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o/-
Argument
,Sulrjeclui ,,Brcthnts" a f ost nttLlt clezltd.tut cl<:-ct lungul <rnilor,
BiogrcLti din secolul trecut sau clin secoiul no.strLi, conafionali sau
strdini, s-ou .sfrdduit sa piLtrundd tciinele vicljl r:cerstui mare slu-
jitor cLl artei, rdscoiind orhirzel: oraTelor prin care
a trccttt,
aclunind rarnd;i[e clin corespondenl,cL pttrtatii cu prieteni , rl]de sriu
editori, impietincl Ictpt cle fapt, cla la primcle plLrid la ulfimefe sale
manilestdri. lJnii clintrc cercctdtc-tri cru nteritttl dc 6 fi rcccn^sliiu;i
ctt arlevdrctt{t cLrta )t'trialungcL evo/ufic tt contpr>zilorttlui grern?rrn,
der clin dc',sf<i.:urarcci iapticit (in gt:ncrol urmtirita) Ji;:se.gfe drr.scori
elenrcnful daclcLnSotc.tr al marilor iensiuni , s,isuri scttt lndentnuri,
o.ta clun ncesfca ^st-' rleslugesc cljn paginila rnuzicii crecle cl.c el.
Pcr,sfc: csenlenea urmcl .l.llt s-cL ptLtttt clct, pcntrtt cd iirsu;i Ernltnrs
Ira-ct cLsc,tns de 1i-irniniL Si cle lumc, pdstrindu-kl c/ocr in unir.'ersu1
sdLt sor?ol, ddrttit ctooi ccL clocuntett dc',ticLlri. Din trce,st ptznct cle
vederc, di,screlicL (tJ cor! ct trecut prin tunultttl vretnii sclJe G/lorrl
co LIn fenottterr izolat. ,Sprc dco.scltirc cle mcLjoritcttt:a creatorilor
romantici cerc aLL litsst in scrrs opiniile ksr clc c.sfeflcjeni, c{.e cro-
riiccri ntuzicali, cle 7:eclctgogi ,5i ccrrr-' s-ou corrfr.,sct in rufl?er()rlsi::
?nscntndri autobiograiict:, BrcLltm,s c fo,s/ ttn ntuzician care ct gindil
nutnci Si nuntcti prin srrncfc', ccrc nu si-c! consenlttcrf in vtc.l,,
{toirrin, tdnicteiritnrelptirzeasnitid, .niitcriinccoipniislcic:lcclrinrtl:ici .elosa/rccliccc1csc,.trulccilisncrc1leo.nlyte'rrcriiuclrltrrt:ihir--
nic.ii crtt'nparllr'stjcc nu. ctper jnscrrsc 3.n cLrticola' squ stttclii concclpule
clc crce.if illrrclr Jttci:-l g)nclitctr, ct6{i cLLrn aLt rdtnus dc 1a cotrlctn;ro-
rr:q1nteiirst'ai ilrs, rt,esncttar lci ts':tcl -ltrrcc:gx1d:tIeicncst ctittltye:eriocrrc,lsecrtnssucrri/irst.uOlrtoircin,;lpr:olengtll:rrr.c!on
1ui Birilurrs dezt'dlt-r.!.' irnek' crspccfc crk: cttit;trLinii salc fafd di:
^ids,grid:isoulbcr1iinpu,-to)timrllru|el,ii1rfa:{.ldiAvnnittpci;r-laciortrt;otrlicriztc:eci:colrc/vti'octa.lasrt.ctcscttcLni,jirttcotatltc{iudtrtltriccirelci,:tifrcgcsiricccat.lvtLetict't,:arimtsdettcic'clLu'c.-il{roliicr,r.,n':,uitpccp,l,c::rrtrcrccus/cpifrroccirrsiQillli(.tsll.uaui,cr:irt
rrcjoro.s indreptar pt-ntru biogrdi, c.ontentatort scttt tiictircrialiltt.
A.senrr:neci relatdri tLu iost citate in pcLginile printeior ntonogralii
cte^!pr{,' BrcLhnts Si prelucttc ciltoi tle bogctttt litcrcLtri;.'a c cccsful
stLbiect. lntcrpretd.rile clate lor ttltcrior ou fosl clivc'ise .5i deseori
r/errrfcnfc, unele intarincl in continuarc clintensjunile sprrilunlc nle
personcrliidfii prezenteta, ciltele a]terindu-i sobrjclctilct 5i de clrogtti
unar etecte literatttrizante. Asttel, s-ou pus t"tttctnfe 7:esle nuanfe
pg sccrnr.{ sentimentelor ce au }egat desfd.Surcre(l i're'lji Jtti tsrcltm^s
L
'ple)rzn{II '11p9 '216I 'risa.rnJn8 'srutlDtg
'plrptr\i'applpd'eIZ-q1I'd'11 '1o.t'plpJrznu plnllpg'7161
't13e:nrng'DrTrio1rrirs'
a)tznry ! t7t--Ztt 'd 'qlecrznu prnlrpg /0{6I 'r1i;a:nrng
',issnqag n1 Lrp,tng
DI ap aptDor ap lnlaltDl; 1l0I-{Zt 'cl 'glootzntu llpg '996I 'Ill;olnf,ng
'ptautDc ap plDqawnt$u! D)lznw n.tluad p1r19 '6.loe3 ulloqll1\ '.to6:eg .
'ruln rf 6e€'d',,prrr?rirog rs surqerg" 1n1o1rdcr uJ plplpll'euorsiilrlD-rcl
.lotlBolJ l]elol(oounJ eI nf,sau[ o6:oo9 TnI
rolinqr]lrror a]ue1:odru1 ,
p-!/zi1ll1J7.r'\rorpc[L- lp$seLlJrtiiuDD.lgu rn[ rr)lznLLr DalDUUrapow 'r I]s'oupLUol a)rboIo]
D DSDotbo[a arD]uaz
[n]pD) u{ ts lnplcs.Iqns
-aJd op In\ndo)u{ ralin pJnlpID as oJ aLlJolDpLI['tt]tznLu D p]ttalsl
Dtjnloi\a LIt sLtrllDrg !11[ lalaclo Dolt]lpuurasu{ ap plDI atlotrDp o D}
pln{ia}uo) 'plDI ap !!rprJnt Dalt}lt[Duttr 'pgsn 'nzoatn|uoc ag
'pza)uDr! DArlryarcLralut Dr601Dpccl ut nDs (pc1ua|ur1s
.rf pturcLuo)) lrcJuo) ap DIDI^ u! aua1,sutlDrq D pluaz
o aJcls .I3' uInJJtcl '('o'S tlntg ?so[ llapallDalasony apnDIJ
-ard pluat)oJ!
'alraLpurd JilJri) DiuotT utp auDJodulaluo) laIbop)Iz|1ur o p)'rl(
-urr79 p1nut| o atds; DarDlcletpu{ alrDd ?tDur uf, pu{urulrolap 'za)uDr!
lnlpalu u! tnlnrl]/\)pD DalIUqD$ar DI aAI]cD lllnqlrlaoJ osDoJoIDA
rDur sIaJ arlulrcI prputnu as't[Dlpuotu uold 3d suIqDIg !n[ IaTID TD
lrotDbDdord .if rJolpJsoanJ lzunpft yow loJ arlutp [nun 'nJsaufl
a-aap6rrJoDlzaIDngLoclISnla[ulDur.daruolntpuDnJrtldlonlvlsDl'utuplpglruut]sooqrrcpl{[olarpd]lurDbJrundnunlsa.DrStdJaSJoDDslDJau'roIrluylu{rarodltag-p slrad DI
ulp tollu
D 'lnJarl
lI-ar'Ia--nTnDu-IucploionDnrorflIl(caJtrlnagoIealtph)lLcslt\Jodos1uLaualarrfI,sarqronJluaIIels!ayIoJatnau)gpI7oIpfn[zrrLl'ttu3sarnDTap4ooaJAtyts1LzluutnJJspr)uo[Dlao-ocpDLDaa[tuIlrlDlloauqca$afa)rln]D1yDrpscpprl0)1ply!JDrurZo!lprrcpr6lIccyslIcnlLl7up!asqD)d'ruJaysauxrLoIt]atDo!acnulurs[Tll'Jl1aiIItaDuDprpDptbrruIucrgntadctragop1\lItp!lp'JuDponp!yrDutIuc(tLp{JDoannuaauDutnJufiagauinSuzlts[rllpotnozDo>trnynrDo'u[ad,eVuzlcpnrdanDTytrJp)dtfDDlJJJJqtrudnpao]aln/nnylJSrluull3!ulIuo'!pactprDllnlazatDirr{slaroDtnnDrl.aauutJIb[)IdxnoSapZooll''ausouasnopIaaLoU!ztl]aDD[starDnr1uoyScr)9"I
al.upuruasuo) nDS a[t.tlsllnlrput ulp asu.rrdsap a]ualuela ad ptns
-pur pJlul ut uJap allu.rrlldsolJ 'InroJDors-sutllDrg lg InLuo-sLuLIDtg
pmtpsprl ptttrtd o '[allsl 'atttdyr
ardsap IIJnIDJa?rl D D.TDtrpIpp 'Darxlx ID In[n[o)as
--{aaLatrJlpt rlytcDsDrCrt1uApls1oftrry)i,x1lcapfl i'lprJny1ooDto[lcanr.cytc)o1nlactsolltau-pIulD-uNdLanrapI)claJDulpulallurpJ)pap.1IsS0rnnn[Dsbnlqdr-)Iquo!ui!usanteonJ$qdVJooscff'u.l'ItopJDpanmaosuafubupa.otrolSsllssaasDiep[lnlcaaLalnrlDg6dart'nrcniltloliu)z'^sdtn1eaaupalol"oaurantrnpuel
alos pja.icsrpu! n) noraur rs naraul utoJspr [alralDu] 'uuDunLps
Drr)lJ rS toyrzodtuot arlulp rloslJts ap tnqwlqJs ap ayn[ptzap
la-I1aant7o"ud1uTntpnulyulttars^)lnur)ttpp'ppzlplt!la!rDtdapaapsf'tnanpuclumpollrpoyloL'dLulLaluDtolupcrn1DlincutsnnfrlauIJ.lItIslLuIalDuatlpurDpaJtnD,u,ap[l)lsuna{psp
da.teitupduinlseulnvxtideelirindmguiziicnacleonmceopnfdiaiamleuz9iciolroognitcddn,eginti -senssuoJljcsiptdrijio-
nirii ei pe tnarile realititli muzicale, ca rod aI gindirii ttnei epoci
doSiaaatltliuutniduBeiroel.axhprmgodsn.edcneitrcJauuI lleeajsl,ieaCsiotndtnzirbicanirdnieduuraiiltnerilbrn-ttotettltoIlsmctolaerni,e,ilnotaraltrmroemucz6oi.cnpiiii,s, lnecuu"
trebuie sd. mai unzbreascd valoarea celui ce a losf ,,2e111" lui
Enescu.
Propunindtt-ne sd prezentd.m personcrlitatea ltti JoJrcnnes
Brchiris gi insemndtatea operei sale, olsiectivul nostru ltlt ,se tro
daecceiat satasupporaataetfitiudsuinrpiiribnrsedh.nirnsiccnie,:sfidaslutiradreeaviraelldalFiilioarrtieL,i
inclrepta
o$a cum
ccuultuarsrip.,ecintelcectcronnptleexmitpaoteraanfebittdx"ttfliti ti,siisctourrinc. iliscrie, ca aport
,sc de
conceplje cdreio i se
O
pocle reproga, desigur, ocolirea amdnuntului biogtalic, inseral
doar in mdsttra in $ciasruebclirmcesdloocaumdeetnetrndteinctrtttcce.rreealpiarin- o creaiie
viald ldsat
ce rdmine ca unic
de Braltms umanitdlii.
-(gggt gESt)
I ]NIOIIdV}
II
e'(Jprulsintppiurpqur!upllluuuI to- lot srplllos n;sruo6 | puyruol pqurll uI -- qruuzorb) grsuouS;e';
pf, ollsoIoJ luJs euoqla6 IrolJ IoJP) a1e a1uu1d
oTlolpur ';r.rn
Eoiluinuop elsa ,,uplg', InluJ,1nf, ,lf,Jplori rruutuo6 op lrqro^ In]f,':llplP ul I
-nluaJSalopE 1s rnlnlirlor elrunr{;)E olpoJ 'o,rBo}pzur-1d;ns rlauzpJpur n;j-,
PjE,rpsord olsa (Ztgi-g0gi) sulllp-rB qorpf-riupqol lnl prJpl6org
-ipa-pllrpooJldooruatrprrpslrnr'S{In'noJaploJriJllnpllppsgI lrrn,pAtlupTzor^rirlSpuquo3tripriJlunuppTopoua,rqn.liinJe,:tu(drtOLnlnarl:nri'l_Hi,n,frrr]e-ooTJ:lrllzJruplznouo-ouonrJcnrHtLpl-I-prnluoiuuolooinarndJ1nlp,rpnil,'1lTsllinulluocl1l-ulp-o)ipprT-_qrucJrToJtdtUlranre.qnrqlpulToJs-osuoupJluJnudJIppuTr,naqsnlppou1;lsspfsnpor',rJpEe1ntroaiclrltsplil:rJ.,}rl1:Liu)l-r^Duiulr.
np-s rS Jrqaso,Jp ns-s sturlp-{g utrpqof lnlp p-T e_rpc ad IiJ lop ioJ
Jl-ual'unnSuola1pr3us.nnsr'nr(olrr|oJI6$tnplrru1u-p1re3LleJoIaeuLr1nl'l1ost1tnappuplu:s7tJ[uus{aa"ple-cuu.ptrorlorrnguipplpl{oltosrullru,rlrlourzlo'arJlplppn1{ept}n;lr{opo1so-orau,r3fVuppl.sro.Ju\i1aeo1goJirsHpsnlJlaqr6ruiJslpap1g1onrJnsc1urug1leorJuouIliialr;n'cIqrpnaiaJraosrTJlriuSrlDanurnrerqJtlgruar;oBucopr,l}tIlnocoqooplellae,ap,l'(pru,spdnsnJrrauoSgIqSprEpulJqursr{sp.:rpuiroo.nJplrnalpg_guporlrpqssi:poarapuIrpra1nrrJefluaJpnpounp4oupreIArrr6rorg1rrnuoduc)alrl0snlass,)a,upnl1T0sp1oiu{nlls-.;.rrr},i.nl1?ap,;L;]pJr1JsJfli
r'a-aasio-lcruarpplunlll'clglppen.orlurIgrlSorqrsufrtrreoparoursqlp-srlr;uauo1irpipJoorJor{iuoarlrspoclaaorlfpuulpsuraaoograDluuFlpuarenairppdJooerdppuprrrnpuoruaipnnlIuiupliroIrru.cogpouiNalrpippinq-plpIpploInI.nJurAupllsIrrIXsA|g1IoupInuplu1ipInn+IlcJn;ortlOlplpnniderlppoolupalJonJs_azpusops-ulrIllprcnalJ^l[lonrln,otpprrqp"lJItf}snaru'uTtqrnnrrnLl[fn+ite;r.}iii
-ut-1PrlrJrrrnloopdJpurprouuoleltsu;loe?plposAl-pprluAAnnuudriuf,sr,rr6,uI:r1n,{,3qpruJrpuEgieJluoBHnlatunuplrplaniIuprpol}rlrulnezaourr]dou'/rosuruaoorpcdlsetrnarr;ufnJu1npr1ruon;r'culrurppllBnlulojprSrstaa*r6.rlllnaurr3nulpipnapa1rlsoappa1llirpzorooio:;ol0csilszrir
Iqpnd;eianosuopupuppirJJ:cpl-An.urolrurpuand-urppaoltlnpaJplsapurun_as_rprzrrzopnrqlujalpIgllperosriS3aoduHauetunugernssqrlfnz,srs{pllJfJagzqueoplgaJu{prnr,urNirJrq,fE,gp.gorI
asrruoJd
lrleualfii:iilnocderrlpdddgeroinsattiect gledtvieednmei uianz-sicItSrdu.emndeuicnataispmt.adrLruuinnpdttearelolpurtiapttreiemodpceuucrpiiedi rsiimpcrpieeontureinvgaussiantosgrpuiicr-
ralinjuicvniiglreestlaosdcdaiealitidp5frioadpnioni,rfsviidedcfeiungiaidtraietdeve,drpaarctiadbseddar.agCmuuldcpfoaupmliinliliidiairbnda,Hndieecitdeigermtigvinaaifnidrepuur-Siln,i
sd-gi pldteascd singUr iectiile de muzicd, sd-9i cumpele citeva instru-
m€nte, pentru ca dupd cifiva ani de trudd, inarmat cu un certificat de stu-
dii, sd poatd reveni clemn in mijlocul familiei vremelnic pre-
pdrdsite. Cu
bplioaressvutoelrtucaeltu"ritidfgiicniaftaWrorenbsaliscneiuslbttuudlureei nida)in9TihloeincoatddliotrarittMedi1eil,leJsroehim,a,mnnndu-tzJuiacrcialoenbtodBrgirpaalnohimmstusaltuv9ia,i
infrunta gi viafa celui mai prosper orag aI Cermaniei de nord, viala
Hamburgului. Acolo, cariera sa de instrumentist incepe pe strdzile
mdrginage ale oragului, prin curfile interioare ale vechilor clddiri sau
prin tavernele portului. T'raiul sdu de rnuzicant ambulant va prinde
a se netezi doar prin anul 1830, cind va fi angajat cornist in corpul
vindtorilor din garda civicd, apoi violonist gi contrabasist in nica
orchestrd a elegantului pavilion Alster de pe plomenada Jungfernstieg.
Curind va ajunge sd facd parte din orchestra de la Carl-Scltultze
Theater, apoi din cea de la Staditheater, iar in cele din urmd, citr-e
sfirgitul viefii, chiar din orchestra filarmonicd a oragului. O carierf
modestd, cuceritd cu greu, dar care a ddruit transfugului bdiat al
hangiului din Heide mullumirea unei ndzuinti implinite.
Acliuni de oarecare indrdzneald au fost 9i cdsdtoriile lui Johann-
JNaiscsoebnB, rcauhmgasp:tepsrpimrezae-ce in anul 1830, cu Johanna-I{enrika-Chrisliane
in virstd decit el; a daonuiam- aiintinadnrEu.l
ani mai
1866 -- cu vdduva Caroline Schnak, cu optsprezece
Viafa Christianei Brahms (mama compozitorului), depdnatd mo-
dest inainte gi dupd cdsdtorie, ar fi trecut neobservatd dacd nu ar fi
ddruit lumii pe unul dintre cei mai profunzi ginditori ai ei'
Din cei trei copii pe care ea ;i Johann-Jacoll i-au avut 2, cel de
aI doilea Johannes Brahms __ ii va pretui cel mai rnult calitdfile
sufletegti -qi cel care ii va mingiia anii
tirzii 9i grei ai viefii. Pentru
cd, aga cum era firesc, cdsdtoria ei nu a fost mult timp fericitd ll
apdsarea strecuratd treptat in cdminul descumpdnit de cliferenfa dintre
virsta celor doi soti nu a pu"ut rdmine fdrd urme in temperamentul
sensibii al copilului ce avea sd fie cel mai renumit dintre oamenii
de seamd ai Hamburgului.
Se creioneazd astfel schifa unei descenclenfe ce numdrd in adin-
cime prezenta a trei generalii, in cea de a patra inscriindu-se ilustrul
nume al compozitorului hamburghez :
1 Certificatul a fost descoperit ;i publicat de lr{ax Kalbeck in monografia
Johcnnes Brahms (vol. I, p. 4). Johannes (1833-.1897); Friede-
2 Elisabeth-Wilhelmine-Louise (1831-1892) ;
rich-Fritz ( 1835-1885).
1'
l* Fl
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3
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(t
oa
Primii indrumElori
\iiafa lui Johannes Brahms incepe in ziua cle 7 mai 1833, in
Iocuinfa dc la primui etaj al casei de pe Speckstrasse 60, din carticiul
apa numit ,,al gangulilor" de la periferia nord-vesticd a Hamburgului,
FrndooztgborogairfaimifiBaonracdhlidamdlsi-r,iiilu-fisgturdirniesdatrzuvdsiedifnudierperiarimomdeebleasrpdtuaapgm,inedinetaelsleetrlncmuetmlouaei rrdoeeagsaei llosddrordmilcc"ioae-
a unui aglomerat de oameni, din fsiupflreotmuliscdmraorreaanfuorfiioptsirecaosmpeerrcaianifiar
cum pdrea a
unei prosperitdti, a1;a
ti portului.
Primii ani ai copildriei s-au scurs fdrd evenimente deosebiti,r,
sub ocrotirea tandr& a mamei gi in ainbianfa muzicald pe care tatal
sdu i-a putut-o oferi. Vioara, contrabasul, flautul sau cornul i-au
clevenit, prin intermediul sdu, la fel cie familiari ca gi soldatii de plumb
pe'ntru car€r a\/ea o vdditd preferinld, iar clapekr pianului, al cdror
miraj i-a descoperit ia cinci ani in casa primitoare a unora dintre
trecini., i-au dezvdluit fericirea de a stdpini Si minui lumea minunatd
a sunetelor. Feiul surprinzdtor care copilul reugea sd recun.oasra=L
in
notele, fdrd a privi claviatura, sau beatitudinea cu care igi cinta me-
lodiile repertoriului s6.u naiv a relerrat tatdlui acea vocafie ce nu-i
nici lui strdinii, determinindu-l sd-i dea primele indrumd.ri. in
fusese
scris-cititul rnuzical. De alifel, gi inaintea inilierii paterne, micul auto-
didact reugise sd-gi fdureasc& un sistem propriu de notafie, amiinunt
pe care compozitorul pi-l va reaminti cu multd duiogie gi-l va impiir-
tdgi mai tirziu prietenului sdu Josef-Viktor \\ridrnann : ,,Am inventat
eu insumi un sistern de portative, cu mult inainte de a gti cd a;;a
ceva exista" I
lJcenicia cu tatdl sdu a fost de scurt6. duratli, impletinclu-se cll
primii eni de invdfirturd dr: la pcoala prirnard particulard a lui Hein-
brriedcvthaoiFiatdri-eidmeapriocdhtericVvlaaonsnsg,eatdatrirencpdstrduutifilieingtuvi eir,cm"hioiictleutnrlautetiai.amSreteinsttp-oparitmdeienalesctaifmerelpcnuoulnssuliiprdiserrr:iaat'
cd invdtrdtura copiluiui Brahms incepe la virsta de opt ani, cind el
este inscris la gcoala lui Johann Friederich I{offmann, de pel strada
cu simbolica denumire: ,,A.11.C.". Din perioada acestor ani ai copi-
lSriei dateazd primele noliuni de culturd generald, pe care compozito-
rul se va strddui intreaga viatd sd le intregeascd, gi tot ln aceastA
primd etapd a formafiei sale intelectuale se inscrie gi intipdrirea emo-
fiei produse de lectura Bibliei, despre ale cdrei invdfdrninte incerca
St. Michaelkirche. Prin inter-
sd discute cu pastorul Geffcken de la
rnediul invdtatului imiroloE 2, viitorul creator al Reguiemului Germqn
incepe de la acea virstd sd pdtrundd in arta coralelor protestante.
I Mal', FIorence. Johqnnes Brohnrs, Leipzig, 1911, Edit. Breitkopf u. I{Artcl,
vol. I. p. 65.
Pastorul Ceffcken a fost un pasionat cercetdtor in domeniul imnologiei qi
a avut o importantd contribufie in redactarea Nouiui ncnuril de imnuti ajn Hom-
burg, cu o largd circulafie de-a lungul secolului al XIX-lea.
14
gI
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radld 'llpa 'zz6l 'uaqcuql^I 'sur{Drg sauuDqof 'v '/\\ 'IIIBD-ups seuroqJ t
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prestigiu in viafa muzicald a regiunii nordice germane. Despdrfirea
nu a fost ugoard, nici pentru dascdl, nici pentru ele'"', 9i numai dimen-
siunile idealului comun De prietenia lui
lor a reuqit sd o ugureze. tirziu, casa
gOittsouCfleostusel la, cceastSuii de pianul lui, Brahms a beneficiat pind rdminindu-i
clarv6zdtor qi dezinteresat pedagog
larg deschisd pind la moartea acestuia, in anul 1865 {'
La virsta de zece ani incepe deci ucenicia lui Brahms la renu-
mitul profesor Eduard Marxsen. Fondator aI Acaderniei de Muzicd
din Hamburg (impreund cu Friederich-Wilhelm Grund), dirijor al or-
chestrei filarmonice hamburgheze, pianist, compozitor, cronicar duzi-
cal gi eminent pedagog, Eduard Marxsen (1806-1887) a fost una dintre
cele mai complexe personalitdfi muzicale ale Gerrnaniei acelor vtemi.
S-a ndscut la Altona (o micd localitate din vecindtatea F{amburgului)
gailes-ma ubzuiccuiir.aTt adetdtlimsdpuu,ricuundoesocuatleoarsgdainnidsrtu, ml-aareacpdrotrpeiamtadriele tradilii
elev al unuia
de la Biserica muzica
din
gravd a catedralei ; Johann Heinrich Classing, Sf. suc-
cesorii lui Philip Emanuel Bach la cantoratul Eca-
terina, s-a numdrat printre profesorii sdi de la Hamburg; Ignaz von
uSSlectyhimfuribeiiedmrt(,udizi-saiccuiieponfoli saptlroilnutedi jrMaufmoi zddaetrotr)Bii9eiseLttuhadorkivileoMnra9driieapvlraoienVteBineonkaaepl.tr,oCupnuiautal cdaeilnastlrutedi
complexd educafie muzicald, Marxsen s-a stabilit in ordgelul sdu na-
tal, de unde a impdrtdgit contemporanilor sdi, tineri 9i virstnici' din
valoroasa mogtenire abecnlqasfiicciiasrririueluriumdiutizeici aslagleeramafons9t ifdaurdstriinadco. iCaledl
mai receptiv dintre
Johannes Brahms. Despre prima lntilnire cu viitorul sdu elev li prie-
ten, maestrul gi-a notat urmdtoarele implesii : ,,ln cursul anului 1843,
elevul meu Cossel, un excelent profesor, mult respectat gi iubit' mi-a
prezentat un bdiat de zece ani, pentru a-mi cere pdrerea asupra apti-
tudinilor sale rnuzicale. Copilut mi-a cintat admirabil citeva studii
din primul volum de Crarner. Cossei mi-a ldudat calitdlile lui 9i m-a
rugat sd-i dau lecfii, in cazul cd gdseam de cuviinfd c6 acestea ar
merita osteneala mea, Am inceput prin a refuza, considerind cd pre'
gdtirea pe cale o primise era cu totul suficientd. Cite-.ra luni rnai
tirziu, tatdl acestui tindr m-a cdutat peniru a reinnoi aceeagi dorintd'
in numele sdu gi al lui Cossel ; arn acceptat atunci sd-i dau o ord
pe s6ptdmin6, cu condilia ca baiatul sd continue paralel 9i lucrul cu
Cossel" 2.
Profesorul cossei a mal continuat o vreirre sd se ocupe de instru-
irea lui Johannes, dar in momentul in care Eduard Marxsen i-a intuit
geniul, el a preluat in intregine rdspundei'ea desdvirqirii lui muzicale.
I Anul 1865, in care au murit pe rind mama compozitorului si profesorul
Cossel, a fost anul in care Brahms a lucrat intens Ia desdvir$irea Requiemului
Getman,
2 lnsemndrile Iui Eduard Marxsen au fost transmise de cdtre Marie Lipsius
(La Mara), pasionatd coleclionar6 de documente Si scrisori de muzicieni, in lu'
crarea sa Musr'kclische Studjenkdpje (1868).
16
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ftcft.olsSiisursltpeoraprasrc1cri.oilaurpliojetnrncpitllioiriu.risc;o;cluiiliacnclviooti.ani tvr-\accci:llt<oei 'isc'Bitalcrclarelahmrrmkuasrzliidcnl,aeciell-crdau,anglirntoarnecrclcguruuliim;i).ici5npiitdiroccelreqarllguuuclluiuir:ilitearci;rldelri-urire'uiirtilrilm.ct;rrrs':i,e-ri
crc:ator. Prittlr<' gyesturile sale de recuiroqtintd so va insiric couLr-llrutiii
tirziu Ia cditar-ea celor L00 t:arjulii ;:c rrri
pe caro o v.i avea tneri ck: h,iarrsen s,;i rnai aies ciedicafia p() {,.r i.c
cirrlec popttlar, compuse
Brahlns o rra inscl:ie in anul 1882 po prima paginii a ceiui dc al doj1r,,r
r,'crnr:r.rt 1rc'rr'rru piair al sdu : ,,Crec1 inciosttiui rneu 1:rielcn qi pr.;f,.:r.:r".
r,'cdea]lcsvuerp'nriinndzdltaoaarenuulg1u8r4in8t,dciinndreBzroahhrnasrt:-a in virstd dr: l5 ani -- clri-
celor mai dificile proi;Le:irr.-.
alc tehnicii de crealie pi cu deosebire inqcniozitate gi pasiuni: in j,..;i-
lizarr:a loL, N,larxse'n a considerat qi stucliul compozifiei terrninai-. in-
r:rcdi:re,a in geniul tindrului sdu clcv a fost de pe atunci neldrn:ri:ii6.
pinnnr,dfUclraounrrttinrtn.lacapprlrueiioniamsNBdarlecetqrhnsirdntrdseu"clsoIsa.soIeDirmbnei-tsBuicazglriuetchriioincidaddiy:dad-zsisnepemdiarer{adunretrau-nnur:uzaci/tclco.ige5coinlarllnlirco<airrirlra,rl{irfaliccrr'm,mx:seaiic.l)in-LLrt''la-ii(alrr'
nu \ior rnai trecte clecit prea puliui ani lterntru ca cei
sir se alirture convingtirii mai muUi clintr,-,
ci clar-virzdtorului profe.sor din Altona.
Primele aporturi
r,irtej\u'{luczoiciricildnriiicp'i.asDioinnainfitrncuagsa-ai.ustobruicc:uaraal rirtereloar,misutloi"rcial,-mIaurzrnicciriurl.stlci'
cci'i lnai bogatti in,,coltii ninune", in interpre!i gi creatori 1:retcoci, in
afirrndri timpurii. Dar fiecare caz in ltarte a insemnat rnuncd;i rlii-
iluncei gi o ciirruir(:) pe <.:it cle grea gi continuii, pe atii. dr.-
ruire, o
acaparatoar e. Nici Bnaiccli-rL, Bisezet,thSoaviennt-SsaaeunsN{soazuarCt e-,sarceFlrarnncalii
advinuttrerdegxaezmulpsled--Si trdiascd din plin copiliria, dupd curn nici ulu ii.rtr
nLl itu
Georr{e
Enescu, vldstar al plaiurilor moldovene, nu a ;tiut c:c esle joaceL ;i
hirjoana, Pentru cd universul adevdratelor lor bucurii se infiripa ci,.lar
i -lhornas San-Calli, \\r. A. Op. cilctt p. t2.
: Nicmann \\raltcr, I:]ruhns, Stuttgart
Bcrlin, 1922, D,utsche Verlags-.\n-
stalt, p. 2(1.
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s'rp{dl6oJppJonlelpaipn-crll?IJg}:ej Taaulprn: laol-;Jp:riLnItlpoau/sIoBl}n3IopJu'IlourliSolltaTlauouunlsnaJpplsnPutrllpdJsInaauup{n.Iua1}nnp.:r(1n)uI[tarund1l
rele valsuri la modd. $gii tot in acegti ani ai inceputului, micul pianist
ajunge.sd fie angajat al unor cunoscufi interprefi
ca acompaniator contact cu emoliile unor
{localnici sau cdldtori), rol in
care l-a pus
rdspunderi necunoscute pind atunci.
fmmdnll9cBdauaiiariinaofctaieptenmdafhdBrains'miidr,vtw,OeidaensiaBllehirlliidopdosimsrpcmaubcrnferiishtcuuriudiae,gmalcdlatmtnieriuteesAnnr,nau,rrnds,liimszaaundusativcclciuderuneeciuar-rlitdrpagm.mlemeumsaiDaisldrdimcaiafnelumuirifseriratigsuciJiricni.ttfugrnoereocviul,usaslads,eeiiraNeertuinsimdrfsluiedf-nemdaicv-iunangicnpilnikcituuoioaiicptnnrztionvceeuemodeirBtattmzaeeeardrwaoalzmrseenvtheaiard"drimirceiesmap2mpesldmznr.eaoepji3erDnaelcrpieeomenm-oursniauimpoidedttlcre.dlnplaliuiueci-ntusermu-c,dnmea,atlrdeeillernsueia-racaergaiftgaditdivdtoidc.de,reavt,oetinrriurirdalaeadeecenmenhiaecltm-smeuumlorceiszddnpiartisrticraisrpivtpldaadcuzaf/lf'aanloirirtreidisidiultssrese"adie----.,ii
vaAint.agi t.decAea.qsmdatreuassni-nsacseui.trigudnmietepsendtnusntddias,itit,liemupnrpdiudninrltlidoctduacpasiadnlutprarierlotgufiienl,csveoadarnludidliuteuci roMpapraeirdlc;dreo.rsiceeleani ,]pgurincoiofteBraersalaoharrmcdctsiline,-
ppcitnriaudarf"niaiiaet.ncLgaitiaiirttesiadrdzczeniesidaitgetsadrntetdeefueapilcaegmariivoimcciaaeuidnllnieudtda.i,af.m"ielov5ulrei.zevDiscfuaieiiallsuensiige.asurPvdrtilasudctdpiGrcieenoufdesnatrgausi evigamsiJeepemnnuneisntruairebtturislr,f4oais:lJviicoroepihtraaiauzrnalefindneectijsudmtauda-t-t
dat semne cle vdditd obosealb. incd de la virsta cle 13 ani. pentru a-l
intrema, pdrinfii au hotdrit sd-l trimitd in vara
anului 1847 la ferrna
sotilor Giesemann din localitatea lVinsen (auf der Luhe) pentru a da
lec{ii de pian celui mai mare adlinztbreurcdodplniiiiclioilor,r,featifceuinLoisscchuet ng.i gi doar
acoi.o, in mijlocul naturii gi copilul
Brahms bucuria jocului, a scdldatului, a hoindritului qi mai ales a sorn-
nului de noapte. La peisajul cetos al Hamburgului, singurul pe care
va imprima un atit de caracteristic colorit crea-
il cunoscuse gi care
fiei sale de rnai tirziu, au inceput sd se adauge noi gi noi nuanfe
surprinse de el zilnic in nerndrginirea cerului gi a cimpiilor, in iinig-
tea pddurii, in susurul apei, in mireasma ierbii pi a pdmintului, Acolo
a avut, in sfirqit, rdgazul sd viseze, sd citeascd gi sd reciteascd cdrfile
descoperite prin biblioteca maestrului de la Altona sau prin rafturile
anticariatelor gi librdriilor din Hamburg; acolo a putut sd se apropie
in linigte de scriitori 9giipBoeerlinmarudlitnindderdSgaitiin,tdPeieErirceh,edndeorJfef aqni
de E.T.A. Hoffmann Lessing,
Paul ;i
a1lWluidcmrdarniinJ,ohJc. nVn.es- scriitor, poet gi ziarist elveJian, contemporan cu Brahms,
Brchms in
autor Erinnerungen.
, Muy, Florence. Op. citat, vol. I, p. 83.
3 Widmann, J. V. Johonnes Brohms in Erinnerugen, Berlin, 1898.
/" elev al lui Brahms la
JJoehnannenre,sGBursathamv s- 9i Mandicevski Viena. Autor al
lucrdrii als Menscft, Lehrer und
\ Kiinsller,
5 Niemann, Walter. Op. citat, p. 34. ri'
20
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doi arti;ti ai uordului 1u se vor cunoaqte 9i nu ser vor iptilni de-a
lungul peregrindrilor lor. Legdtura clintre ei va rdmine insd incrustatd
in paginile r-ieafiei 1or : pe textul poeziei Abendlierl, de Hebbel' Brahms
clinti'e frumoasele sale lieduri
va'.6*pulle unul tilziil, iar printre
ultirnele versuri ale lroetului se va numdla 9i rneclitafia iniitulatd
Trosf {Mingilere), adresatt conpozitorului :
Ai semdnat Perle,
Dsr clintr-odatd. grindino ,s-{i ciltittttt
$i le-cL o.sculls t'eclerii noQstre.
Sperci ln socie. El a7ttre...2
FrinneIile cCIncer le
In islor-i;r rnuzicii universale, Fiamburgul rdminc Jeagdni,rl ten-
de operd, gern imirortat dln ltalia'
riilielor dr germanizare a c;cnului
cu toate trdsdturile specifice muzicii;i i-nquasntuulul i1i6tn7l8ia, nco. iPnpeoszcietonrai tea-
lrului cie operd din ger-
Giiirsemarkt, clddit
mani (ca sigisruunrl Kusser, Reinchard l(eiser, Johann Maltheson sau
grGiitenopuroginpePulhelailf1iipeuiiThGeaeleronmrbgaunrFgnih:)iee9zrlieeirnsictihnegrHpsrpiienieldiluearluitinoclhterteopnuari ni(ipiitrr1ian7dir0ie{3i-eci7ag0ree6r)rfingaaunuredoa, fzcedu-
vad;ta' tenclinfd de reacfie fald cle fastui operelor selia ltaliene, de
mcedraotnri,ie: ,loodreargrntiditcoonlonagcliouicnlie,andldlaentrluruopdaeelrrondrimtaiattaeslaifednsredtiiuaulrumfidebceiilnil-ccaiasnttoporo.iarAlisloeppierteareaIiitarEulelourr-i
sd se inchittd in anui 1739, dupd gase decenii de activitate, Dacd pu-
blicul din lc{carrnnpbouzrgitoIr}iugaermrnaani ip, uctinuttaateplainudlaimtibrnapgdeerriuannds,eeclolaolcleorne-
dr: nafionale, cu cleoserbitd
create
tininteunast istadtefieinfopceariroualculanocroppiuldterileniicleuiimBprauhlsmusr.i $i dacd" surprinclen in
ansamblul considerafiilor faptul cd publicul spectator cle la Hamburg
nu era numai aristocratlc sau burghez (pentru c6 banul care circula
de la negustor la muncitor deschidea tutu.ror porlile ce{or mai somp-
tuoase sirii de spectacoie, dind dreptul celor mulii sd-Ei manifeste
pozi{ia), se poate imagina atmosfera de proteste ce se instala impo-
tniva repertoriului strdin, impotriva caiitS|ii sau componenfei trupelor.
in acest asesnusp,rapasrtardlelluacdiriini tpreeisHaajmulbuui rcgel9oir\rdeonuedfiap,ofrdtucurit,dpdoeatFerifeidienrtirceh-
Hebbel,
gitd gi prin asemdnarea ce a existat intre atitudinea pe care publicul
larg a manifestat-o in sdlile marilor lor teafre, cind actiunea $i limba-
jul operelor nu se identificau cu inlelegerea 9i aspiraNiile lui.
I Al treilea cvartet vocal din grupul op,92.
2 Perlen hast du gesd't, / Auf einmal beginnt es zu hageln, / Und 1nan 6fbtrich
sie nictrt mehr;,/Hoff'auf die Sonne, sie kommt..."
22
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cu calegcric rsdespulneemt binriecaadarunl uulunui i18c4o8n.cAerntudnefamt udziincdadjuencadmeezrdia,ruinl
seara Ce 21 in sala ,,Zum alteir
,,I{amburger Nachrichlen", coirceriul a evut loc
Ra]:en" (,,La bdtrirrul cboarnbc"h,e-te sald deslinatd in general festirzitdlilor
pul-rlice, piintre care gi nuirfi) , cu un program care inmd-
nuncirea citeva tlume lle atunci binecunoscule, Din qirul lucrdrilcrr
programate se poate desprinde cu uguril|d tendin{a interpre}ilor de a
oferi lrublicului o muzicd accesibild, neurmcedprliaeif.leicciintadludluoia. rPFeuagtuancdie,
Bach, inclusd de Brahms in ultimul
nurnele Bach trdia la Hamburg doar datoritd celebriidlii pe care o
ciobindise Karl-Emanuel Bach, vremelnicul cantoi' de la biserica Sfinta
Ecaterina din iocaltiate. Dar despre ceea ce rnuzica gl istoria ei da-
iialVnovalruaalsrtxaesisaaeetnrrdidd;lu;piairaescladadnumti,somcuruilpatleuorielpildloureirile1JsaojduhLiraeicnilspeniziaigSaefqfiblieacCs.ieetiEazanvsdfteiBlucamitocncheot,rrnihibttaeuummiltbplpuuorrriignahnaeEilcozdeiruiaasinortdaur
la formarea unui nou nivel de receptivitate in rinduriie iubitorllor de
muzicldndpinrimlinduvaturai
norcl-g;ermanic. la 1zl aprilie 1849, a avut loc cel
airului urmEitor,
de-al doilea concert suslinut de Erahms la Hamburg, de daLa aceasta
intr-o sald specialii, sala din Itaterine Strasse. Desigur cd nuurele
celor ce gi-au dat concursul gi la acest al doilea concert din adoles-
cenfa iui Brahms au fosl de mult uitate, clar faptui cd printre compo-
ziliile accesibile ale programului a rAsunat muzica uneia dintre rnarile
sonate beetho.reniene a riimas inscris ca un adevdrat eveniment ar-
'listic in istoria viefii muzicaie a Hamburgului, ,,ln acest concert, scria
Marxsen in cronica sa din 17 aspariliea,rttiinsttiircudl .vIirnttueorzprJeothaarnenaessoanactleait
dovadd de progres
in cariera
b:,.:ttrroveniene a ardtat cd e] se poate apropia cu succes de studiul
clasiciior gi aceasta ii face in toate privinfele multd clnste. Examenul
pe care el l-a trecut cu conpozifia proprie, o Fantezie pentru pi.an,
un taient neobignuit" sf.a
demonstreazd in ultima sa apreciere, N4arxsen
se referea 7a Failtezia pe un vals Iavoril, prim.a compozifie proprie
prezentatii de Brahms in public. Despre aceastd lucrare __ pierduil
asemenea altor cornpozilii timlturii c-eeNalacrexspernivevagterntaeihfnaiccca aprecieri
elogioase, varialiei
considelind-o model in
in care elevul sdu va excela.
Succesul cornpozi!lei proprii, prezentate in concertul din luna
apiilie a anului 1849, i-a adus tindrului Brahrns numeroase comeuzl.
Cele apro:rimativ i50 de fantezii pentru pian (pe valsuri, marguri sau
diferite alte cintece de largd circulafie) pe care le-a compus la rrirst.a
de 16-i7 ani , ca gi transcripfiile de dansuri fdcute pentru sextetul
Alster, formeilia in care cinta tatdl sdu, sau numeroasele marguri
pentru fanfard gi mai ales contribufia sa la aranjamentele muzicale
publicate in acea vreme de editorul August Cranz au alcdtuit practica
sa componisticd pregdtitoare, acel rodaj pe care Brahms il va reco-
manda mai tirziu elevilor sdi prin cuvintele : ,,NIai intii nu uiia ,sei-lr
asculi bine pana".
l Marxsen, Eduard, Cronicd in ziarul ,,Freischitz", din 17 aprilie 1849.
24
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cle indelungd agterptare. Este
pericrada in care cl si-r cruinitcl.i il l,.li:lura o1:r.r'cloi lui Schillcr, Coelhe,
Lcssing, sau ale utror pocfi si ginriitori n'lu-asinstcrassarlrtdSihnaireesdpuecaarfiea.
;coierita{ii :ja le, ca Srtf oclr', C-icero, Dtin ct,r
k.,
La vr:chea pasiunc 1;entru Eichcndolf f , T'icck, E.T.;\, lloffmann san
Jeen Paul, se adaur,Jii acum coniactul cu profunziinca capodoperelor
literaturii germanc ;i unir.'nrsai:. Ca j.rtr-ii cle malirne
iccturi, inauqurai in arnui 1817, pr:1,lrlnca -ralanlci cle desprinse din
la \'Vin:;en, srt
imboc;dfe5l..r pe zi Lc lrec{r c-r't noi,1i noi ciLat,.-, aiccituilcl ceea ce
B1tfien-r1Iia::rCrl;r,";i:il:)s,ml,I,.s,,uKlr.alort,ro:i<iis,J:ralteio;gin'ri'aijiius;iullos.1"ir-u-tiii,iii'ittrriLclilri.l.uirlc:'-la.air:'li.u;ir:i,t'sl-s.l,ui-,Cars:;lE1olr-S.nr1drlr.s.tn.r.irt-:rcplLuar.izL:niaiictocilia,i,il:strcc,lisasiaicig-l1iultieisltntaIoL{srrriicouenisaeplczeoerrp,a.o,csaielai-il
l,.rl,:i 1uri.:1i;i in gcnct:cll ii r)vr)Lr,r!ir:i ut_,.rol:tiriii. Con;ticnt cie limiielr:
cc'.ri;i!i<,'i ltr.irnilc in copliitiic, ilr:ahns inici;e sI cautc a desprincle
din c.arii rir,,' t:ecunc-cr:ula valLtat i: adirr.,-r-! rile ginclir:ti onlr:negii, strdria-
nie auiocliciar:ticd cc va fi c:aiar-teitsiica pi:ltru iitil:itnga sa viairl. Pil-
1sncuteieumtnlaert,'r'asuoaiiipsneviu:lonzcrtiirb:uil'cor:rc.;s;dcicorrnil::sileur;rlari',i.1e.nriitii.ilr,nar1rii,ilu;li;sirtc'ctLuaii:'i,;nei,c.i1liii$-tv:ielmcl Lcolluit-biil:t-r{rilreilisetollrr:m{iLr a3cnacrclLentstin-ru.irt-aivnsdiaul rrri-n:liat-i
Printre cdrfile |-ii favorite s-a num.irat intotcleauna Biblia. in
am;lilrl sdu stu-diu d,.:sitrcr viaie ;i ojl.'ra lui Brahms, Thornas San-Galli
conieitteazir astfel o inioimalic b:rioiimgriaiifiidcr'oIma l.NrofazxiioKraullbuei:ci,<,h-{areplreiminu-l
clocumental rillirc
qi cel rnai
cendiu de la Hambr-rrg cLn anril 18:12, lle care beiiaiul (:ie noud ani pe
n,a.) l-a socotit o cru.ntd ncclrepia're cc:reesc6, a fdcut din
Jaotullnacnin-es un ferveni c:j iiLor ai Bibliei. Atlt ca aclolesc,:nt, cit qi ca
oni matui, el nu a fdcut leclura Bibliei ca L1n cititor obiEnuit, ci ca
un" artisi romantic, cduLincl neincetat latuia ei poeticd,.." 1.
in anii absen{el iui Remenvi, Brahms a a'u'ut ocazia sd cunoascd.
9i al{i emigranli, reiugiafi politici din cele mai diferite ldri ale
Europei. Dacd nu a clor".edit o cleosebil.d receptivitale la iCeiie ior gi
n\d\riunagtarneedrceovsneatuneimVt ceprpocrrliaign- irteser,dloislu-niaiuoazniia;crrioel-tniai tdaien;acscicnuhtreinmcebaluem. fagoiismdt aBunietsrdluloerizclc,itCloohrriocpaninrae-,
tionale. Coloritul lor rneloJico-riimic i-a oferit largi deschideri spre
posibilitdti noi de e--<primair,: muzicald, inbogdfinclu-i gi iinprospdtin-
clu-l rnereu orizonturile limbajului artistic.
Tot in acest rdstimll a al.ui prilejul sd cunoascb suflui nou al
crca_tiei lui Robert Schumann, ciesluqit din miniaturile pe care pianista
Louise Japha: -- stabilitd pe atunci la Hambut:g - i ie cinta in serile
1 Thomas San-Galli, \\r. ,,\. Op. ciiet, p. 1,1. in Germania gi mai tirziu Ia
Louise Japha ( 18'26-1.902), pianistd apreciati
I
Paris, Elevi a lui Robert Schumann, incepind din anul 1852; compozitoare a
citorr-a lucriri de rnuzicd de camerd.
26
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o{lls
rrJiznur ol1lplllllqns op 'uupurnqJs rnl rarfeero InJarrrpJ aq 'ze6gr ap
de Beethoven, Concertul pentru vioard. in mi major de Vieuxternps,
Elegia de Ernst gi citeva din dansurile ungare, pregdtite pentru fina-
luri 9i bis-uri.
Urmdtoarele concerte le-au dat la Celle, L.,rneburg gi Hiicles-
heim. in legdturd cu aceastd primd etapd er turneului, au rirmas cotl-
semnate citeva intimpldri care atestd excepfionala pregdtire a tind-
rului Brahrns. La Celle a fost nevoit sd transpund in do diez minor
dificila Sonald pentru vioard Si pian in do minor de Beetiroven, pianul
fiind acordat cu un semiton mai jos. Desigur cd publicul nu a putut
sesiza indeminarea de o spontaneitate uluitoare a pianistului. Doar
Rernenyi gi organizatorii concertului care se strdduiserd sd gdseascd
intre timp o solutie salvatoare au fost pugi pentru prima datd in fafa
unei asemenea demonstrafii de virtuozitate.
Biografii lui Brahms reliefeazd de asemenea memorja cu care era
inzestrat tindrul rnuzician, subliniind faptul cd in turneul intreprins
cu Remenyi, el nu a luat asupra sa niciuna din partiturile repertoriului
programat, cintind de fiecare datd fdrd note. Despre aceastd calitate
pomeneqte de altfel gi Eduard Marxsen in relatdrile sale transmise mai
itnircziitundueiiLearaMnaricaio:d,a,MtdenmeocreisaalrusidBiarahcmu selenraotaetiinl de extraordinard,
turneele de con-
cert. Cind, la doudzeci de ani, a plecat pentru prima datd sd in.
frunte lumea, operele lui Beethoven gi Bach, la fel ca gi un mare
MnuemnddOerlsdsmionehnnptii-uenseeelresapudeelcnicacrlodusnrtcaneteerrtiticndonpmtoeepmmaposorutia:lafndseac"u-1t. de T'halberg, Liszt,
ia Liineburq, orag in
care Brahms gi-a prezentat pentru prima datd o parte din Sonala sa
penlru pian in do major 2, in cadrul restrins al unei serate muzicale
date de familia Blume, la care cei doi artigti erau gdzduiii. Compozi-
f ia a fdcut o deosebitd impresie invitalilor 9i a pregdtit prestigiul
concertului dat a doua zi, la 7 mai, zi in care Brahms igi sdrbdtorea
aniversarea a doudzeci de ani.
La Hildesheim insd, din pricina unei publicalii intirziate, con-
certul a al'ut loc in fafa unei sdli aproape goale. in volumul Musi-
kalische Skizzen, editat la Leipzig in anui i9C1, Richard l{euberger
povestegte cum cei tloi tineri, imltreund cu puflnii admiratori care-i
aplauciaserd Ia concert, au pornii cintind pe strdzile intortocheate ale
oragului rnedieval, pentru a se face in crice chip cunoscufi. Cu Re-
menyi in frunte, improvizind la vioara varialii pe tem.e dtn puritanii
lui Beilini, entuziagtii trubaduri s-au oprit sub ferestrele unei cunos-
cute familii din localitate. Serenada lor sub clar de lun6., in
de mai (,,de un curat stil Eichendorff" noaptea
3) a reugit sd facd
cea mai
convingdtoare popularitate gi sd atragd la concertui din seara urrnd-
toare o adevdratd avalangb de ascultdtori.
t Niemann, Walter. Op. citat, p. 35.
2 Soncla penttu pian 1n do major va deschide lista opusurilor din catalogul
creafiei lui Brahms,
3 Thomas San-Gall, \M. A. Op. citot, p. lB.
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FriiluL_- osaslr'-:riis:ollatL<arsuapiilrrac'spaiatirnicsoi.unltut-iscc iitB<;i'rn.slsLuoprfifa--coninipoczaiioteluiruri.;,al:
ir1.rr-cl ie,rilc'
.,i:-:ristir in interirie'iarc'a sa Liil criocot interns gi ccca ce af pui.era nui:i
o faltriisliL fLrr!6 si 1;i-,:,cizic a ritmuiuj crerrc anuttf.'i pe artist; ('on:iri)-
ziftilc saler clczr',-iluicr ci<,- ll(' acum o atit cir,: l;ogiati.
substenii:, culn lLi
mi-a fost c1:l sd intiinesc ia nj.ci unul dintre arLiqiii de virsLa lui'' 1"
:\1 cloilea clocument in care Joachim subliniazd cu emotie va-
Ioarea primelol c'omlrozi!ii l.li:ahmsicre, a1;at!ine ani.lor lui tiririi. Eslt
','orl;a cll c:clel:rul cliscurs finut de c'l ltt N{einincleu, 1n anrii 1899, r":ri
lrrilejul dezveUrii statuii lui Brahr:rs, de la a cirrui rnoartr- so impli-
neau cioi ani.,,\iciorlatd in viafa mra de artist ilu an losl copiegii
cle o mai sublim;i uimire rlecit atutrci cind blondul insoliior al ci:rm-
io;nlarii-lgraiionctau:iiniltuiaai:ttncpeuiuilrul{iiRtloe<a'msrtot',,inti,Livkii1c-,:drriinls:.aoO.l)e,,,cirur'ecfriscgeaunireali sa nobi}tf qi
le-aro gisit transfigurat6,
clcin LL'.i(l:J
cle o forfd gi
a losl" pi'rLru
lnine o ter;r'latic, la fel cum a fost gi interpretarea sa pianisllca, allii'
de landrd, cle plrnd fanle'zie, de liberd, cle' inflilciiratd.,." {.
c{uratS5o"nlaet-ca'lecsriinlliaet'dpuerilaetu1)necci avrieolBornaihsmtuslu,,icuclifniguHraannoobvirlad;;fiortrmane-.slzfii-l
prirrul grup rle iucrdri clin catalogul sdu de creafie, documenLul r:ei
mai tJrditor clesprc {reea ce a fost sii a simlit Brahms la douiizeci cle eni"
Frimele crealii
Lista c re'alioi lui Brah:ns --- r:uprinzind l2l clc oi:usuri intr-o ,ri-
-cc-lleinseicnhcsiastrdruemdnceu'nlutrueclprrdperrziininpteciinraitnrrcutomtpcilireaaacnuonslaauulrempaeluiznzatircrueaalviolocsre-ac$rodi nepozialvongll,uicPidtia-tlncnit{itrlsa-lti},
an de an, acel prietcn nlereu aidturi, iic cl martot nedespdrlit al seri-
lor nesfirpite cle trudd cplltinnictu.ocpliinlderiesosi.itoalcilodlees-acelnufdng-ul a ddruii lui
tsrahms url uni\rc'rs dr:
intrcgii s,ale
lrietri, un unirrers ln c:are iinirrul sau \ irstnicul creator s-a simlit, e}
fnsu$i, dc.schis qi c;erneros in rnar'rurisiri c:a ;i in exuberantd, un univ,..rs
irt r:are pul{'a limpccle gyincli gi cotrstrui. 1n lun:ca sunetelor lui ;i-a
transpus viziuniir: fantiistir.r: culr-se clin legendele gi i:asmeie ce i-au
I L ucrirri cc- \'or cleschide lista crc.rliei Jui Brahms (op. 1, 2, 3 ;;i a).
I Nicnann, \\icrlter. Op. cilal, p.
37.
:l I:'rinu.l dintre e:cic sase lieduri gruparte iu op. 3.
4 Nicmann, \4r.rric.r. Op. r:itat, p. 37.
30
TI
Llt d 'lDlrJ 'do 'rallu^\ 'uuDurJlN,r
ap iolsnrloru peJrpn-nrl psJndISurop1: np3ssoiuuqn.p)Jlglpp.tupjl-'tloggIJi lJliuputor.rolrrur-rc{.
prac.lo 'r'do'{'i1-ozrJLlJS Inup u1 p:1n1de3
alsi] l-i')3 'Liuptun{{JS InI atrp arrlsruetcl I]ntrellr{rrl alaun r$ run:ard
',,lpi*.rLi1:eg-ullcsslopuahl nps
.Lrqo-r\\ ':lr.tqnqJS pl 'I3IluErrroJ l,iollz
-ocl'.ri:l roun p uerd nrluod erfn.:.:: utp e1:eci (ggg1 ininue eurueol uJ,|
ourci,r pooe pI eoi$ounr surllprg u; lnxde; lsrou6t e aleocl nps lpzrl
-trJo{:a6 u 'z;ri-;li,incluJpltr {nln.Io;tzoduto,; 13 tnlnlstuarci u Pers':l.l !\ISnl:)
-xo er{eruroJ ES u,rJe}uazJrd uJ oz.tlor{Ji peslspup{Jro'pu'lqdlou1riaJt6n1ps?uJuapqllu\;
qo ;nfirso6 'r,,r.rotreo:r pauaul,)sD JollB
-nqJS rn1 u,rorici urp 3{ifirrl al3eounr p PJPJ lpilolzap p-s Ia '1jrnqure11
EI rlutu'iloqzzur iiJnill.orn]snar1sp,ru.lrl..2] JDl'.p)i:l1-)n"1:dtug1glIplrntlrn3uoP] aplsoall-c-LruI,dtloeuIJJpSun-l sruqplfl
DI LIJ utlptu
-neN lsuJi-i Ini Plesarpp arpcslrrs Lr-JluJ LlrIJldl{I Udqlv tS 9uuI-prr;puuonl
o .'.rp:) oc1 aleirieo-r 'zouolocL roltzoduro: tnlilJeu{
olIlP.IsnI
,R,lnujrucul r.urzcor1p.r.urd:;r.rptr.urtndgsInnlppsJattlllpnt;is" snJqs'slrnuLqaplt.ttgctsJorur:u\ellt{Pofnu
rJIu rJunlp P3
lplr"n)op p
Z '.tu 1n1 clutor:g
l urcXotl3 ap Joului 1ortr;q {:; trr {)".,L-ru Js, ili)it{ )s,)p oJ TnloJ -Io}{:t{gluosP
I '.rri inlcl uraxE
+--lSeur?atl-rilr;irerBunlpsurelu1uraooupz:,lpa,Il-rlr\illc-pIiIIaUprOJ'yTI,o-'JtadT!oZJn'eAUtrozuI tlaO;a.lt.clrt;i1loLrc;t.,itgtrcdcii'nii]0i1st-tpirtlrli1p]{-u.iJiPu:1\tn:rp.1l-iiJoIneupJlip{iuuiunianrlJllttr:r,1p!rdse-II1odnucAUirlu'Tricul-lplsJo:lrruiut-niriefnpn,psl-reisp'lapou-frrol$nir-r3yliog'eul0ul.lot.pp;11.trllourp1lpii!
rurilpll aspoloulnu snrlsrp e 1n:olrzoduios'ps pfunur op PiEi lnCaeuJ e1
op]u.,firx.1 'q:su;*.i1,tpsJp 1ptu o ps:lp1uilli,l.{ rl sutlip"rg a,rpl ocl o:}puos
1T-DruJualcs.u-;Lr:iliillpsl?nno-si]\urntors1-ilpdrIo1nn..lirp'oJ-1uori,:)ulinopIJcu[piI'.a-iurtcc.lttri,ruljIsorlrsr,uintleltt?rrtcJn;qirscua.:to[pu1oui'rz-t{r:]cunalaLsn,InrJrtdlSr1oionoScrloslool1aae;us1i:rnuzi;dlrlldeouoJ-oJro3ppuorJiiulqlleu.rIoeudinng;u1sennc.d)l
-rrrirl /ln-rolrlso.,\od r* 1n1ooc[ lIC'iln.IlocAiapiolirnii[r*In1snp:lcfiipu,rri.rt\d'l'nelru:go1urrcolqoar ,'1l etufp61ont;rl
clebut ale ceior doud lucrdri nu a fost decit intimpldtoare. S-ar putea
trage concluzia cd esie vorba despre unul dintre acele cazuri de
cores-
pondenld spirituald (cu implicafie in exteriorizarea artisticd) a unora
dintre reaiizdrile aparfinind aceloragi epoci creatoare.
Conslruit pe dimensiuni mari, in forma de scherzo cu doud trio-
uri interioare, acest colorat poem pianistic aI tineretii lui Brahms pre-
zintd puternice trdsdturi romantice, odatd cu narca unui ,,talerrt ne-
obipnuit de mare Ei deosebit de profund", aga cum intuise Eduard
]vlarxsen cu saencifiiunneur*md.scherzo-ul
Prirna propriu-zis c-ea se desflgoard vertigi-
nos, pe succesiunea a doud idei
muzicale : dintii, intretdiatd de
pauze, pulsind misterios ; a doua, deplin inchegatd melodic, cu ten-
dinfe cle cuhninalii ener"gice, asemdndtoare suflului epic popular eroic.
Celc doud trio-uri care se intercaleazd in desfd;urarea muzicald {pri-
mui in mi bemol major,
brant ]irisrn, cu nuanle aslchduomileaann-ienine sj major), sint episoade de vi-
compozitorului de 1B ani). (strdine gi acestea, pe atunci,
l{ici creatia lui Chopin 9i nici cea a lui Schumann nu pot fi con-
Scl-Lerzo-ului in mi
siderate drept modele pentru realizarea bernol mi-
nor 61 in general in realizarea scherzo-urilor brahmsiene din cadrul
ciclurilor cvaclripartite, Atnosfera lor impregnatd de mister, de intu-
necimi gi tensiuni epice, se impune ca fiind cu tolul particularS, con-
ftlaaunrrgitnadsdteicos,chpsiprseeczcepifniictiinrinsppleitireriirtouaaa'idulairtaarioeSmi-aa_nrttaiscpdtiu,rititunuraocliratarteitreaarpeunfuroiglrociurli,lcadin. gEsdliesrnmitbeponolutrurliil
gi ireal favoriza disinularea ideilor cenzurabile. Dar Brahms a fost
caniivat de mic copil gi pentru totdeauna de universul eposului nordic,
transtrrunindu-i in muzicd farmecul, fdrd a fi fost influentat de vreuna
din creafiile contemporanilcr sdi. Ceea cc s-dr putea stabili ca legd-
turd. cu realizirile ernteri,oare, este doar filialia cu modelul beeihove-
nia;r, model care clepdgise serunificafia denumirii genului (,,scherzo"
in iiniba italiand insemninci ,,glumd.") 5i fixase dlnensiuni de am.ploare
formei lui. Dar li fractmdadrceacboilcncperpotisai:ebfeimethi,oavteint iainndfosncdhuelrzloo-ruridileealtuici
Brahns -ruo-r aduce
(prin inter.zenlia spccificului epic nordic), clt ql in construcfia lor ar-
fhaipteLcuilucrailduinpulilndisnr-replleettcnaenptaerleticduelarpderamafonre:mnide.i).dSirLe poate astlei stabili
crectlict lui Brahms
(specificitatea scherzo-urilor) se atirmd odatd cu printa realizare in
acesf gen -_ Scherzo in ni bemol nmoirndcircd-) marcind impiicafia unei
anumite formalii spirituale prin
(cea 9i particularizind,
aceasia, una din manifestdrile rcmantismului brahrnsian.
Lucrarea pe care Brahms o alege pentru a deschide lista sa de
creafie este Sono/a pentru pian in do major, terminatd la Hamburg la
sfirgitul anului 1853, deci dupd ce compusese Scherzo-ul in mi bemol
minar c{1d8r5u1i)mgai nduuspcdriscefitgemrmreinaazsiedaStoan,ol,c,nr opieenmtrburiepia1n85i2n")I,aludcierazrempinlao-r
ipe a
satd pe locul urmdtor al tistei (op. 2).
Determinant in aceastd ordine fixatd de compozitor la doudzeci
de ani a fost factura ternei de debut a Sonafei in do major, conceputd
in spiritul ultirnelor rnesaje beethoveniene. Este o idee de forfd, con-
32
88
prplndod-uruoup pJrda urp aJrlpurpJp rolrJplunJJuoJ eIB rJnoJa puIJnpe
'(1rgrcn1 Jolaqurp rrJrznru earernSp;sep ulp) rfrpd reurrrd e qleuos ap ralu
-roJ InrpBJ uJ prrrJr;p as alrapr ,olplrlpnlurds gcr;r:eds plspoJe od
1n1ndacu1 p'sIuqappJg'olrpnlpl uInrzap{Jueur3qrpuiedupraJl}us1lrlpanslrrJurndJs eSe ,ro1 JolrlqzrlpaJ
ad alega-rb ,rr-rdo-rd
alrrnlpspJl oruJrJp 1S-ps lrSnal np alpJ lrrolrzoduoJ luJs rrir{nd ,rnln-rpl
--Inorzralr-ercel 11upu'aJrdepiaaJ,trlsapplulrpuJnrdrfrlrseadJue urg 'Jolr_ra]pqzap p par]BruJrJp poJpl
rS rrfelrperu nl ,pfuerecls ap rJnlu!-r]
nJ aInlasp-IuneJ6nool t'aaularrrclssoplqalcnluJrg,Jrr*pJJoau-inrpnlnaslroudlfaieulnrrir-qrrJ:randrsluuoJd .rnl
nou oleppipq
tS
ulp piel
-nqJ arnqatl olpuos _roiourud rrfplrleur6r,ro ts pslns uledituu"l .osndo
e{ueqsqns olse 'olsurJ
Jola-rols 'ropr 3Jlurp In:lJrlluof, uerAr,?3Eil:uiTuIeuJ{orTi J,gnuorutoJassunsprlp 1e iS rni TitplioA
e:] Eoas
-zap Ip sTI]r.iBJg
;eg'(alerrznu rrlpinSp;sap ojplJoqll pluopila ospurtuiolap arrluuerSo:cl
aluourruoAo Joun Ba;rnlplzop o,TpJ ur auraJl o-r1ug) aJrspl;l rrlniJolru
-ru err6o1 qnurluoJ sruqelg ,elueuodruor ra roli{rqd e pruorta+ur paJ
-e;nSpysap rS pleuos ap inlnlrrJ o1r:nuelcl ollurp ulfrzodo uJ 'Ipurd ,oz
P-JJnne6oqupriuSsluu'repnl-u'JpelrupurJupoVJp'pJoJJp6+oIp'IaIulp/nd:unpipole3uuourJrn{nrplgaesl,prq1aJJlqJolrs,lroeeolpcJulei"oursprnppunnrgotprpuo;uozrloop"rriucori,r,dpsilnddo-pr:utr
'p3llolsa ps Bourpnlrlp ncu urp rniplzei] :cA (a1u-.-ii:ru
leJeqilep poueuresp op) euortro^oqtraeq a{ueuozer ra,rE3 p ,rruoJiurs
ales 'RracrruleuudrBIntbIEorucrlJouizrpnlepupal:lliqinSs-
uSe o nqrlz,r,er3L+rcIlEsruurqrreuJogJornp l-rol.e*1u;onsc[ uA Ern.]
1n1deg lJaJ alse lpp ,olpJrznu ropr eurol gJ
pnop .roloJ e pnrsardxo sotrp rpur i*
p3lrulit paJrpn.tul nc prnlpbal u! elpuutesuoJ o rJru sputq-r p nN
sruripJg ap y'do'o3nuog'atbaryV -it .-ru InlcturoxE
uoloqlaog ap ggi .do 'ayouog - t 'Ju InIciruoxA
urp aler{'r(uerterat u-ro}gypLau'acimo]
ua^oqlaag ap ,tra{AD[qraurrrrDlf" DIDU?S
earal3arc ug sorpl alecrdsap 'alrsrJur alrloru acl glrnrls
-asp ipJplrun JoI
llsrlreoicnriuciincipd.iaa, rlielJ).r,iCninlafsizoicipocninzoimlpieriiocbculeemsiimrantpipcrliaimtapdteuapsdarte9oviseienrircoLiircacla.$ariraevcaetchereiismtcicoednnfllditcetmu(ialenlSloa,r
IJiahns lrrezintir o viziune romanticd a folmei de sonatd lllin specificul
i:ur-Ltinut"ului emofional 6i prin faciura lui nafionalti,
Doiinla dc a sublinia, de la lnci:put, spacilicul rtalional al nrr,t.iilii
cli'1eil.,linir pe Brahms sd faca un gest unic (considerind intreaga sa
c.rcalic instrumcntala), In pattea lcnii a Soncrtej in clo maior iAnclante,
iu clo ririnor), c,l fixoazd nu numai sursa i.nspirafiei sale, prin indicafia
,,Naclr c.inem altcieutschcu \4inncliede" (Dupd un vechi cintec de
dc'rianJtclocstreic5dlerramgaons) t,e dar piaseazd sul; note gi textul pe care vecliiul
cferman a circulat'1, marcindu-l silabic, Mai rnult
cleci'l atit, el sper,:ificii prin inciicatii lSriu, 4s-e6)iLinrti'aeltepronratanttiivec,u pre'ztntra
(Vorsiinger -- mdsurn l-2
ur:rii solist un grup
coral fA11e -- urdsura 3-4 si 7-12), reli,:'fincl aslfel autenticitatea sti-
lului clialol-;eit, r:riracteris iic pr acticii ltopulare got lnane.
Exemplul nr. 5-Andcnte
{Naclr ei nem altdcutsclrcn Minne}iede)
Pe acest nr.:alierat cital cie cintec v<,chi german, Brairrns a reali-
zat patru varialii in spirit-Lr1 simplitdlii impror.izntolice, nodificdrile
neafectlnd iinia melodicd ner'.:u piistratd in bas (excepfie fdcind cloar
r.ariafia a treia) , ci doar ansamblul ornanentafiei. O inveqinintare :ruai
r:laboratd apare in ultima variaiie (in clo rnajor) , in care tratarea vo-
cilol de mijioc amintesc stilul co::alelor lui Bach. Conceplia poiifonicS,
menlinutd pe linia simpliidlii modeielor populare, este caracteristicd
i Solist : Verstohlen geht der Mond auf,
Cor : Biau, Blau, Blumelein,
Solist : Durch Sijbervcilkchen ftrhrt sein Lauf ;
Cor : BIau, Biau, Bltrmelein,
Rosen im Tal,
Mddel im Saal,
O, schiinste Rosa.
34
g8
'(6tnquabboT uatDrC sap po.I? sog) 'geq lqoeuab
lpH / ap.r3H arp qrne pun pIeA\ / ap.raq ralulla rop sspc/ aplal trsj rlw r
_ ._ryarry e/.,tpdra/oa
ouois,soJdxa ua) aluDpuv iB -_- Z 'i ii I n I d Tu a x:l
: TnI;luepuv Elnol
uTil'JrullrJ r* llircleu:'qArrell oziorlJs urp Bluol arpJ uI'soulttr zarp
uI ul alplTznff pa+Blllll-l
DI Ut tll?lrcs lurrads oitncillll as rurpri3s ,aiuaI
uaul1irpf)-rpgaud.3rBu;nrllpupnro:;;1a-srso(J6ooerlr.oi1plr){Dir)aJilulruJoojlpJaJp'iarrldguLolJr-"Ircprlnar-lounrru-resaarnruarnl: roa{r1ioeas{lu*'(eAn+Iu:J1JJita'r{TnlqJznpesd:-lnorap1laoatrqqnlo1uJ;pd
rurpn+rlp gnop Jolal rrrprirqrxJ polplTlrqrsod qrolo (oz;eqrs-orr1-oz.raqrs)
qlilrudr:1 pJrselJ p{uJoJ r€C 'a-reoTrolue :olrd,ipcl airrfeupA uip Inulslt
-r1 rsaclistr (q71 lnlctruaxo - routLLr zarp Dl rrt nlDuos u1) rtcta in1;ns tS
: oJanq t-roJ a olpw otbalyy - g'Ju Inlduraxg
qanl(ptsou{1oonst;uoololrozpqorduuutpioDil3l-DI orarJolsasaJu-p;)lasr,ol,ronpzfriruanaqtrirnsresIdlni acphrdouspl }'e{}r"on"r)iaaariuarfeer'l-plruclysare
qlou /eprlula{}irlnp
grpJ
'ilpulC ur 'pura+ o ad rrfel,re,l
11fZot z'dlaoq:'ugrsurcJl:er1*nclalouc1lnspuenp4lusandqorlcu[onutpzppaarroccqiJol?JnuTuat.rue;:or uaorfgeJa.orJle'2lu,'aJuUr
-nrlsu-r olps rrorznur ale rur6ecl alorurlln r$ puJununJtl1 'aIDs 1atrlryona n
all>arJ ap ppDotrad atoatto LI{p In[nrolrzodutot a[D a)IJSIItSs rS aatSaSsa
altry1salrulur n.rluod aclls{JapDro) !mlpsprT ec atrndurl JoA es 'surqeis
ap asnd.uro; al€uos alaurr-rcL uI alpu.trrlp rede ualsolp rrrnJ ese 'pruag o
acl la{l>ti>,r BJn{qal n) Day)lluiyn ft ptopclocl ocyzntu nc am1p6a7
a-rordouJr1eaoxfl;rirlaeslpe:Jrrrrru'd;q)sruopi1rrirrol'+1qexJrIorrIler]J:nlparncra6rtqdptJrlpria{zlrpnqnrlr'vuulspurrunoor1-uJrrotouofilrlrszezao1ads(rorrpuo6oueDJt:tupr otuapgIps+ouJilnna!lutpr-pouIgJIralurusnogrJursltns$snapulclpptsioiarl
'{uouet u! Ptrplpll'pzpq aP laruo}
1e lerfrur inrrrlorr-r ocl - ppo3) a1ria1 irfrpd e ount{ras plrrl1ln nrluad i3
b) Sclrerzo, Allegra
Privincl in general tipologia ciclului de sonatii din c;:ealiile carne-
raie brahmsiene, se poate reiliaica faptul cd de la iirccput scherzo-r:rile
vddesc cea mai categoticti clriginalitaLe a fante::iei compozitorului. Al-
ternanfa dinlrc viguros ;i elegiac, diutt'ct asprine gi melancolie 5i mai
ale.s fugarr:1t rii.zlriiri fantastire de o plasticitate ur:eori vizuald, implind
sirnfcnisnului lui Biahms tli.seir:ri proprii, de neconfuirdat. intr-o
silgurX cLcelie anterioal-d {pe care cle aserLQl.ra Brahms nll o cu.-
noscuse in perioacla f6rtnaji,.:i dc ia l-{aml;urg), apar elemente
plcced conccp{ia Ei stiiul acestor pagiiti muzicalc -- caLe
anume, in
lnu-
zic;: lui Meircielssol-rn-Bar'liroidy pentru piesa sllakrsprarian'5 V isul ttnei
nopfi d.e rrard. Fdrii sd aibd incd forfa explesivc=i pe care Brahms o va
atinge in crealia cle maturitate, imaginea epicd se infiripd ln Sonllct
in lrct diez inltior cu atributele ci de pclnlaneni contrast interior, aga
cum apale in dialogul motivic al tenei, in contrasiul dinailic dintre
perioadcle ei, ca 5i intre secliunile forlnei de scheizo,
$i Finalurile primclor rloird sonate ilustreaztl strdlucit concepfia
tistdiemrliefo-snoisnsia:n3tuevlua$iipiourneiocBllezraaazhdiinn. scv,ollnat$oc.ea1prcefiualemccoarm:eeapsfotiaiz.i-iCoerueinleu.ivccaeerisanctueimleimplpuulniinemisiaenniifanemcsd--
clor-1dzeci clr: lni, este tl-laiizarea unei sinteze rnrizicale concluSive de
rnaturd mdiestri:" in uitirrra perte a ^Sonaiei op. I (Allegrc con fttoco
in do majcr) poi fi silrltrin:;cl lcgiluli cu fiecaie ciinite uLigcdriie ante-
Iloare. Atmosfera nilrrailice a secfiutlii Sche:.zr.r esie contlnuatd in
acocenlcaegpi ltiiamrpitmapicadreacuteemr,e'iCi epnrildirc9ipi adieeri{vdainliafcarcmeastcsioalldaiiinl-Imono-itoiv)u'l dar in
inifiai
ai ideii nuzicale de debut a scnatei :
Exernplu I nr. B-(AllcgroP,L)
36
18,
-orcr",l u.rp apsJ-pnlpruunrcutuarrrruprup;6lBauuonsd"ru0r ,a"s;;p"+:s"paiiJ'p:fpfl1pp:"afpi:ri$t1.ail:e:r1izntu;r
-srtlolrnrs e
rarznlJuoJ crlaod puoJ un parJ p ap Inloi pullp {r;n1rr1 n: ollqopodui3
IIls ul alnciac
--uoorJluaopluueau:rsFoeprtrrSaloolquarupptra'{JoSlnpuaalplssopsd nJ 'JTtolpzrao:dr:rr
olio14i) 6o1rda un rS (olnualsog)
,, auorznpoJtrLrI" aliul plpuos op purloJ pzeaJppJui srurlpJg ,(otruq
-nr a odclo-11 uou o:5a11y) rcurtu zaTp D! u[ lapuos InIeurC ui
:tVII-L1l urnspruJ -o[Dutl -0I ']Lr Inidluaxg
: uprl,IaqnqJs rnlnpJrl eo1e1r:nd pu{}ururp 'preinclod
rcurdl rllsallezlrtlacrluyrrusraor^a{ pln-illiEoqlnrosp 1e t (autloc ad a;sa DoL{r DuriLrI) puoyt1,to17
(-io1a;uodod
1nse1fi) rcq.9 1 rap uarurrrjs
e,r6o1o1uu r{t roprilFl op 1e,i6a1ui lsoJ p +xo} Intpr ip 'spunplbryl erli ui
sjlJroq ,rti,g uuer{oJs pllplpq utp 1e:tdsur 'ler6a1o '1n"utrcl : 1e1dnl ap ioJ
nc apeosrclo pnop aIOJ uJ 'lEuJC rn1saJp pJIZntu itJ tS oldrup runlsuaru
-1p acl lern$qlsep also 'ozJrl{JS ulp orrl rrunrf;:es p rS pJ Inialupptiv
p 'lllui eetrlecl urp aJBpunJos lolamal cIlsIJallpJpJ 'JUII Inllns
(p-Ai B'61) oaong uoc otiayy - 6'Jrr Inlctiuoxg
Exemplul nr. 11 - Finale. Introduziane fSostenufoJ.
Exemplul nr, 12 - Allegro non troppo e rubati:
Dar soi ltnimsictrludctliubreartfaortem:eiindteresoenxaptdo. zpiiriceprpiui -czlisedzvaoitFairnealBuiiauhins,se
strecoard gir alucnesgtadef aactcuorraduimripcroonvsiztrautiotcric1i;ieavasioe'rc-tiiurrnairii,,,Ianrttproe--
intercaleaza un
giate, ainintind 5i.
ciuzione".
Rezoivdrlle f inale conclenseazd in ambele cazuri intleg cercul
de idei dezbdtute de-a lungul primeior trei pdrfi, irnpunind eleinentui
aSfoii;rrcnralctivin(vtiagudroiesz-miinnoSt)o. nPcelacionncdeopmfiaacjoorn; cinluvziiiilluoill cillaspioceez, iBera-hmisir
realizeazd. r'ariate aspecte dc iinbinare a soluliilor tradiJionale, in
funclie de natura icleiior dezbdtute. Este o subordonare ce ccustituie
principala normii diriguitoare in construclia muzicalf, brahrnsian ,
Accstei norme i se supune $i stilul pianistic, cere nu poart;i de l.:
prinla pagind urmele vrennei tendinfe spre brar,'uld tehnicd sau sllre
o ornamentatie menitd sd favorizeze virtuozitatea pl efectele cle in-
terpretare. Ccea ce caractet'izeazd scriitura pianisticd a acrcstor lu-
crdri esi,e cd'r eentue.rm{eitdpai mseprltoea,redesooncotardve, cculnbrleaztocniann{rb::asor(cahmtsintltainlec.l
Succesiuni
repartizarea vocilor in conpartimentul sufldtorilcr clin oi'c'hrstra sitn-
fonicd), d(eevaorcoinedgiisugfiluplatsimajic;an{siluogr)er,incclleuancdouLidriuleri harpei), de ritmuri
ostinate masitrc 5i tcndinfe
de ertindere pe suprafefe sonore largi in momente cie dinamizare a
acfiunii rnuzicale imprimd concepliei pianistice o ampid sonoritate,
conceptie ce va deveni o capt.irrantd probd clc mdiestrie in arta inter-
pretaiit'd.
Pe baza consideratiilor fdcute asupra primelor dout sonate pentru
pi.rn create de Brahms 1, se pot stabili cu uSurinfd trdsdturile care
1 Sonafa in rlo major (ap. 1) este dedicatE violcnistuh.ri Joseph Joachitn;
Soncla in la ctlez minor (op, 2), anterior conpus6, purtlnd sennAtura ,,Kreisler jun''
(pseLrdonimul perioadei creatoare de la Hamburg), este dedicati Clarci Schumann.
Ambele dedicatii au fost ficute de Brahms in toamna anului 1853, cind parte din
primele sale lucriri fuseseri tipdrite de editura Breitkopf qi I'Iiirtel dio LeipziE.
38
68
'€9BI alrenupl u!'g'do Inlolpr ulp pall Inurlrd a3 durll ul'zg8i
lnlnup e alludp punl uI osnduof, lsoJ np 9 'do Intra.Ipf, uIp irnpall nllpd alarrllrd 'z
(puetqn) nla\wraq'g
(grelndod usrns) apuranDtl al1 '9
(p-relndod gs.rns) pa.r;sry1o4 'y
(;;:oPuaqcrg '1) a6unJryuY 'g
(lyropuaqc"tTg '.r. 'S) a1oto4 '7
(pue"r:og 'lTpg) oqal? anarl'I : / 'do InlarpJ
(uaqa1sra11eg '^ f{) ua6ur^rt1cg ua11o611qrDN '9
; ;( u " q " I "("{I::jr
"
.T ] ffi :(r:eu:s:s:1"oT1a;1"'1"yi)J',fu#nrr1yrT.t,,n:tt:rfDrN:';t
(nuassno6 '1 '1) burltlnt1. rae'Z
(as.{.aq 1ne4) parT saqcsruodg '1 : g 'do Inlolul
(Jgropuaqclg 'a'1) uaqcsnDg sapu.I? '9
(gpopueqrtg ',t '1) apruorg rap uI '9
(lpalsuapog) U'uUBBIAUlJ"Jotq$rrbpualDgnutrgappusnnoapqaa!r1l 'V
'E
(uoc1o1s.ra11eg uol
(noqols:a1ieg uol uueurJiog) 6u.t1qnr4 pun aqa!7'z
(qcrura6 lraqog ap 1xal ad) na11saqa17 '1 | t, 'do 1nlors;; 1
.{a,lerF
Eaup-a-a-'aPuullsnoaprInInroAdo6lrnEuPe1IntspuussiorrloolaliaonlJallsruulpldrfu?nlInoeaBsIr)pprJelllllsrpsn3rrapuaprJo6PPpoIueIuIcJuIo)aeIPDllJtJu:ruJaIpspdenappa'JIn,zrtlCriroupaa6el'qDPaslollanuoarLzlPpldoopurlAJJdilouanslnasrlosuapPuqlosPJspaJnJBJluaePossosnpaplpIr[IpIapuaoIozJrbIll{uneEtLopIpJulyIuoJpaA1BtI8pJIaJaa'oortaQ'-oJgsBApuB1laoa--r-oliIt{IIJlr.-tpJsu'PIZPnJulupLpqgJd'-dulZ{ITuBInolI'JzlrtonoIPIuIs'1JIJ}dIlInIJlirlrlaoua1PpJdrlcenrnSpnl1tappclsnBlueacan1:l'JJlu(pcIIn'oJllPrll+ace}u'JsIur1u+ncrIa$euToiSubuJnlpcrIdpun!{arrpnuJdlapn'ttrlrula;ll1lo?pTiaa3u"1d-adoqaalanulodpJpd6pn)
' uD ! sulqD t q lnInut s' L ILI DUI
:-rolop1tgrlrnsolnilrntfypIynlrtwDJsodluuopozsllDuplasarlrsDpnole.rlldDIuSlslpaal+lnuBral1ilz'oau.Il{oeuupoplu6daanupDcuJatprtalnldulgnalzproolppl aleo^sollpa'aplreoilnlesio{aqtsl6Jolaoqt
nJ 'alpuos rolarurld rlJrznrtr oB+pauroppoJlpooaJ;JPpnrozpaluapls;o-Je ptDuollvu nfu;ua;
-rDcll lS pJlsDIc DllDLUroI - ad plrurft.tdg
'alpluaruos Jorlolup JolIln-ozloLitrs Ip
rDronSllnpDrrrrC{dJTsourAllrncplrtadla}aEr}l*nrJl'nrU}uuptefrludnoBncJPulu}tsradadl'erPlJolplz-uInpouJsrlpppulonripdlJrodncSulPilnls1'aaxplas1uaJuPJilrppd,.IIae'slDsuiaDIcLl,irolurlnJuf,
oasrclptirsra{puIrrr;'gPlprzunonpl-rurrluopr app^o'Jo^oPrI{alr}psaprransqlBbcnIu}JpenuJIdpraqp}rsluoloarlepJapnl{uusurrn-lrruddcoo1J'aa5pslgpnzJJpPppuarluJzonel)JupoonrIdsJaollPJo}aIB)nJ)rpIJoppulrrlzprrroa)JdlaPriDueruo6cJc3IfU;r1aoptlJ[upoloSsJ
lrJlznur D plDnp![!t]o) DrnlDu alsa aundul 'PasJnallrplrJBdluoultIraplalalIsnau3I.eIdpoJou
-ndsuerl rS rnlnrolrzodruoo B plpJlznru parrpulF lndaJul eI ap Pulutop
Aprecierile care se pot face asupra primelor grupuri de lieduri
pot fi c'xtinsc pciicibnogcatttz,ual tsitondaeteclaorra-ctc.arisstuicpr;a;i intregii creatii
atit atit de egal in
\ioca.[e, clome.niu
substanttr 1ui emof ionali, clr'-a lungul iit ti r._c1ii evolutii parcurs{.. ill
Brahms.
Se impuue', <:a priinil r,rbservaiie, prt.'zenfa licciului pe tot intinsul
ol'aJriclnotidn;lirc'lcilateodlmuloiinepgcn.dotla2rqntlopiroainizlevitdsoifeerirzu!gimliuitiiuqn-ltiuitcidrddepeeaatvslieaiiaui niolduep.i.Ea3Bsrlmaaehulom;trilnrsceeialaernieliiutefailifuteeidaelczraed1rneaartiLI'duIraeamcpzro'voiieiuaizlrltigpir,;oc.,
care el a avut-o de copil pentru literalurd, gi in acesi sens a riinas
ca mdrturie vie o bibliotecir vastii, la fc'l de bogatir in numc. va.lor ,l.L:rl
ca gi in nunle obscure, de rirult uitatr: astdzi. Dal diir colec'fia clt: r'i'r-
suri pe care a adunat-o de ia cca mai fragc'dd rzirslii, compoziilrrul
nu a ale.s pentru a scric muzicii decrit lrt,r acc.lea in care iqi rcc;irsr'.r
un vis, un sentimctnt, o enofie, Nu l-a aclemeirit nicioclatir strdlui:rri.a
numelui care semna poezia, ci atmosfera qi icli.ea c.i, or-icit cle sinirrlr.r
ar fi fosi ea intruciripatd. De aceca, in antologia ti:xl:c'ior carer i-au
inspirat pe Brahms in creaf ia sa cle lie'cluri (antologie r
Gustav Ophiils gi publicatd eiarfiligzuarl"i'iirr;r:li,i"
dupd moartca compozitorului)
cele mai diferite nume de poefi, dintre carr: cele akr romarlic,l,ir
timpurii gi contemporani apar cel rniti frccrvent. Nu pcate fi rrorl;a rt<.
unul sau mai mulfi favoriti, 1re vcrsulilc cdrora sd fi compus Brahrns
nuzica a;a cllm s-a intimpleit in crcatia lui Scirub:ri", S:irumarn
sau I-Iugo \\roif c-uteczi dctioeroi sgaaul<r'erisceinrntrncaaici,iidt coleh-o,'iinsiatcrlirissaauusglainlocilnitoicrii..
de indrhgostif i
Asifc-1, in prirnele trr:i caioter itpar iicciuii inr,lriralc ctr-. rr.lil::'i:r'ii
Eichendorff, Ul-iland, Reinick sau He1se, dar ti cintece pc vcr. iiri
aparfinind unor poefi mai puiin cunoscuti, c'a BodensteclL, Iloftrrann
rron Fallersleben, Alfred Meissnerr, Eduard Fcrrand sau J, J. Roussc.ru.
in ceea ce priveqte confinutul poeziilor alesr', Brahrns a incrliniil
sentirnentelor simpict, merc'u aceleagi 9i t'ol tpr .-3'.1fL'trt''i-..
cdtre farmccul in dragoste, care deschicic seria licdurilor
Tema crcclinfc'i
vlbtaedr,mas)tri,neutau) ldsr;diaeogpof.rsuVtemi(Todsree),uveiaatLidriarc(bl\aVen)t,ceote/lisme/raic/(noAcarltrruAdrfriticin(/1g:)rrrc-1r-rc-['sroiiLu,'lv,iciinJui;ut;itilr-e-)
t'a fi Fr]r:i.:-
ttalare Ca ll
sEu c)
rrreogsdtasiligdiei'ni roopmearantiscaev(o1cnalcd1,c'dr eFrf<ic,-'tcitadcrc-clatPirriinntrneuasttrrf5ein9ii) rne;i'it
5i-rl-riii,
caracteristica in general lirismului brahmsian.
Printre lieduriie ltrime'lol trci caiete., clesprinse in majoritate dirr
lroezia r ultii, sc strecoard ;i citeva lieduri cle esen!d populard (1rr'-
rlurilc nr.4 gi 5 din opus 7j, marcinci din nou inreidiicinarea tiniiruiui
i \lanuscrisul volumului rcdactill clc G. Ophiiis, cupt irtzind te:;icle ccri. l-.:i.l
ir-rsprrai pe Brahms ti comcntariile ior, a fost ofcrit cic citrc riuior compozitor"tliti
in ultimul an al vieJii (1896), riminind una din numeroa-scle miirturii cie pre';nire
nanifcstalc de contempcraneitate.
40
tb
'L6Z'd'jDln 'd6 ':a11er11 'uuEuaIN [ 'r
Iniuroiuo-1itPi.rp-luoolocllisnrltqrAorulol'ulJenuSo-Ilsoai Ja{iiul tPI lppIJnS]-pLIoosJil6ploi-JPSSoluISllpnonrPSp InplIuno,ILpqJIluralpSJ
-o,\ frpolalu lnlnrcllJulJcl soIstlipolJ nJJour spulpl B Ia 'oi-npuJJilupv
'uaqnl{ls asploJxo eJpJ u! inlnuoF snpp np-al aIpJoA Illnlplulur rp
rr:q*;eur r1*oce oJpJ ad I-IIouuI ,IoiolriplJodurl Intoppur lsoJ p suqeig
'JIo..\'r. o6n11 l1Jop JrulsrIl IpuI r3 uuerunqJs 1-iaqoU eJ JquJl IpJAtr
'plpJrznru o{so-Idxa ep rudo-td ;o1
aluinpun puJ^p qJIuIaU Intr Tnlnrudocl a1e (a;o-t1s) apeostda IoJ] alar
'r)rznur e oJiluapr rrrpladar lntcirrutrd a13asp-tpcl PJTJoJ+s o:ernSe;sap
Inj?r p'(na4seclar-1J g snclo ali"Iltpoli ollulp lnurud +pp U otreod suas
lsorp uI Altr€-Ilsnlr nlcLurexg 'a:rrlaod liepl plpp alpJaIJ op Plpuop.loqns
'surLIpJg rn1 er!eu16prur ptrppoa;,r lrpp-16ul e nu alua:isrxaald ala,recltl
urp {nun IJru pJ nr}uod 'a,,a1rrureci nealnd o ecrlood ole}xo} o-IeJ uJ
p-rnsgui uI rpurnu/r plseo3p lpp 'alps ralJruoJn rrup uJ leic{o:pui E-I ia
a-rpil oJlpJ 'aJrJo.rls iJrru olalu.ro; nrlriocl nps InlnJlsaeur efutra;ord nr
q:n1q6e1 uj IrJnppur aseo.Iarunlr +pspl p -rourrof Aplsn3 'er13ale o.Ilurq
'nrzril rput op rps Jolrnala 1.r aunds DA 1,,]u{paur op pAoJ jB
iJaqnqJs ap sndruor pori un alsa n51" 'nlduroxo nu
ps orer urp a,rrrupe l-ps plaJu1 u,\ nii lnbu-ts
pilt-1 l-ps rS ap
a.rpr ed ,rolgrunrpul un rJ pA rI
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'(alorueds aseor6rlar i3 i,:ore1 oJolurJ ap rprunu luelrodurr
un -_ I'aaqs.tra{.eD;1pIlnppndpfrl nnl raplrutnnsa.rrdarlulac-L puerureb equrrl ur snpprl p o-reJ
'pay1 uaqcsruodg) g 'clo rnlnlarp3
inlaod rpl:Is'aptoJlepoulrlpap-
I'ae.rpilocdluoJdJJlonrlulpr-redJI-JIt gclela arrntrJprrr ouirupi runo pSp
ps o'.fdaruoc n;1uod {uozpaJ
uI IS
srirriuJg 1rsg6 u upurle6 :eindod Ins.IaA rS 1n:e1uJc rrr rpurnu nu rpe
'arrupd
p erelpd
-urnJsap ap eluoruour lSuJnr'6JnrlJsorl:,r]eolnrup',s-irIpnoIEpaJp're1ueIs rTJapelJu1
-so:dur1 ap oo1lrru er rar{n1ona rrfed rSp.r
-P/loluI B.t upruroo rulndocl inJdluiJ nrluad rnlnlolrzoduoi) B aunrsed
qp-nlrsdilp.ltaliaJlvos('ralnosu[ani1l]nD1oarDgpqaaIIl-oDXlpIlXDl;LIl-net-tIrnculurnplinoluJuoDtsoig)lnsolnurdeoiornucdauoll)dpnaiJ3oaptpu]urniol1.neid1puorooid)r6a,ous1rporJu1ruJleqv
uo.\ rrrrqJv rn1 urlos'urlu.rv uoA raurllog pinJgJ (t'do) rrnparl op
urnior\ rnlnrnr-rd erferrpap suJS lsotrp uJ elsa p^rlpJilruIues Inlol nJ
'(aueuua6 a1so6e-rp op aJoiu1f, rqJaA ap a1e;rdsuT oluoi ;o1 o1r{-rqri
pAupnatsIIrirlEBpilo'o]ruurlSppralrnrronpdqaurrruen1olft;sel1l 'arruoonerappJlnudec3lnrrolqoJaluacpurtslsrirosuIdnoaruJlopaaoIdlll.pasuraurrpJqeloJJJospIuDtlJrflrrpsSr,o'Jous]1euuapatpn1lral1rlr15updpe]oJsp.acJlrrppIrrplnousppIauaJzaJIuneorFauJeee.slptluIlsnJnrnuprJ]lupslrpor-s]srJJuurpnsonur1l1Jeuuqas:reopiSroleJflJaezgrrs)oaun,d1ndauauuolr1arrn;olonurrJsz1;r
ale yrianului sau coutrapunctbrilor lui cliscrete {in silecial celor la
vocr.i din basl , Brajtms Lc-a confcrit cloar rolul de a implini' cu cize-
latek-: lor imbinirri, sensurile exilrcsivitdfii rneloclice incredinfate vocli
cmclie6ti , ca la aasssdecutrurcolinamcrreaaegti.crtailnsdticetucluraiiuvNi a'O{leo,irnori'naegslsecenns, cli;tldveia8in9r9el,efeaidmri/inJrt(i:pnsuec-if
Dcsigur
Jorir-l'Lim in cuvintul
,,rrr',.'lalia" ar.utd la
biir,,: sub titlul liebcsfleill, Irtii:tul ciintre lieclurile 1ui l3rahms'
*(gg$ SEBL)
lr rnrorrdv}
N
Brahms ll. 20 de ani
(Portret de .Jcun-Paui Lar-rrens )
gt
,gJspaJacnJ l-ps lrsnar pB'lrInnPulnpaunIJJBdp-JIonrosa[DlPLS'aullrp[sosnwloraJrqrpzlnuturzrusalifllpna[Jrnrpn-JoszuuroIcsqIn)asIlar+JpqanIsps
iprrr olos aropa^ prrrrld
surqpJg rs spurpr
p llnn
ro[Du] op u{ uDld nryuaci lalouog e gfeauzg;pul BJllslueld iS orfeerc ep
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Ip rnlnloses rp ruerJrzr-rui r_rlur rcp loJ oJiuip poJTulllul olunupulG .lp
xnl nJ csalsalod srul1er€ Inl ie ror rA lIJ trzsrT rn1 ri;e;6orq ll]V
'er{ee-tr u! Jrlua}np rS nou p-ro oJ poaJ BI nrlc.Lora.r
op llreqransroual prS'lsrutrrJlprrdrnsln1lcislopl6oJneeue[;peer:d]uueiIJr'zpn+-Jr.pu
-rol ESpoJn6rn n:1uad
'ere
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arlurrcl sTJJSLIJ ne-s zTuaqlv nES uipoJog '6o113 'puplours inl elaurnN
'rnlncluril rp II-qJSep rSo,iaueb lpur reJ aJlurp prnun ololJrpJal rurr"rcl p
ri eipzrul e nrluad 'rodo-rng o1e r;nJior elolrJalrp urp iolrJolrzockuoc
r',3,Io.ruolrrfTeJrcrz{.nieru1"urpirpSiecad;grtNrruogzilpalup6JuprnueepplCoaoplpuuilloops pos-rpo3deamJ}3pJueJip6Juor;Jnqu1n
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t-aaSasupiIrlIraoqEJleolptlIqsoJsrrgsrSeSsJ'oe1ldqezrl-:osoruoipTuDrdnzolu1osepJp;a,di,nr6JsornlJonpqJJJupJauul{lu!vio"pJprIraeeJrolnlsr]lup-prrJoi;ldnslnq'gs+1onnnJouoludlJerloulrrodnesulanrull3og'loJeeurausnsreoeITipu,yirolpnpeTirau*aFeJrI
'atprurlJe ep olelilrqrsod rn1 polrloJJo urld r-r*-ln:
eelnd e n;1uod 'Jp:rrro1\ pI op inJlsepur oJlp3 poIEJ el-npulzolou ,]rjsrT
lrn-na-t:sf,oooJpp{Eo.pnloJuJr+au-Iioairpopl.urlrrlln1rrppoqunlIrJgsntJaeepasorrpnuupoenlpaap-e+pIrs.rpIlrnrnppprla1uoJ]zlrnnJtrlnrlJrJJAprIu1Snnipn6p3rrlnlpusrurr1,pucTrrior:1Ilre:uousIprsuTocorroAiluouiloJapurpurp{JuldppJJra'lrS'regpuo1ulpnz(rrJrTelr;oqrrrn':lp;oJJlrnJIqurp'propr]rruosofusonrftrppor]f)ntJIrdJprlrpl(lftpopreE-iIa;ouauIqpe+uaplepulrunllr,roulTIrzJlnolraunqE{punjsnnlgJpiInl]lTJouosulrunJntolniadrIpJprlleuplpqnanoBnJuriJ;jsurqop1prtrlu+tlnupqpruesrsrLlclro:Icretsrl-1or[cdrlqr;eTul.oserirnsoI,goorqurn1lz'Jcar-oJo.;li}ru1IlsplpIuruJr:]p!orcoqTucqJdgZpli
lou HnunJc
Licpruiirscilzifcatiinpsetiruuaacll esipnsartcloopogarnrniajiunernrloacarotticncdlieea$rcIitadfoicsArucmitilepuanomibtieibuiaersqrld-uiilsuinasLuutirsaczstut-ivapfdeipnlauuictlmuimtumdiznagicpiuidtiliitrc}ozuariui,Bc,$lreaaihcnfrnaiilrrcssi,:il
rnuzicianul sobrll, desprins din viafa asprd a portullli Hamburg.
fiis1nnu8iitg5giali3nuuf,BairriB,reiaodrfag-duGdhrrraeromdnftisAtpiRinircopeigemaimeri]od'naeers,.nliccyosCliaoereiciriomnantrrtvuaereiezs$tavitsuceeteliedcalneuidnlirierlnpouLuelaiaisasJIzmaueots,apsiegnuiffditarJussrvoiitinnutausdLdctluuhal-loiibpu'micilinle.iuilDciaanueidu\op'en\d'rdp-iaeeeilthciiamlioanzariaiteracodenrdLvaucr:''rr:i:rrturIra:oaa-i
\\reimar. popasul de la Gottingen si in tovdrdgia lui Joachirn, Braiims
fi el insugi. ;lrcolo a avut, in
a ln sfirgit, rdgazul sd continue iu-
putut
crul ]a cea de a treia sonatd pentru pian ; acolo, in mijlocul turnultu-
nui tineresc al oragului cu veche tradilie universitard, a putut cunoagte
noi aspecte de rriatrd gi noi izvoare de inspirafie pentru trruzica sa,
ascultincl pe strdzi, prin parcuri csaaruebirIavsaerifioulonsiinctilteegvaredpeecletonriiiunralei
cintece studenlegti, material pe
tMBfioroeszntihunluecri-mmnelaeUgtoeviareaK'pdrSrtoeuoulranloep.de,iini,nAnddsceoaecindmua"dnerngmeldudircpniaeodi"x,redcnsueisprsevrieaevcppaiarenettadzcueplrnuseluaitrlelBRuceuhietienBthurolalauvhie,mGncso-ut_tiionnpagrapiel{co-lcl?istlliueaa
i{o*br.airos$geLryaafu(ubllidoiusgairatBfcuaiclfihr]r,uasi trSancbuhziiuiictmipeaennni a,ptuistnbaciobigiiiairtalfGai orBettnoinungnme)nilsi),a, uccaaFrPWahn.ilziJpWp' _\l\Strlalpnsiciiiear,-
ppiprrl,;s,,trtrtr'Neaepiiievns.sp"izttLtLi-rirngeuee,taniu,op.,ii.csnnen"ca,to.euparcrneri,aapopi..rnbr.tleeeaiA.isnltaieraeFSib;trccrfihaiuu-afenIodnorzirosnrz::rtcs1iaeljcletoperul,/riaerrntm-cut-draumlliilnmnnOoceaemNlriselpve{obeiee,rnsnehirmectlsnebietcfetmieeotnolde.vrlfnmta,e'trd,sinMnxeefapruic-inlanreaaaegomLlisLmirmei'9ve,ealpiiiinftdsralttaeoretlilteasntuinidiamtinssiiluadneipfealroisinsofnrpcatoatreoaensuld_{riacEienolBdeucoiirnteitean:i{dihtcidmirtumiirieo-iriiinsitnir-,:t*',
zica s4.,." J,
lccouduntncriloernscincocleacussectpaupgesilinrueedaiglcaRrclniron1}ili{d:raJearmoirt,tabpacSuehuctghimtu{ci,nmdcSduai,rtinnautndtcl.rsBrmDndraaal-nrhireimnivnleedsdc,rrcheopeupmeat\ea'pd\Inaeipitrclialccen$upeinrfirsie,ucutdlpodtaerldceicdecaDsueltLseoiiesrcBsenuerlalditch'ioir"mirnaf eutsl'
atenfie pachetului sdu de compozifii, nu se estompas-e. Aceastd in-
c\,a&I$eiimleacr,enatuelecoimntprribeusiiit culese in ambianfa castelului Altenburg
dolaia
ia aminarea vizitei spre care era in-
cle la
dernnat. Ceea ce a hotdrit-o intr-un tirziu a fost tot chemarea magicA
a muzicii lui Schumann, o muzicd de care Brahms se apropiase cu
incetul, clar definitiv. cti aceastd incredere intr-o artd care transmi-
t Muy, Florence. Op. citat, vo]. I, p. 112.
46
LN
'iapuag 'r{ ap IodE '-rue 0I ap dtull Ia ap psnpuoo 'uuBunIIJS Uaqou a.IlPl ep
?€BI Inu" u! 6-Izdro'i EI ,{lsntr{ rBJ tJlrrlrsllaz aneN"
PlBpunl PlsIAar -'d '1 '1o.r, ':l1rd3'acuarol{ ',{€141 e
'rzl 'dg ,
'9V 'd'|D1lc ':a11er11 'uuBuralN e
'9II 'd 'uaP.IqI r
'CTT 'd'I 'io.r' 'iDl.Ic 'dO 'aruarold '-[BW r
ad irinqr.rjuoJ snps ute nu pql ap 'aadJpaozlColeun-upTII*up- alsJAaJ lolsoJe
larlrppor lpJrpell rup r1l3 Ptilla
tro} lnf,all nV"
: uuprunq3s uoq
la-asortlGUgqIJl1'6o"ops1up3oJo0;reolBnuuZudlnruaauls:puaaoqlllltrri,irlpJ{I,3Iz,irlinJolqtliY{n.i;dlliliunluliursuplin-1IIirnigi9cu"srir}n+IIoollnszJaItaUll1enp'oB9NIns"allBlru-uIagqnAuluPeroecaJtrtioqruonlIocIllrgul?tz$nsrealdu"1u'Fn(l0tu6lsglunpgn-Jtll
p-ap uupunqJs rliijS o1l llPil Jil:i]l.IP lnlnulspIZnlua ole IIlnlJpt{
jrlril alus -tolrtflzoduror a1u rlpllncr;rp a1a:6 reru
aia: o$urnuJ pspo{nlu"1,oilr ps puJru JpI 'PluIc ac durrl u1 pzuarnfiIJsupJtr
uuooIi J:aqr[uu-nu1p1euuc]lhlnoqlultrs'nDpp-aIspi-l{J)niis1Xo('urI.Il)rn{.llICnil}"lpnIlcoo.cT]ioions}pJoPPlarJrlIsIsIreuoreputuPdTr-aIclikls]nuoSllpdaulePlSl]IesropntlfPeInlo]IsE:ruIeor1nuelI
ras1s:,-,rleculuoirrildratJexioocIentrrnill"sIU'splnIdlip" "oIflI?lnliJnnlPlPus1Pl loI I'Ir-I,P,IpllunoI1'({Idaalr-xlgaU}sIJntIIEPidl€sr'oinrpruS
*a-iBrolsnrp.rJoSrlpalsiBporoa-rJrrlnuuI)ru*u1peii1ln:eqaJ3S upnzP'IoJoIllJclBu-n op eurld a1eo1
,,nlua6 preotn n.iluad
'ueJd i*
;;lpuos o rodp 'o1ro;ouuttl n:1uact o1uuos 'uerd pna:1l uaaJdPJepseAtdPJ3psuEIAqurooAJ
alsg" "',,pIBJIZnuI porunl u1 otfezuas a-IPu Ipur
-1auruurz1pops)culi3unJrrpop{uJllrSlzpl npuIuunnrpItpluoBsouJpaal-pptIpliTlonliesutptrl.rliliulnasz-lIaolq"J{lctal'S6lpstzpo-dJzSctee"ha1u:lleauppIlapp0luu9InIoBAllo.InI:pJadHlJnoqJlnuroll'nos:nrJluJ1oqonlBlplBJaIBnUJPIIPnOlpJIsBaal-piolelul
u prJrJsap ealncl
t-oo1nppaIj*nr uprInorspi-oIp'J1or1flsnoudrut1unelpolPpAgaipnps o alsad IJru areJ ad tt{e1a.tol rugr
a:lsa souuet{of" : 96nepe 'arposllcs
DarparSlJor-prJElpqpqopoqlrtrprrfgJerpooqJr6urlsofrp^onqea'uBoron-uJ-tr"lI"Id:l'I'ulzxlpIap)Inudlat'lu!€uJurllpoi{{JLotcoIJslloorpl-olTuulo:tlrsaizfqqooriofnlpiu-olw{lole1s}luosou!c{?}l,lfp,liosoppSszIlIttrJJpi,cI,nlq"JSou'JJpuPpsnm_-}-nol,n-,Pua-nrsuusJrilIn-PqJIIIszqJUqou€uPIu}noIn:]I;gfnrorS"ur}rsncu'FarilrSrctnue1SIucSOleaeuoJulrrz;uftpalnorrHl;erIuo{dp3ispAeJsel
uo'smill q{irnziel"nJ.g]Jloprunulll1pJI}nrl-uzoroz1l.rrr'zo'ot1lrld$gorl1or;S,fr,aoa1lu;ra1EeuJuooatfscoluplrnlalnqnJrrsJlue1Baln-IrPrnspa6dJundips'u'netqulstBogIc'ro,r,olnJ1yquu1nrao16lesuou:n2Il.
url-n3diplo1sr1.atupclr1ur]oqnuguoi'Iu1I1trrpntoo1lsJil*uAn:lic;s'trauurp:Jat{S11$ppnto1.diurleoo'--s11I]ooxp1ufut-rzIaITlupso1pPrpnJuioonJ-ulcaIpllqlJ'gspssarapcrqJul'tlnoguetA86ri{aIes'urrlIrnnurIqulBBnppurJeiIIpngpqaJpsJ:IadZSausnlJuoPuqBqrupqJllooaStflr
-Ja-{rp a';p.to1pni1assosdn0ggaB:IdIsnu1pe1ucirep:preJaI upr-{saps.urotLlt{zporgdu'nroiirralFnsroSrbal1lsea1tr.dra:eurlserpua1l
ln$e.to
acqst tdrim atit de bogat pentru mine in amintiri. Deseori arn fost
tenial sd o fac, ln ciuda activitdfii productive i au apArut
noi ;i talente, qi un impuls proaspdt, incordate
marcante viguros, pdrea sd se
anul:{e in muzicd clatoritd acestor artigti avintafi ai ultimei perioade,
dc;r, oper-a lor nu se fdcuse cunoscutd. decit in cadrul unor ccrcuri
.Ddm',rirarr;,rii:,tiorrui(lca]dshflti,,rin\nf\dcstateidil,dc(setardi4u:-razliri.ug,Biiinn.a5duim'ei{spieciotlc,lta:"'1fihJ:icoioiosifsuir:ln;:o'lci;iJi-uolIiia{iiIcr.cohbirppna.a,e\rErVt,erinJisneuisnliictugiNs.nePSuumrcmihncaatlrnefefnel,rpu,LiicAunNdibirlcveeriigr;sit
'r'\'. {-lacie, C, F. },'IangolC, rRobcll Fienz seu. SL. He;lcr) . Ulmdrincl cu
bicn.il;.-iir.'.t:i:.lr'sei.diiiomaamlatarerciidinpdteeurpniisieaicl;ialirlt:a'i.;eslie:Iilfcdirr.cr{rr-i,13itlars-:ii\li.I1'oilcic)easraedcese;;piiriena,irl'-utlii,tg:iirtteiiprup,r:rrzore.eemiinginiemtnroefdi-,
j.dr,.,l c",:.'r rai inajtri expresic ar tri:ilr-:li, cilcva C,iic sri ne aducii r:lti:e;-
tiin iru plinir-o it"eptaia rjt;voiiei,', cl p.rinir-un:talt surptiri;:Jlo;:,
il::";i;,11113zi Miirl,"ivei, ap.irrriii {.tu Fla'roF{t gi zaic ditLt cr-,..;ictul liii
iC'eiiil-r-:i.,ciaor:.g$ra1iiiraleti cri a apiirlli. dii,.re,.i:t,r,1.:;'.k'l:iisJLcahra,ninne.tsl ciirui llagin
gi erc.i, Ii si: Braltins, ven.i au
din
I-Jirr':;urg, locul in caie e c:r'r.riii rii tilere ql uncie a fo:;L instruii pi
ilrjili in legile ccle mai dificilt: ale ariei dr.: cdti:e un profesor de-
siir,-irgit ;i entu.ziastl. Nu mdacesrirlLutllr. el nri-a fost prezentat de cd.tre
ti,i b,nr:cunoscut gi stimal Chiar gi infifi;area iui piiea sd
ar;,iirie: ,.El un ales',. Fril tllasui pianului ne-a dezvdluit iinui;-rri
mirt':-r.t-Laie gi este pu-rtat in megiii., lor iuine. La aceasta s-a r.n"ti aclrili-
ne-a
gat s;i stilui siiu interpretarir- cil ioi.u1 genial, o inierprelarc ce reugea
sil tlalsfcl'me itianul iqi;-c aii,:-'r.-,'rr;iii orr:ilesirir, alr riire: voci iisuniru
cii:il tinguitor, cinci de o ni..'.r1nir:ii r,-o;o9ie. aNlee-acdprroerzcpnoieelt"icsconsae-ntesu-r-i
t;r,r, cliliird simfcnii clcghizatc ; iieciur.i -_
pui.,:au ii inieiesc ;;i firl ir si c-unc;ti cuvintele, tctle strdb;iiuie de
Li;rd,rirea ur-ror qra\/e cantik';te; opoi siinpi'r loli€fsce-rr1li-l.cc:nLtricrre- rpr:.iigarn'a, fpied;-
trun.se cin..l de un caLalt,.'i cii.incniel,
cinC d:
penti:u rr,oal .1 gpi iiirri-a:.na,uca',-,rfliie!l-iegi.1ri-.er:nretrucacio-ra-:idcelin, eaiiiLtecl.iz: vclceao;secb,j,9ici
soi:.ale
clc all.ele ilcii
utcrie
alu;rci, ca inir-un turrrultuos torenf, pirrea cd totul se adund in aceeagi
ctLsci:cld, 1tr:1-:' eric cirL:.i i.i'' cil,.',.iiril.:: valuri in l'ird:,re sr,. inaifi paqnic
cu::rubeul, in timl-r r Lr r-) ' l,l:lt-;Li i'lutui:ii zburdd ;ucir-rqi 9i r'1sund tri-
luri tJ - ;:t'.-;'rrl it.'-r ; -.
Dacii pe 1ing,i alest: daruri el i;;i r',r cufulid.t bac-;ireta sa rraE:cd
in aclincurile din cale niasiviiui-ea coralti gi orchcstrald iqi ofer:i foria,
ne pu.tcm, agtepta ca el sir dczvdlu,.e pi r*ai rninunat taine ale lumii
spir;tuale. F'.e ca genrul cr.l1 inai inait si-i d,::a putcrea izbinzii, pen-
tru care pare a fi predestinat, deoarece in erl sdlSgiuiegte, de tse$c-
nea, g! un ait geniu -- cel al :nodestiei. Amicii sdi de breasld ii
inscfesi cu salutul ior prlnii pagi in lums -cunounlui ndee in care il
teaptd, poate, dureroase dezamdgiri, dar 9i lauri sau ag-
mieri - qi ii ureazd bun vcnit, ca unui neinfricat luptdtor,
pal-
1 Eduard Marxsen (n.a.).
2 Josef Joachim (n.a.).
48
6?
'VZ'd'lDltydo 'V 'l\,\ '111e9-ue5 s€llloql i
'aJllolsl olf,alqns n) olos
aiazuld ulrd lpllacls u! lnlsounr 'zof,uBrJ Jolrld (IZOI-808I) srroJl"lDf In€d-upal I
'r-JnnrJIbppBsrJIlnpabpruullsuil'pteoulnralqudJJs'DlurInaull tpeaIpJllpDIIuJunologpc'uulle'prqdunlJsnnrslJullalaqddpa'iogJluealupoesApplPPla^lpIJlrrlnuplJoaappp]IalSa-JIlpaillsJJ
auIuIPJ IlPls aiES IIou Ip lpllnzor urtrd e3
ea-ir$.i3npsap 1i(a1o1;ns 'arpolpa,IJ es efro; uJ oropo.IJrrI
pa-pl-ppaornuJlooprrssnreplJpsuaruloou'la+rlaansdJIsstJpzpuuopepsJra]Jaa3pSsur:plndepra'i1a6r'&lloodrreusIalutna{rolodpasar1oldloJl1SasJJan'rIdterplorsgap:DnJprlluBulcpa'Io'uoI.IspII"tuuIppulfruaurJllr:learlqtIrlI.rouloSrqlIS{uvaqnlJlllrovJpurupugurJououe/oanls'rfeJoppJouprr:eJu^arutoq1ropnrIpSpnIpszollJa{tIo6ouroJgapsaeafls+rsq;pspuftd-nrJeaspaoqpneiutgInlSqnoaPuIpunplupoIzIuoIlnJqJdsunIuaoalnlaouCJJfripl'oppIppol'l'ouoluoJlanutfllloAfaPIllpJerunIl1PoIqurlolJsrtn'ulrIIsrdutnPad}spna'qJlIStelHJqlpfuc6J-ranusauuln'oopttppsn1Sl}udttiJ13uSSa'aerIiun1uLcpurptISr}lnInileqocu{oIaitJuJbnnllIlJ]lIElooqsPIrPZSZnqJo}onpi}nJooafl.rtt--rtirpliLentnPuiodlt1iJszpJJl;l
olaJ'uupunqJs op'(loleur DI IS lolprr D/ uI) aleuld tS ozzautralul
eJ'sa.oq(irp1beru.riengJuadrnp'1:'(Iun;o3lnulosr.ultu6roool1op1t.ynu) ioe)l.oipezfceltotnpru{olrslpJ'dLp1z'J(l^rIIraJleopIlCnn6pUuinarlsPqJl;veippoop'l;oPaqsIran1ldu)uI,Ar,tounJpJsjLsliIo1lo,lIl
'fl'V'C :olaletftut areolgzunclsaro:l '!Lu-D[-DI Joio+ou Ins]nJ alSalgut-tn
aJ pJrpolaru aIuII o ad adertl1 'Ioluolatld 1e ntbpuro un 'Plpuos
'arlcluloJ:ro
r-oarp--eo'tsSposr${ullduuprurIr-JqAuf,nlatnsrrrpqaopazfu-lultpIsoqleororlort-r.zn;qJugrrri1acnnnluaerJplIarlSuprosnu'algurI]arIIrnppnejoelo'apls,rIulor6ujfJzl1Suo,nlepJoalgplVJniJlrlrPl]uparpJenJ/J3rJ'Jsua;noplguizoiersqlItlfornpSorrullJI'6rJrlJneJlcsdeaniilqPsnfrlIpaaenoIpuSudorp]prran,s'eltJntppSoluPJellnJeJnpoo}urap'sPruprlad;lunu1IrurlIopaqdruSaelpsrsJr6ld;pupul'disJen6nAonJnorppllrcs6irJpsupl]a'ippuallnpo'oIiousJepuorlplpbluoJlpS1roltayJqlrIpn\dP'JudppuriluErnIllnopIArigeqPrinSqsufr-olnugIdsoIIopplrnporlprlut'uJ;JuotooIIuToo1nnuplonIZtx-dllpftlIynEan{pleqsoJtlua'ooooresaut{{qnelf4DosgIgntrpp1y'pufuqlt';sAuat}nJiJIdnouuaslIrolIoopJul{dsCpsLel1laJotpfDIooIn}oIlf'JIEo's-IlIDlnrrspganlqxll(ISufilp,o,lenofqrnySAuippJ}]il
-EepIp-nlapuJr'cpnJrlllrauuprrpa.JoIloipI'nuuserui/inlooJr-l.repn.'rrpfruSruTglirlpoIusonl^urpdp.sdesup-aunuoprrlpPe{aJJJosfr;zpelnnilJgur,ooc,roqllrcporpriugudson'lpIoqluApapalrl1lTinoeeu1JJlIcooPIla:zldnpolrngIplSna'paorulp]ruJooucJcrolrpLgr}dlocuoll1"pe'cp1je3ldferonqplqlnelsllrplnnu'-)lateJ'3cpnri
's 'u ',,palplulAnJoulcl r3 errncnq luopullnlaJcl puli'rncl
'-'alniulpr:p.u;1nJnrJcua[Cl Ipopolr.eurcltt]ptot:dTl psouzaIot.urI1lluuJrlrnfaol FlPluusl-nrl1os]PlpJ'IlIuupIInpozlrPlouuauptsruenpep]lgealopPelloaalupplp uo n-r1uad'air:
tfe6a1 IaJ 'IC)A
ei3auruog
Sonala pentru pian in ia ntinor (op. 5), unul clintre pufinelc dr-r-
c{,uLil.mnevuatefimpueznictarulepcco'rniofeascilaveurbmradhtmoasticenCet'-daerterotuml acnutipc)tlanintienndsiotantell:l{o;rrg)a,
se piaseazd in rindul cclor inai valoroas,-r t..'aliziiri ale literaturii pen-
iru pian a timpului.
Cja formd, se c'ie'sfii;oatir qtt' cinci ir,,i'ii, 1:rezeirtincl o prinii de-
rngare cle la structura c'vaciripartitd tiaditionaliL, tcspectatd de Bt.rlirlrs
In sonatc'le anterioate. ln caclrul acastei arhitcciuii, ljrcih.tits rectii,',cr.uu.
un rernarcal:il model dc unitate ciclici, ntorc)nd, dultct Bcc.fitr-:t,en"
Berlioz, Liszt ;i Schuntann, un nrotnenl clt. specificd contribu[i': in
,isloric simf onisntului romantic. Pentru c a seutimentul impeluos, clez-
vdluit odatd cu prima idec muzicald, \'a genera un intreg uuivcrs
sorlor, depdnindu-se in continuI dir.e't'-silatc, clar nedr:taqindu-srl r'le
sul:stanla lui primard.
Prima parte, Allegro tnaestoso iu forna c1e' sonati, impune icl.':era
principalii, de intensd frdmintare interloar.r. rclec construitd pe un tlotiv
vehement, reluat in secvento asccnclc-nLt', tin forte qi fortissimo) pi
pe o repiicd. daecepsretesiivtdem(feraszaintacduolrurian,giinppaitaruitisgsoimrmoe-ni mas.7-16r in
ai construc'[it-:i.
desfdgurarea
lnuzicalc', fiecare din acegtia confinincl .latul'a unui sir:tamint ce va
intra in dezbaterile dramaturgiei ulterioaro, Pi'rmul (c.; este ilu strat
cle o formuld intrebdtoare, cu rdddcini in clindit'ea lui Beeth'-)Lien
cum aceasta fusese formulatd cel mai clirt'c t in f inalul ultinului
{aga Cvartet in fa major). Brahms parc a inionfiona sd anticlpeze
sdu
r.ispunsul, marcindu-l simultan (polifonic) pritr a rloua formulei g*:nc-
c$rauutrroasaruerleasadpurmimculeczsiiccfrieianz(debc.),n-tb,acsrcouuml s.sauctbinzlsiantaia(szccdle.ns1dcne'unastl,ur ole;nsc1pi'r'eapirnrcsia'isri.ui.vcD'at.atlturidlinferiaid,ztoisirfidina-
cloua rdsund gi cea cle a patra cclulir r;crne.ratoarc' /rt i, un rnoiirr ritl:lic:"
purtdtor pi el al unui r:irou l;ecthoveuian :
E r c,nr p 1u I nr. 13 - Allegro Jlrlc,sl.)s/i
f--.Gfl
l:---
'--f-
cr€.5C- \
t-
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alnl.rJ ra-r1 Jola{nrrd rtrgrodroJUl p}IJo}pp 'alpuollpI.IpA IJP}eJ} raun plsaJcl
-:JrOnJlSpapO-otr (,rol Ealpllllqplupr tII.Id ollpnrul) aruotr gnop a1le tS {9zea1
orppun3as IapI roJl nJ eulal) Jllptua+ clnr6 ut-rcl
plecitcurrd
un-.rlurp snckuol - i?lpuos ap IauIJoJ ie a,llizoclxo lnlpl.Ialpru 6oliu1
Legdiura cu prirna creluid genci'atoare (a) a teinei llrincipale din par-
tea intii ester fdcutd in fragmentul ,,pitt piano", cu indica{ia,,llen
cantando", din desfdgurarea acestui episod descripLir,' :
Exenr.pliil nr. 15
I bre*rL*, t*e?-ntretrtt,d*,tg, i
i
lll pti 1:i,a.no
Secfiirni-r.l a cloua (Poco piu lento), in re bcincl major, sugereazd
tcltaaitinassateiounrnnl:ouzerirS,i'onaakopilttceor:{cdisniapclroaegcsi,sriiuevl'oadz"idn) iurcenupetaeprnitsiccolilccn'ilteemcdecreldoiiarnntcclnoilusr'ia-frgimcrnaiiernein) ta,upl sl,ac,csnotiini--
monlului.
j,oolterthr-eA'iccdhtrtreoeircaLilarde{ipsnoerslictlni'fcrieucinnrtitev\eTirziiAmtatenrortdn'dcaiaLuncltLseurefn'mn(etSoiimtlvtaeoeun)tcui-nh-luiiinrmnlt.uceunTrle{roiacnctaulaititrudrpl:aoimnpmiu.rclcaezlio-dbececlig;e:enriroompeloapm1pt1euae)--
lare va f i insii intc-ns clramatizatd, pind la culmrnaf ia clin episodul
s,,eforftaiscseirnroc'"mdaiinlamtddsleuqridloiu2ra8-3c3uallterimaceelseteci esleucletiugteli.neinrraal.onabrcelc(cipo;istabz)e:
EremirIui nr. 10 - Andante malto
l Aceasi:r mclodie r..a inspira courpozitoruJui r'vlihtrii .Iora muzica Sonolei sale
penttu pian itt re Isemol najor, op. 21, creati in anul i941. Legbtura dintre cel:
doud sonale cstc tratatd irr capitulul ,,Brahms pi Rominia", la p. 365--367.
52
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'prouos pie;erdns P6re1 ad
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tg-BZ'spru utp erfeuirulnJ - /l'lu I ni drrlaxg
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Stefanescu, Ioana - Johannes Brahms
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