

ROMANIA

Abstract: The Iași Conservatory Book of Honor was initiated in 1926, when the

headmaster of the institution was the cello teacher Nicolae Theodorescu (between

1924-1930). I tried to describe the adventure of this document of great importance for

the history of Iaşi culture, in the following episodes: personalities and events

mentioned in the Book; the disappearance of the Book from the Conservatory archive

in 1950, under circumstances still unclear; rediscovery and presence in D.

Grumuzescu's collection; returning to the patrimony of the “George Enescu” Art

University of Iasi. This text is an extension of the one published in “Filarmonica

Magazine”, in April 2015.

Keywords: George Enescu, Iași, Conservatory, Book of Honor.

Once Upon a Time in the Iași Old Town…

Christmas 2018 was around the corner. One evening, I arrived at the

antique shop of the Iași Old Town, Anticariatul Grumăzescu – everybody who

visited Iași remembers this bookshop, full of vintage items, near Piața Unirii,

Traian and Unirea Hotels, on Lăpușneanu Street.

Fig. 1 Iași, The Antique Shop on Lăpușneanu Street and its owner Dumitru Grumăzescu

(Radio Iaşi/Photo ziaruldeiasi.ro)

[email protected]; sites.google.com/view/carmen-chelaru

DOI: 10.2478/ajm-2019-0017

mailto:[email protected]


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Four years ago, in January 2015, Dumitru Grumăzescu, the owner of the

bookshop (he owns a very large collection of rare books), proudly told me

about an item in his collection, The Honor Book of “George Enescu” Iași

Conservatory of Music and Drama, 1926-1950. He talked, I browsed the yellow

pages of the Book, I noticed George Enescu’s autograph on a torn sheet and I

left… At that time, I thought that if I write about this document in Filarmonica

Magazine (Chelaru, 2015, pp. 30-37), something will happen, someone will

take the initiative to bring it back to the University Library, where it has been

taken from, a long time ago. But no, nothing did happen, life carried on

untroubled. Only the owner was delighted to be promoted like this, and he

ordered about forty copies of the magazine, to offer them to his friends and

acquaintances.

How I learned about the existence of the Conservatory Book of Honor

In 2011, during a musicological meeting, Dumitru Grumăzescu talked

about the historical document in his collection of rare books, mentioning the

composer George Enescu’s autograph. Everybody was astonished and I was

very curious to see it. For various reasons, the opportunity arose only four years

later, in January 2015. The collection owner invited the three of us to his

bookshop (the Iași Philharmonic music secretary, a cameraman and me). He

agreed to make an interview and to let us take photos of the document.

The main question was dealing, of course, with the circumstances in

which he got the Book. So, he told us as following: “By 1976, I traveled to

Bucharest on business, and, as usual, I visited the antiques fair, looking for rare

books. After a while, I noticed an old man, with a wheelbarrow full of books. He

agreed to let me look, and I found some precious genuine books. Finally, hearing

that I came from Iași, he offered me a small book bound in leather: «Take this

too, take it to Iași, the city of Iași owns it!» he said.

Fig. 2 (left) The Book of Honor and a small statue of the Romanian composer George Enescu,

(right) Inside Cover (Photo: A. Popovici)

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And thus, this honor book containing signatures, dedications and

references to the music history of Iaşi had come back home.”

Shape and Content

The Book size is 21/18 cm (8.267/7.086 Inches) and it includes about

one hundred files; among them, only forty pages are written. The mentioning

on the first page is not signed, so it could be written lately, by one of the

owners (Fig. 3).

Fig. 3 The First Page:

“The Book of Honor of

the Iași Early

Conservatory, with

memories and signatures

of great Artists as

Castaldi (1926), G.

Enescu (1942) and

Achim Stoia (1950)”

(Photo: A. Popovici)

Alfonso Castaldi, May 24th, 1926

The first mention, in Italian, belongs to the composer Alfonso Castaldi.

Fig. 4 Alfonso Castaldi’s dedication to the

musicians of the Conservatory


“I am happy to declare, with all

my heart, that I have become aware of

the artistic level of the Orchestra of the

Iași Conservatory, whose head-master

is the distinguished musician Mr. N.

Teodorescu.

The artistic results we achieved

in the two recent symphonic concerts

convinced me by the efficient sound,

by the beautiful color of the

instruments, and above all, by the

perfect discipline the two

miscellaneous and difficult programs

were performed.


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Working hard, this Orchestra has certainly a great future ahead. In a short

time, I’m sure, it will grow artistically, expanding its stylistic horizons and

winning triumphant successes.”1

Fig. 5 Alfonso Castaldi

In 1926, Alfonso Castaldi (1874-1942, Italian

composer, conductor and teacher, settled in Romania at the

age of 20) was teaching harmony, polyphony,

orchestration and composition at the Conservatory of

Bucharest. He also was music inspector in The Arts and

Culture Ministry (acc. to Tomescu, 1958). He conducted the Conservatory

Orchestra in two concerts in March and May 1926, at the Iași National Theatre.

Fig. 6 The poster of the Concert of March 28th,

conducted by Alfonso Castaldi:

“The Orchestra of the Conservatory of Music and

Drama, Iași/ The National Theatre/

Sunday, March 28th, 1926, 10:30 in the morning/

The Third Extraordinary Symphonic Concert,

conducted by the Composer Maestro Castaldi”

(Photo: GENUA2 Iași Archive)

On May 25th, 1926, ʻOpinia’ newspaper

of Iași was publishing a large musical

chronicle of those concerts, signed

Wratislavius (pseudonym at Josef

Shmilovich). I include an extract below.”…

Mr. Castaldi immediately managed to relate

with the auditors, the large crowd who filled

completely the great concert hall. […] I have

1 “Sono contento di poter affermare con tutto il cuore il constatato lavoro artistico-musicale

all’Orchestra del Conservatorio di Iași, diretto dal valentissimo musicista Signor N.

Teodorescu./ I risultati artistici ottenuti da me in due Concerti Sinfonici, diretti recentemente,

mi convingono appieno dell’efficacia sonora, dei timbri di buona qualità, e, sopratutto della

perfetta disciplina nelle varie e difficili esecuzioni dei due programmi. Questa Orchestra

coltivando si metodicamente, ha certamente un bellissimo avvenire innanzi a sè;/ Son sicuro

che fra non molto, essa potrà espandersi artisticamente, allargare le sue vedute estetico-

evolutive e raccogliere successi e triomfi.” Translated by Carmen Chelaru (apud Pascu, 1964,

p. 93, note 67) 2 GENUA: “George Enescu” National University of Arts

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rarely noticed in a conductor such sincere modesty and so much honest faith in

the performance of an artistic work.”

According to the journalist, one of the concerts included extremely

difficult scores such as Symphonie fantastique by Berlioz and Beethoven’s

Overture Leonore 3. “The conductor and the Conservatory Orchestra

(composed mostly by students) have done their best. […] I have not heard many

times such passages so distinctly and harmoniously graded, as in Mr. Castaldi’s

performance.” (acc. to Tomescu, 1958, pp. 216-217)

Fig. 7 Iași Conservatory Orchestra and the conductor Alfonso Castaldi (middle, 2nd line),

in 1926 (Photo: GENUA Iași Archive)

On the Iași Philharmonic fifteenth anniversary, Professor George Pascu3

wrote: “Besides the concerts conducted by Carol Nosec, there are two other

concerts with Professor Alfonso Castaldi from Bucharest. The excellent

musician aroused enthusiasm among the auditors of Iași by the Beethoven’s

Eroica Symphony and Berlioz’s Symphonie fantastique. He also impressed by

his own works – original compositions and remaking from Baroque music”

(Pascu, 1957, pp. 43-44). Seven years later Professor George Pascu was

mentioning: “In the season 1925-1926, the orchestra performed four concerts,

two of them conducted by Alfonso Castaldi. The Professor of Bucharest made a

3 George Pascu (1912-1996): Professor of the history of music at Iași Conservatory,

musicologist, director and music secretary of the Iași Philharmonic, performer of musical

conferences (Cozmei, 2010, Existențe…, pp. 327-332).


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profound impression as a conductor. By his Mediterranean temper he enhanced

the orchestra, getting from the young ensemble genuine artistic performances.

His compositions Tarantella and Marsyas, difficult works technically and

artistically, have been very well figured out. As a result of the general

enthusiasm, Tarantella has been repeated as an encore. Berlioz’s music, almost

unknown in Iași, produced a deep impression. The Symphonie fantastique

performance became a musical event which a long time ahead will be talking

about, among the music lovers of Iași. In the Conservatory Book of Honor,

Castaldi himself mentioned the orchestra improvement.” (Pascu, 1964, p. 93)

Nicolae Theodorescu, Cellist and Professor, Headmaster of the Conservatory

between 1924-1930

At that time, the cello teacher Nicolae Theodorescu (1885-1939) was the

Iași Conservatory headmaster.

“After a period of very frequent changes (six headmasters in seven years),

Nicolae Theodorescu took the Conservatory leading in 1924, and he imposed

more discipline in the educational dealings, more stability in the teachers’

activity. Above all, he hired new teachers in order to continue and to enrich the

experience of the school as a high-level institution of artistic education.”

(Cozmei, 2010, Pagini…, pp. 137-139)

Fig. 8 (left) Nicolae Theodorescu,

cellist and headmaster of the Conservatory between 1924-1930;

(right) The students of Professor Nicolae Theodorescu, in 1928 (middle)

(Photo: GENUA Iași Archive)

In the next pages, the Book of Honor includes notes regarding the courses

opening in the period 1940-1943, with the signatures of the teachers and further

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guests such as the Minister of National Culture, Religion and Arts, Professor Ion

Petrovici4; also, poets and actors, important cultural personalities of the time.

Fig. 9 Opening courses on November 2nd, 1943 (Photo: A. Popovici)

Radu Constantinescu, 1945 (?)

Fig 10.

Professor Radu

Constantinescu

(Foto: GENUA

Iași Archive)

Fig. 11 The

first page of the

story written by

Professor Radu

Constantinescu

(Photo: A.

Popovici)

4 Ion Petrovici, 1882-1972, Romanian Professor of philosophy at the University of Iaşi, Member

of the Romanian Academy and Minister of National Education between 1937-1938 and 1941-

1944. In 1943 he signed the Founding Decree of the Iași Philharmonic Orchestra.


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The Book includes also a rather long story (13 pages) of Professor Radu

Constantinescu, intitled Truth, regarding certain events in the Conservatory

educational sphere as well as in the city of Iași musical life.

Radu Constantinescu (1900-1986), has been pianist and Professor at the

Iași Conservatory between 1925-1950. At the closing of the institution, in 1950,

he left Iași for Bucharest, where he taught at the Music High School and at the

Conservatory. He was soloist and a passionate chamber music performer.

Between 1939-1950, he was also rector of the “George Enescu” Conservatory

and promoter of the musical life in Iași. In 1940-1942 he decisively played a

part in the foundation of the Iași Philharmonic Orchestra; he also leaded the

concert institution till 1945 (Cozmei, 2010, Existențe…, pp. 123-124).

George Enescu, dedication and autograph, 1942

The most important autograph of the Book is that of the composer George

Enescu.

In 1942, George Enescu came to Iași to participate at several musical

events. On May 15th and 17th, he performed recitals as a violinist, and on

October 9th, he conducted the inauguration concert at the Iași Philharmonic. I

did not find precise information regarding the events of May 1942 (location,

program of the concerts, etc.). Professor Mihail Cozmei5, who studied

thoroughly the archives of the Iași Conservatory, mentioned that the record of

the Professors Board includes information concerning the rector’s mission,

Professor Radu Constantinescu, to yield to maestro George Enescu the title of

doctor honoris causa.

Fig. 12 “To the Iași Conservatory, to whom I owe the great honor of having been named doctor

honoris causa, with unconditional devotion. George Enescu, 1942”


5 Mihail Cozmei, born in 1931, is music historian, former Professor at the Iași University of

Arts, as well as the first music secretary of the Philharmonic (1956-1962).

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It seems that Professor R. Constantinescu did meet Enescu in Bucharest, in

order to fulfill this mission. At the same time or probably sometime later, the

famous composer did write the words of acknowledgment in the Book of Honor

(Fig. 12).

At present, we do not know under what circumstances the page with

Enescu’s acknowledgement and signature has been detached and torn from the

Book, who did this, what for, who kept it and above all, who gave it to D.

Grumăzescu in 2010 – the art collector refused to unveil the name of the donor.

It is beyond any doubt that the page has been broken from the document

in question; the mentioning on next two pages is relevant (see Fig. 13).

Fig. 13 The back page of George Enescu’s autograph

includes a text which goes on the next page.


Fig. 14 (left) The poster of the October 9th, 1942 Concert;

(right) George Enescu’s dedication and autograph in The Iași Philharmonic Book of Honor:

“I wish the ʻMoldova’ Philharmonic to live for centuries in order to carry out its entrusted

precious mission. George Enescu, 1943” (Photo: Iași Philharmonic Archive)


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It’s almost incredible how fate has brought together The Book and its

broken page – two important documents for the musical history of Iași!

The Philharmonic Orchestra inauguration, which took place by the same

period, did leave explicit documents in the archive of the Iași Philharmonic: the

concert poster, the program and, a year later, the famous dedication signed by

Enescu in the Philharmonic Book of Honor (Fig. 14).

The Last and Sad Note, November 1st, 1950

The other pages include notes about certain events in the period 1944-1949,

related to the educational activity of the Iasi Conservatory.

The last text, signed by Achim Stoia6, Professor, composer and rector of

the Conservatory, mentions a tragic event: “November 1st, 1950. The closing

down of the Iași Art Institute. After a brilliant activity for a century, the

academic art school closes its gates today. A mourning day for the culture of

Iași, of Moldova. Achim Stoia, Rector of the Iași Art Institute” (Fig. 15).

Fig. 15 The last note in the Iași

Conservatory Book of Honor


One can imagine the despair of

the Iasi musicians following this event,

which interrupted a century-long

activity. The history has not once

proven that it is much easier to

destroy than to build or maintain

continuity. In 1960 (after ten years!)

the Conservatory reopened, but by

the end of their lives, the teachers

who have experienced the tragic

event have kept alive the memory of

that moment!

Some of the teachers were

hired at the Music School (founded on November 1st, 1949) – today “Octav

Băncilă” National Art College. The others – Professor Radu Constantinescu

among them – left Iași and moved to Bucharest.

6 Achim Stoia (1910-1973), was born in Transylvania and he studied music in Bucharest and

Paris. In 1943, he settled in Iași for good. He has been Professor and rector of the Conservatory,

conductor and director of the Iași Philharmonic Orchestra, successful Romanian composer.

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… And a Happy-End, December 20th, 2018!

That was the true story of the Iași Conservatory Book of Honor –

exceedingly important document for the history of music and the artistic

education in Iași. Of course, its presence in a private collection could be a

guarantee of keeping it under optimal conditions. But why wouldn’t it return to

the patrimony of the institution that produced it? – in 2015 I ended my article

by this rhetorical question.

In June 2018, Dumitru Grumăzescu passed away. Then, naturally, I

thought again what would happen to the Conservatory Book of Honor. I asked a

few questions, I waited for reactions... and the time passed again, till mid-December.

One night I was standing once more by the bookshop of Lăpușneanu Street. On

the door, a notice about the sale of books and objects inside at the cheapest

price worried me. This time I realized I must not wait longer, and I came out of

inertia.

Ladies Elena Știrban and Ionuța-Veronica Iwanaga – the owner’s wife

and daughter, who are the inheritors of the bookshop – with great generosity,

agreed to donate the Book of Honor towards the institution of which it has

belonged from the beginning.

Well, in less than 48 hours from the first contact with the collector’s

family, on December 20th (2018), the precious Book took its place back in the

Library of the “George Enescu” National University of Arts!

We express here again our gratitude to the ladies Ionuța-Veronica

Iwanaga and Elena Ştirban for their altruist and noble gesture!

The Book will be attainable to the readers in electronic form. For

protection reasons, according to the laws regarding the preservation of the

historical documents, the original will have limited circulation.

January 15th, 2019

References

*** (1926-1950). Cartea de Aur a Conservatorului din Iași [The Iași Conservatory

Book of Honor].

Chelaru, C. (2015). Aventura unui document istoric [The Adventure of a Historical

Document]. In Filarmonica Magazine No. 11, Iași, pp. 30-37.

Cozmei, M. (2010). Existențe și împliniri. Dicționar biobibliografic [Lives and

Fulfillments. Biobibliographical Dictionary]. Iași: Editura Artes.

Cozmei, M. (2010). Pagini din istoria învățământului artistic modern din Iași, la 150

de ani [Moments from the History of the Artistic Modern Education in Iași, after 150

Years]. Iași: Editura Artes.


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Maftei, I. (2008). 1000 Personalități ieșene. Lexicon [One Thousand Personalities of

Iași]. Iași: Editura Princeps.

(Pascu, G.) (1957). Filarmonica de Stat „Moldova” Iași. 1942-1957, Cincisprezece ani

de activitate. Program festiv [ʻMoldovaʼ State Philharmonic Iasi, Fifteen years of

activity. Festive program]. Iași. Întreprinderea poligrafică

Pascu, G. (1964). 100 de ani de la înființarea Conservatorului de muzică „George

Enescu” din Iași, 1864-1964 [One Hundred Years since The “George Enescu” Iași

Conservatory of Music has been founded, 1864-1964]. Iași: Întreprinderea Poligrafică.

Tomescu, V. (1958). Alfonso Castaldi. București: Editura Muzicală.

*** (1994). Anuarul Liceului de Arte Octav Băncilă Iași, la 45 de ani de existență –

1949-1994 [The Forty fifth Anniversary of The Octav Băncilă Iași High School of

Arts. Year-Book]. Ministerul Învățământului. Iași: Imprimeria Institutului European

pentru Cooperare Cultural-Științifică Iași

*** Documents and Photos from the Iași Philharmonic Archive

*** Documents and Photos from the Library Archive of the “George Enescu” Iași

University of Arts

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