pra unitcifii errtresive. Ca gi in cazul genului concertant, scriitura gi
registralia instrumentald nu urmdregte decit reiieful ideilor, oricc
efect exterior icle colorafie sau de virtuozitate tehnicd) fiinci sacrifi-
cat. Chiar atunri cincl apare o relativd independenfd a uneia din
cile cvartetului (in momente sau a uneia vo-
expozitive, iit cupiete) din
partidele sonore (cum esie cea a instrumentelor cu coarcle in Inter-
tirezza din cv<"rfetu.l in sol minor sau cea clin concepfia coraleior din
cr.nrfefur'ui in do rmirtor), moclalitatea sonord esLc indisor"Uir
finalul
integraia in principiui unitdlii de acfiune. Cultivarr:a timbrurilor cati-
tsfteuicolrfaniiletaoelr_d{d-raeecldasiieps;efci*cuiriTrnisicuiv'dnluiezsilipoucidnrviietcaucaia'rtloeiltrntacicsthertei,ecsdt,criaondlndiiast"rctibeiururravisnhiocminllo.s1niaaccnvaedaLrler-uiaivuliiiiaon, lvprria-ioinfloecglriu)iial pstrieeadmsnindou---l
continud sd sirdluccascd prin natura lor timbrald gi pi:in cuprinderea
lor registlalii.
HAdoerepalvbs.neep2norri5ivintnnrrqDadet,ienioet2aatd6rtrIii:nc:nxCnhiIsia,ac.t'ouidanHrrannfdaereumldnfnlduobtltarituadir1ririg38ilrein6rn(e1lvlacocraizeou1narm6elalesolnpjiaocooeenirespdxmt(reaeiinnmcbffitrodneiaerlmeajleaaadglt{auuiictitcruectairirail)sfdu.tiuidiCpcianrdcualcetsaua,nrccClBeer"nsr,nat,stiauanheri1i'ltnperlrrsnotl;ctaailcomrtLeuera
succes al prirnului Cvartet, succes datorat desigur mclodisrnului lui
generos gi ververi finale. Privit din perspectiva secoiului nostru, cei
de-al doilea Cvurte:t din lista oltusuriior brahmsicne. (in Ia major)
prezintri atributelr: unui ptrus cie valoarr.: aclomfoprmoneisiLgicidp, r1in;rincoLnecziozliva'areexa-
rernarcabild a problernelor de echilibru
trrrese,i. Din ace,sl punct de ve.clcLe- poate fi consir:ieret ca o treaptd
cdtre concepiia de couciziule a ,,muzicii viitcrului", o nuzir:d pe'care
presa din Leripzig o prezicca numai in li:mina lil:ertdfiloi culiivete de
qluclouailaXcXieclaareWaeirpnoarrn. i$t iintcciure;ai fAiernsoulbclinSfciuhocnnblaeragr,tceoi mrvpaocziniteorrieuul'see, cdoa-r
care pe parcursui carierei sale cjidactice s-a doveciit a fi uu bun cu-
noscdtor 6i adnirator ai contribu,tiilor lui Brai-rms, a prc{,rrat partitura
Cvartetului in sol ninor, cdreia i-a fdcut pi o v*,rrsiune orchestralf pe
care a prezentat-o gi eclitat-o la Nerrr York in anul 1932.
ni1oe8ro6ub2ol)U.cesilosttintme(tliaaroruiHadeartnarsnipdrbdpuserdegter,emHicnauantetnidfnoescvsdlrteeamr,BpNruaan{huscmnidossntaealrrattjls,iFntilCacfdnerb.luiuoPnr,tcicaO;anliciislncetrnouebrlpuucrulccutilnuic2lfe)er;artenlldauinzilrudiin.-i
harnburghez ; compozitorul se inrparte intrc' desdriir'girca uiror lucrdri
intrerupte gi pornirea unor creafii noi, rdspunzind rrerelr nr:cesitdfii
de a fixa prin sunete universul gindirii sale.
O mare palte din realizdrile acestci perioade anariin m.uzicii
vocale, ca rezulta't direct al atmosferci trdite in mijiocul farniiiei
Rcising, ln i,rcuin[a situalS la o ciepdrtarc clc,,jumiitate de oid clt ora;"
I La Mirnster se instalase iir uitiinii doi ani fanrilia Crimm, du;)i ce piirlrise
ora'gul Gottingen. sc mutase (dc ia Bonn) Aibert Dietrich.
: La Oldenburg
t02
€0I
aqcllqail 'g) rq:al oirlxJl npJu-irr(po)ctiuptuunirgisn- lr bn1uuoS) plelnclod as.rns
nj ininioluodutor
ern1r2fi;1 iari otIPIaIor '(ralso6e;p
'd17llrrlInlnirslpnsdoIIlanileBIl]nilPpla1rul
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luls rnl
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(t-inpatl
il Bt, 'do rS
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rnlnrultrIn pJlznur tS purtue supp op p-{aJsour}V uJal ll"l?IBAoJp
alrunoJ r:ro,t '(rouo1-Puerdos I spq-Plip-iluor) nldnl LII JolrJoA E:liilc{
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aqlaoD rnl
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o pl snpuo; p of, pao)'(Ilsnrusneg) oltnu$tqo Jollilon qIIqISaJJp I?JTI.
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asolnl orelnciod olllnsl.ll uip olertdsur 'pnop i';tr1;ut
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o:pcl as aJ
oAisoJJns ro1 rrrglordralul polpliliqrsocl
pzPazIJoApJ
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-sap p 1on3;oo]litzrlol dnulr1oecd'(puueJtzdura-rpCn+lu'oBuZlp'rduopd'aruyoacnpgnacp) uoltlecl i6 qlin-til'io;r
lncin;6
nrluacl nl:]u+{I
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-sriip 'fi.tnque11 pe1o..I:p:trnlsfonll,It llq"trr JI}
rnlnlpurll,r olol-IpAl
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dWGgiinonaetdnrtigerheeelnaieiid-luuiinrOiGsep,odiearetddhoceqorai(nDbfaeiiellsi icuoLinbineercbaiealjeinad-dreacgispnocethsevtrceeeiirdbsstiaun-lreigpdrSeuecnprPtiursaulouaoAIrpegF.aale4timhu8ebm(iStiTneirgeio,)bsou;flndciu)nu.l
(tcTonorairnim.nlei1nnnd,u2t--,n3oM,o4spitn,a.g4lggi8iiiec,6r)enc,orgi.mn7i p)iln,aocpczhreitiemoivraieu)t,rlcsigugurriuillipreeeddcluuuolnmi oHAianc.gartbtFes.dtpgeSercoifnhrptashrcplikiilr{,eaSilinisranimalpdflo6rerpm,iucni6lntarlreuind.i
reu Poe.zia cultd sau popularii, epicd sau liricd este o prezenld me-
lista opus-urilor saie ap6.rind ca un
vie in creafia lui Brahms,
giraq de miniaturi, intrerupt periodic cle lucrdri de irmploare. Cin-
tecul incetare. Dar se ivette in
simplu, strof ic, il ademenegte f6rI
acegti ultimi ani de vieluire la Hamlturcy iccloemeapuoznietoi rpuol vvca'strierilafetsautine
de-a lungul a mai multor cintece, ceea $i
ce
Romcrnlele Magelonei, op. 33.
pi Povestea medievald despre nobiiul cavaler Pierre de Provence
N4agelona vrdjise fantezia copilului
dragostea lui pentru frumoasa
Brahms in vacanla anului 1847, petrecutd la \\,-inscn, Ea se afla in
paginile cdrlilor de basme gi aventuri cavaleregti cu care pdrdsise
Flamburgul, in cuprinsul uneia din rdspinditele Voi/isbr-ichcr, publi-
cate de G. O. Marbach in anul 1838, Estc o legendd de largd gi inde-
lungatd circulafie in Franfa, cu inceputuri care dateazd de la sfirgitul
secolului al XII-lea, moment in care trubadurul Bernard de Triviis
(in oriografia modernd : Bernard de Trdr.es) o poetizase. Adoptatd
ulterior in prozd (sec. XIV-XV) , povestirea a apdrut in variate ver-
siuni, atit Si in lirnbil<,' in crare a fost pe rind
in limba francezS, cit
tradusd (italiand, spaniold, portughezdr norvegialtd, rusii). Din anul
1483, este semnalatd gi prima traducere in limlta germand, clar ver-
siunea pe care Marbach o culege gi o publicd in anul 1B3B era de
d1a8t6d1,mBariahremcesnvtda-incaellpuemteradnisnpaunneurle1a66in1. Doud secole mai tirziu, in
muzicd a vechii legende,
dar cl nu se va inspira din textul indldgJit in aclolescentd (cel publi-
cat de \4arbach), ci va fi atras de cel scmnat cle Ludrvig Ticck {in
1812). Pentru cd, in elesfdqurarea povestirii
versiunea publicatd in
fantastice, poetul german intercalase 17 poenc ilustrative ale senti-
rnentelor trdite de cei doi eroi, idec cu totul coresltunzdtoeire con-
brahmsiene, axatii pc trdire interioarti gi nu pe
cepf iei cle creaf ie
derulare programaticd. Pe 15 din cele 17 pocltler Bral'ims a comllus'o
suitd de evocatoare lieduri, dar sprc deosebirc clc prc'gnantul colorit
mediteranean, menfinut in poetizarea lui Tieck, muzica lui Brahms,
inrrdluitd de farmccul ciar-obscur al viziunii sale nordice, pare a
atesta forfa generalizatoare a mitului prorrengal. $i spre dcosebire de
concr:p{ia romanticd. asupra tehnicii rnuzicale de ciclicitate, muzica
suitei de lieduri brahmsiene nu urmdreqte personajelc', acfiunrle sau
simfdmintele lor prin motive, tene sau armonii rememorabile. Brahrrs
se inspird cu fidelitate din qirul poemelor lui Tieck, dar pentru el
pretextul literar nu reprezintd decit sursa declan$atoare a unei in-
ldnfuiri de sentimente. Romantismul gi mijloacele sale de exprimare
se dovedesc Si din acest punct de vedere neinfluentate de modelele
101
g0I
'a:ualoJd op orrard olso Inlnora alautnu 'p1eur8$o pzaorr€rJ eounlsral uJ 6
eun.r{cu ap alul-rnul}uol grpJ 'pllJoso{lJ rnd
go-Ilerrral o .r€p 'llllloulill olul.lun ate IZ,'do'sta6as acalu{3 7 rolal InIclS r
-IrnnSJqe(zrlouolrlpoJ1ua'ni6;reputril'lagl]r}rasdlronaurldpIsnpluP'aJlspAeluooJi{pnap.6rc-'tireaaillauoJduFlrlnleal:IrJp}nJdaJpi'oaqJr)esoallllr3pdueprdprqJerpaorIpJnsleuindaquJelaoseJla.)r
inInn3ssruls'rirflpru6llrnrupyJrproouu.IJoo^llr}ootorpuprJI:onPlJaqoruArporqJJasoipdalpSra3IurpoJrluol|eslipoatA5r^opId6in1uunnrsulo;onpsrui1'puoaulqaR6Jada1nzpaIlp'sroe1IndaupJro3e,lJrl
nJ alpuel alurlnJ (oltqnl 'ruuo6) uoil)qorlssns 'aqng : urood eolpnou
rI'-upupor.iLla$lnrpuoau1Iratnl:oJs1'u(Jupnlplnt+IiaqBsatl'LspprnJlrJlrrqpl anoJllprsya'u',utronr:f-qlprpi-1tsdrsnpsiplio,l'iltppcaJdpouuparrpptois$jrnfo;rirplendunqoorrl-eora1u6l)ulee-IIdar4dlsicol1asperJrauoclrrslDuu-oSrrrsol Jsuloar1dtiraqr''rapurru6olaTnrdup1
ur.rd Betrruay arode rS-ps rftonou luJS r{r1so6g-rpu1 rop raf, rf lr,ruo11
-ralplp3 rnlnlrlsoA a6ar ap psrrcorcl also Euoli)6eyq : alulorparrr Jolrl
-rlsaeod IB lolplsqo lnlrsdtlau au{AJns o:nr gclnp'({-e 'ru) rnlnl:rl olp
olsoburp ap eafruueauordorrJBuaiJJpJoolplaturJtrnrrdnJlnn'(S2 oa1reolqclJnu1loa^ spt-rItrB1'na:upnsJrnnqlnrturlrll:pd
e{ueluo: __
iBrneasa--:uppnrl1qocru[anonlpaaauqupNpnuliplr3Tnu:lrur1seuugallrua:narrrp1y1aplAd1lnopndaaJdIrlu'sJ-rnr'prrduaalullupnJano1rn4elp6.lIztr3nuipodInnu'.Ip()-rprJduonsIaBo;p2dau'I''rdgslsIu11r{)aJprrr:a'lJpr$rzpasbobuctpioluau'plioplar61rtreprutupplnpfle:oqdpeerruulacpiuadpfurugrou1bcssrlallellsnurprtararararrr-r4JplpcFJseprpauaouJrIouui]Surbursl3n]reroeoapsudlrl5rltArpJapc!lr:pd\:rpturlpuorl3oqnulllisr'lp'ralpJrs-pp(u]ZuUniaals'daolanu3poIurnpJnpa.vldparIpn]nesup',aa1I3eluuluuolinlorlgrieD)aqq'qlpueaojuanpazogJdturllrrlgpppu[a{rpJroeeureorlara6anJpnoupIrua1lri:atouaa1Jlalresuui;srnplreaJroanfzpaJe*npndse+rJ,r1uIrAarcppn,aurerlrJng-.1sJrqap-_o/ununy_prpyd1r]tll
r; u nrluad rfur:gd ap alefurpor:rrr 'asporfa;d alour rarl rS Brqps relnpl
csaSgrploluJ 11 'ar6aqud u3 lru.iod 'u alralold ap TnloluoJ InlJ '"{o}ad
rl1IlannninJldJruD_tear*ryitlrBnrrdalpArpspoeauuJrUIaJl (ra'larrqrl':lrdatsnetspzppBcguu'n(eeanua-6ep.strartdualoloSpu,ruJoonrrlJpgptorupanl_lJr-"i-rp1pn'uoo?1era)5oe-dorllrncfo1ua1apuurJt-oIaprSdIsbJp-airoaflalpec]iuJpl6Iarl9nnuIuserlrousJ]ruCraSroudWsJ:'a;lyeqJ,,ro)lr1ulrus,*aariagtpuzrrlurrearapd.lr1reoda_J.cgLoa-ulu-rullJsJa'paoJzap3oralrrllopruprpnlairaJJ1]l
IroSTr\ teSpulranFuauilauJo,ppugI.urreeabl,uo6peoIeriuuSI olSospoa: r3g lnrolrzodurol ,reuo1
'oIBs rrunrzrA a1e efuaueru:ad ap
-a$apaq
aa-rlIzrluJcrdnlJulBorroIrcna:.leurliJufrrarpSliEpIaunnrladlos,urrnmlllunplnnJ:uluorofJucrooLJ-{,oapJrrarolJslaspllcurlreplyJ.aeal1aparsup;runae3r6fpae;1sao;nrproluolaprnclripJIAnnluplnrsipaolJll
l-anJsnrlltsstuuauJl3JppJJ-rTpnIJ3rTluJrparuderld1ou2lrararlnxa-aslnpcdJroulunoeJppuJoaslppzslueraIasrlsnrr5Jlrna;lBleerauallsuJararleguIIJrsJaaoppIal,dJunnpraapurolnurlrlsaaou3p
pInlJnoslBqau.ruJ l'slpuoqpprrgolpa'atdnJ1Jgn1;iuon1lirJzzaBo-drdurauiro1J11Jfpe'ac11alB1uodlr7rluraqrbrops1uuaa11slappnpJtaurlasoawlooreag{,uaaalupJaulaosqdrxseearordc
lui, nind acum pasionat gi tandru, devine dezndddjduit (Verzvei-
id,uiurrt:igrer-a Disperare), tdlmdcind spaima in fafa mdrii dezldnfuite gi
ce in ce mai mult de femeia iubit6.
de a se indepdrta din
Liedurile nr, 1l gi 12 par a forma un cuplu de romanfe, prin confinutul
larcioSuap.rputactncitareotlramiutcamu(tP\ne'iVen.arta,ieenrrgds-pcsi ruhsinmntrrdeddullpliuj,avcitNleinrdrleaisceagc)he,cprliotiin,raniantaredfciediuqt$inliisclpvuooliliinonlid(gcldu\ehleutfisusiansbultilsiertnaessCnaueulaprilninuileczei r-dm-TurdtedirCnliiin9e,uitirnrndsegiipnetegaggdutreeea--
ubenni?nte-rrmScdz'znose(rlniendeual sntar.d1e3s) p, dinr:|tiirteuala?)t. in 6irul povestirii survine qi
de
Suljnra. Este numele fetei
suitan care i6i cintd iubirea pentru cavalerul prizonier, iubire care
o incleamnd sd-i inlesncascd evadarea. Muzica ultimelor doud lieduri
izvordqte din sentimentui de fericire adus de libertate qi de regdsire.
Intcrsitatea speranfei (liedul nr. 1-l : Wie froh und frisch mein Sinn...
-sinuciteCepiittr-t_dueluinivtrdiuoecihcigpicieiapuzr,odi"aasrspeldinetsdiumul lei fteiincagalinl-dleugule)nnrdeuealitdimmucepccoloieelvmoarlidetue(lTdorrepautgiemosLitsieetbaaell
pdraeuzeenrttdlainngleite-ratuDradinqui ieaSrttac mult iubirea credincioasdr), temd
rnereu
secolului romantic.
Privit in ansamblu, ciclul celor 15 miniaturi vocale se prezintd
sub forma pluiaentduoisfuiainlrcodpnitnuimztiioscntaalil,nitaailtirta-i-t.lap-eixpiciali:tenmgtioeLmpeamtiptcrljao-nr. ultimele lieduri
reaCucind
tNolnealold-ismpurlimduo-l
qi ultinul
rnind rnom,::nlele idilice; fie in conLururi de nobilir sirnplitate (licdurile
nr.5, nr. BJ , fie construit pc gyradatd intensitatc ernotivd (cu deose-
bire in. poerneli: cle dragoste). Contrastul crcai intre episoadelc muzi-
}satdrreilicclcfuirnittp,nsishiloclomgiocteivditaeioeseinbitcdacdrlurrleucynneainaiem, binians{eensduel
cale conduc
i;lasorii uneri
linigte, sau al unor confesiuni lirice in alternanfa cu stdri de agitafie.
Cu rcinaLc abild pi egaid contribuf ie in realizarera tablourilor psiho-
interr,'inc supiefea lirnbalului arrnonic, ciia(in;i cel al cursului
logicer
valiat in ni;caro, accernte gi combinaf sllr-cesiune sau
ritmic,
in suprapunere). SirriiLura pianisticd, ginditd crincl sirnfonic, cind
ovocator (sur,Jcrincl goana caluiui, in liecl nr. 1; acornpanianentul de
ldul5 in lieclui:iie r-rr. 3 gi B) igi afirmd rolui clc transmitore a nuan-
!r:lar emolionelc sau dc.scliptive in rnod egal ;i inseparabil de particla
vllboecartla,I.teSpinonciaonnestirtauctef aia9iavrahriiteerctatuteraalds,tdfariinotrezaifaec:ctiovme pimozpitliocrdulculieocsreebinitda
pentru fir:care dintre cele l5 piese o formd gi o mipcare interioard,
proprie, pe dimensiuni mai mari (lieclurilc nr. 6, 14) sau mai restrinse
inr. 7). Aceastd libertate a clesfaqurdrii nuzicalc explic6. qi opfiunea
corpozitorului pcntru titlul cle,,rornanfc" dat liedurilor sale, titlu
cr.-' i-a putut ingddui derogdri de la concepfia echilibrat tripartitd sau
varial stroficd, intratd in tradifie.
Creatr,-. indelung (primeler gase lieduri in anii 1861-1862, ulti-
mrdemleirlnoreupdrc-zen{ctaleti-vaeliupnegnutiruurnpdertoioraildoar
qase ani) roman}ele lv{agelonei
hamburghezd a evolutiei lui
itJi)
l0I
'?ZI 'frpd eI 'ff: 'do 'LrDId n) lnlnlolLtl{) poleluazal(l l
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diilor Romdne, cum Maurice Ravel iqi inscrie numele in rindurile
marelui pubiic de pretutindeni ca autor al celebrului Bolero, numcie
Iui Brahrns a circulat rnuitd. vreme printre iubitorii de muzicd ca cel
al inspiratului creator de ,,dansuri ungare". Ceea ce a captivat din
primul mornent a fost desigur noutatea suilului ritmic, dinamic qi
agogic, saepdaetosfsduglouai rlioi irnricisacdorluitol ru' n9uii a nestdviiitei lor verve. Bogdiia
ritmicd stil improvizatoric, construit pe
contraste violente intre momente viguroase Ei efuziuni rnelancolice,
intre migcdri vertiginoase gi episoade tdrdgilnate, contraste ce sint
deosebit de caracteristice muzicii ldutdrelti ungare. r\semenea opo-
zilii de confinut gi cle miqcarer pe care Erahms le-a surprins atit in
structura internd a dansurilor gexi uinbefraacnttuera(cduamnseusrtirl,o' rcedaerdraitguual l--(daenx-.
dansurile nr. 1, 2, B Si 9) , cit nr. 3 gi 10), dau culoare autenticd celor
care compozitorul ie-a creat fie inspirat
2su1rdi edernniunniatdlur-i ex. dansurile
pianistice, pe
de muzica transmisd direct dc cintdrefi sau artigti unguri, fie in spi-
ritul acesteia. Blnecunoscutd este doar provenienfa primelor zece
dansuri (cu excepfia dansului nr. 7) 1, originea celorlalte nefiind iden-
tificatd pind. acum, fapt ce conduce la ipoteza de a fi fost compuse
de fantezia lui Brahms, ipotezd ce se poate sprijini gi pe factura tipic
brahmsianl a citorva dintre ele (ex. dansul nr. 11, 14;i 20).
Cunoscute gi aplaudate atit in forma in care au fost inifial con-
cepute (pentru pian la patru miini) Dcrnsurrle LLngaIe au circulat gi in
mdiifienriitle, alte rrersiuni, cu deosebire in pentru pian la
sau in variantd reducfia doud
orchestrald.
Acuzafia de plagiat adusb. ulterior de Eduard Remcnyi lui
Brahms rdmine o dureroasd deceplie in viafa compozitorului, pe cit
de receptiv la frumusefile muzicii de diferite surse nalionale, pe atit
de cinstit in atitudinea sa artisticd. Ca o dovada a probitdlii sale
rdmine faptul cd Brahms nu le-a integrat cle la inceput in lista opusuri-
Ior sale gi cd a specificat in subtitlul lor faptul ca sint,,aranjamente
pentru pian". De altfel, in conflictul de presd ce s-a clcclan;;at intre par-
tizanii compozitorului gi cei ai lui Remenf i, Brahms nu a intervenil
cu nici o cxplicalie pentru a se apdra im.potriva acuzaliilor graiuit
aduse. Melitul sdu cle a fi inLroclus in muzica culia particularitiriiie
muzicii l5.utdregti ungarer intr-o cpocii in c:are nunrui Liszt lc valori-
ficase pe plan european, rdmine inscris iu jsLoiie riruzicii priutrc con-
tribufiile desctriziitoirr<-: dc drumuri ak.' rotnantismului muzical.
1 $tefan Lakatos: ,,lllclictrlc mcghiare in ntuzica ltti Braitnts". ln t ,,Sluclii
nuzico)ogice", Cluj, 1935, Eciit. Muzeui Ardealului.
x Primcle dou5. caiote din scria Dansurilor Ltngate lrr fost ttanscrise de insugi
la
Brahrns pentru pian doui miini ; urnr;toai..clc doud caiete - c1e cdtre Thcodol
Kircher.
Orchestrarea acestor rniniaturi piattistice aparline fie Iui Brahnrs (nr. 2 9i 10),
fie altor diferiti muzicieni. Pentru cuplul vioali-pian, transcrierea lor se datoreqte
in mare parte lui J. Joachim.
108
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s-- ndscuse gi murise Sciiubert, va fi oragul care va deschide ierg
portile gi ,,tindrului profet" anuniat cu zcrce ani in urmi de pana iui
Slhumann.
Viaia nuzicald vienezd cale I-a intirnpinat in toamna anuiui
1862, se prezenta, in ramificatele ei manifesLdri, intr-un ritm .li o
rcisnnanutudzclieacliralneilegesduccla,u,pKiHetioiraraitnmirrdeebaruutcorhors"iaostrallsupltteirLdndeluieipicllzeriduagsun.uisnmnpdeutvoczeatiaccrcehiaoeclnaeelelccealbidtlrd:rie:tiaroetterpd.eailVsdOe,aplsoiepnaerercecLi,raa,rpir-orollailrec--
chc'strei Operei din Viena, care se impuscse din anul 18.41 gi prin r:ele
opt concc.rte simfonice anual sucsofinntuinteu,a-sdmseanaiffeirsmtderiscueb au pus ba-
zlueileCctotoncDecrtsesloofrf,fiulanrmulocnliicnetre- conducerea
strdiuci{ii absolvenfi ai Conservatorului
de la Leipzig. Brahms avusese prilejul sd-l cunoascd in anul 1853 (in
iimpui stucienfiei lui Dessoff) , an in care articolul ,,Drumuri noi",
semnat de Robert Schumann, dcclan5ase unanim interes pentru
alta sa.
Cu aceeagi prestanfd artisticd se lmpuneau in viafa muzicald
tradifionalele concerte simfonice ale orchestrei societafii,,Prictenii
ryruzicii" (Gesellschafi der Musikfreunde, infiinfatd din anui 1813),
concerte conduse din anul 1859 de Johann von Herbeck. Manifestdrile
a doud mari formatii corale rrieneze : Singverein (fundald gi condusi
din anul 1859 de asemenea de F{erbeck) gi Singa}iadernie (infiinfatd
in anul 1B5B rie Ferdinand Stegmayer) 2 se inscriu la viafa de concert
a Vienei ca demne continuatoare ale marilor ei traCifii m,uzicale.
in ceea ce privegte r.,ruzica de camerd, se irnpun in primul r:!nd
tccioucnipc_reer-ctedSldecehrdueubmmeruitn,ziicMcaaelenndaderiljns.lso,o,rVhcnei-raBesiaincrsit,haoaallld"d,ytuinsriacudaedSrccuehlaucmadraonprnari.msCeiluoprrreorcogrmurnaaonnsa--
cut rnerit se inscrie in cad-rul acestor m.anifestdri camerale activitatea
cvartetuiui Hellmesberger a(Hneulllm18e4s9b.eirngepr-eDrsuorsatna-
I-Ierlssler-Schlesin-
qer), forraalie infiinfatd in
lui Joseph Flellmes-
bertJ+r (tatdl) , calitatea de rriolonist conciucdtor aI cvartetului ce-i
puri.a numele se adduga Ia cea de profesor de vioard a Conservato-
rului din Viena Si la cea de concertrnaestru al orchestrei filarmonice.
Din rindul muzicienilor vienezi, contemporani cu Joseph HeIl-
mesbei:ger, se cletageazd numele unor cercetdtori ca Gustalt
Ncttebohm (profesor de contrapunct la Conservator, aulor a nunie-
roase lucrdri, printre care \ralorosul studiu asupra caietelor de schite
iaEnpiteacrrrtpeinareitnifeidi-l-luuiicaBHeaReyutdhdnoo)vl,feABn)lidbsitau(ucrirKgdaaern:laisFctee),rg.dItiuinalaiusntsdrdElPupocshetelaiu{ncen(prucrmoefieedstdooerr al viefii
virtuoza
de plan
la Conservator), Carl Tausig (unul dintre m.arii pianiqti ai Vienei, elev
t Cledirea Operei noi din Viena a iost terminat[ opt ani mai tirziu, iir
anul 1870.
I dirijor ;i profesor de cor la Conservatorul clin
Ferdinand Siegmayer a- cdrui apropiatd moaLte va decide ulterior numirea
Vlena, 1853-1863,
intre anii
iui Brahms in postul de conducdtor al Academiei corale vieneze qi stabilit ea ;::
in Austria.
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originald perscnaliIate, ca un autentic 9i bine organizat talent, ca
un artist cale merge cu pa$i neobosili 9i con9tienfi cdtre maturitate
bi(ESctpaFrrriocunaaomhphrunLupudiaintmicPlieaaresiizualnrieseeienbatnrli1nleinpeieu8cr,"(a6uesSfm3ia1siano.,evlctnemieiilnaetrivimtcpnnaicdereoaae.nizrrctneSaSlgarztuiuefierraelFicd-cuipnpddegedrirdeniuuci)estzii,nranejuButmdicdneiproioetenseimvtaaodhre+plproad)aorvepepz9eMqtirlnitatioaendSur(redducViceelhiaaenuil;rr;lVb;iieiatietilfpilBrirtutruar<na(imlrnmhizlumiemunscazuteosdi$iznfcnaeaiSaccacdoieiuiunnloltinlmaeufueutdlmailiaeudaaBtpsreiiaoniedslcortsni)dnhd6r,'
acepllaour zoeplot rlupnriimciittea).clDureamt nprdimeusl esmdunaploaptaessitne faptul cd in
rdspundd
rdstimpul capitala aus-
triac6, Brahms a avut revelalia cleatiei schubertiene,
o creafie pe
mncaeudrzceiczanmtircdini aliptarGosfeearsmsoeartinieiesdideni ucduein-aoiaau;tFdeJereazmv9dibluuaiprtg-rooSfuiinnnddaicereip,clineoanl tsea-aci tvucaullfocuaunrdeva.iatCfianu
stuciiul partiturilor scrise de genialui rsodmiamntuicz' incieeinnci edtiinnd sd comu-
trimise prietenilor
nice, in scrisorile Germania,
trdite la clescopOrirea lor. Intensa muncd de cu-
puternicile ernofii
pBfairruiianthoadrdeln"srv:es,iedsanveietreisin,zitreaecgu,urrteuetalonuztdiduianlir'n1dtidsoctmciociennlatfil1nnsat-udatacicn19eoi nuaccdnaeuuraalsscdttpdeinerptirsrimeetircaicoaneaeisdnmadt aiatnei ndvdeeieivnsolfeidliaurtlnduiadei
creatoare. de preluire pe care i-a oferit-o Viena, de mulfu-
De atmosfera
mccilirladdnirrtpaHerutlsairiandfmsigoirlieeebrirfaaugocriigaSgetu.rieltcSrrlleeeuaeciznpocteiernoicdfnioaaittrudp-lteoarereii,laiia9e1Bzni,draialiondh(cldcmeaudesifnrm7iuetnaicnmuarasnarstaeui-dzad1diec8ladnf6d,ted3ovcm)reiiisinnicnlfiistnaagmddretdiassdjitetoeesucaardaiuuleeP-lsSlprdfcaaaiuotrmtsert{dndlreipurl-aiboeldusdziecitit,ocddgriaer-ti
rului rnarej sa afecliune pentru pdrinfi 9i pentru ora;ul natal, senti-
mtsi-teaonrcutoclnesloidmre,aradrciuhmpedaezledcuufrmceocspv-eilaunltsnbieimouglltirtdafopiaerirtsmaaa.l nTceeinnlodtrrledSc.eauuancvoaisrscsddt,ntcoicar, Brahms
9i Marxsen' cit timp aceqtia au trdit'
qi ocro-
acestui sentiment, Brahms pdrdsegte elev al
p' rofessourbiloimr Cpouslssuell viena Ia I
mai 1863. In patrie il intimpind doud contrastante evenimente : la
1 May, Florence. Op, citat, vol' II, p. 15.
tLz
TII
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turi estetice gi stilistice pind la evidente deosebiri intre realizdriie
ertremc ale vielii lor, biografia lui Brahms prezintd particularitatea
unei desfdguriri fcl'me, bazatel pe inrdclitcinaLca celor mai importante
date sufletegti in aria gi ambianfa nalald, oLice eveniinent biografic
ulterior survenit nefdcind decit sd intdreascd puterea dctern:inismu-
lui lor.
Care sint aceste date sufleteqti po carc se vor sprijini pcrila-
nent cleatiile brahrnisienc ? in prirnul rind, pulc.rnica dragoste pentru
familie qi meieagurile copildriei. In prezentarea ptimei pdrfi a bio-
grafiei lui Brairms, majoritatea comentatorilor teliefeaz5, cu un va-
loros rnaterial informativ, faptul r:d gcolarul gi adolescentul
a fost angrenat in mecaismul vielii Brahms
mentigtilor vreruii, acompaniind la cle c:iptig mic Ai nesigur aI instru-
pian pe tatdl sdu (violonist, con-
tarnagbaajasmiset,ntfelaleuLpiesrtio9diicecogrincisetl)e in aclivitatea sa irnpdrfitd intre
de localurile cie
ocazionale, oferite
noapte, de ospelele de nuntd li de aniversdri, Rareori apare insd
subliniatd dragostea cu care copilul Brahms fdcea acest sacrificiu,
o dragoste altruistd, plind de indulgenfd fa|f, dr,' sldbiciunile p&rin-
lvilooilregloi frr.aDfileortastddil, ca qi de o precoce rersponsabilitate fa[d de ne-
sdu 1-a apropiat profund ti definitiv pasiunca
comund pentru muzicd, prezenla lui impregnind primele momente de
vrajd de care igi putea aminti, toate desprinse din lumea muzicii pro-
duse de miraculoasele lui instrumente. Dar primui loc in inima co-
pilului, mic sau mare, a fost intotdeautra al marnei. Fotografia care
apare in numeroasele biografii gi monografii Brahms o infdligeazir
purtind un zimbet trist, zimbetul unei femei virstnice care qi-a trdit
vftaoiansldtarueinlneatrl-ldueinnctrcaedremmcindormdtueprsoiiczleuitmobrpuudlnndli-ttaddfireieqvddiifriesnrateetnleinfpatocctiudlecn'iavi uisrnsaatleda.spuPlelltmurasauteul ricelae,
ale deosebitei sale sensibiiitdfi. $i dacd numcle Elisabethei-\A/ithcl-
rnine Louise gi al lui Friederich-Fritz Brahms (sord 9i frate) apar mai
pufin conturate in desfdgurarea biografiei lui Brairms, ele vor rdnine
permanent aldturate afecf iunii gi gesturilor sale de ocrotire rnal.e-
riald, discret gi generos manifestate. Cdrninul ftrmiliei Ei trIamburgul
natal se vor identifica m.ereu in amintirea compozilorului cu at:ii <:o*
muzicii create
pildriei, imprimind un sentirnent de nostalgie in anii triili
la Viena li fixind o caracteristicd gtri:ErL'>sirtcuurirsroiomnaisni,tiscronmul.ultiobzriatohmrusliavna
de rnaturitate. Pasionat cdldtor
cutreiera finuturile Austriei, Elvefiei gi Italiei 9i va dovecii statornrcle
pentru unele localitdfi ale vacantelor sale,
aSa cutn va dovedi li
Vienei, dar nici unul din locurile in carc va poposi nu-i vor da
tVsreiisentntdiam.dee,n,cCtiuutlmildisepino,,taliuctanusdoim"m.a,gd,Pieneamnr/tor-uddmcvicnereciaheeBsritanehmogeslutCoevlraaerlse;tiieSdcceuhluommc aucnoitnsmldloian-i
polit, imi iubesc oragul in care m-am ndscut ca pe o marnd . , , Cit
de rar iqi poate vreunul din noi afla un addpost statornic gi cit de
fericit ag fi fost sd-l fi putut gdsi in ora;ul meu natal ! Acum, aici,
unde m6. bucur de atitea frumuseti, md simt qi nd voi simti intot-
deauna un strdin pi nu-mi pot deloc gdsi liniqtea,., Si cit cle miuunat
it4
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dtmrJrspd(oeciodriiunaoomrrhilifgtmcjauuiiaoereunliaprcrnncurpom,uconae,zelMraebsuoi$ttvliacznoeolEtdaatieirtchccirucmriaieccieiocluraoanepioprsrnlecodri-aztPeceml,iianuorfalGotiaruns6oeetnrsd|ailsr6cooiiu6oa1ucavsrc,nielbaJteac,at,inanviualcoinndiseelseeiaeascersnxmtGeheeBctfslibicaoeepaclo,bsvspuec,lltaiercletlhrauiiialie,aagiejccollcaiailpSuuz,rlxcpaalanieinJvpppmslisg,otee-aataaex,a'dshlrklIievaaiaNlauael"lrduu)nxeicfBcrneieo'nomeracseB:cmriacuteelareapap-uldf'ithriieo9Laleefmu,zliiagcipi'sdnptlaoui"eecHrl\roerrrr-ruepaieac'smelaiattunnirdograiptraeeaiiseocldtaacBahohpresrvira{orIanaeesoihrlddapaermIflniaotejasousaikrleny----l'i
pianistul va fi cea a lui Johanu serbastian Bach. llste numele care
cdcmueinonsdutcenhvteidaaLeziedfpibrmscotauegpzrraidGcmiauoultc,izerpillvueroiilmonunrurmmlruvdeieltccro'ojr?cn(h)lca9esilr6ctcrba(ia1crnen6ua?nacoloiiepo(fer)1nru8a|m6iri4ienn) ep1zirn8eitn6ru3elr)ego' imcmvaeaerlnleetpircrianuot-l-'
gramul din 20 marti€) cu luminosul Oratoriu da Crdcittn'
ultimul concert al stagiunii (1{) rnai lB64) -- dorninat de data
Bdreahcmresalfaiapluupi iStrcuhluamnasnanmb-lttiuai fost ,si ultina prozenfd a diri-
aceasta coral vienez, I)e;i alc's
pentru
jorului
urmdtorii trei ani in acecaPi calitate, e1 der:,risioneazd, pentru a re-
veni ]a munca de crealie vremeltlic ne'glijatd, Eslc o noual dovadd de
congtiinf d artisticd in atitudinea sd, rnanif estatit intr-o perioadd de
evidentd ascensiune profesionald.
intr-adevdr, ultimele sale nanifestdri in compozifie se rezumd
doar ia noclificare a Cv,intetului pentrtt ittstruntente cu coalde in ver-
si.unea de Sonalcj pentru doud piant (op. 3,i b), la un numdr restrlns
de lieduri gi o singurd coml:ozifie-' cie mai mare amploare1 Varialiu-
nile pentru pien p: o tentd de Pagonini (o1t. 35). Inspiratd de ului'
toarea virtuozitatc a pianistului Itarl lausig, uoua lucrare ocupd un
loc cu totul aparte in ansamblul creafiei brahmsiene, fiind singurul
caz in care compozitcrul s-a preocllpat de tehnica pianisticd. Compuse
de-a lunqul anului 1863, Paganini-YQricLtionen vor fi publicate de ecli-
tura Rieter-Biedermanl in anul 1866, ln cuprinsul a cloud caiete, fle-
care prezentind cite 14 varialii pe tema in Jc rninor a Ccr;lriciu.iili
nr.2.] din dificilul ciclu aI Capriciilor pentru vioard, compus de ilus-
trui violonist itaiian, Nu este lipsitd de semnificalie alegerea aceslei
temr.' pentru mdnunchiul de studii ptin care Brahms dolea sd clt'a
solufii de rezolvare dificultdfilor tehnice. in ptimul rind, numeie lui
Paganini, cel mai reprezentativ exponent al virtuozitdlii instrumr-n-
tale romantice, era deosebit de potrivit penti.u a contura intenlia sa ;
in al cio,iea rind, structura subiectului ales, cuprinzind in gerrnene
tehnica variafiei (fiecare mdsurd a ei fiind o vaIiatrie a motivului
inif ial)
I l{ay, Florence, Op. citat, Yol. II, p. 21.
i20
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roun
nes
przolup} osasP.{lp t)-ip.f -- r,ruro} u psngrnl Ea}pllliqol^I 'oJrlsr}-rp rrfnlos
op BZ alor .l,reoSpJS.)ll o>^ ps npur-rn o-rp; ad roru.ro1 lnlredsu edr;r1uu
BZ 'rrl 1 n 1 ci ru il x:g
ci,am,iIdnapeetrdpveatucuinlctedagrisceeguaemrpneaiiaaihnlpuaioslruttrulerlesfoaCdrliamzleralamtTionaircnuduasiaiilngsdggcr{aiaii.md1croeu-mil mfpoaoruuzmzitfeoioclrosaurtllecvPuelevceihtne-it,areclCeineoxpdrcnelaeapclmiaauarrseet.
atunci cu spontand obiectivitate.
O aitd prietenie care s-a cimentat 9i s-a dovedit statornicd in anii
trdifi la Viena a fost cea a lui Joseph Heilmesberger. Dupd Remenyi
SAiai1mnn8iutpe6uJs4urotlpur,saireiicenci1h,tu8aimcH6tar2e,opr,leehelosnddAtereaeissntobodncseculecrimacgburefieiteparlaeirnaWifmicifilbeeeouinloslucetgpiarorcsrdanpiunefeacigarseaaarkllflieudtat.cdrideIueeBnitmlretadiaceaheolernmnconscrota.geurnarilentnpuncivozloeeizdopuaielilztonuodndil'raivsoicent1unsc7ceitatoaaaragperprdiitrnasiinld--ileaaaae
muzicd Brahms, eI igi dd concursul gi interpreteazd pentru a doua oard
aldturi de colegii sdi muzica Sextelujui in si bemol maior. Este compozi-
tvmiadurzaaictcadtrriteuinimdprfriumgluidicaacuoredmifcpieioeszvciitehoinrs.eezsI)ede(inlsaeter3nrenfesabularltulaeursiiteeE1df8au6pa4tr)udiinHcs5ea.mninnsalscicerokunpniceaandtfredu--
cutd de criticul vienez asupra acestei compozitii 9i asupra interpretdrii
ei apare prima infruntare dintre numele lui Wagner 9i Brahms in presd :
,,Cind seara am ascultat muzica Sexletului sdu ?n si bemol mofor, dupd
\\ragnel a prezentat diferite fragrnente
ce in dupd amiaza aceleiagi zile
din l/jebelungi gi Tristan, ne-am simlit transportafi dintr-o datd in'tr-un
univets aI frumusefii pure. A fost ca o mintuire, atit de mult se deose-
bea muzica lor gi atit de mult se cleosebeau atitudinile celor d.oi com-
pozitori. Brahms s-a aprcpiat de pian cu modestie dusd pind Ia stin-
ibgIuudrbiicnliBiecer,aulorhldu"gmsiiip,lseu,dneipnzleionfgccaliafiasrcetilcnilndeg-rhcvuaeaiarreiatndnguuuicS;ev;toiopavertcirilmeuiplmnasniciseidntnutssmd9eiunseltuiucnaloicpnacsfsreeeazaleorltreemaipac9oliia?armjeltipieateuif.iddiseiaan"ll'2eeii
antiwagneriene, FTanslick va alimenta timp de gceitremvaani.,diencceitniniidandtiaugoce-
ninismceuim"daini tmreualtcrleepplliiiccaenloercdruofidmtoaarliecoamppeonzeiitotrui i \Vagtner 9i a adinirato-
rilor sdi.
zrBtCfpncTcsraeaiuuoeaeadbmmrmrrlnl"euneestlaizhtieiui,basoiIneraelncrecrualia("eIiuPdolapargb(liupoeceiasiiel'rpaBr.recuucdl:rrpl3io|iaalino1fmsleoeahorpuz,esmruatrrkapnpiinnlyesBleFeiaac-arotriiaF.ueei,inarnnb)a1dnhmHtie"b)niimaolli,araileartrrSeoseraejriuooirm,ir$levepLrpeuuaciivruret"lanlnraevaueinssiatttofgeeededeto.rizduasufcDdIvtiercnSnaemaaurosadritsrupvantofttidizeoicmiutnprdriivacctni,aimibiat,iivznnnloeceur,cifenoanltlieiaesd,rnrrebceeIeutctsuaudeduildoitunalmerqrueleraseiliidisiptfstpddetistcvuSnade_slpaoneLtprpiierbfcaneteeeep.drcandrpmrrtiautlieioooirrnnrerzeewaapsemediartadeeaeend$dudrcnfefllitaaeaonh-uoiddatlnlsermaleeedHuteer19oiaaelalrnz8dlisreiielci6eaoecfanedsl0Vtbdiiu-tmeruuoicdamcecrzrooraogovniuvemuldin'onoamia'de-.-'-:r'r
1 Thomas San-Galli, W. A. Op. citat, p. 93'
n *u", Florence, op. citat, vol' II, p. 2l*22'
122
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verrausc.hte -de-Taiopxalitri:tuulel acacrientevcu,iapepnetrulincagfs, pmiriintuei)csineteicnusliuniuepaozpdulalnr
rnuzica celui
(in nr.6 9i 7) pi li.rismul arhaic al poernelor lui l{afiz iin prelucrdrile
li.ri Daumer) sd-qi pun6. amprenta pe ultimele lieduri (nr.7, B 9i 9i. Se
detageazd. ca frumusele li indiestrie componisticil mirrturisirea cle
dragoste i:entru Elisabetha von Herzogenberg, intruchipatd in iie,.ciul
\Arre bisf du nteine Kdnigin (nr. im9 p-resAiodnaagniotd, in nri bemol minor), a
ciirui melodie rza pdtrunde cu biograficd
semnificatie
in muzica ultimului dintre cele patru Cintece st:vere (op. 121 , nr. 1)
cu care se va incheia intregul gir de lieduri compuse de Brahms gi
iol-odatd intreaga iistd a opusurilor sale.
ln primii ani ai perioadei vieneze, Brahms a locuit ia etaiul
patru ,ia,ndtre,a,pCprraoosvpeiizieorgereaartm"caainnteecd"aradreliensi tiSmiiufp.lu$sntdeduftaodnreea(Svicianlgdfdedricsroetrnaitsninseusdtnilsrd.g7of)ite.icE,lrsostiei--
tuatd dlainHvaemcbinudrgt,a[HeaanosLvraa!iugni i-i
etapa
nar, cu indelungi popasuri vard de vard -in
Baden-Baden,
la Licl-rtenth,al, loc,ali,tate
care Clara Schumann igi stabilise locul vacanlelor de varei.
Primele luni, dupd. incheierea stagiunii de concerte a anuiui
1864, Brahms le petrece la Hamburg, impdrtindu-se intre noua locu-
intd a tatdlui (intre timp angajat aI orchestrei filarmonicii hambur-
gheze) gi cea in care igi instalase manra $i sora rnai mare, a cdror
intrelinere gi-o asumase in intregime, in
ciimin pdrintesc. urrna destrdrndrii vechiului
Al doilea popas pe care Brahms il face in vacanta anuiui 1864
este Ia Hanovra, orag in care il agieaptd ca de fiecare datd recon-
fortanta piietenie a lui Joacirim. Dar nici la Hamburg $i nici la Hano-
vra, Brahms nu are rdgazul sd compunii, a6a cum nu avusese de-a
lungul unui intreg an Ia Viena, angrenat in rdspunderile implicate de
postul de drrijor la Singakademie. Climatul in care se va regdsi qi
va putea din nou crea va fi cel aI pitorescului Lichtentl-ral.
Acolo, instalat intr-o locuinfd din preajma pddurii a Pddurii
tNreegmreel-odiodaesficn.ilteivesaazled.cginrtuepcuel lieduri op. 32 9i compurre unul din-
cle leagdn (Geislficftes \,Viegetrlted, pu-
de
blicat in op. 91, nr.2j, cintec triniis in luna septembrie solilor Joachim
Ia nagterea primului lcr fiu ce va purta nurneie Johannes .$i tot in
vacanf a de la Llchtenthal realizeazd modificarea concepfiei sonore
cr Sonolei pentru douo pidne in ta minor in cea a unui Cvintet pentru
tinrtsittdrunctuennter.c3Lr4cionorldisetaSidperconp,uv.seursrii.u\nreeztdi mSiaspdagd.e1f0i7n,iti1vId:l, inreqis-
9i 120.)
Urmdrind cronclogia lucrdrilor din lista creafiei lui Brahms, se
poate desprinde faptul cd in variatul qi bogatul ei cuprins nu figu-
reazd decit un singur cvlntet cu pian. Este o constatare care sllr-
prinde, observind cd majoritatea lucrdrilor se succed perechi sau in
grupuri, succesiune ce pare a fi rdspuns unei necesitdfi de exteriori-
zare a ideilor qi simldmintelor unei anumite perioade, prin interme-
diul unui acelulagi gen muzical sau a unei aceieiagi formafii sonore.
Dar clacd prin componenlti instrumentaid Cvinietul ctt picn riimine
un unicat in ansamblul creatiei brahmsiene, ca fond emofional' ]u-
72,4
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alaluaruber; tS atnqrrluo] pJlpoioru or{q6oq qllqpzrndout ap prsa:durr
pT 'aJrlplllal r-lndnr6 tarl ad plrurlrrds 'oJpur oJapultrul act oroluqzap o
(oddo:1 uou or6ally) alred purud u1 plurzard 'sruqplg ap pleri;tlcluiu
naJaru'pleuos ap prrJoC'olp3rznru IapI op atfpFoq porpul also'ginsPul
ra prurlln e1 eurt.rd eI ap 'afptcnl e6eorluI PZpozlJolJprpJ oJ poaJ
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+u-a-rgi$Bptarrp1luoltaurrlIrrJaIlfJasrllzppiqpropped'oJalrrr1auu.'IieolrlorlrPJuudunr"aTlbr:JocdurJrsuxdJearaJprlJaerrnplucrreolrss'rrrdoo'r1Jaulnucorl1ulrIlxnueaprulJlrrpo{lorruJsppuoluztcnrnunuprtlapuuplrusrpPueooJAJrdJIdpnSJrlaInAapnJUt+CJtBOrpnr'lJe$IulouaeueuouIpfllUouslDuuaIIorr^r$qrdP)apesncJaunltqxlSIaelaursIaoOe',lI,;eJeJosLlouiflp.nroAIa:aJcuorrphlollu-nqIlI1:stsp)sr
fpSaeipnntttrscuuugdveionruatesdelepciadonmireipj.ooirznuitlouaricueHluaeisrtmmd oafodnirnfmicLaderevdyaef1cin,oiantilcveedpm,liieunizisccoiaanrnoeureluvaiacrisaeortnaeatetdeaei
iimbrald aduce reliefuri noi substanfei emofionale a muzicii, Cvinte'
tul cu pian in fa minor se plaseazd printre cele mai reprezentative
crealii ale muzicii de camerd universaie.
Cea de a doua lucrare de muzicd de camerd pe care Brahms o
termind la Lichtenthal, in vacanla anului i864, este Sexteltzl pentru
in sol maior. Spre deosebire de Cvintetul eu
instrumente cu coarde gi primd punere in pagind data din anul 1862,
pion, a cdrui inspirafie
rnuzica SexteluJui reprezintd gindirea acestui moment' neexistind nici
o schifd pi nici o aluzie informativd care sd-i anticipeze crealia. Leg,1d.
tura cu trecutul este de gdsit insd
in confinutul ei, a$a cum anunf&
una dintre primele idei muzicale, idee ce reinvie dragostea compozito-
rului pentru Agathe Siebold. creafie apare ca rezultat di-
cameral al
rect Comparat cu primul Sexfef, a cdrui avut cu stilul
al contactului pe care Brahms l-a
marilor clasici Ia curtea de Ia Detmold, cel de-al doilea Sextel este
poSeignluutrcraurnasfrateamddieiunolusdiereibi ictguidnlteduurrdleupmirmeuzuzeizcnicataaldtlivipidedpeecscnadtrtreuuqielnaattzru|e.raptaismnaap9roiilmii accunoctneidcrui[scelei,
fantezia cdtre discrete libertdfi ln constructia formei. Din acest punct
de vedere se poate remarca, la o privire de ansamblu, coresponden-
fa ce existd intre fondul gi tratarea muzicald. a parfilor extleme, pre-
cum gi continuitatea pe
care compozitorul o creeazd in confinutul
pdrfilor mediane. Contrastul apare atenuat nu numai intre compo-
nentele intregului, dar gi intre elementele proprii formei de sonatd ale
primei p[rfi (Allegro non troppo), una dintre cele mai reaiizate pagini
aie creafiei camerale brahmsiene. Ceea ce caracterizeazd muzica
acestui Allegro de sonatd este profunda lui unitate expresivd. Senti-
rnentul idilic conduce gi impletegte desfdqurarea ideilor, o desfdqurare
in care delimitdrile violente ale secfiunilor interioare formei gi inten-
sificdrile clramatice ale dezbaterilor dezvoltdtoare nu-;i mai au locul,
Nici factorul ritmic, atit de elastic in stilul lui Brahms, nu prezintb
de data aceasta surprizer menfinindu-se in inteniia evocatoare a ima-
ginii pastoraie. Ca o prelungire a ternei a doua, se insinueazd cu dis-
crelie un motiv alcdtuit din notele corespunzdtoare literelor ce fc;r-
Exemplul nr. 29
i,1
1 Rostand, Claude. Op, citat, vol. II, p. 31.
126
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in legdturd cu viala pc care Brahms continud sd o ducd la Viena
in ultimele luni ale anului 1864, documentafia este foarte redusS, atit
in rnaterialul oferit de corespondenld, cit gi in cel rdmas in arhivele
institutiilor muzicale, Singurul eveniment ce marcheazd dramatic bio-
grafia compozitorului, este moartea mamei sale, Ia 1 februarie 1865.
Din descrierile fdcute de cei ce l-au inconjurat la ]{amburg in ziletre
c{reler clin preajma ininormintdrii Christinei Brahms, poate fi surprins
un element nou aI firii gi atitudinii compozitorului. Pus in fafa unei
supreme suferin{e, cl cautd tovdrdgia unui copil din vecindtate, spre
surprinderea tuturor celor ce-i cunogteau nevoia de singurdtate din
momentele de descumpdnire.
trntensitat--a sentimentului triiit in luna februarie a anului 1865
va fi transmisd in dranatica muzicd a Reguiemului Germon, dar ina-
inte de desd-,'ir'girea monurnentalei crealii vocal-simfonice, Brahms igi
clezviiluie amdrdciunea in paginile unei lucrdri camerale, a Trio-ului
peniru pian, vioard corn (in mi bemol ntajcr, op. 4A). Concepfia
crdl'ii surprinde de Si prima ei lu-
pagind : un Andante. Este migcarea pe
la
care compozitorul o alege pentru inuzica primei pdrfi a ciclului cva-
dripartit (-{ndante alternind cu Poco piu animato), niqcare cerutd atit
de coloritul pastoral aI comuiui, cit gi de dimensiunile emofiei pe care
farmecul pddurii o dc.clan;;eaza. Perntru cd prima partc a lucrdrii a fost
creati. in staliunea Lichtenthal, anterior morfii Christinei Brahrns,, aga
cuur rezultd din rndrturisirile fdcute de compozitor prietenului sdu Albert
Dieirich, Sentinentul cle clurere provocat rJc pierderca marnei sale este
dezvdiuit in cea de a treia parte, un Adagio mesto (in mi bemol minor),
dCtaeorrirnielu:inl aaqrnicpavlbieoiladfriiarnncadlipeianstrcrriteerrarctplaientefa1tc:elaupnoiasntirmuulcputriue),rsaiioni,ntmra-neotrdlocsdoiinrcncgpelipitfianietseta.rur{hmcioteennclettaunl--.
rald ce pdrdseqte tradilionala formd a liedului tripartit. Principiui al-
ternan!ei, care partirularizeazii qi conccpfia princi pdrli, se irnl:une
gcoinicniusadcciansiedlamboiprcaal rscp, irrrirl'tzv-aicraiai-ionaallr.arc'nt liber dcsfdpuratd fiind
In. Scherzc-ul iniercalat intre Andante gi ;\dagio, Brahms pds-
treaza schena clasicir (schcrzo--trio-scherzo), clar o imbogti{egte
prin elementele formeri de sonati in secliunile ei extreme (prezenfa
a douiL tome cu caracter difcril ;i a unui episod dezvoltdtor
d-raecrtlrerlrErousv.l e1an2mi1e-nb1fi6[g2upou-p{uru]narirsnataedrtiiodnse,tilaieovpircnizrteaaetiad)zeheilluormn inuclizilsiaicrlr:eeii)t.dcNoinunatrnasfscethleecrulziroic-cuael-
propriu-zis,
Finalul este conceput in formd de sonatd, pe contururi melodice
gi ri'i,rnicc cu rezonall{e culese din atmosferra de vindtoare, rezonanfe
Posibilitatea de a inlocui cornul
ce amintersc unele concluzii ha-vclniene. partiturd, se dovedegte
a fi o
cu viola sau violoncelul, indicatd in
soluiie de climinuare a conceplici artistice, meti ales in aceastit uitimii
irrrnirctecaop}.irl cprdrirnii.trCe ocrenluel, instrumentul pe care Brahms l-a cunoscut de
ia carc cinta tatdl sdu ; ilstrumentul cdruid
corupozitorul tinar ii incredinfase cxpresive pagini (in lucrdri corale
cu acompaniament de orchestrd, in ,Serenadc in re maiorJ li cdruia ii
128
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InIpurJ u1) rrpr:n1 elps aloipo+Il^ uI alelrlrsardxa gleruab ap IoJ pp pA
potriva Scoiii de la Weimar. Pind cind Simrock va deveni principalul
eciitor al creafiei brahmsiene, casa elr,'efiand Rieter-Bieclermann deline
meritul cle a fi pulllicat cea mai tnat'r: llartir a c'i.
In luna ck:combric au loc concct'tclc cle la Mannheim, Kailsruhe
gi Koin, in proqrarnul cdrora Brahms intr-rcalt:azd gi doud prime audi-
ttieirnpdudbelic,Scc' hau'n[rrioon-rrzt]Lple.inctruu corn (la liar]sruhe) gi a \'-orial.iuniior pe o
pian la pntru rniini (lucrare prezentatd de
compozitor gi de Ferclinand Hiller, la Koln).
Cdtre sfilqiitul lunii decembrier are loc qi un concert la Detrnold,
oBrraaghurnlsindicriajereazcdomSeproeznitaodraulpiegnr tfraucuosrechoesbtrudndinpIaarternaaiourceqniicinieteirsparele-.
tmeaozlddeaz1ilocri,nrr:nileeracucodnecveorttapfei ngtriumpiniadnriddeeBaesectheonvseiunn,eian admirafia det-
lui. indeiungul
turneu este incununat de concertul suslinut in prima lund a anului
1866 la Oldenburgi, undc rdsund pentru a doua oard muzica Trio-ului
cL7 corn gi unde pubiicul se dovedegte, ca gi la Karlsruhe, deosebit de
Concertttlui pentru
receptiv la profunzimea pian in re minor. ,,Con-
certul va place intr-o zi", scrisese Brahms lui Joachitn cu gase ani
in urmd, prer;iziune ce incepea sd se aderzereascd.
a locuit iu
in ultineie luni ale iernii anului 1866, Brahms casa
lui Julius Allge1-er clin Iiarlsruhe, perioadd de odihnd in care cre etorul
incepe din nou sd se manifr-.ste. Din acest popas dateazd mirnunchiul
cle 16 r,oJsuri pentru pian2 dedicate lui Eduarcl Hanslick, tniniaturi ce
au cunoscut, asemenca celebrelor Dansuri ungare, o irnediatd gi larqd
popularitate. in cuceritoarea lor muzicd, suflul vechiului l.indler gi al
nspoeurl:nifiicvealeiscit'sntucanintrr.-rdoeb,lraetr,d'eerierr(izniuru.3e,a5n,7o,rd1ic0t,i a compozitorului, cu
12, 15 ii 16) qi rnister
(nr. 6) s,ali este involburat de pdtimagc inflexiuni ldutdre$ti ungare
(ca in valsulil<: nr. 1.1, 13 si 14). Drsiqur cd pr:ntru publicul obignuit
cu sobrietatea qi complexitatea gindirii brahmsiene, Volsurile on. 39
constituir. () surpr:izd. Elc surprind, ddiani'polraacguAli gdsesc eccu nu numai
iubitorilor cle muzicir gi .lo)rann
in rindurik-. lui Lanner
Strauss, clar pi in c:oncepfia exigentd a muzicienilor din Gerinania.
FasedarriddauclcuaecBrudrnariilioommrsassgadiluefiopefriarnc;tuurultuvpi riseadonudcaieidncolapltreiairviilo,enfadinaptlvueilgedcndteuzrvddapclsuotauitnletdefeins!ic;nahteddree-
pretat ca purtltor dc biograficd semnifica{ie.
Ald.turi de acest prim semn al vibratiei vieneze din creatia lui
Brahms, se face remarcatd o noutate qi in rindul lucrdrilor dc tru-
zicd dSLoeengcadaf tamuerparednc:turuin\rpilieiasnntaaSidoveifoaolocpneucsdeuelrii,ndIaanttani rma. ci3ne8oa,rs.atapadreedirircimalaiasaacslrc",n'saattdd
duo,
violoncelistului Joseph Giinsbacher, unul dintre prestigiogii profesori
ai Conservatorului al cdrui cuvint influenfase in mare mdsurd lnini-
rea compozitorului la Wienersingakademie,
1 La Oldenburg activa in ultima vreme Aibert Dietrich.
2 Versiunea originald a Valsurjlor penttu pian op. 39 este scrisd penlfu Pjdn
Ia patru miini. Ulterior, compozitorul a realizat o versiune pentru un singttr .r1er-
pret, sub acelagi numdr de opus.
130
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oSe&7 trardta d
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as 'plpuos op prrrJoJ uJ ocldorl uou o.r6o11y 'lirpd laurr:d BJTZnJAI
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'atrpluplnJrlred erur-ld nc ptn1g6a1 uJ uargd alr_rolrp srrua np-S
qrI-'-IInra:pI^lqIpleuzIyeVulIdAlgJsr-6ueeporaeSro(aaeapdufruJac6nsaltaadrdosplrrnuuulsarrrrus{'ppopo!JzsuuaqeI'arorprrJorJBfa6ierrarrzaallnarnrlo-clruoypzerpetaIarpoalesqu1auJrnnsJII1ipsldp'loaeepl:rlyr6raraene,luppls1nauo1Jc6alyJprdlunr-Ieng,peudplrloucuulprlaada;nrzlncoeuueopr1arddptsr."l)l4rnBnsldalrnruancsrrrJcoeilsuoluniezgablouuddpoap1uJnI1rBaolalruc6pp
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'-"-'uIulaleilrJ1alludsJonandIp;or1uIu^ioSa)Jdgologr1olBio:llaIulplareunruoulonnssurllesneurrl6rrn3obr1ruornrpn1lcriqolneJpsr-aornrppr;e1p-useancdgadzguaaBrl.onrIdrdisne-ro:lrnpuutoaopopulanlpullnfuudoNeali,crsourluppgtlerprD1nIlDlppulroetSnr'
Exempiul nr. 3l Allegretto quasi,Nlcnuctlo
Exem plul nr. 32. Secliunea mediand (Trio)
Fatd de concizia primclor pdrfi, de limpezimea idcilor gi a for-
mei irr cart: acestea sint turnate, Finalul (Allegro, in mi minor) pre-
zintd o concepfie cleosebit de complexd. Ca atmosfr:rd, mpuriznicastilluuli
eiermente ale fantasticului,
este invdluitd d,-: realizate
fugat, impregnat de mister. Ca formd, e'ste o ingenioasd irnbinare in-
tre forma de sonatd gi cea cle fugd. Doud. teme se'infruntd prin expre-
sivitatea gi stilul lor. Frirna clasic subir,ci cle fugii, expus de
vocea din bas a pianului, temd ce va fi tratatd ia trei voci:
Erempiui nr. 33. Allegro
Rdspunsul la dorninantd (violoncel) gi contra-subiectui in con-
tinuare la vocea gravb. a partidei pianului :
Exemplul nr. 34
132
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t8I
'IaJuoIoIa
IS prpo-T^ 'upld BI pullul3 'praurpJ ap PJIznu ap laldralul iS rolPf,soun3 r
pIreI-'grI{oulrn}ururoBsqudaJJpuialqBlrarIAnrBIrJapr6rId''nn/}-sgsplrpanlpBruzolrJeooIpullaIasirnzaelrlpuouenupprodr6axlgur1udalgo3or)pSlle(rarIaIu'prIp1nIIoIn1npqtrlsarunaEeqyarul'dalsIlppaplao1arJp-l3rIIAlrpI6JdJ16sJJdanlutrlA{saonreerDlr;qIat1ctadcqJreozupranre;dondJ'urqul{elelrna+-r3r,llolInlllI'psu1JnlurpuIaIJ+IIlrr}gpsIlnsnrUuuaSlilpoanIlpApIolp'lsooroad{Jar3lIlo'}qnesJIullJ+3aJulpoaZalunpsllInrcr6nBprduuqIp.plrupnrqlSInIrJIolIJTigpqleoIJSPpsrpBa}anJ,AsLi}ll
Igr'aueo(gnnfurslIylpuennoJScn'6lduparrnedralraaeI{redunly-rpnappJcaspl1znspal1IlludllrrIpzuepuaIdllaxcr^aIernrludISerEngappnp1nfotleudompurJpdIoinaerr1p3PElaruuu,l'o{apagngo.r4prplr)pfps6dauuqo1aspuu1ll:qPruadyProuznlSJsJrgeI7unlpUlJsrslloraIlrudnB-JdSeIPfusUarlJrlnIIreuISnnIurqSreS-IpfillIaPrrU-pat'a.(JIrPtselntolupgparAlyear1J'rnusndpaoII"elaJeouIr-eBpJfJapuJiuol1tlnaJtro;ln'poupSsalIin-rpunlrpfurJBourqfiauJIteoooPqrJpJllnJrulosnppaJnarf1CraPuoJ1radtrrlulJrn'q*ulnzalPuoerr1oaoaolu)J1drrlunSuel9nust1Jn9pburna39-u1oav1re1ltl
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rrPlsaJrupur InI
o--o-magrlaloaqwupeal-r)rlnq-lnrrurJlaseJr1plulpnlpupulnueuIAulJodrErfruaSI'olnsa(cuureursnqarlour1edp$oragJBenllI1arrurapdsJp)aaaslJsJelnluspBdolaoJutaaafo3eJlJJuuBur!3slopo'lpPrarznlllpeeubruaernonrllsbssu'aa(aoIllnul1JqllrqreIoerPdfilErruBap's1rPuueselaatur3rdluuz€rgaun;r1S-ad)plrlcues(elBcaprttpue6s
raJfSto3tnIie-p1u-u1gnaotrJpt1sd'a)npJIcIrIzosnnesuIIqJfn,rurruco$l)J'r(aSpgacaOIlpsatleJltr-zlurgconoafdIdroixdr{aleAarPrrnrnrnsr4epogauupruual6)-ndIot,pf,Ircoao1a3PussalzuLJaIuSdlupnlls(usre9dort"SutIul-{pna9aDlFua/luDalprpuueorabnSadesrrprpqldrJlunoup)dgl(uIaa(ocueJurprooopScrI
JoIOquip oJrlsIralJpJp3 IIunISual BalpJrJISualuI nJ'aJBolplIoAzap Pau
-anprfcrrenglp'spplprul opslualzparrdar(u'urorrlnctr;(rcyagdseJ'3nIslPsIrIuI)lsernSop1epuop1lu'lrosla'Pld6xna]
lseJluoJ
ap rnlnl
-Jarqns alp alpsJoAur aluarrtala od ppnrlsuoc aluncl o ap p1t1g6ar4
IIIaxu
-orl) lcarqnspJluo: a{r p:}eJppJul (preouadns earon) uerd e1unpurSlaiJlaruol
cu JBorCaauhchmuimsnirnin.oclEtulprvsoeuiflliaaas,nlsaueluLiniicc1hh8t6ee6ine,thignairl ucgaliriuenndaernltuoanugsitaluorirnnesccudrliddeteoinrciioinfsdctcoeurrtitaee
de din lui cel al rea-
romantismului muzical unul rnarile momente
lizdrii Requic-mului Ger man. -
Requiernul German (op. 45)
Anolizd istoricdr, esteticd ;i muzicold
Pentru a putea cuprinde semnificalia gi valoarea Rcguicmului
Gertnan, se impune a privi prin perspectiva istoricd gi a fixa clteva
coordonate ale mornentului in care noua lucrare brahmsiand a fost
creatd.
In cea de-a cloua jum6tate a secolului al XIX-lea, creatia lui
Richard \Magner pi cea a lui Johannes Brahms reprezintd noi etape
de culme in istoria muzicii germane, dupd cele marcate de capodo-
perele lui Johann pSuesbdasdtieanoBpeacrehle$iluaileWlaugi nLeurclar,viigluvsatnraBteestthrdolvuecni.t
Problematica
grava descumpdnire morald din contemporaneitate, acliunile eroilor
lui fiind o roinanticd demonstrafie a nefericirii gi insingurdrii, a se-
tei cle infelegere $i de iubire -* ca aspecte ale unor aspirafii cle in-
tensd vibrafie omeneascd. Fiecare mesaj wagnerian tinde cdtre dez-
vdluirea pi infierarea unei tare sociale existente, fie cd este vorba de
formalisnul cpulalttiictu{dTiannenaheciounsesre),n,daetoraiscmliuunleuai nefastd a icnitnritgdilroer:fiiLcolin-
hengrin), de (Maegtrii
Niirnberg) sau de ciezumanizarea imprimatd de puterea avufiei (Inelul
Nibeiungilor). Dar rezolvdrile lui Wagner pdrdsesc inLentiilc con-
structirre iniliale, lrentru a impune, in ultima fazd de drarratur-c;ie,
prema voluptate a morfii. Ideea realizdrii idcalului in nefiintE, ca su-
di-
reci,i influenfil a gindirii lui Schopenhauer 9i a pr-imelor manifestdri
filosofice ale lui Nietzsche, domind concepfia iealizdrilor lui Richard
\Vagner, idee care arc. implicatii (sub aceasta fottlS a beatitudinii;i
nu ca naiv refugiu salvator) pi in creatia lui Franz Liszt. Pentru ci
Idmainuitzdrieeceapao,,emPrrnoeelrulleidi isiclaoalle"ssu-ibm-lifmopndeincteotrpu-iraereliunpareezcteianrntdeitraaotdmee,pzilicuulcneceeadrlecmospmarpiinosczuditt"otcorlusecluueitl
din velsurile cu acelagi titlu alc romanticului Lamartinc', in carc viala
este prezentatir ca un preluc.liu trecdtor al morfii. Ideea va mai apare
1in;esnteetceitremvianadtuelcesdiriui qi in creafia lui Alexandr Skriabin (1871-1915)
l{utiitluLisczatr)e. ilustreazd naicisetlae$r issienncsreptircoginratmituatliac tca,,Aqci tcuel lparelmpeoreqrdntuolur"i
Dar dacd Skriabin ajunge la o conceplie metafizicd sim-
plistd qi la manifestdri artistice de extaz mistic extrem (ca rezultat al
utfirlnuoesipogefeirainoeainrdadaliizaianntedc9aaniregcoeaaasetrndpieisttizhgsocilohcgeaiacnuedrmd) eianorseepbdoiietremdceutdlclaauraiccIot-einsrtziast,ctictinudsluppiiercanut-
134
9tr
nrluad aIIrqaJ aIIJPInPJ luls atPolpsl;Ipa 'pul-I Inuud u1 'alerl;Il3nf
inlol nJlul r'nopllJsoylprylunit)uualtornJbeaagleplrrlroPferoucrteolap suas lsaJB uJ alnJP] apr
luJs tale6unlapul II-IIuJod 1n1
-plardralut
rep
ap-uJdaenrJupopr'auolrpJpalppJusnrsuear-{Isuraapp1lrpuaorrcd}tEppunsuoaapsJupaoJlaJPclpptpSnugalrrspuu.rItnJtlunpeI-Igposa'oJpJAnllsIotluuIuoad+lulpurxo!lc]PeaJninulPsu6rroou1lnt,oJt
-n1ndacu3 a1e ru16ed osporaulnu uI PlelsaJlueru 'et{cadsoJlul a;cis etfeu
a-a-/urIudJIuJpaeuglllrIlIsenurrlneroeqqulopJlisuraeaprtrs)rJfiriIaoJBIqlnuulooprtp1HprurIgBlunldudIunu)ppIetoqlarluJloreeufpalo'plalou6IpBpllsd'nB3upl9aorBSrl'ugIae9rIrurnBeunlIncB(IurnfppprlpdnaBdnulprpppISl-r1PA/9ngr1r93-enBirIdcIaaIinipcnululnnJIlauuEl'esoPIlJJe'JPsupsrJtunleBruPAiauerPrrlugduoI
Ju'rupreIlo4pcl1'pas",nu,l1a9rfpl9aaeu8-rrnAeIdasarroapJeUp{aruIsrrprrnpOsulur^SrJIl llpaIlJnIsaIlaauIpplr'U}oJarrpSlplpuqPlpgJn8S-lPet-dIuanJasPllpaorIJrDepde8"s"+opeupsIolssouolpnIppJatJPfruJ'pIJaeIzJJr}lnuuqJInaJtrluJlBatrnclunsIrJaaoIJJlnpeopsoIllJnadnfll,unesanpnsluonu'oJdepEoJiurcJlaauoull3^pdI
'gggi jS /gBI rlup aJlul asurrdnr tapeotlad Ip 'suqe.Ig rn1 efein
Iuii nruaJap rnun InJIJolsI
urp also ullluJoD lnlnutarnbag InJIJolsI
'a1es .ro111f
n-a-BosJaredJogJlnlrecaJ6relppnlJllraauudCoosrr'aI1ogdn]s1prooSr1olpnlalAolJEr'JoosIuIlpnptntqllpp3llIllppgeu)pIInrJpnlte6tlottssirrreeiupsouondJl:prDeursroper(p;apquuslp03preorrIrlaulrs1utobBtInPea1,u.tIIpleotarfSl1peeAo11dn;on;r;uu1a-our6n1n
urnruSciJfIlruo''ppArulrrue1*rJpf,o-1BlJueornnrlrpdzrnpss1rnluITelnenirrlc1oco3glrpeSonucBuJrlrrl-'drrrfeSerantua.ssl.+pu-nJBlfppaIIonunoIJrpIIuIrlbouIanoIppulusluIrsalrerl'daptlfonradllrJpaanlfnluulgrurroznatepzuasugzuJuetllrr'optcfotealIodlorulrrrtd1l3iJduoaun'a3l3rSlJppoplr;l€p$nu66propatsa-ljadeJ
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-sp suas sorn6r,r nJ 'nps rnlnusruoluls InsaJord 'ptl;cnr1suoc pltoy
psuaur.r o pyurza.td sutllDrg Iry DaulpnylD 'lzslT tS rouburlul ap pled
1oalpr$rn'pauuJlorrlruJ;p'Aau1lolperrleulouJorlaJsplreaulcu{oasaurJarn}du6ierperrfop,rle)ubaalusurnprdpauurrra6IoonsgJ-nrJ'puuaI 'r-a-Iipa;6una6l';dp5r1ur\olrxr1naql
nou un
ap
t;+.ip
nl'ao'rae,uuzsilpnteaiorropfs'rr:nJasFaalrrnoqrdlaolbatJ-rleporrroA1popr{u\o.psnIlyneniroprSlIrrnlucrrpolnsnrrarafrfuoJllrueoedups-eiu:suprrrno"norpr3JIfu-dpluopaJJoIoo,uru,ueJporuJpplpnrlJoupdrlossdnllaotpizrsprSeoo'uopd]ue+Juunpsproprpllo:saJasuJn6uouluo"rirpprnaeJplenf-rurplp{ooruIscpratoIou1n]ulaulJnrul+roJlipepuIoPpnpullppnporuoJpounuIropJ}ozg]s-;uippvpJ
'plsll op rilrJoJo a1r{asnrunly n:1uod oi{errurpe areolgflpu; op }uaruiluos
Jrlueu:oJ lnun e{uazord rS plllurls oJpJ os "lurpeurpf rn1 eorrpuJ5 ap
gdsirea unui t-lrl- bibhcr consolator, pe a cdrui idec sd-gi poatd spri-
jini muzica unei lucrdri funebre, cdutdri ce dateazd din anii urn iir;ori
morlii lui Schur:ann. Pc. manuscristtl primului caiel clin ciclul i\lage-
lone-Rontanzen s{. gdsesc notate dc. rnina lui Bralrns vel'sete e:itrase
din Biblie, folosiie apoi in Rt-quiem. De asLrro(,rlea, c{ra de a cioua
parLe a Rcc;ulenului Gcrman reia o muzicd ctornltusei cle Rrahms cta
o simfonie 1.r c--are incepuse sd luiiczi: sub
sluchi eSrzt,':h'rulrrneannlrnu. I)acit la aceste ipoteze se mai aclaugi-r qi indetrrnul
f aptul cd
inl.r-un ,,Projecktbucir" aparlinincl lui Schumann s-a gasit lltat t.:tlui
,,Deutsche Recruiem", intr:11:rctarea unei continuitdfi intrc intc'n!i,r lui
Scirumann gi realizarea lui Brahms nu poate fi lipsita dr temci.
irr ccea ce priveqte legbtura clintre crearea Rcquiciilu/ui Gertnan
gi moartea mamci lui Brahms, accasta este confirmatd cl ' eforiul r re-
ator facut de cornpozitor iu anul 1866, efort seinnalert cic- prieLenii srii
din liarlsruhe (Julius Allgeyer, Flermann Levy), clin \\rirrterthur {edi-
gtour:ul 1'l<R'oicctleorr-BBieildlreortmha, ncno)m,pdoiznitoZruurlicghi (poetui Clottfricd Iieller, c:hirur-
ctirijorui Tirr.orlor iiirchnerl, clin
LHiniacmphrtbeeuanjrtrghnaa(El cd(dCuraioarrdraaMaSaccrhoxumsmepaunns)n-)c-e, apdrrinineatiHemnaianproeevrpcaaar1rl.Jctoias-ac.i.)rfr,o.iJuzrloitraalrtecpnirteiamleri)ir,rrc:dal inqn-l
tate funebre pe parcursul primdverii, a velii $i ajau\-niee.inbau, nccluppdauriir
clin
toamna anului 1866, inainte de a se fi re,intors an
gi jurniitate de c:ontinud absenfd.
Biahms nu ;i-a precizat nici intenfia cle a incirina R,-'cJulelntll siu
unuia sau altuia dintre cci pierduli, conferind crcalici sale somnifica-
lii obicctive. In aceastd tendinfd generalizatoar.' so it.rscrie intrraqa
conceplie a noii sale lur:riiri, singura delimitare iacutd cle comi:o:iitor
fiind c'r.'a a spiritualitdfii ei nalionale.
A;a cum anuntd titlul, Reguientttl Gerninrr sc clr-'taserazir cle r:ro-
dc.lc.le lradilionalei rnesse ,,pro defunctis" a cultr,ilui r alolic pe te,rt la-
tin canonizat. Istoric, genul a cunoscut o deoscbii. cle lentd evoiuiie.
Pornincl de la forma iui primard (oficierea slujbci funeb'o gregorit'ne)
cdreia i s-au acldugat trerptat variate intenreulii artisllcc', se ajulc;r la
momentul in care tr:rmeuul incepe sd aibd ;ir acc cltiiun,'a r:lc l'-tr''ate
muzicald creratd special pentru ritualul cie inrlortnin';arr:. Din clrs.f,igu-
erairepadrstilu(lKbel'riieca;toSliacnecotubsiggniuAiteg,nmusesDsaeif)u, ncocnbsrltt'Iulrien'diau-ls)reitnpail ultimrle
5i intr'rdu-
o
cselul:]ebap,r,oprporiedeif,u,Innctrtiosi"trn' u- introducere cotitopilii K-r'rie). Dat:ii in
apar unele mari sectiuni c:u ttt'ssei ollisrr.lite
alc
(Cioria, Credo) sau importante secvcl.)te clilt clt'sfii;urart'a aclslaia
(Alleluia), in schimb secvenfa ,,Dies irae", cLt cottfittulul ci arnr::l;l'1i-
tor, ajunge sd aibd o deosebitd amploare 5i sd ltrczinte deosci;itii va-
riotate in clramatizarea muzicald fdcutd clc' cornlrozitori de-er 1u;-,,:iul
ser-olelor. Contribu{ii artistice remarcabilc la cvolulia reciuicinului {ra
gcn n:uzical aduc pe rind compozitorii sec:ojului al X\ii-lea (iu si'lul
polifoniei rrocale) 1 ai secolului ai X\zII-lea (in stilu) monodiei a'om-
I Johannes Ockeghem, P.ierre de la Rue, Orlaldo cli Lasso, Ciovanni Pieriuigi
Palestrina, Thomas Luis da Vittoria, Cristobald de lvlorale s, Eus'.nchc Du Canrroy.
136
LTT
'JOSSOD qdasof-s.ro5upJd '-IIa-IIBS o-luoluv 'assBH llopv uueqof z
'BrdurBJ ?rpuv 'IIinT
olsIlceg-upaf 'latuuiof oloJ3rN 'iuesspg Bls.Illpg .Iuue^orD 'IIiBABJ OJsaJUerd t
uI--asulaIrlIpidqIiIgSaarIo'en(r1lelexoloraunsrlcuauuo4g3l6iloraS'qppnllaaHqrlnearlrsSlFqrpuloulllerllluraJlutaloaaJllsnunopel ean'pfppraaaptapdupnpaduarselBPrruSor rlaaalaJ5rfurEPatqUrpIoBrlrplaIaIaupap1JuBPanssdanpspprauaerldorJlodc)
ealnd nfl 'aruolPSoctr;ug rrg{uluarue neasdrl nu alp3 ulp '}xal Inl
crleurFop lnlnutfuo3 'ctrtolDc InInlIn) aIauDouD) u{ lrncoat ap
-sa3p IB 'cybmyy Inlxa4 Inlol n) a;$asprpd 1a 'pugt lntartd uJ 'alplIleulJ
1ojeqfiur.
-ra.rsrSfJr1lourp11LrerplpDuclr1rriorog1eut;rsrucopaoJul'alruJrfrlfDnlullrl1pnorloeolaotlrprJltlInsPIu1BJ1auoapt1.rpqItnaIs-q,JI,Pyialtulr1tsJuesonotrJdIocotdiaar1rupuoenalTllluoaepyorluS{urdlaa"a1zpJ{naaouetl1doosaJp1t,3,uaaurJa$ospbaIspr+udIaIPraIrqDJ"upooIprJJ}PgJD'pIa3'lP1eI{Sclrlueauuppqlru[1IJDpr1l1opal4aJdu1
a--ozrBp6drapr;cu6utBppui16roa1ltret11'apep1redaeurp1udlruSarauotrafpnurrltoIJ1nonaJwpe.rrliectborupanlp'laallalpquuapluJpnoJdI rpuarasIsrluJaonuorurIea1pleupuruolrlJrdfdlp'PeurPl Iel
Bap'urcau6ar{nnlbnarrg{)Jatnl 1enr'({dOdugatOcl1ui oIan::ulpBuguai'lrJupalrlalbllargaluluuI atouulrlpeqplpuuJaprgprurafolparrsana}dIppuurnoJrelsp-r{rurracJ1qo1zItaprgJr
nu-uilurrourgseu{alu.rrageJglana;dJpqraauulruanr.JrnarbpnalnyelfnDuuplplfDuuaoIvlcIFrSe{IIepSalpuJJal:sarua6oq6ssapJuooap1p1\resInnulqnsdUxauVrraaIpBpAlB-allStp6'c{11P6qcmt:ua1o:ttqyr
n--1oBaOSbau(1rBbaaJBl6lrsau5rgn1s?upreIrsIf?raeOrnaq'J?JIaJppnort,nrnuCJIasaraJuaganppa1a6,rf1ruor'ap-I3useaIulnrlloofIua.I'niJ.rouIInausgauu'aJsalpIAuurI;UI{J'auulJeearltnl;)tuldgtauutrenrslbr
--,XnaIXt Injrtrnr:{€lsnnrtllnIoJtoJuuautstpu.{aa.zlllgrePlIdlsosaIpJur}luIopaluupraur-u3arl,aS,cnpsaJnuu-gllruqoIfJJlnnzpupAarraonJlballouu6nB"ru)rrIco-trrotalaclfllelolPa;r6ncoJqq9uratru1i
-Srral3erpJ paJeJItrIsIaArO'POIlsIlre pfrol PlnJsounJal op'alplualunuotu
aardnrrioaJgqjz(eBarIzBlllBI aul1-) rp(reaiurlraaodgcl.uaJs)nr>31erSro.ttlqlauzrluuoogluvoutp(leareuDedIg(eu3tr)ls1n1ayrpua14)
lau{Jnrg uoluv rS 1:aqnq:5 zusld 1 (eruerura3 u1) suiqerg sauuer{of
r-'pSaosuurounreorrrDuf npsquaJJIs-uIprlfrqraeJqd'zeoog'IrI:JoIal{rgezfouJdoerlru3gooJHu1]')oIua]ilq;nnnueJgaeltI{{a3eIaJt6rqctpnDu1g''sleuulae?zrpresz:-nd}Iullorelrsslna}ai'fanlrs3uEroJpro3bI
-r1er iaqlnls nu nps leldepe 'asJltillopJuurrpls-I-pIpJcoounnupao6.IplslJaaJIpJa-J Pspru ap nps
olpnprAlpur rlSalalyns IJPIs gleltznur etfe
g--aooslprluJldarourscrIpuu^gpluoa'IJpJ+clBeslounuuIJonoJs3uetuIS'gl(tlu)ealalr6uuleealulcrorulazrnnzpruolusrpulJaplrli-ulnqJlaoapJsluoora$lI^-pXJrrIonXnupaaIslps6IenIoonlasul?ponJocJBaJaAsBuJAurnuIIunI''uapurJ1aaerIpznIpIbIuupanaIl'|:Jiag'IarncuplI
-nua6 1e aredroueua op Inunlp ulp luaruoru sorpuer5 lsace pdnq '1rez
-otr1tr InI 1anlrruruar6{1apup1PuJIrztnriupsulguesunodsrselurdllunrJi Inurrlin op luluazaJda|trfpli,l'
-lsardxe ap In}uarrroru tS . eai-11ny 1e
InIosas urp eJruoJuris-[PJor\ JolIrPzIIpar erfd.acuoc purlpFo-rcl '1 (a1u1uecl
bdrbdtare, oicideoi cctarirneaacveuamu cuoltremspaoinbdelinnfdddcgui concepfia doctrinei sale
iuierane, mai elasticd declt cea
catolicd.
icnllioliacuOtiandldao-tsodircciuiullisimmenbbsaililrgiliaeettmitneaexn,tduIlipumri ilsncdacnasortnerdiziia;nitd, pBiunriaefheamletsrgaepndrsrimidscietee,S,lfudeir$meicutttlol6i''i
sincer, mesajut sdu consoJofor. in acest sens, al pdrdsirii limbii latine
in creafia unui requiem, existd un singur precedent, cel realizat de
jgiSseuceccnhhfkoiuentsbbnoecunruR:cdtteh-tco.q"u.uBniScericairennihc"cmRi,zoosaenbc;tnaeui urrctceleuaaSamzccanhuiusfnm1-aaonpasungicurndum,lst ddicatodc(nrienioitadotsaaertndte9uailnilued1cmBrlea1serBdean),,fciiondrinenuteMaprzoteduedslscuusaucndmeIuu,,nlD,ni,emPeuburbtotd.a-a-
germand in muzica fgulieBbrradhrrnesi,igBioraahsmdsrdfmiinindeslienggautrduldceanreumaerleeulguiti
Schubert,
Schumann
slccsnoeadnlloeroterinccrruerneenaaatatilaitzicinelimeziolceslneeaaoaspmgftdrrdogagupfmeireiaenariBeeu1agr,uctrpihisnertpnuonlsrmetirccauadlai,plsudodiecisariWtre_cr_eaqitiliadtedtceerloe.aiSraNrtieaorotgmanlmuca\oi'u'nonHlidcifcioainiSrl-mdpcseheiimslumcfl9toaziunerBlie'candacio-uhaia-.i
tcigtRaoeaahelrerlruqeeS.ul.s.uid)kmencumccerbllruelTglleraueetasilxt"iztan(-a,la,lIug(uch,si,uirocrvSlnheciacuanuhitbltumcimitntlezeagn,raueari;ropicnalsTeicfettrrBircaltieueiruiacgnrihedmdigm-reoeiki,setc,cseiaotSox'.mct"pfui'hpirln-aiuaiidnilzin,i,ti,\nde'iaoiininc,ui,lrpicaHgspeaavoa\liecremtrltf-saeirocsndani.d1ifuaaeaaml1cBdoarrveaariu-hastalmdrul1rsis9i-a-,".
(cs6Isuidliujunnufczce)eli-fase-adca.cahumo6tto,ioatrinznaiotatsdirudnt.-rdoedluv.sel'tdippftccrLeirairptlrioetitccoauiinltrrtlerdJeisecdce-llfg-iicnpSlooslclucrudhlceli,iuritJBeizionarfah{.lsohgteXrrmnamcInodXse\iS-ullae]ileaembaaincpJ"ars)osX.crtiiriVioSji.oanIs-lnla-eB-lireeamapic)upugh,tezrei(iriaanicnnriliatRrasnlaeeeegldqic,gecuoipoui/e_ruQacmillosn*unoea-lJ
XVIII-iea).
Prirriti. in ausamblu, Iucrnreta este o monumentald cantatd fu-
nebrii pentru cor r; iri, s;oligtr {}:aritou, soprandJ 9i orchesird (compusd
coarde, instrumcnlc de suflat
dln glupul iirstrni;icntclor cu din lemn
contrafagotul ; aldmurj.
p"r"ii-,i, 1a carc ser aclaugir picc.ola gi tuba bas; harpd, trei -tirnppaatn::ui'
corni, dcud trompetc, tre.i trour|oni,
orgd - ad libitum).
1 Lucrarea lui Schubert a {igr-rat tinp cle un secol ca fiinci con-rpus5. de Fre-
mdvn.te.eieredLerdieecacrrseScaEciausoh)rtu,toisbasrueitdcitrce6t,mv-d5eeresausflaarnafnuiltiiuneaCdlieeSermceplahslaautlmaibabnetoriaralt,i"rtlatacedloaciaarrr1mscs-fccaa,trorriaesenliptuooooi .tzrreoiEctmmor.erDaauarnel!cuituiiaicissb(cccaihlh,iuuirslbincntedrriaraatdicnez9.nuniDelepaa1ul9c9dbd2i,l8itdcdlu-aiinnt-soppl-aauupnpiiemmccttppnudduliees-'
in mod Ceoscbit in f iata do concert. Leipzig, 1966, Veb Deutscher verlag fiir
2 schultze, \\:. s. Johannes Brchms,
l'Iusik, p.162.
1aJto0
6gI
d
'q: li'lli . l,l
a
'{D: talAtppsJnFvJo:JIuoIppJLpIonJLUpDSPfrlUlqDlIlcllIaJJlplaIadlZelq- p 9t 'Ju I n I ct ut o x E
od 'aluopriaJsB
atlpslnd o
a^rlplrlllr irPnlord lall uI +pluazord 'olplnlPlp otrdall acl pulloqo3 Is
pulJrn 'url srpolau .Inluo3 nJ 'nlclurTs Allolu un od PllnrlsuoJ olsa PIB.I
-oJ aJe.rnSPlsap pldIIIp al6alPSaJd alPr PIpJlsaqJ.Io palaJnpo-IrluI
'Ipcrznu rnlnlpl
e-aarll-oeoipdzlurlaoIuBruprrr)lnpdJadlrIpsauuJoloollstIJlAaouslrs'rnelrpllrnsdllle.rrrardpoJrlluaoI1uJSIppnoaJloJooEruuIZunIpIrlPoaooll'I(parEezrIa:S1-ar-alnluFqun1ass)sooaPoulsoprulpanroJnJluloaoIppllnJolCnqrnrllu-o'Ir(:lllg+tuznoollo.ldTpeuoltieoou3Jgl
ro.rpJ Ip 'aIoleul-IplJ rS ap.rorn alellgdapul +uIS Ipllsar{JJo Inlqluus
o--unppllru{uJl sr'ae6psu'ealilerspsaJrfauorerfaenaJun-IpJa1asoalppsol1auolatdruo1rtnlue;oolrlsurzr5ornedclrnul pouuJ1n'enlolluqrdaazupanordllpInlpuloanAol lJnqarplJutJradp'al1lze3nauul
'rrfpidspr plrnrnq tf tt{etn elaf
Bot 'IItqJJnl p a-IelunrJuoJ BIIruci glurzarci -DalrrDodluu
-urJaJns allurp (>irn-rpsn1' liru pun ruesbuel qrrluretT) I nrt
p,alel,rlpuo:l ul
-rluoJ rS ctsel: Inursluoluls rPJrsplJard 'qJrluplllol PJrislJ palplinu
earrpuJ6 altrul oreuiqul oJeol
-parJ o qzparlsnll aJ alBllun 'lo1 eattnfuPlu3 JnpuoJ PJIlsIiIls alfdac
u-uio'casiuS3Jlelsuaor rrfronudrnar6puuoI] ep alellun e1:a;rad o '(rl3acrraslq alol-Ia;r{o:)
nps tol eaJpluazard r$ piiqtsocl ln;lPJ p
PlpIozI
a.rsJ aresrur; o nr) rfrgd elcieS oIaJ aJlulp pIeJPJoIJ rtrdo.ici aIIJniESPll
euo-o1r1frsu1aar314lu$'l(uerc1arJa6z1llea1pnrrlldsxIanrurlluupuarugazldproluusidrln)niallasp-uanpptfle(cprl.er+pPscpJp$IIJrlpulIunrrouunJBrr-ulaIepapdpoluualela1alupurruuearlz1llap1anlrue)dc3p'ornttSqopcpaSuprnreu;oIl lo(eatJl1lpol;lruisu3euttrruodurl
l-an$rlg;spaup3zaudrardcunor)ce1uSrr1rds"u'ilquentrfgca'IsprrnrleJrarrlIrp{JnBopaalodpnaqlsatnplnluctuan.rdnbuatgq Balpt
riiai*fiuerFa"duardcemcsautuzBiicmraiih)o,rtnilvesgisnddttuloiridauclcoutniivsce(ummncoaottirvainlcueml vpoardoatpevrseetacainsrotslWucrsiecalricdneiunirndsdepesin--
lieben Gof f lcissl tvalten pare evidentd :
Exemplul nr.37
<#
') ftr ru. rJet /,e 52 1 C2'"1/i::l'a{.t"-'
iztApuuirgiec's)fri,au;irtAcbaiaiicprieeercosaitm-p,sacetceodionlncenlscaevplrmug-oiezdrrdaibteasuti,rur,aefdcrdiliuicennaunstlrteect--eauioprncseRroeivmcnmeoevqnemsouaitripliebaptomitdcrdziuoritialdroia,evGr_luuc"el,tSareafmiedrgcgarfudifniriiBfec(ndEdarca-dupehiOtatmlicorasshtnle6usaa-zP1isieeufaiitpenlarprdasros-efnaacuc-ucpeiazertitpausaa--tl
titlul (rezervd tipic brahmsiand)'
pvaraepelconehit,riiIuuncdtlaeou"ervieardc"roaadinrpnSatutrilitorc6gidspeauetrurcmaetzicianvdSntdr.,tie,noctcrtodrobqainaoirsteastdrartduienivttssrdoec(cuppmirteltdaoestmr.iinnoo1tm7etri-vree1vugn9elie)sngidtntrtiuuiis.plpinLdigrsaarttrartuievndmiceaeaeInmcpotoauerrlcltedoh,sdueiirsncsitogmrceurouuir"-l'l
inaltd toptit un cintec de slavd (mds. 19-46) :
Exemplul nr. 38
Crr
I l-a-t -i
-e, d lr: -j c" -
Ideea mingiierii cullrinsd in text este redatd de ansamblul coral prin-
tr-un motii melodic ascendent, anticipat de oboi :
Exemplul nr.39
hJr.'**
u-=, +ril-*
Urmdtoareie episoade corale aduc doud versete din Psafunul 126,
rdspldfii. Muzica primului verset (mds'
amindoud subliniild ideea
1 Siegfried Ochs, contemporan cu Brahms, fondatorul 5i dirijorul corului Filar-
monicii din Berlin, compozitor de piese coraie 9i de opere comice'
140
tvr
'ro InIn[Bs
IEA-nauII]lrtrJrnolnpBJnooartrdnlau.a6r'Dannlb[aDoalulrqaoIu)alpplsurabnrllParaP6polds!JddrIaa'rDuSppralIoruJdp)PJ-prnJSJnPlzI^JnSvprauapa-npplJrqJaaupvueIIaIsa-luuI plaaI6]uEIou*dIpuaaII/sAuI]Jto'srdpurlIaotTcJElltaJrgJll
'noiqpl InInurIJd Ip Alsardap InIpuIJ (ourtss
-ruerd) lrqrlderrad erqe aInIPAUI ar alplr-Iouos '(ggt-ggl 'spul) uuratr
ap rolrrolplJns oip atlpuI allJnproJp ed rS (OgI 'spru) radreq altt6adre
ed prard aalsSao-rlpnrrlosJuorJtfausanarraelul teadla'eurrelollnlplo'GsuSotJ'tZ'ptno'spgupt) epo3
-rluoJ u1 aJeRu
IazpJJ pa-Ialu
-llqns e1 rode alnqltluoJ Ps PJlsal{3ro e6eellug e:r n:1uad 'rafuuatrns e
(0II-90I 'sPur) tturoc 'Inloqo 'lnlnpld 'asulls
pzpJJ Brtrrrd csaSp:g.tolul roln{euolur rS rnlnlxa} p arpnlal o 'AisnIJuoJ
aNuenu uJ naJalrr 'o1u1fru1
IarBllraarlJodnrJupalonxJpaluol-saldlpaa)reaeorlnldrJossluoepucnnaJplrunsoafecJuJaonJlsurPaalsldllpoop{urlaeorluoSrpellsAlaoepuloBaoJs '(ZV 'IV '07 '-lu
alp 'alel}saqJro'
pJIznI/'d '(rofeul
DJ palplrlpuol) alerlsaqJJo rl.IaJnpotlul InlIroIoJ -palPloIppJIoeJ aunlsraA ug
ornppar (gO-gg 'spu) gZI lnlnrulesd IP lasral op Iaf,
-
J
..io'J{
ZV'tu Inldruax[
: (Bg-gg 'sgru) :o1rroua1 1ezr1:edal 'pallatl Ip
'sgc.r,{sDJ-
ueJaos
W'Ju Inldruaxg
-4
| fug-Ig 'sgur) auerdos op trpuolul 'rolpflpuJ Ealrop IE'
U;U-&rU, -,,](.Lssal -?'n d
dye
JOU 31
0y'Ju InIdruaxf,
: bg-ZV'sgu) ne.i6 1n;1sr6a; uI '+uap
-uaJsap lnurtrd : aAIlouI IaJl ad as-npugrn$p;sap'{tadreq erfuazr.ielut}
leluaunrlsut tS (rofeul rcuaq arJ nou Ipuol +rrolor un ornpp (gg-ff
stiucfee.riIVnnfidaplqaairttbreeuaccdua.troieaIri(-esat,chn{ieL{asatingliuulsraapnmr!iam, maeaipr,sacerhstmete)ii,sispdigrci)ned,aeccpdorrnoetpiraaosrBttiurialciricrrlaninrsntraei-i
opune ciin nou elementul activ, stimulator, desprinzind din terir:le
biblice exemplul plugarului harnic care ,,agleaptd t'oada cea scuiilpd
a pdmintului, addstind-o cu rdbdare, pind ce primr:9te ploaia timplrie
gi cea tirzie". Culegerea rodului esle ideect ce se intpu:'Le, idee cc se
r.o clirma ce un Lir conducdtor in intreaga lucrare, ilustrind cottct:;slia
cotnpozitorului asupra sensurllor trielii.
Pentru realizarea rruzicaid a primei idei (dellresiunea) , Brahnrs
i;i desfdqoald muzica pe ritmurile unui marg funebru. Coloritul pro-
-cinesgaiuepnnaielroerraalfupranrirenebcorirpeiii-ilen specifir: 1suitinBfornaihsmmsu,iuciormopno:aznittoicru5l icpaorsetroarnoacnotilcit
crea{ia
de crealie programaticd 9i nodalitdfile de pias-
ticitate muzicald. Integrarea lui in cadrul muzicii unui Iequien este
Ipcclmdileseesaiuisccorrelidratifrgduedpiennertceaainegnblietorpacuaurtazedeidrzn,eiaepnscsteddodte.eanpctedteeoieetrnnmpdttglrriieuenadazsiprnitiictrtemipdmid2eiciamtdBdiro.e5reaastcaethradldrimSnzreiaausnattrddascrbdetdri.eaneinaDapfccirecreoaostrmlciccgeleupiusr]oetroudzacl"iutsrdotietc'rcrzdn.titotcEunalrvl"teritaecempcr,naeetqurraiiin'st.l]:ouitu'asill-i-'
(migcare pe care o ilustreazd muzica de mar;, indiferent de derstinatia
lzcEueiii)faie,zcxddcp-irpimnueadlcsraeeatsaoliitreaeittieirbasiunondaneeoridrcdi,loa.crrPeotisercepuosnllaneludrtenerznudafldtisotetianrrrintbcraueuririniadluaeeeisaall(cr3e.,ic'4ps)cis,notBtdderuradlluhgimdfnsuoaniLto,s'bJa:dlr€lui)-:-
cortegiu lent, coplegit de suferinfd.
spre deosebire de prima parte, ln acest a1 cloilca tablou eil lu-
crdrii sini solicitate c;iasurlle tuturor instrumentelor din orcilesr"rd,
pceunrterugualaprirteagieiticldeecsafaltgreuiacoreaardlelrloecgersaiuvneii5fui nfaogllolrt:u. rPi,elnbittiorinlealirtra:atelcaetse;
benroi minor, se deapdnd. un motiv coboritor, irlsolit de acorclurile
enle.tiate aie harpei, intr-un solcmn pianissimo (rnds' 1-12) :
IE x e m p 1 u nr. 43" Langsam, ll?orschlxcis^sig'
\rir
'l La
\lc. 15.:3\6 lt"q3.)
{i I LTn prececient cle tlcrtare a mnzicii dc rnarq in f ormuii ritrnici lernari ';,ir te
tot in crea}ia lui B;ahns, anune in secfiunca centreilS a pit{ii lenie cin
scmnalat
g1'slletul cu pitut in sol ntinot (oSt' 25)' De data aceasta insb e vorba de un l-:3ri
Iunebru.
142
8?T
u t,y' - a.// aa L"1u ptai
rte.rJ.t'q d
ralDa^\3q sDrut'9F'-Iu I n I dIu o r{E
(,,;a16omoq
Sp:lrla" eifei]r1:u1 n)) .tofvur pluaq los tIJ 'oluorA olpolauI o--l1uud
i1aonrzp1[oepr;6s{roeop-fudiu.1eirupp'@auzuelZiaaptl-seStror-/,illat'ssu1gaourrciunlrJopSco1oilulIsprn.uiotlrio{llpclutJrSigil3uJ/roaigpl]LpcfteluisJutunloiolSelps1oaJJlIounPrcuI-{{uIpnuoulnpuluoupaul Jpr'olo'raoJu}{E'uIuolenIJu'auoutlrrzlJlseePJonurnpnu:ss)
1p-,qp?ill-3tti€lrlJ-o{rioisoculLe:aprulllueppIlca(rir3uonsn1unlstr1n(o6;ololp1n,nr-scrizolurL'iIt,prrrpctl-elnioadft,trrcIuIjip6tuiI:prcoo.lei,por"fpll,euaIJlnlrrlourefForuunsilsll-Ju)IIon:uoluI'1lrlliiJrfpg'lI1IuJntiP-Irni-oprpud,rIoToasJOprJiPIlnpplrqiiuapoo1ulelIOlI3lIS}lsulaoeoJtlsJtri
o plutze:cl 'igg-gi'sgru) q.iofe1u o]e]ileuo] uI p]sBoJP B]pp
elplctoJl olpoliloclo ) JOIoiil r-. ).r5 ! Ells.jL{J"Io ol}Pc irp polsnlou op
'aiulliul 'iy; lnlduraxa) rirpd IatrsaJp B PlpJlsoqrro
er{gzoclxa ulp azst; Iolullln 3lp aJlpoloru ollllnpun ocl as-npulundp-Tdns
'of la1 ug 'loulil] op o[I3o;\ ap ]pnul]uoJ o]so nlqounJ InlploJ
g?'ru inlduraxI
'ln[ruaalnbau BJIznu
*-Iaep1qi{{iozJlapusqeef^prdaeoapesrBIunPnJAtrprtrpiliio)lJ:raI{u3pS-noIIpolnlAloIiInrl}dpousTo.g.asrprllunpan:n-lIpurqddJurn-}iptlstJlruuarI'zl(uaolI,rsAtcnll'pxJJlarlaps)ooplltuallJureurslosq-aIdpnloeturruocJonl}Jur}nlsI-notlnnJ;}tigeupJroouIcdnp
rv'lu 1n1clluaxg
: }Z-tt'spru) ofuanras
aArsoJrns u j ''u lorJ icL t3 tcqo 'J{oi,\ 'ilor^ op }puo:}u1 'lulJJ ru}oLri llp
rnrJn pluozelcL ep lPIp:la.iltil aJSa uolouou{ A1}oru InlSa3p efUalsts;a6
Aaexpcekomei ripmnluailnnpntolurng,vaaalririutleelut ii/nhtaarerungfiucdlusieei aikmnospsautmnlicbehluleaciFonrrcauelcp, hupttedinteegxrtlauEslrud:le,s,ySo'pieurhannede, leoisirn,t
geduidig clarubcr I bis er empfahe / der Morgenregell / und Abendre-
gen" {Iatd, Plugarul agteapid roada cea scumpd a pdmintului, adas-
tind-o cu rdbdare pind ce prime;te ploaia timpurie 5i cea tirzie).
Exemplul nr.4V
Sopnan
Tema pastorald prinde vigoare gi vioiciune prin efectul dat de
notele staccati la flaut qi pizzicatii la coarde, ca qi prin ornamentele
de harpd (mds. 106-120). Ultimele cuvinte (,,so seid gedul-
realizate aud, ca un ecou, pierzindu-se pe pedala
cle si bemol a
dig") se
cornilor, care face trecerea cdtre atmosfera funebrd initiald al cdrei
colorit intunecat isf bemol minor) 9i expresivitate depresivd apar
intensificate dupd interventia episodului median consolator.
tgsriuour|mobafeAsamdcleeoFslutimngmtadoajonfsirnaiv-atiAildos,-rjcPbhreeBemgsdo-tr.tlaitndlAeind(o(eeprpe)uisipno$ldiasugicrldutsPorentosaicceloo:rreasszliooldbsveaetemrensoalluaimtvnodtirn-o9omri dvd-sie-.
198-206), tradifionala formd. polifonicd (in mi;carea Allegro non trop-
po, tonaiitatea sj bemol major) impune ideea cdtre care tind sensurile
crealiei a inepuizabilei forfe vitale. Robusiefea temei de fugd'
expusd de ba;i
Eremplul nr.48
8as
cte fr- /o -se-len des l'/erm(erden r/e def{snlvnen
gi preluatd apoi de vocile superioare, conduce ia imperativul ideii,
marcat de cuvintul ,,Freude" (bucurie), in sonoritdfi grandioase:
Exemplul nr.,19
Fre u - de, il.eu - o'c
"A tl)+ie - vigel freu ' Ce
,r
J rreu- de, de, freu- de freu-de e v oe {tetr
r44
9VI
: raural ie Jlpola111 InsInJ uI I{IIIJazardsrpS ap Inln}uaulpu.Io etNuenrel
-ur urJd 'lolapJpoJ Ip lpullso Inluouerupdruorp uJ JoI paledoJtus IS
IOIAI3IOIII Ba-IplpJJalul uilcl 'eitFunlord aznpcl UIId 'oIuOuIIp uJ asllpuI
-oJJ alualuala ulrd 'IlPlllouos op IIapPJ Is lralsa.IJ uud alpzlipal luls
olpJrznur razpIJ pIidaJuoJ uIp aIIIPJAzPI op oIIInslnd111I 'olpEof,IJJg!
(Bf 'sPru) Plpros olenloJd
rS pfuern6lsau ap Inluorulluos -ol*o(Jgug3p'spP-ur) lolPrrrJn Jrlsllos inposrdg
op InErJd IS BJ lpnulluoJ
o
i9'.ru InldluaxE
-rJ pJnlpoal Pnou o puloJJ : nZ-02'spur) IIrIZnu lpaollrBlillncSl PpJSaolppl]usiePqJrJIIof,
'(9g lnldurexa) IilPd
Ir-rgouplaaaocsppnJ1'pp(rtoopo3llluuuIlrlprpuplruaqrraropldlldaur(tJPpZaJtdl-elltsdelItIrroq'susePuuIdenrr)l{uIeana1lrlpunueoElullllaruoetpuu1dlulzSIrnnop}cIoInppoluruppozIJop'dlIPulapZ'PpcpilIauPnIloleuoJIJSsPIuplBIPlllaulu}ssPoaJalrlp.{arJrlIpJunrOfsli
ss)1. / u; / 'L, .?s:PO '':lq)OOeJ'q4
aroc uc.lr.g€l
0g'ru IniduraxE
: roltnpn6z PunsPl 'olpluarunrlsul IraJnporlur IounoJA
Barrlp6ald PIPJ :IBllPuI 'Inlnlsllos 1nse16 'olplor tfrgci qnop lotraul
-ud uarprn6g;sep gdnq 'rrfrour Beratdotde ap 1e1ulrurgdsu3 (o1os uolrr
-eq) rnpruo plspo;lB plpp ap Inlul^nJ Pp sulqpJg 'rlSouaruo ofuelstxa
ra-rauraJa ecllerualqord pulnia6 'iIJPJJnI Inlqupsus ulp alspJluor
a-r3sraudJocrln;rdroIcplsruepoIlanJuro{JutorurlpunInaupnunpJtraSsalrprfrupldlclInplnuiplzulTlp} apl 'sllupulo-I 11ISIUI
Plouos etfuitqn!
uI lrrornr rnlnJqrlrqro aundo ioleroporu aluepuy) D'III D DalrDd
'elpJrz
-nu: rei6;nlpurpJp B qJIlBapI efuaso 'surlplg InI lol-epo3 er{daluor
ul p+pp orpJal] ap pJ'ntua6 nJ pu3,Iluocuoc'(tninloJ.rls is 1e1;ns ap
Jololuoiunrlsur o1e) aJlpoloru uuJnu'uellldpPunpodpeeppaoJspuplcJliuzlnl uPllltll*seaplP'uptf;oo-;lleupl
'oupid rS ourrssrueld afuenu
I-InnoJ6uuano1u-errluoa(Zsgeragul-SpglOo3dogr.sI'sdtrpanrurue';-or lIlalInrIZJbpnulIJJenurIol)JaIlpp1UeaIclJrti6oInruepououosrtdIanole-Irtorrdt+5slp1urlp'grlpfuarurznoarfruIsqaJnglulurriprl
ps plpJ 'prIuoJruIS-lpro,t orernSp;sop elduie olploJlul (ygZ 'BgZ 'spu)
rrrlururp oJpolllorspJ ep '(L6Z 'gZZ 'IPUJ) ountrP6nr ap rrfeuolul
Exenplul nr.52
O primir culminaiie ciramaticd cslc atiusd in intlrpretarea cot'.Iti o
frazt:'i a cloua (mas. 56-66) in care irttcrviLro secvcnlarea ascendtnld
a m.oiivului in paisirr<-.zeciini, ca ;i circlcrea irrtervalicd la clec irn,l
inferi.oard (nids.61-64) sau prirbugirea sonorit.i{ii cJc la fortissiii:,L in
pianissirio, cojorit ck:prr:siv intr egit cu c'Iecto cle suspine in glersrti ile
orchesti'ei (coaide, coru, ttornpeid, timlteni). Rr:luatca melopeei ili-
fiale (mi1s, 67), inalfatd de baliton solt-'tnu $i trist, continud inte'nsi-
ficarea sontimentuh-ii de ncsigurauf ti, itrtensiiilarc marcati in
cfcioeunnimteinbauinatdraebelcoleiuemlubeirnusteteactluclirnimiaoinmrdibisepslceintoo'pilsianolia,:odr ltnc''.:hoIfeolosrd:trrinccuitila{amitnvisio";ar9iisl3op)rr.cF('zinreincoiimactiasvc.eclin-)
episodul al doilea, urrnatd der descendenla mt'loclicd caractet tiicit
sfirqitului temei clin primul episod -_ cxcmpiul 50) :
Exempiul nr.53
Vlrrs IL
Pc aceiistd puntc instrumentald, crare sc stinclr: 1.rc' noiivui ornaml'iLi.al
dc': iriitrlni ;;i oplimi) se fetcre
in gaisprozccimi (Idrgit trepLat la rralori
ptrsrdeeettdcvuceaocrsesbcapursccopautrre-afesatanclftedodmcoauugetoalendsiesqccicabfsliaduer.n.i.ale"ognalildiiptniidnittfcn\i,eiu'aimaan$e,tilr(rtla,t'''inratcrui-1I-auoirilr,aur.cti'-;il,t'ati1ori6ia5iiim-t1u7ct3nut)ti;irll,soinrLutrni,i,il:iliailri:nrc2e-:,
noua ll:n;f a solistuiui sc impleti.;ite polifollic cu o ncl.lci ie itr:rn;tt;i
in regislrul ir:alt dc flaut pi oboi (in octar.c) in dcsfir5urarea rr,jri'ja
se ii:sinueaz.i conturul rloti-"'ului sintetizatoi' cliit crcmpiul 53:
IE x e rn p I ri nr. 5.1 (mos. 10r-1Ct[Jj :
Fisui'r 1-'lr
+h-a
:::a::::r:-_--.=.-
,-.-jj,:
c ..-. !,,"io P&?tott
t,# !jl>
9a, 6;6Ats s , ,1 0' ---_.- : ./
1 Sic gehen daher rvie cin Schcrncn / uncl rlachen ihuen vicl vergebl:che
Unruhe ; ,/ sie sarneln und rvissen rticht / \\fer cs krigcn 'lvird (Psalmttl -r9, 7).
146
LiT
,hQ , )/
*l-\6-/i rl,T I r.-_--z'
i q2/ ?/
lnn - a/ ,1,
i -r.--- -----,/aq
=----/ d
Jo ,r.. vi,' JOJ
Lg'rLr InlriuIoliE
'Pro-r] i? rr1.{Pcl p ounll
-JaS purllln a-{}Uij (IOlqrti oJ p.rJp}iipLi.JJ uJ) p.jloJo-Il pLtlJPJ'pJSpi)Li;luIO
-pasouanlpprlsn'oasJuPrdrJoos.lradup<all-pluIstlirftraulrt.:irl^lol.n)pt6czpixaoatoo.--)tl1iur(iJll1lp-dlIip-lIIlPlXJruAI{pn:}tpr:dl}ilopuIuTIIonJrlluull oorl{llusIo{*clqut o'nIsnoliioq}spu+gPnI}nup{issJnoulPsopJJ
* {A/.I-Vgl 'srlr"ij) {D-io } }Liaurf)e"r; ,ro1p{19u1 rin ornpp tl InsllndsP}l
tt c agqotttfut
csatc o27oan ifcrt
v;.t,t,.): s?.! J,JJ../ t ,',t, 'J- J,./ u ,,4,'
gg'Jr-r inldu.raxg
: igs l-ZTI'spu{J i'JiinJ II}s uJ ror irp P}Pn[.Jlcl aieclQJ]ul
Ue/{' -.3,,} i/)to t/3/ lt!1t' 9?,H 'JJ?ti Lt'/t
or0( ud,..c:
E9'.lu IniclruoxA
Bap:-noadrrrl1porrspnasulooIiuJlrroidoplnurlrlrlrlidsurian?qriJsrusoiiPd,rpiltn.Lrlul-reJilicusJn,fILsn[-'],!rir.[?]nolpJJriil]oouLhlJ.IrraIrjSIpu*?.JI)XLJtriapl"lal).rsr:lnl\p]flanpipll;uudosl1ol,ul,upel]ploulqlJpsI'ol)]J'c(ulI6AiiIaulq9I}lioi*oqp-pllErnrlolollxecpjiisllPrl]unuo.roIlr]JppnpxAnloatoplo)JoclupuuI[nloloploJns(luolurl1.3l'ooIPenltsJI1srpIluuSialPaoaJuuqJs"Ir
Brahms rezolv6 imaginea suferinfei romantice din aceastd parte prin-
tr-o impundtoare Fugd corald. Pe o pedald de tonicd fre), finutd de
contrabaqi, tromboni, tuba gi timpani pind ultima mdsurd (mds.
la
173-208), cuvintele consolatoare se deapdnd pe echilibrul tradifionalei
forme preclasice, al cdrei subiect il impun (in forte) tenorii :
Exemplui nr.58
0er rsch/en See'ien stod' Gol fes Handono"(a-ne Qc'a/ rih - 721 .;"3 1n,
Privitd in ansamblu, desfdgurarea muzicii din cea de a treia
parte a lucrdrii este conslruitd pe forma :
A(a-b-a ) orch. 3(r1 -a,-p- P;rrie orch.-C-e) Purile 3iluga {rnalS
vocal -sim{,
l4isura I i?8; ;1 - 93 , e? - 104: 105 -
13E- 141 142 -158 1f,3 lC2 ?J8
Tonalitate l?e mincr Re maJcr
ce oaza:
Prin monumentala Fugd vocal-simfonicd in re major, Brahms in-
cheie nu numai dresnaturgia pdrfii a treia, dar gi principala dezbatere
conflictuald, concentratd in prima mare seciiune a lucrdrii (cuprin-
zind primele trei pdrfi).
Cel de al doilea agcint-daitl Requiemului German, alcdtuit din patru
miScdri p,are a pe schem,a cvadripartitd a ciclului sim-
fi fost
fonic, o parte introduciivd li alta conclusivd (a IV-a 9i a VII-a)
incadrind doud miqcdri mediane, cu trdsdturi apropiate de cele ale
unui Andante (partea a V-a) Si a unui Scherzo fantastic (partea
a VI-a).
Partea a IV-a (cu indica{ia ,,Miissig beweg" in mi bemol maior,
mdsurd. constant ternard, intensitate uniformd scdzutd, migcare mo-
bipartit-liberd : A [a-b-c-d]
deratd, formd versetele textului) are o d-esBfSgiau-rea-rfel -intCegodraal, formd de-
terminatd de corala ca
gi prirnele doud pdrfi ale lucrdlii, cu o invdluire orchestrald redusd
la compartimentul coardelor, a1 sufldtorilor de lemn 9i doi corni
(acordati in mi bemo/J.
Prima secfiune (A) este cieschisd de o scurtd introducere oruhes-
tralE (mds. I-4J, in care flauteie gi clarinetele expun povestitor o
temd descendentd, contrapunctatd in sens contrar de violonceie, pe
o preiungd pedald de dominantd {subsecfiunea a;'
148
6ti
'sgiu) elro; uf i1 eaunrfcasqns) 1e6ny IIls uI lplprl posrda '{eg l-rszisr
i""i
u{SrrZdt-ptIlip'sppauJ r'r-nlnalxBaolupnrfarapsnqEnsI )Iaoruupiltldn uJ lproJ lJnos inun Inrpauia}ur
-rur rnln:lxa1 e rS rolrrfeuolul paJpnlal Baraundra alSolp6arcl
farJ 1er{
'(gJ enop e eaunrfras
u1
Ia'ausnardglrquuuaunrrplr;)efesrsanu:dsrpusqJIun6ospe'l.a)rId1olurxulsTqe1eAruqalnulpJnaaprlaurnrrlppJebaolsulsaprrrJa;dpp3ouuoprnlupep-l1,JrlrpnlruuScpTIi lae'paapnzJlueppurrolsoruupnJordrJpuxalleleonrJulr's'gpo(iopninlpulzaAeJrpJerrplzdlupxrnnulggruroufz+or'eo(rogeoasI[gpnqee-rIn1grcsalpylS)n(ap'lsoegsp.l-rrrqouigo:)r
Ig'ru Inlcturexil
q eaunrfcasqns) uoupJ IIls u! Plprrznu -arernSp;sap p6z r{ew1-VoZ.spprqtursop
IIJoual 'rrorn ap plpuolur (rofeur loruoq IS uI) prual pnou o ad
-J-.
0g'ru Inldruaxg
ae: pG'aZI.-rnVlnl'nsdplrxqualru)lIcarolIqBprqa'gIlnnuJornAruunlppJsladaJi1sanor1urxurarlc1el ap psrlrsap 'qlopqaz rn1 rarfprpdrug
uI Jnpotlur ou ac alurlnJ ,pAeIS
puluolur ,lpsJoAur nppar o (IpJoJ
Inlnlqrupsup Inlsal ap lelcunclerluoc) rolouerdos 1nse16 arer ad prual
'76amaq 6.rssn1g'69'lri I nI dru a x E
cffdiaingututarepatdetsiriltaecomoboroa:ait)all,evingpirrd:eencrplalclertiicmsaueepcpltleuiruilmcilteueeavnloiofnrirnti-ieansodlddpseur(acrsnioleiadnvas(dmtr_ud_amsc.mlere1nds5tsaa4.lte-e1l55l(8ui2n)-i,t1ot7Zen9eam)b,tadadoetvdhsae-'
Exempiui nr.62.
daJ:ce
--1ti:_--I --
fi reiuatd la cvinta inferrioarii de cuplul ba$i-altisie (mds. 158-16a) 9i
i1 continuare de intreg ansamblul colal. Arpegiiic coarclclor 9i coloa-
nele de acorduri pe tonicd (mi bemol major) ale restrinsului aparat
orchestral, incununeazd in piano poetica schifarc' rngzicald degpre
irnpdrdlia lui Zebaoth, imagilre t:e va fi amplificatti 9i diversificatd
in pdrfile urmdtoare.
Partee o V-c a h-rcrdrii {Larrgsarn) a fost comi;usd der Brahrns in
prindvara anului 186E, doi ani clupd ce
pdrli se imltusosc ilt vi"ta dl conccrt. valoarca versillnii in ;;ase
Degi introdusii ultcrior, muzica este 01'gilnlc intngratd in clranla-
plin nuanle, instrurnenntafie 1
turgia ansambiului, cin-orniutainrtiumtiuoddsefefnirreaersniicroir-ciad a migcdrii antcrioare. Confi-
gi facturd rnclodicd
nutul ei este vddiL rnamei compozitorului, cdreia
el pare a-i fi airibuit idcrile desprinse din tc'xlcle biblice. Colcrjtul
subiectiv este marcat 6i de intervenNia l'ocii clc sclprranil solo,. voce
solicitatd doar in aceastd parte a lucrdrii.
Pregdti;tri de o scurtd introd,ucerc a coardeior icon so,rdino pi cu
indicalia ,,dolce".) ;
Ex e mp lu I nr, 63 lcngsrnr.
g_
FdaLce
lry
Vtc ,Cb. f€to basi
tcraisntla"irleen" a__sorolisstteegite{ soi major) rdsunoi paietic : ,,Voi avefi acuro in-
glasul
I Orchestra este redusE, ca gi in partea a IV-a la compartimentul coardelor,
al sufldtorilor din lemn, plus doi corni.
150
'-"-q*
I9I
'(Ce 'tS 'qce.r15) uopun] 1sor1 uasso.r5 aqeq
pun / tqBqob uaqrv pun aq+w iraz aulal{ au.Ia aqpq qll / : uE qcllu }eqaS r
'(g1 '99 'e1es1) lalsorl Jailnhtr ou.Ias uauTa ol.rv\ / ua1s9l1 qJna III,tl QrI r
'6 ,,oJp[OSUO3 aJBIIT O 1ISP6 rIIB rpp 'trrlnfau Ip dur]
rnlnunJs 1InuOpuonsIrdBa-oppaPlloJpunlpu-orSp ppnrl na IS ln^e ure 'Ilopa^" : (6V-LZ
'sprn) 1a IaJ uJ Pupldos ap Pln3qJ aunlsaluoJ
qnou o (1x41 rSeiace ad) otnipnul Ps Pnu]luoJ IBJoJ puoJ InJIlaod
pe-l)utaznpaurrlddreo-drdpanJloaIpploolJ^IotarIualoJllnrBqlaus.oaIa^JunptciJliel;u1dqxnaag1l
op 'AlsaIdxa l3aJa llqasoap un
ed purqrls elsa nu ec atfdaruor
erecar; '{rnlnroc e 13 taue:dos
e/-/n/^/ pulct u?u-.0
gg'-Iu Inlciurax![
(tZ-Bi 'sPiu) t ,,1e116u1ur Inruo Pruptu op alsa urnr,p3p
'116ugul pA ps npar1" : areulip Puralpu ap aluIAnJ rou ad '1ero: cln:fi
1anp1nrbrJa.or1lpugllnaspaferlupoJluelpaaptrpallpulrIunlpdueorlluuol rlualopdueaJaslaspa '(gt-trt 'spru) uutol
Allour un nr lnrlal
-uI BI pleulqtnl '(tZ-Vt 'spu) pzeaurrn atpJ arpolelosuoJ eaapl
'1aurJpif, ap ntsa.tdxa +BnurlrroJ
1la4 - 6rt gg'Ju Inldruaxg
(f 'sgru) rnliloqo Ip nrpupl lnntloru cisod
- uou -/gp./ - Jq/
fg'-ru Inldutaxg
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Stefanescu, Ioana - Johannes Brahms
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