I{otivul oboiului (exemplul 65), in pianissimo, reduce desfSgu-
rarea primei secliuni, care se stinge pe inmdnunchierea celor doud
partide vocale, purtindu-gi fiecare in continuare cuvinte de rningi-
iere : ,,Ich will euch Wiedersehen" (soprana) ; ,,Ich rvill euch Trds-
ten" (ansamblul coral) ,
Forrna de lied simplu, pe care e construitd riruzica acestui
internrezzo romantic (A-B-A), prezintd, ca gi migcarea anterioard,
o desfiigurare fdrd contraste, menfinindu-se de la prima la ultima
mdsurd in tonul liric al iubirii materne gi afirmind cel mai direct
scnsul consolator al lucrdrii.
Partea a VI-a (Andante). Simfonismul acestei pdrfi este com-
pier, deterurinind o desfdgurare in timp mai mare fafd de toate cele-
lalte pdrfi ale lucrdrii. Fdrd sd aibd o schemd prestabilitd, construclia
formei se muleazd pe ideile textului biblic intr-o dramaturgie in care
se succed patru secfiuni, fiecare dintre acestea avind coloritul ei
expresiv propriu.
in prima secfiune (do minor), compozitorul face o incursiune in
trecut, dezvdluind incd o datd sentimentul de nesigurantd gi neincre-
dere in viafd, ca gi cel al durerii celor ce se despart prin moarte de
cei dragi. Corul, intruchipind glasurile multimii descumpdnite, iqi
cintd nemultumirea pe ritmul marcat de cursul neintrerupt al pdtri-
miior (ia coardele grave),
Exemplul nr.6V
iiCb. r 8'ot
--P- -
---*---l
amintind factura ritmicd ostinatd sumbrd a margului funebru din
partea a doua.
Urmdtoarea sectiune cuprinde interventia baritonului solo. F: irr
vorbegte eroul tomantic, inspdimintat gi
glasul lui nu rnai singur .ca
in cea de a treia parte, ci predicatorul. ,,Vd voi spune o
anuntd el: taini
Exemplul nr.68
Barifcr 5.:
€3 - .;a ata,rt ei)
t52
€sI
u-lp! 3.o3:.l\r.lpoou-rn+luzTlAaups(lllsBe-lgupl,J'sopiu-) p-IA p 1llJpci e euntfcos plaJl e ep paJ
-TolrrorA 1e arfrzue:1 ep lesect ug1
'igl'spru) ourrssrl.Io] u1 'ar{eunulnJ p}upuorsa;cirur o e1 qu3d
oil-iialsa-13 uJ lpuolur 13 leror iniqupsup ap nou urp lenlarc[ postda
Jap .:
'II I qr_i
fit-tg 'spur) 11 'ru 1n 1d ui a x g
l-nSluiuornp6eor-grpuJJalpaluJlpurrSulnricfg''l,ar,Trroeoduoelodseuprperr1a{epr1prcaJlapr;l1nlslup" alTlIuoncrllnloqulqoalIdlnrel-uqareuproffaruSunou-r4e Il]pf,
are;r
OL' Ju Inlduaxg
IrJpJJni IE lnqop ap InArlou) crlcrc Inlnlrtrour e plchurs : (99 .xa -act
eatrnpun
]pllozar {SV-W 'spur) luapuarsap crlaled Allour un pzpauolur (rur uJ)
iruioJ 13 uual urp rrrolglJns ar clurrl u1 'Joc ep 1r1do$ aleladar aluIAnJ
urj e/qJt -/u? 4/ - /e l.gcpulaapp - JOH J.(\l
\!' olos I
69'ru InIclruaxE
rp,,forr{u+eqpqdlururlprrqnurrosslorppJiuraorlporulpa1uufolrlne1poluoauplSr a'rrSrSupJloroprpudprusrsugrruoIeenrdrr-fruooJlu'rn(uuNruz"raa:1repuuDrrepIl pgl{uJrroauJrnus ap
op
rJolpgns tap
u-r1ecro3e) qipe-ilpsaqpJsrnodlxriaerupe6rnu1ecaluproBrpuruanl naJd'l(rBpnpr'xuai )JrepnoolapueJrnrlfurqodJ IunInpuardJ
stri:rrnnfaorndic, dtoanatrliatantsefodrmo imiriiinaopro, cInatloipntaicfeii'lein miqcarea ,,Vivace", mdsurd
corale pdrdsesc tonul de-
presiv, desfdqurindu-se ferrn, in tr-o nestdvilitd exuberantd. imnicd.
lntrcruptd cle pilasul 1a;rcecidlaicqaitocrounlutiu(rmmdse.lo10d9ic-11p2e) carc-9i incheie cu'
vintele profetice pe
care i;i anunfase
clezvriluirea tainci (ex. 6ti) , viziunea fantastic6 se repetii, conducind
la o concluzie ce proclamd infringerea morlii.
Exemplul nr,72
.J i_l ,oC j nt k/ oc.n
\tJ tsf o:)rl S/a-ch:/'
Este un rnomcnt de expausiune maximd, cu deosebitd semnifi-
cafic pentru dramaturgia lucrf,rii, ca text 5i rouzicd. Spre deosebire
de amploarea, gravitatea gi intensttatea amenin{drii
pe care o are
,,ziua miniei" (Diers iraei in cliferitele versiuni romantice,
consacrd o desftigurarc- resirinsd acestei alegorice judecdti' Brahms
modifi-
csnuionmads'ube-riujur-abdiliaccefaiJel cmaoanvifionccuaittlueolgr.ooErrilcnceerncpeci:$satozi,ddo-actoirltmioncdamticvauiaviinln|tumecloerrdarrietiinu,taupllruiolnubiilqurnmeuliii--t
gios (,,Dics irae") ;i conferind caracter eroic tabioului biblic.
Caracterul eroic se irnpune gi in ultima secfiunc a acestei pd.rfi,
in clo major, construit (ca gi finalurile din partea a II-a
un -Ar.ilegro 9i
formd de fugir. Tema este expusi in forte de altiste
a IiI-a) in Si
clarinet,
Exernplul nr.73
co't A [o
dt bisl v;,'r- dr.g zt ne h-rnen Prets vnC re ucd
cu rdspuns la soprane-oboi gi implinirea expozitivd in imitafiile ce
nruiertrmaneiecaxz{lrcdouzr{isbtieadige, i-spfeadgtrrnoimet;ni)ft,ienreneoaglriiiz-iavntiopdrreielevluipcoirridrinr5ielei)c,uolCaterodrnicotlraearpegu,rancvocetnutiilnnuusntneifcdofriumsd-
dinamizeze Si desfdsurarea unei noi idei muzicale, expusii de vocile
bdrbitepti (mds. 234-238) :
t54
s9I
t-'enszf1p0edrIrulnru's1osPu'rrrJuue)SJaaal\zpJrznor-upanarrunJa(uJIId0sruaplI;ap-ar8uulpa7oalrclrp'psesJPlurlrpurqana)pruqusrnlg.llndl-fcrl'IueaaopUerlaI1valru-aIpnla+ur'sosuauPilJlalptuepulaa)upsrJVauJrpde:lutrpslilJusatnnn:qpllelleranapars'alupertaprtudioi"nrlioPl$nllafJa,Jo?dll
-e--llp.zrzroarddlis€puaJporncapurJ'r,al,eufr,ofooulrpIerltlInuSarruuoaalspllsasutonnp"dfoasolpa,tpreorer:drponzors'eJrarrocfdeat'qapJcSltrno'Jrssllouto6JlIpaIn:aJ1rsul 1na'qJuJeltlle6solrtlunearlc-elJrinelnscle,alurupopal:snluptx1ouaelulu1oreolenupp1
uallspaBreurnr-rrnluulpIo(lI1oullJI nesaularesdeup1PtsSnpepr)pparrdptlsousur oaJs Jpp 'aurlSarJ aIIJIJIToJ
suiqplfl 'lxol pJ
-ola Bluai'leardnSaprgnsro6pa:1rourlJuailulpruItplt.Jtrczisnuurecldib.-in- learuJpezrpIIpIan.lInaspaJuoerldd e arlnl
ad :ep 'rIJprJnI a1e arturod ap alrapl e1 (grrzntu llu un
aluauala ad lrnrlsuor 6olda un alsa (qctirarag) 15 1xa1 eo) utzrer ac
D-IIA D Dalnd
-a'rISrIuaolJarJarunBrrfrrr,srpzgnaIfJulieonsJrroorrroarrupporA:ula'cdaJrzsIpTolz1pIInnEl;rJoounllrrozrlfnoJed^uuu,ooJrlourr"'rnrat'pz!laip.:t.StJr1aJupIJnPIdui;pe'rr,udl*ntn,tlrsTu)'ot(:nuJ:"-autypr1t""uoDJpn:liaot1l?cueto,16l16.itueTowtut#gao
IanlIaeluroJrluurlpsuurpr{lpuJogAaopqlpa}apqzlIlnplaaipopuzar luallsSa'Plu}tprJuleuaaJunorsca:adrxfdoacrrunouJualdd pnop
'{?08
'nspJunr r-sarrdsxeoq nlasoppuJa:luUuonoJJpnuJoI eupuleunndnlmoprt)uaJgas6JnaJllp'a(lalpzunelourudrroaIsol pe1Ie1lsasolusrnand3bsetnperIrnnfurcaa)lslrleaerllpurz;l
-nrtr lJarqns
(,ei:bu)s- ai a6 * t,,g -- e/ -- :.a ;:{'t/ up LutD
gL'Ju Inldruaxg
uena'prrrztuBfpea'ar(uluWoatrusJdZnlnp(rgc'osIcspraaluduJJoatly)upruslllooendlqosorpped-rar[lnuuu:alouegIrJJarsndoalpluofutuasSeulou1aa(rOop.rI(OtalesopZbcau-r1uOrensdaSt1edZup-dllS'uspealIppbqptP)lnuPln)llpuruaupra.olorrpe6ulluruolIs1llnronu'1Plqrnr1n1Julsrsorna)tou6r-uaqIIPoenrnzflleou,osoat3]nuzenIosaIBJqulpOrlnPeondJuullsaelooapgs1ls:l
ueJ-/e<1cs - t0 c5 -u10 -"/ -/e
fL'ru InIdtrtaxA
o unitatea formei tripartite este realizatd in primul rind prin text,
singurd idee desfdgurindu-se curgdtor, f drd intervenf ia vreunei
opozifii generatoare de acoilnunccfairidcdrtirniinidtesericofirun(esaaeicnmffiduencplitilauenirdeil,xoitrnreomcmaeerne-egestpit)ee.
itmexptuusldfeidreiceiraiipcrrinecqitpinaeld-
aa(nineilcttxiednd. tg4rpsPre5aaage)rluutqpceluuoi,lnariamainsFl6IooiIm"nnIt-ia(iuvacclzud,ai(lcieinagcnxlldii,.cuni5lunnifc1nue)iipltn(eaaerdtipxmmea.aaora3temie6tpeos)adntreiegrtntesaecsfnd)rdi,iegnceucaurutisaandurttteebpraeiglrinncirncadiemettrocleiouoanrznraeicttcrretaaieerpmaixipittaasuadeiiprpucefooifi.iilluoiiffapomonnenioIiiaIcfcd-olddaee-
Iui, cit qi pe acestea cu problematica inifiald a lucrdrii.
in pserinminad,spercofipurniee,ascoepstreainpedlerl-i
apoi bagii - impun textul pe o
melodie
:
Ex e mplul nr. 76 (Feierlich)
5opr6l
temd acompaniatd constant de grupul coardelor, pe lesdtura unui m.o-
violoncele :
tiv lin, ascendent, intonat in prima mdsurd de
Exemplul nr.V7
L3nl
a.i.
Se remarcd din primul moment inrudirea cu prima parte, prin
conlinut gi tonalitate (fa major). Dar pe aceeagi idee (a fericirii) an-
samblul coral deschide o pagind polifonicd ce se sprijind pe intonalii
derivate din motivul ciclic (ex.36) , a;a cum apare la vocile de femei
{mds,20), realizindu-se direct le-
(mds. 1B), apoi la cele bdrbdtegti
gdtura muzicald dintre pdrfile extreme ale iucrdrii.
un interludiu instrumental
diei de debut ale acestei pdrfi (mds, 34-39) pe elemente aie melo-
(ex. 76), modulatd la cio major gi
cinletovnaiotdri,inseteirmfepldeetegcuteplcuurilemiontsivtruulmaecnotemloprandieatsourflcaotncsii.tnanletm(enx, ,ap7Foii
mppdsuueeecsddefaiiinamclunoaetdrndups(uneifurdinelcreiipinnirssddetoisnddttrrseeicencosve(reioparelil(oaaminnndcilsaseus.line4mtoi,0son-ov4)ani7oiai)l-tlaage,tiefcfcdaaourgrd1onrootislloomgdpriaerqoajopnbi reuot)rni,-o,t,eemfenbcsuidndonttnlruapeirlriodeasranecocsecl.eiourcDnaioleme,n,q-ar--i
pune cu un efect rernarcabil in ansamblul muzical al finaiului.
156
L9I
'{ror-oor
-'seg1usrr11-e) alaruolorn) JoIepJpoJ Ip ,o,rlBpqrbpr1lsao(ZtOS-S(OOO'-sSpOur's) Proruqo- rJoua]
rnlnror ip nipow lnrlsr6er IE lnpl1
BI ltrialar JrlJrf, {nArJoI{ 'auplpaur rtunrfces pJIZnuI aJnppot '(tuoquo;1
-ruror) rJnrrrplp ap aJpJJpI[ JoIIJnpJoJE e ppuntrorcl ealeltroucs ecl
plsparp plpp op '(ZV-AV'squ pI ap) alunct ap Iol nJ Ip-IoJ Inuoslull
'Gt-Vt'spru) alelerud afral uJ 'olaruol
-orl pl (orurssruerd) alrqrlda,tracl etqe a{uenu ul IS (e/-Zl 'sPur) rioua}
rS a1sr11e '(lg-gg 'spruj auprdos pI
AISaJJns e:nSglsep as e nrluad
0B'.Iu InlcturoxE
(1i lo6ey-rrnspqBlluor) lr:-rb 1nr1sr6o: rrg
'rc,7-ZS 'spru) alero: ozprJ Iaur-rd 1n1tSr1gs alSeSprpnoluJ JIIJIJ In^IloIAI
6L'tu Inldruaxg
: rolapJpoJ p orpolplupdurorp PinIIrJoJ Pnou ood
."r/sa r{
eq T-I
'irr rI
IS lJI L
e/9 :Jpp
tds V
< J/t :s,9p
uc[ ueu -- /iJ
B/'ru InIduraxfl
'rlseuoruo JoirJoA paJpJluI pzeadtctlue InlneIl tode 'lnroqo 'oAls
nr'(t0t-8tr'spru) puelpour paunlfces u1
-sa"rdsa-oup1d utfertput
Ultima secliule a formei de liecl (fo major), pe texiul qi intorra-
fiiie primei scciiuni, dar cu transfigurdri corespunziitoare sintezr.ri re*
sc stinge treptat pe arpegiile harpei, amiirtincl coloritui cx-
expozitive,
pretsiv final al pritrrei parfi, Peste \,'echr:a senzalie de clurcr-oasd rt':.lln-
nare, se aFternr-. insii un cieplin cchilibru. Fdra a fi folosit traclilioLia-
lele nodalitali cr:nclusive (sonorittifi arnple, dinarnizare riln:i:ri) ,
ultima pagina a uue i autentice lucrdri roi.:ranLice rcuge;t.e sd lmpui-iit
un cir:znoclimint de nobild conceptie clasicd. Tocmai in accast| arLd
-dluiriedBecrauahfrionnrsviddgluigeidnee.e:tlagraqmlaiezranettaeolaaerceetrsa-tgoirsaems+du,eclucltiueclosbnuutrerpdmritnpoosrruavlanlsoilnabl'icIeo.ricmtriecvr'aisclimzhircrirlliotoi--i
manlic. Fald cle solulia implinirii ndzuinfelor in moarle clin arta urlor
geniali rornanlici, ca ccoll clirect a.t diverselor forure de ni'fericittr;i
descumpdnire mciralir aie epocii, iirtt'ebarca pe care Brahms o puno :
lp,o,Mrginoiccairqpteiiu,iniuunicdvaeictlar(ul's,l tu;c;nibeaiirr:ulru:iancstrtaialrtiinac?lep"lnirnaediDuvrrcdoziruineptrdltiagotioeacasaI.tpeIognsovimriiicliusi imtadufirliurnni aiicdrlrtl:'caa--
tic.a misticismului cre'$tin, acliunea omencrascai se imllule ca suprlrnf,
conciifie de cucc,rire a echilibrului sufletesc in conceplia unui aifist
legat cle frumuse!ile viefii gi sensibil la frtlmintdrile timpului sau.
in cuviniul pe care Joseph Joachim il va rosli Ia inaugutor'"a
staluii ]ui Brahms cClcerlmaaNn4veaininfigeprrno,cdlaomi aatn,i,cdeulpmdami noaolb'tiel ajrocoilmumllr.ir'zIlit-
torului, Requientul
indtlat vreodatd de dragostea filiald". Numeroti muzicieui cart.' .tu
ascultat Sau au intcrprettat aceastd lucrare in ultirrcle clecenii aie
eseiocgoiolusl,uiat;raeccuutt.i-t dirijori, instrumentigti, cintdrefi aprt'liat-o
st' gdseSte conscmnat in lilci'aturd dt''1lre
intrcaga
viaia $i ollera lui Brahms. Dar clin punctul dc vedcto al obitrctir-i!.;ilii
]mleuzCicaireenOiloOr fedridntrseeccco:rleual timpului, rnai im.portant.i: uc: a1l;ir api:trcii'riie
XX. Dintre accstea clesprincir:m pg cea a iui
CarI Straube (1873-1950), organist 9i dirijor de renume, remar{:iabi}
interpret aI creafiei lui Bach. ,,In Requiemul saduep--ocaiifisrm:ilde S,:it,ra3utbt cot-e'
Brchtns o gdsit cea ntai adet'd1atd" expresie
lcr.;r tirnp, .5i asentimenlul generaliilor viitoare. In ceeo ce prir-cgle
tehniccl torntuldrii muzicale, Requiamul reprezintd. ceQ moi SrLnlId
implinire realizatd dc romantislri in cadrul Iorntc]or mali ale ::lei
corctla" . L
$i mai aproapc de actualitate estc aprecicrea f'icuti Ce \\''allher
Siegrnund Schulize, (rare considcrd Requtemul C)erntcil? ca pe ,,cci -ntctt
important sjmbol cl legdturilor (lui Brohnis n,n.) cu epocl ss", emiiin{
pdrerea cd ,,nu poctlr-: e'xisla o altt crecfi'e tnuzicci.Ici crrc' sd aibd f orlct
de a reda in mod d"it cte pla,stic d:zc;tndgirea, spcranlrt, dorjnia t]e
coJtsolole ... co cceostd naturd creafir:, care prin mdre{ia eonce pj)r-:i
etice, 'prin sinceritatea cispiraiiei, prirt mdiestria srtisiicd, nc impl(-r,sio-
neaz,d prolttnd Ai pe nai cei de astdzi". r (s,n.)'
1 Crass, Eduard. Joltrtnrtcs Jlralms - - Sein lcbel? itt Bilclent - LeiPzig, 1957
Traciuc:ere Edit. muziciili, 13ur:ureqti, p. 25.
I Schultze, \1,i. S. Johcrnnes Broitlns, l,eipzig, 1966, p' 1 03.
153
69I
-npo uI alpurJPpplu] u-inoll.inIaJ6PuJ]r:plsuSo3urIqnpllugpi uip plpnllJrcls uor€snlPJsap
aJlqr spd lprrulosul
pp" olps lalleo-i3
parsJnsPJsep ul Jr+Inr InusilpuloJ putsp,IPd"ru'Jroailnlboa{IdunlrlqPls IIJqIJaI IB
n 6nlor un nr-r iS iu,)ulpo ap II.[Iqnr Ie Ioquls un pJopISuoJ II surtlpJg
aJe3 acL aurnu 'l,t{Jti3 nsor In{ olaulnu Isru q}ppolJlu oipd€ nu uinJ
pdnp'rippof,ap loJ nlluact,,xnl pnledlod" nps,,ulpuiolap uTaInila.IIl
sns op groldrur i)s nLI rf ar;nlcp$n,i o IlIu ?llpui os nu ilPJJnI ti6ar1
-uI earpJnsplsap u-1 'a1dn7 ap .IS p/ur.t ap 'luatuao ap aynbal rtrpugb
Iaun aID a:].IlJ to.'3luatuDpuDlll{)J pugzunds'atoc'aur1!an !!rpuuasal
D pzlfsDd ufilasc 1$ a1]slur [nzD]:<-,) a7Sa6'pdap (,,ertrSale ad pzeauun
It JoI a1a-rado gr n:1uad") tstnlcip1ut DI ltLtJlnt]o puLLlDapul eroJ arDol
-DInwrrs rtapt tlcrDlatIJTI'osuo,$iio"t TUnISDJLIo') nps afutparc IaJPJIJo
epuu-aoonp1u-Jon_1rrrEscnIOdpp1rorpsfrnIuzisiali"Jnsaiisir',SrllanIo,ippdeprcrAuusJungallJJedrJlsputpnIparloroe!r1iprqrnll1qpsopSuldl'rsnrJnll1JaoulxoIouru3nrla-at/1sptiu\l-rrppll"loIsorllsl.uuIuJrJtaIlEpnIgtaai3pAIl.fdnu'Ipeod(lnoo'JsqnJnssllJrapTroapappSporpitstuaJq0p{grrlIreatflguqlau1oPeotlzriasJpJnpSUaaperpseuJ3alatz'p]rrJlnlla[u;1<uppcnelln6nupliau1sJpoqnaii6g.noli..l;.Io;taol]JpIo5all'ntdz,u-oJ1cl)JtliopJ1aferIcql,nPec1lircJlli.rhseZoqluJlrllrI:uuplsuoJnPaudnIoud,po{uciIs'sn-rp!,iturS-i.srl{po'IaEoItla/tiTu.trtlr-uptorlsaur-{apaIloospu-aiMud:riPJlz-tasqntirrS3etIIer1llpPiJSrglu:)$l,\pafarnpouul-J}paIutp?tlolpe?IulupiusPrJr}uollua6ll.oreslopolrslpaiztpoPolirauqas}Pplqaosloo:looJruplo1oup1esru3gJlrFdA634o6lapuJpuiIe'ppnagnrgpnf'.aurcJzIIlrJaulnIJrltnatlIsblIapJloasunulunItraNqJoolnnueoaplOutdbcqrs"sr{rl
ap ioJ rnJRrlro u.tr.tSodrug gleida:pu3 oulpn]{lp spodt6JPtlar:I:snu{el lqdrracdlrl
13
pu-.rrpdstil rrISl1upuror pJ nlllrocl 'oJIlLIpruo-I rotftzoct
pc orpc{p p:}spo3p 'iuPJJnl e gseotfillil.i pln}pl olsanr.Icl i]3 poil3 lII o
p qrurol grnd teru pat rS puratclns pl'rpeuo-rda:le'IuIJrIZeanruoIriP6uPlustpo-Jaturoro6tSe6ourlpu.ri
1-e--nnana$61t:pdu:d';rissd'p.oue:p{guennur1Jlnsn!-suoa_eas1u'u6rtiorlppflulaslp.prratreccttolo1cl/usani n.1aTurlsp*JfrruuJiarIyonzsruoeutn-rlntpi4Jrpoa'neJc:ozlcJ'iiIolsanpoluiadnprruul-oeevliaru-l'ntIlanuuctlqf.nle:rIorquersudeioIsPPpu'3Sprniou}JosuP:IlipupcaiuruocurlopragroalpuotenSpJllnn6IJJipprr1e:Iluup:rr1lrJza1
-uura1c1o.rd u3 (1ue1.iarrlol rnlnu.)D erJclaruo: u1 rS el) plep aJessIJ ap
?J?J 1S ora6espcl purl] aJIlsilos oltt{tten
riue6-Io o1e:6a1ur 'a-lIJnlPJls
-Jalrr1 'alpJlsaq3.lo iS a1u:or odnl6 I.IBuI -loun Bs psIZnur pzeafurparc
-ui surLIB.Tg rrrlour lsoJp n-I:lildd 'dLII-Iur nus IZp putnfot,r. 'ruapurlnlard
ap rflnur IaJ atlpJ as-npuiicl o-tpuJ 'a1e:odwe1 13 oleuotfeu olafruer6
eutlp-:orlsalrprlruruorrnJd3n,rSgTJzllleq,oaI.pnrudpgrrzudcadirllprlpnpu.lqIap'nadauprulla'rezuarrlJlplun1rutlnqop1uo,Jr,ru2c{aldutrIoapoururltnapfnrpdIlJtaoaaoIp'3uIciJlIlnalolJuetilazrroulooaJ1eJeallpnr:uaipI11tJprnuae'u{outripIlS-rrie{{pgpPuntPr{ao-tIltp{auJ;uJJlppdr"gnoudrsldtnustrulpprnntJIsnf3PonepJCIl,suosa',IalaluauAnrIurdEpJlZIIrso}sIoIIaJ-oI1pIp1pIaIz'ancgpparorJs:spd'opelane}o:oapdlcelnrJos6JaceuraaolllJantpIlstoIr;zearaptorprrrBso'ddlIesl1xrlpnutiuauffreueuoelruga{noruuuellueuotndepulrt
-pAapp 1pru pao" ldarp le.roprsuoo lsoJ B uDLuraD [nualnbay aJ oC
catia oamenilor de-a lungul veacurilor gi a dus mai departe principiiie
iutherane de umanizare a preceptelor religioase.
Pe aceastd conceplie filosofic-religioasd, meditatia lui Brahms
nzadseugript.irAaidrmetailoercfsoiiamglepiosaztiimtvoiureulafluitioi sadereedseaezvoddpeluusinpeeripndedraecmadaleitniacepuloenrresifpraedmcmtpiivnleatdsorimiricofdomrnuei--i
criteriu de analizd, O primd demonstrafie in acest sens o face con-
struc!ia arhitecturalS, desfd.gurarea Requiemuld fiind realizatd pe
tcroentrraesatleitaptuetaersnuicmebirndtrgeididureearelulEriofemriacnirteic, icndtrteretroecldutmoregai pderreepnt,dfinii.-
Opozilia dintre intuneric ai lumind este de gdsit in concepfia ansam-
blului (primele trei pdrfi, fafd de ultimele patru), ca pi in intimitatea
miqcdriior componente, conceplie ce nu este, desigur, o noutate in
istoria simfonismului. Chfieenegaaeliiticaeetneeea,spmteinepdsaarljtauicluuailfaairrmrteiassrtteiecadpsoienzatecjuzoeloirg.dioBnlrimaahtpemlees-
zimea inaintdrii cdtre
,,tezei" gi,,antitezei"
nu a citat niciodatd in corespondenla sa principii sau elemente carac-
teristice gindirii lui Hegel $i nici unul dintre comentatorii creatiei
sale nu a fdcut vreo aluzie la aprecierile compozitorului asupra filo-
sofiei celui ce a fost coleg de generafie cu Beethoven. Dar felul in
caie compozitorul gi-a condus actiunea dlamaturgicd. gi rezultatul ei
pssuoricnncoleer dieinatdtrrieenpi ttmiifmeigspcc.diSpripo) trieinjzinaicnuadnruee-iselesetgpedepturoerizpienrntimrtaedt cuesnei cdifnoiutiungneien(cdcaiottomtrpai ubcselodusd-aianut
dlibrarmateiinulnsaencefiu(ntcezaa)e, iremaelidziaarneaa lui Brahms se desfdgoard senin qi echi-
(partea a IV-a gi a V-a), ilustrind su-
blimul binelui qi a} dragostei (antiteza), pentru a proclama in secfiunea
finald (lrartea a Vi qi a Vltr-a) rolul infdptuirilor omencgti care ddinuie
lrestcignracnoilrercleepvfiiea fciion(ssintrtuezcali)e.i se mai poate scrnnala gi ideea unei
dialer:lice continuitdli, rcalizatd ck-. Brahms prin crearea urrui circuit
inelar, ultima parte rcekv-.epnienciln-difinmriinspcoirnitutinauletutlre;iptianttocnuacleiirleitee. iE-xlstlda
punctul de plecare,
de asernenea gi o anumiid simctrie in concepfia ansamblului, remar-
cinclu-sc eviclente trasaturi cie inrudire expLesirrd intre partea I
VII-a, intre partea a II-a gi a \'-I-a, intre parLea a IIi-a gi a Ei a
V-a,
partea a IV-a fiincl conceputii cra un ink:rtlezzo lntre aspectele
coni.rarii.
D,' DTE t I
PARTEA IIi
(re mincr
PAiSTIA ]V PARIEA Y PAIrTiA ii
{mi bemolma;:r)
(ii;l n:,roi) (ca rxtn0r)
160
PACTEA iil
( Ia :nlrrr'1
I9I
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'lo op PlplsaluoJ plppolJru allpars o tzef,uplJ
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r;nuainbog JolpJ olp 'pounoD rS zorl;ag rni InsTlpd rrr JpC 'aleuorfrperl
alalaporu ap parpJJnl puJSeiap Jrpoioru nlJns ra Inlrlrlplsou rS rrcrznru p
pJrtrpulpJp erterqrn Jpop 'aJrlolp3 arc{ountr rarqbrnlrl rori:rn:lsuoc rS e:
'olerresuoJ aullpl tolalxal sorJuiparJ oipnurluotr ur sBrtrgt p rllJa/\ rntr
putalnbcg 'rlSoJT.rasiq o1o{uezn cp paJapurrdsap glEoj nJ 'Jo}rlotrsp;
ro*snJInPuJis_rr-rJIJuooJuzouraput\ uud pzoJue-rJ oiodo.llour ul
InI lniusrlalecl oJpupssolv Inl PalJporu pl pAIIA
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roliupruolaru InpuiJ ul p+nJop lpaJJ np rnlntuarnbag e plerired alfrp
'(1:otuoc ur pleluaza.ld
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p pal
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gi onrcuheessttreeiliRpasditioddeifuszeiumnniiifliocmataienefasputbubl acgdhedtoaadrirliajoriunltueirvIoaslifdCeotnrteai
gi
luni dupd acest eveniment al vietii noastle muzicale (la 1B februarie
1867) impundtoarea lucrare vocal-simfonicd a fost prezentatd din nou
praulbioicrcuhlueisbtruacluareIqFteialanrmdeondiicriiijo,,rGuel oMrgiIeceEaneCsricsute"s, ciun 9i ansamblul co-
sala Ateneului
RomAn.
ngaoni-aaasliptzArrddocepidsauetssotcrdsiocdndticm,rezrari'stercteehpxteripcezzdleiecnstdrfadEdusidmaltipuuusrzianlieceatocildetcaarlodopmopdddaeontpteipcearureselazcredrioz.nemtSaaafzteunddt.aiciiuneeliiedninveovvluifraateitfaaod
ditsd.tiolririiiacsdaplaeerqgsieornnouatlluuitlidsEfidii usludciocBnorsnaftrhruimbcustii,vedilenameoolmnucsbitidraiannrdleaaIoromrtlnaualtondtriiisgsmcinuuatlaulititedni ltiduiuzgiacinlai--l
gerrnan qi unrversal.
Cintece 5i Cantate
npufilirentrer.dea]6ergl.Tpairlzunr.etidtlrirviuaneimltndudaeeinrvdorcidaeeiuusm1ecp8cedd6teiu6deaurts(nonadteerneieaiu.dnaldeCceopVgrmeidc-aoaspju{nioitmepcziiaenidtRrrotttanereeutoq)eS,luuievia$deiSmiaesuffauiacnx}cleueoelaiiucdnzGuitdprieBnerrrtritrennduagcphtdeontmdedr)aisn9gpafceeiabolsIeBPnleaGoAtnisBnfuVtdgus(i,eaadirsdnnisaesauedr,il
gi Germaniei, concerte rdspldtite cu superlative cronici 9i cu inipor-
tant succes material. eDdaitetozreitdnoinilteenlusceridarci tgivi istddtisedereifnutgeirepzreetinBrluanhiilles
are posibilitate sd-gi
de vard in stafiunea Lichtenthal.
ceea ce marcheazd biografia lui Brahms in cursul acestor ani
este frecventa necesitate de a avea in preajmd prezenla tatdlui sdu.
sCoudrpspdrriitmnosrdieaseeaxccgeuisrntsuuiiea-ipczrudinrCunarecroginliiuannseeeaSdcrShangtyaorcsiekteiianqfiipliCraimaldrd,inviatnireatioaavundsurtdlrui;eiiac1e8lu6i6ni nu-l
face
va-
ptcaartinndllauoriaasngdueullueilEa1l8vH6e7af,imeiaib.rulnringpvlraealruainncugeirtmpaudvttuiozlliutadlunpiuealunci a-1r-8e6p8ce,omsvpapeloerzaaintRofarhuidlneouluafaic9feii
numit in postul de conducdtor aI Filarmonicii (rdmas vacant prin
recenta demisionare a lui Julius Stockhausen) mijegte din nou in su-
fletul sdu. Dar nici de data aceasta vechiul ideal de a se stabili in
oraqul natal nu-gi gdsegte implinirea, pentru cd drept lui
urma; al
Stockhausen este preferat Julius von Bernuth, un nume neinregistrat
162
89t
e.rldacxa o) ,(j€pal'qroalipDuptliol sInauptrlppaaJT- runuupaupralBou3lreillluaJlaJ pIneiqf,aa3'\ op lplldsuJ ',lof, lntntlliid
ldp}) P3IlOIrlBd e3llpluai
nJ 'ilsalPqtPq I.o1 nll$.rd piisddef, 9 IJUoJ .If,uI3 apulJdni I? 'cLo Indn]9 ?
'{3oqJS 'V -lS lddpz luue:\ol! Inl elsulaod ap alDlldsul
(|Ir$taqZucnn'rsuu'(uq1lrl.ao{olstlpclrHln-uIpraanaqsptlaraielrl4tonlda1sodlara)xluo-laanduJl)trVc-'asllrEtDu7l1na7\do5b6oDtrd1oryqqato!16a6x1azo1u;aupaloprdNg)u-aIVJlJ1V!5ul::r6na9tq??auu''adtdwsoo'sp(appaabup1i1tp-uartlnra1qnpcnpal1av13l311p!Pa1.stPoiD1In1ttJI-rrPS3]j
--a.rr(1S\
agg I
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t(o;elnciod Itnsrol ed) loliaununt su! uJoH ulaw naq)s qc7 t(i11o11 ap lrnsran ad)
tLpDulDtr{ a1g I (oralndod lrns:e,r. ad) aqag tab.rl','a uary : €, 'do e11rnpa11 ,
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aIp--anaurusleioeutJpuJrcrpdurrrInloIduuzoo1'alB-sqrer9p6sapBlrBrulnIrruqrrpanzrasuruanuelralnqpoduluuaraq(leulrIprIJeodJn1rbdupzariJnprseeup'1alo)zue-]eralolnqar1rrsbi$ofurgrnlf1re'qtzor{o,upolreoprJdp1ldquqn1aernror1lJnpprnncalceprr[uSlapq1raJnulpdpaJocseprrplndo}arparlJorr1{IJnn{rp1urildlofJopeelpJrsgap:IrauicnSnurluraraqolarrlBflrorrucJprpsponBluqesuJl
:ede (ggg1 rnlnup e orrpntqoJ IIUnI In6unl B-ep uasneq{rols nJ lncp}
naurnl) 'e6blneqquuroecglop3iea1lDapfrueeiar6uoaJlusoaJd rode IS IaIX 'url-rafl 'epsarq '6rnq
-uaplo u3 pzeaSuelJap aI smqplg rnl plJp
a;po eci asaJJns aio-rpolqunspg 'riJrznur rarlolsr aIaIrJ urp pun I3Iu ap
Acestei prelungite vizite pe care Brahms a ficut-o tatdlui siiu la
H,c,oFancrntsibntivuuaraglrcai,-ialaRuhlrJimnonuanltu,ui"mnodpminoepnpatrseimlcaeelKeaozulinlier-rparliecrnalauitnnbviiiitoiaugtnriaaelfi-terai dqiuifiiioaB,lrtraualhlu,mluinsi
doud date dernne de semnaiat : la Koln a inceput prietenia cu Max
Brrrch, compozitorul care ii va dedica Srmfoniu in nti l:ento| ntinor ;
la Bonn acinfocsi tatneirmininuatrdmpdalratitBulraankCeannertsaete, itn,,iRcianallodcoa" l,itaptaertiinturcdairnccese-
putd cu
refugiase in anul 1863. Ceca ce-i entuziasmase pe atunci fantezla fu-
scse lectura unui poem pe care Goeihe il compuse.sc in anul 181 tr,
poem inspirat de cerl de aI l4-1ea cint al epopeii ieru.sclj;nul eliberctt
a iui Torguato T'asso. Eroul preluat ciin r:apoclopera ilustruiui poet
italian este l{inaldo, cavalerul pornit sd lupte ailturi cie crucia}i pen-
ftaruriner:lcibeelera,rrerraniIcelerui,scaaiimreuiliui.suEbrjouigcdulgsid-lure{e{ilnc. sAtejuituastricldeecsrirurcimiaafit.
de
sd
pdtruncld in taina decdderii saie morale, Rinaldo se descdtuseazd de
pv(psrroeainzcjcidotiolpuqriliii,-aqclt'riirir)cuiileVrtrtnlr6ieel-ia-lceizadainr)sedpi-:Liurudmolultfyn,l:.trt{TizsiieeclumacioaulBun-rleaaihcclnaasXrne\ct'a-cIitrnIee-sisrdp:paieor)an,csdoHeeninincnldeucrmltce,eulcrqoopnqircoiGepcplrouuimiclteiki-
pentru tenoi', cor bdrbdtesc 9i orchestrd.
Urmind in timp Reqttiemului Ge;.titan, concepfia noii lucitiri vo-
cal-simfonice
compuse de Brahtns surprillde. Existil il clralaaturgia ei
muzicald tendlrrte cle ilcoiltotare a stiittltti cic operi, a acelei convcn-
lionale suc,:esiuni de uutnere inchi,sc (coruri, rccitative, arii)' tendinfe
care dctagi'azd luctarea de restul realizdrilor vocal-simfonice brahm-
siene. ir saemcoinlutliuriiletrpeecucta(i.cloJhoasnenfeWs i.kBtrourhmlVsidimnanEnriIreu-taerpuunbgleicna)t cStre
apare
sfirpitul
o mdrLurisire a con-rpozitorului. despre vccirile sale efori.uri
menfionatd
apropiat de genul operei, mdrturisire ce part a crplica ex-
de a st: fi
perienfa f;1cutd in dramaturgia acestei lucrdri, Din relatdrile altor con-
cc .Iulius Allgc1'r:v, Klaus Grcth, Paul llcr''sc silu Fl:inrich
tern:porani, rezultd de perioada prcmergdtoare creatiei
Bulti-raupt, asemenea ci in
Cantatei ,,Rina!d,o", Brahms ar fi purtat cu ei prelungite disculii asu'
pra unor subiecte de operb. gi mai ales asupra importarrtei pe care o
preziltd un librert pentru reugita unei asemenea compozifii. Niciuna
din propunerile filcute de literatii ce l-au inconjurat nu a lSsat vreo
urrnil in schifele de luclu, singura manifestare a incercdrii lui Brahms
de a se exprima in stilul muzical-dramatic rdminind inscrisd doar in
prlcueoaringnciBanerricalretahcbmauiclsae,cseettoelitiduinpegsaiporatpiircteauerfrdsiie.ten$miurieoadlmoaidcanidnscetdiimmc, efnboaicnrtataaonreteaiazmtebsoitnniiiioudunliuaiiilndsveorgicnpiadoelu-avsltoiemccdacfoutoontndaitcerrieslodtarea
muzicii gi cu deosebire mdiestria momentelor corale. Sint calitdfi care
au justificat cdldura cu care lucrarea a fost primitd in seara de 28 fe-
bruarie 1869, cind Brahms gi ansamblul ,,Akademischer Gesangverein"
a prezentat-o publicului vienez in primd audifie, direct de pe manu-
scris. Acest concert Si in continuare recitalurile susfinute de Brahms
gi Julius Stockh,ausen in luna imediat urmdtoare apar menfionate d'e
cronicari ca fiind printre cele mai insemnate dintre evenimentele in-
164
s9I
'9 is 6 '8 'Ir. '9 'V 'Z 'I : ro1
-lzoriuro3 op ?trr?xrJ'pnou o$lpro o--rluI 'rrnsler\ BI alaJ urp 1do rEop opuirdn3 a.rp3
tgrlsar{J.ro rS IBJo.r, lal"rrAf, niluod l.iprJnl IalsaJp B aunls.I3A o IS p }srxir lEl,\i r
'(trueurnqcg ap lural o od) 97 'clo un1cl nrjuad rolru
-nrjotsoa e;n1ri:ed od I9BI Inup ui Ia op plnr?J pllerlpap ap ]plsolp lCeg '(uueunqrg
o11ng n:1uod) uuelunqrg rolJlos Ie lldor €ollorl 1e nrluad 1n1n:olrzodtuoc e p{ur-i
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roi earpur?i:lsap pl rs llr '(zg 'do 'auInsID A) orpcll-IiJui pl lllp
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aiznlJuos) 'un1*t --
rol 'lnlsop runJy nlppslnlnlilleuul a-lf
p- allo-igazin-dIp.i -- slpA lnrullln --IeopfrnpuualrbP1'uaasrnfJc,lgor.xtte-1)i urnloA
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rau'rogopiiraslie;ore66dlnneprprprpn3eouape.tISaprIJ$oituJfpoInartaapsuuarnirpldlosxeptoa'ApIrnall'lq,nepeslfu7nrpgocpalsxnepacploqaluJuanlazpItSniSuJInaurJAoopruo'rlPsnalouulpJsqsJpnaJsdolnsItInlToaiPnlpruJzJeopn,durIduiJprqoals1l3^lul
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'rou6e,1,1
pIp-pni[.ps-i.ri]uliilorIlpgAPJO]isnnus{t0ip1BpOI"uJ,i1iai"rrllooansll ucriSI)JllrooP-rdcael :JarlplauulIInIacplIssArppaBaJr}Ilpe]oe}pt]plse'aouplorlIsisulrrppIapCrdenu6]}IIullapsoJlelJl]poPpupSnauBltInnnnt]eu:pdsl]lIu'n6aoz1tzl1odcJJatoarIqnJl
nqs ininiri.)ij p.idnsp oluutcig 'ut{strrnqJs }ioqog op PruJn ui IUP op rlaz
-pnoir n3 dlnlP] lrunrzraold opundspr 1n1nc[ u po u]ritr1$uoJ n3 'aipol
-po.IJ odilrltl sruqpJg oJBs uI
I:unLrr GsLia]rli torTn iriappo: p6ealnr ps
nnlriaruour olsE'IouoIA e PlpJiznru u{etrr op arualn Pil3p uI a1er1s:0ar
,B(cRroaanhptmsraosddiicdat,eieoacpu.s5eo3b)ci,qdansrudnitdtoanruipncotuezliefJieublidioaeg,rdaapofidcrirenafrsdeindatecglilbraderiatrottddarliesip.coDrneotaartnionalgarei l,uinai
surprins cercul familiei schumann gi a adus umbre in perioada acelei
vacanle in care se pregdtea logodna qi nunta tinerei fete cu contele
italian vihtor Radicati di Marmorite, intreaga amdrdciune a decepfiei
't:crrildunipfteedi"cetis,titreceluranpdpiiratcururtmiistuitnrdioi tieneai.pzdaugrcimnuilienobdRieaincpdtsiveoidataipetrieooaCpp.lea5l3lau,mS,,ecinhxopuarmesaseinelenavimalessudufireai,-t
:r,'uspganui 1pretddroidtnoceauscrmpuerveeainnlmtteeda"cerie:navt-eiafcotendrl6jodzfrggd6duzeedduciuiiotnbomirrc.ueon,,n,iDcntaiaonrcuuedaaaracerraeCpcaleualisteretaeabiSrvmacohiurrmuzbmiicisraiiaa,nntn,i,dtLirrdnaneappardderiiensreitirccleeat
,cele mai triste din cite s-au scris vreodatd" 3.
La baza lucrdrii stau ultimele trei strofe ale poeziei Llarzreise
im Winter (Cdldtorie de iarnd in Harz) compusd de Coethe in anul
1777 cu intentia de a acluce reconfortare generafiei de tineri cupringi
de depresiutrfea ,,-!vertheriar:d", depresiune declangatd cie tragismul ce-
l-^brului sdu rornan publicat cu trei ani in urmd. Sprijinitd pe confi-
nutul celor litbreeir,starEoafec, ummuzaicnaun- ld structuratd qi ea ,p,Reatprseoidpiei"r,fi$-i
se
desfdgoard insupi titlul cie
fdrd
intrerupere. Prima parte scrisd pentru voce de altistd solo ;i orches-
trd (Adagio, in do minor) este o introducere in atmosfera singurdtdlii
eroului, a descumpdnirii lui : Aber, obseifs wer isf's ? iDar cine este
acel ce std de-o parte ?ie) r-niiridnsucnadreinst-raebreafruegaiactafrderdprsepgedrtaengftde descrie-
rea decorului jalnic al invinsul
romantic. Rdspunsul il aduce cea de a doua
mincr) : ,,Este cel pentru care balsamul se tpraanrtsefoiPrmocdcoin-Aontdraanvtde,, do
cel
cdruia din toatd plenitudlnea drago,stei lui nu i-a mai rdmas decit
ura de oaineni". Partida solistei pdrdsegte rezonantele cle baladd ale
primei pdrfi, pentru a intona o pateti cd lanrenta{ie. Este mornentul
in care poetui qi compozitorul fireazd gradul de intensitate al dra-
rnaticei clepresiuni,,wertheriene", tablou psihologic care declangeazd
cu necesitate atitudinea lor umanitaristd, Aceasta se impune in cea
de a treia parte, cind geniul mcealoi rindaoitidcfroeramtodridgeermmaannifie-staGreoaethaertegii
Brahms -- sa afirmd in cea
lor, transmilind ideea care le reprezintd. principiul de viaf6: ,,Dacd pe
lira ta, Dumnezeu al iubirii, aecxeiasstdtaos6st-riuinndtrepmeeczaercsuefllc{tiunlsIinDguersacthuidl e_--i
n,a.) ar putea-o auzi, fd ca
vederea lui intunecal.E citre miile clp izr-oarc ce (urg in apropierea
lui acum pustiiid 1". Ruga poetului inspird muzicianulul una ciintre cele
r;rai flumoase pagini ale clealiei sale vocal-simfonice. Vocii de so-
prand, sotricitatd solistic qi. excluslv in primeie doud pdrli, i se aldturd
in partea finali (Adagio, do major) un inpresionant cor bdrbdtesc,
1 May, Florence. Op. citat,'r'o1. II, p. 106.
! Ibiclem, p. 106.
3 Aprecierea apar{ine dirijorului Markevitch.
LO0
,OT
'fgI 'd 'tDt!) 'dO 'punulbals toqtrIp^\ ,azllnqrs I
-usJueRJllupapaiJlapJniJacolurnlccrlrruler roqslJpaaqlellvrnrrnir1+ueorSJpJreeClol.(uoJrfeoulnrrJoptr;urr-rqglqsrpuarlJdprasurunr
indurrl ul'ininlrocl eteld ad'(B9BI ailude 6i) uourarg pI ap rarfrpne
aJpolpruJn lprpaur alolrz uI alplou puriJ alpJrznu ropr aulaJru.(rerd?'BuDI-L0trt/alIy)l
yrynwalnbag erfearc edeo;deepur pzperuJn ea ,drur1
ua-(ugrrolqlurdortSrpodlrotpgplj.trplt'n-drlJulorn.o)r'u1ospa,ra,auSlsrsqJrandp'lero(1gprnnJ1prl{nnrlpJun1JrrI'aulrssaaJea/rrpoppufceroutpo1Jraonu;arsprrlerdpps1pp-lu1sIdap1er"It3;lor)e'duArlsuprBpuaroJrrrifIsurs,azpunIoDdJqsdSlnpsuuydalrgJqooq;r-crqrrnrJalopuS1loop1ure-Sporuoru1Jnlrxppraq1lrusrtrJrrpulrpJJJfJradluoop3.rellurnliarrlspJl
sJnalopuqlJpaasJIatnoeppJounrllopapdul errru'o(p6nrrp1ulJ9rISap1erraaa'Jrrl{lIaJoer7pee1rr,r1cIngos'e6,eJrnnriJ)gJueuprunure1r]opperuuprrelrJ{dnoepaanp;EprJlaoJrllrqrruqnprd{plJJlapplJrrll{sulrZaopJnlruSeoroJrBuerrrnl;rsrJ1uIdnnn1utrnr{ncllqpeI
gr?q
.20f
or1opy - IB 'ru in 1d ur a x g
''tpqrxlcat1uarlarasploparrr1+peo;aolap0rnuIsJnorarIuBJrr^sl seprulsaBa.rrddpJpuo;Ielaor-$onppptrusoIallJppuirno{pdspeao:1llplurroopoJl
'elaJuolorl e1 rleerzzrd
raruoyrlod earurzadurrl
tematica eieasii, conlinutul poeziei lui l{olderlin inscriindu-se in sfera
de iclei a.Requiemulur icccnt creat. Este anliteza dintre cer gi pr-
rnint, este teza pesimist-rornanticd pe care Brahms o combdtuse' in
ldbcsics.nrtteutlmairotenrogcufr-ffiieaLondaluaielsepreaeltfirieeaticacmpriza:iutodlinderce:ticlmraompiointlrauoenurzriffidtiruiesncedcieaus:r(esinfiAedurdpiendgluefguautctdnrig(tearpre(iiieocraobeu,oirrrapetmpietrn.RrxiaeneRcrnsnrfiaepide,tslsigutdcfritibodndniof'rrc<d:uednpl-era:u,rassia:rc_c:oin"loerip-erieusn.lspeAeral5mo.jdlo3dceleilrr.orte)engeuE,aumrHdocllsuird,ciscr,jrdl,toiderctnaoeioiacgfnrmedealsiinnopidactolruoeicmeznnpoiaptiruonzecufnroiiseculetprzcuilJmolietseinagsgeai--)-ii
a_daugd acestora un epilog orchestral (par'Lea a III-a -- Adagio, in
do major) , care-i reprezintd clin nou ideea despre sensurile viefii, a;;a
Bcc..ulru.amzhdiraanacsrRedcaoesiprtesiajaoodsrcucieellua,sfiiopnKpunana. sr5ele3uRIinea,i,nipCctahiogaerilusneltlreletapcrc/eeieezeqcaiunnicfearufeiilprtp-iormoistet.tiuliuuGl dlAeinurdmuhaiaqisnipoourssc-aehuseesie"ntxrfap.clloiicn-nd--
tr-adc-.vdr, iuminozitatea muzicii cu r:arr: Brairms i9i incheie' lucrarea
inldturd marile umbre ale versurilor lui Hdldellin, pentru cd viziunea
compozitorului, spre deosebire de cea a poetuiui, clepdgegte orizontul
ideologic pesimist al epocii, Ea are forla sd cuprindd acele
izvoare" ale fericirii pe care ie semnalau cuvintele lui Goethe ,,mii de
cluzia poeziei in con-
Ilraerazlrizedisrieleinbtrawhimntseier,netririnsSa.tnusriammoblluallliacrtaerierodmetaagr:etiaczei.i
gi clasicizeazd
toriutemmfUaarltm)i,cddotpop.aar5et5rai,oactdircuedca.eliSepienvngotucruarul-plsriaimmnftaoenccielcaddtedn-itncm7e'arianuirmfeppstludretreinlealircfdiiu(isCeBimnratnehaim:laustl
este cuprins in grupul de coruri bdrbdtcgti a cappella op. 41 (Soldafeir
liedr:r) in care patru din cele cinci cintece (inspirate de textele lui
CarI Lemcke) au caracter patriotic (Yolunlarii ; Ccrtr:cJiul iuntbri-t;
MarS ; In gardd)t.
Dupd rezervele pe care compozitorul le-a avut fartd de succesi-
rrele agresiuni ale dPurcuastieelie(indeanHualn1o8v6r4a3-), riizboiul cu Danemarca;
palriotismul manifestat in
anul 1866 de
Brahms in luna ianuarie a anului 1871, cind este derclaratd intemeierea
noului stat german la Versailles, poate fi interpretat ca o atitudine ce
se integreazd in atmosfera de exaltare generalizatd a acelei perioade,
,,Este ertrem de trist cd eu, bietul indepdrtal, trebuie sd stau peste
granite gi sd md bucur ip2.'adsecrcuenrnsb, riccu18((7s0o, tdtoupvdoCceoi>n"se-cutsivcerilae
clirijorului Reinthaler la Brahms
victorii
aie .rrrnatei gcrmane. ,,Ce mare este nostalgia mea de a veni in pa-
tr-e", mdrturisea el in aceeagi scrisoare 1'.
I Schullr:e, \Aralther Siegmund. Op. cital, p. 166.
I Primul coi, intitulat Ich sclrtling mein llorn (Rdsuni cornul meu) este inspi-
tat de textul unui vechi cintec german (Bitrinul vinhtor).
J Odati cu infringerea qi desfiinlarea curJii din l-Ianorrra, familia r.ioloncc {is-
tului Joseph Joachim lusese nerroiiir sd se mute la Berlin.
a Schultze, Walther Siegmunci Op. crlal, 1:. 61.
168
09i
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pa:lplrso3au nou 'puPalJpll]pparI6p'aaoulrlelqtlrdonpJluranaBlslpi'Inlype'alBlaelIilolpIudnn1llnsop'usruerIF'ieafputltfprieltlualrsJar:larJquoBJIrrIpTppnluulerollue^I 3aapalapsJge} loaPrf3nuIJbe1tc1r
-BA oppolrad u:p
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o tilSaponop alps ratyerbouour alp oruniol Pnop JoloJ lnsuirdn3 '(ateY
rr--Scoes6ugreialepcaualIrdargrJrrrrlsroair,lrIunl_url_ynlp)lssuB,r,rluurqpanDbr,augrnJnspJlnaJaluun.u{uoeDlr1ogqqolpofaqicaaJulrlo;lauelrlo:Jo6solodJduo-oda"unrIrnIler1Iaa16rlr1cIaloJqInnnrupssPcsialuuurerlIqoualgpI'1rzeg'uI;Jtrt-runllqdninnnlBd6r
uplu-'-au-ra,seon,I1uIisf!VoruJrilul-6dJc'nprrr-foqlLnlDbInep-aarllrrppanuqri1iJrsr'b.qBap"rguurorolLuc1eaagliIs1eoolrnlczod1sAtOl',uuoluaraIze1lrBduu1scnrleonuel,eor-luluqucl.lupqron{raruano:isrpudlDaLn{flp1rrpJuIBorIaBJraln^edAuSrrrsrpafIofoauaeu1l.lIior!ralqIenIdtpdIaerlntelCI:lArutaoraepap1gpditl'pSlJl3uo1sJuIAaltu6alzliuriIrnupfl,aoeepuaaEu1cystaJlrldelIlZo,zEputspru.nppIeusleopJnp{rgltnqouunI:u-'dJporuapP'alIstlazefn(llflqrqsI'3opprluiuunBenelplc'oru.ursogeItleAueoSuusr-al1ppnrruou':zu[trTpsslloaaquoploroesdplpeeAfol1pIuo.dunpII'rorJalu8nurolpJdinl)oaclqonpalodapuatJplurteJ'nnslsoeJstlauzdosporeIsrreloaqsoJuI{ultJoJpeyaaa3IJJnepJ;"llsEglas'lelulJtqjoet-II3JIuraIDsIrnndpnfsaaJppsnpIol;lssaJtoauafDnpanrrt{Icpclq'daqdJJril
azaltaJuoJ ps alsuuui:euIi6aeJupBesauzparnuauaurPr^rnli:aoorpllruznloturdJruuPoalnlratrri-ant:cl1cl o{e.d)pld'iJ1in-9';l]n1-lI}aI-nsllsnonu1pp6Ja}piSplp6uAouqup3qotJl
: l,Bipuruas ap 'rAoT uuprutall Inlnlo[:rp elaq6eq qns 'IlBt alunr I
'{pqluatrqrlT €I
agrir-upnsft---.,-u-,1Io'iplp,rana-aBpteurl1.r3uirlr:linp!rplru"rrirfgs1uuuoae"E,tl,,;,,,eb.i.io,aan,lotrlr-{'rnli,t;B"Strai.lt1soplrpilD.rricronnprgirt1zu,uai.outiiSszolljlIr.rrrnillurlaJ"lan1pTatql-ua'uz.pAa!Bc1TrAaIonrznruoJlrla;lpaopu+SlE['crl,utl-ep;auI:-ronpaoariroartprprrl$pI4rraepJJ{leioniaie6uznr.eJc)ut'rttrea(iJiJrl(nronlaoei6lpe9rrsqipnSlirppoqailplnln6nrlu+JIeJlerpou{clrn-rr-p:Je.auJ:qelOISodaf-pplxipoie1qlIrrpsIoqllcceT-Jtriarnr-zrlqa-eJpdlaerSPJip1erclOlaJoqosJnIidcJtunp1pueAa9lcplJ)1.1k"a1ll.urhJrSunSnlIIotrpgi.4aru:lrI1i'OJujlSrppZs,rEOrploerunJIepairuqpr'oltt{pD(lPpslr3qlpzt1punrulpuqd;aul.u;apo'p\oeI.HaoTeuoErt3rtuIur}opJrIrlilidgEl{JlauouIrtoIl+)rspepealleiooab'nDnsri'unrrupurorlt:uIrgleolpJlfu)lcainlrpq,lsp3Eu:nolnntniJu;olapqlnlpnsutllraapirlplu}iapl')plrzlo1o?pecrdea1aairnri-s}-rfoioluzlir-pIer'lrapaoo}nVourpinpl1rlolllolcJrrupbllaqlOlsautnSedVutpJlalalldtlponpetl.aol]l1?SDgenu:ousparlqosp-nixpaurarp*po.!JlJo1ttleuisaaotdpuuSuJroserlpJoBu3llniuosipalclpful-io1i)urepl-{-JurrudlepI1ipscelolnPdoornplIrapelni:ulselPlJ}c')orlsp;({eB(as'sdiloJ11ap.ulnlr:anupuu':orpAsn}.tudclpunrtorrrplI:Irlp.ur1rrszeuIeenorlco1u}upslndpIlrduuszunIlltuoIuualoeJrJpaaon(nccSnnq:rrsle;llDaJllcod1nnPo-oaosr?1llp6eIgSfedpllilr.InueepuserInt{JaesJptnrlllquuJalofnuuruoaua'n[rereSramrolJrplaPireriuacoJlcrrPJneauiu]lld3u1gnapJlcspeJ")rIll
grupuri de B Ueder und Gesringe (op. 57 $i 5B). paleta romanticd spe-
mcRlcrtUorieiealdfndelipuesbcisrumednemBruzdtrpe,ule.eiodelng4meetdsta,etouitum,rAibrv,llicruuaeiudhcziu,pii,hDecndeawaelnsouueletpumnrpfi.utiduec5eBrrll(7iiiNtrrr-adai-setthieeemmmuspniuepsepeul.norcpOalar(uBeuMtluulieliealicg,-Bsrkecadbtrgoda,!ltmairhenaup(mpdiisldnasudvrtcroueleerfatdiarleaursimecnuiramei)rdnt,-vieefeuiinslcsaluuiaptnnaicrmlcttdiddvotecuriloriefodelies-mieieiaaelcupalqb)aiusdtir$sftueliireiincieneldnditmedrora,mda.igcuuEet)Bedn-s-.,
patetic contrast intre nemdrginita linigte a unei zile de vard gi fr6-
mintdrile unui indrdgostit. Conlinutul poeziei lui Daumer
rnuzicii pregnantd opozilie de planuri expresive, opozifie imprimd
realizatd
pmreinlodciniocnogt-rrrauitsmptuicdl eoApmi .tieg5nc8da, irtneetme(laedtniectaos,ipmirnfeozn9ini/zBtadr-emianVi impvaaurclttiedd,avianpriiae4ntau/4ltue)i,,.
colorit
versu-
rile inspiratoare aparfinind mai rnultor poeji. Primele trei cintece au
fost compuse pe adaptdrile fdcute de August I(opisch unor poezii
italiene, dintre care cel de al doilea \tichrend c/es l?egens (in timpul
pioii) e inspirat de o ambianfd la care compozitorul va mai revenl,
atit in liedurile sale, cit gi in paginile primei sonate pentru pian gi
vioard. Dar climatul brahmsian invdluie mai mult versurile iui Melchior
Gldieero).hveaInr{dna)rc.qe4ista-glerOulpu, ki(ooKmpa.mr5le8C)haoanlpddaeidr uSgsoi md(nmorue.dr5nda-icnhttreS-ccheOwle,ervtmirneuoti
dulce noapte
c-intelvcleelacnocmo--
pu.se de Brahms pe versurile lui I{ebbel : In der Gosse (Pe stradd)
qi Voruber (in trecut). Sint c:intece in care poezia gi muzica celor
ctroi artigti ndscufi pi cresculi la Hamburg se contopesc in specifica
expresivitate uordicd a artei 1or.
Privire in urma
Privind prin per-spectiva crare o ofc'rd trer,'c'r'ca timpului, se poate
surlrrinde faptul cd vara anului 1B7I constituie un rnoment de im-
avparlitlniosiartirece,csoaermecnrfaeatacdfeieepBdorosamihbmiinldsa.tdiinncdeeurcrmgaredenaurdrumilneienceiaomoregcraarneleiazfdgierii in materialul
de neprefuitd
corale, Patru
sonate (op. 1, 2, 5 qi 3B), doud tliouri (op. B qi 40), trei cvartete cu
pian (op. 25, 26 Si 60), un cvintat cu pian (op. 34), doud sextete pen-
tmrreucnnuctmouaelrccldeaem(ogeplro.ari1i8eseSpiein3ss6tec) raivelcredcmtrueieeasluicanoudimecdoliremtudpruioerzi,idtoegrr,aur$ptadi tetcoeitnpion1at8ceooampsupigsauurrtriai-,
de balade (op. 10) gi de variatiuni pentru pian (op. 9,21,23,24 gi
variafiuni cu ecouri de veche tradifie componisticd, cdrora
3B5ra1h-ms
le-a dat romanticd tinerete.
In ceea ce privegte creatia corald (35 de coruri grupate in 1 1
opusuri), aceasta constituie una dintre cele mai demonstrative mdr-
tur;i de vibralie la prezentul muzical, vibratie cdreia compozitorul
I rtJ
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'e;apoua;ag ur:cl iS gr; 'cto 'uitrtt nt1uac! ,,,tiaruo13,rrra ,nJj LlJjtrf1!
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(rr$ * etBL)
A Tfrul0i.Edwp
ilrahms (Litcgrafie de Engelbach.)
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ar'qurlrurpulopilu6o3rar.snlrcdluio" I'JoopzlapoJJunprazpurnpAlullrrapIlrporaJ{lprlzrlluanpurllproroJIsd(lal;papalula1pnurarroo;gJsr>Tr{ipIrppso1nrrJlJn^ooIrdl1Jl;oooeJlprreop+ceauJrppoerrlllgnrsdelslsilopaocss,rlod-3uuro)iIS1p,o,guor orurrzuirnnarugu
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lnlnrolrzodruoo alrlosrils urp eun rJru uJ lpuuasuoJ spurpJ p nfJ
n-r-a-ocnersi-lontnI1ppnrrqOos1laalnrpri6zl3n-oIIrnuIdn:lroquulupurplroroIlip,)cerJHoereJp;rl{ruAplefuorprgarrnaadu,rrsee(lrsarruruunp-rrr;fuoeuqpJJcqelosl1lrugpelppJa1pqu:rrnporppcrJplAnupl,uJ"fIearrJr.r-nnuno1pp_rpFrrselporpJrTlaoranosnrpldfppoeloaeslunillrueetrpo'lluplpanlrndtpr\lbiplien"co'")llplnutr>rlrrue"l:crauupsisu;mal:nr(lJq{sZSJpa"ZesyJjgrlrgr1outae1"Iuaniiurpt:Il
er;e-l6orq u3 olaprarcl pnou o orrrA_rrrS Z/gI rnlnue lnlnclacui u;
,,!!c!zntu ilua+otJd" €.tltflJd
cxi-'lusivitate au coirclus la doud izbinzi (Sexfeleie, op. 18 gi 36J gi o
infringei'e (C',')ntetul irt I{r rninorJ. Vol trece zece ani pind cind Bra}rms
va da la iveal.i noi rcacic ale viziunii sale instrurncntale detagate de
pian, de ciat.i aceasttt pentru doud viori, viold gi violoncel, ilustratd
de creafra Ct'crl:fcr'or, op. 51.
De,qi plnd in anul iB73 gettul cvartetelot cle coarde nu figureazd
in iisli de opusuri brairrnsiele, menfiuni despre elabolarea gi exis-
tcn{ei unor aseme.nea lucriri opar cu muLt inainte. O primd informafie
apar{r in lun.i deccnJ,.rio a anului 1865, intr-o scrisoar-e a rr.olonis-
tcauoluaunriduJelai,cn,ocvbraioJroiematcidnireoimrc,aocianarinrdeteesginoteiicdgictidCrncliaonrmoarp"Sotcz.hiiTourmoutaludnienseiprnpreeicnulsienermecavnadurrrtigleeetnfdtdde-
IcaurteFi"nlorjuenrncaelulvllasdyuc1o:nesi'sL..rmi'ran1e,alazainincempuotnuol glurairfiiiaasuagufsatpatualncudluBi 1ra8h66in2s.
ar ii cintat lui Hermann DlaeilBeorsnn,,cinrravrtaertealeaninuludio1g86i 3l,nfdmrdirncoar",auin-
care l-a fdct"tt
popasul pe
toarea sd poatd preciza dacii este sau nu volba de aceleagi versiuni
ca cele definitivate sub nr, de opus 51.
Din ansamblul acestor informafii sc poate desprinde din nou
felul in carc Brahms debuta in creafia unui gen muzical. O primd
pregdtire o constituie sirddania de a-i cunoagte in adincime literatura
pentru a-i putea fixa astf.:l datele tipologice gi evolutive. UrrraStoarea
etapi inscrnna ucenicie, o ucenicie pe cit de exigentd fatd de forfele
proprii, pe atit de responsabild fatd de contribufiile tradiliei qi fafd
de .siriritui contemporaneittitii, Ivligala cu care compozitorul gl-a pre-
g&t!t crealia acestor prime cvartete de coarde a durat cel pufin opt
ani t{o1s8t6r5e-m18a7rc3a),bgilei .cNonusencuinmfealei unei asemenea prelungite pldmddiri
au nentru cd noile lucrilri au spus un
cuvint nou gi greu in istoria acestui relativ tindr gen (tindr pentru
cd lrrezenta lui in compozifie dateazd din momentul in care geniul
lui Haydn i-a fixat coordonatele cadrului formal ;i ale expresivitdfii),
clar gi pentru faptul cd ele au reprezentat forfa nou impuls in
unui
ambianla creatoare a epocii. Pentru ca aparifia lor survine intr-o
vrerne in care genul fusese de mult pdrdsit, Trecuse deceniu dupd
IB42) 9i Mendelssohn-Bartholdy (in
deceniu de cind Schumann (in
1847) ddduserd ultimele modele de cvartete de coarde, gi lumea rnu-
zicaid -noiin. t$eriparecetiasgtiapcuubtidce-oserbeinreunlfaasVe iesdnam, aoirasqpeurleinincraeraelizaacreesat
altora
ggei nScdheufbruenrtt.einatlr-moupzeicriioi afudsdesdeeilucsattreagtodriecitirIdaoymdnin, aIVfileozaarto, pBeereethi ogvei na
conc:ertului instrumenial, cvartetele lui Brahms au insemnat o bucurie
artisticd de marc rezonanfd pentru iubitorii muzicii de camerd.
Primul cvartet din o;:. 51 dezvdluie lum<,.a do ruinorului lui
Brahms in toatd complexitatea ei, Este climatul tonal in care com-
pozitorul dezbate acfiuni muzicale de rdscolitoare forld dramaticd, aga
cum ilustreazd prima gi ultima parte a acestei noi creafii.
r Thomas San-Galli, W, A. Op. cjtat, p. 155.
' *ut, Florence. Op, citat, vol. II, p. 52.
176
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pdrdsegte conceplia tradilionalului contrast dintrc conlinutui pdrlilor
mediane ale intregului cvadripartit, continuil]cl iirisnul rnigcdrii lcnte.
Lclsoldaeduinccsoeouslfotdlaerelitgteupiselrco.rcvoeTemenpnaileadnnsitneifcdfaazapddol egpsiuenlulnadrtrinirdmienea(ocnzcutieotmalmoter.epscootlzeeiaztocvcreeluuiailcuudiidleeoinasaresfcdeaoordnauatauupgrrteuedzmlienleSnuatunnsrlalueeu-i
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ia a cdrei meloclico-ritmic de impul-
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datd creatriile
ca dintr-o singurd
178
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n-e-a'u-'lu({rusrriIrrcofirnEpalvl)ltru{o}urtPliuo)ruuorr,yloduor1seirsrr-J"up-n(n6.i1.plu:o:rpcuaoluar{sri1anuloeqritrrl1snrr{rilJorunl1nlyopoJlr').l,lsllopr.oilepAalppl6orsulrsAzzffll{upqderre'JroJpapopinnpo^JacJru1.1iuiplfalealloupolres6)lrnJaa:oren,lJudprJlgrotSuro,rfrrlpeerrpuge}a:lou;r.s{udrcrrr,rlnspi;rea;uiLerpouIuoago,nl6ou(lrprJr^l,orp.lrgeI\luo(p\nr6lcLgu1oeqzuodrercoluIrnuelrall1lalonI!rncpinnpn)psnopuIbu[lEIpprnrIanupsrovulrqprpaiIronsrJuurzJpa-cnrnrr]up_tepplDprspleraeJeofrI:lrl,srnpc\rsuiip)poppolsooJ.lrasruuioJsopoeopluaoJqo;aIsl]pzrrJnppeJ1zaqoJarpa)oelofraipurul,szfoaz,}-rla(nurocsuIto:pnuunrlcgp,]onJpl,i,,rJxrurs,urluaorrnauJiiourg-in1-iqI.r)pruugn'pcannj rlrtgi(us--u6ppon("lea_rdyruJrsIcauudnO|rlitp,uoenrIln)abceprd1jItl
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ts -roI rnlnlpurrlJ o;eupruofiuJ
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polplrun u{
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smRre,e,oxpeepnpimurnoriazerteiedrtsancl,ievatirepdbndr,iaelaedctcronoumepnlssnlcedeteemlgaanigpntfrraiocaeorgt"mslripae(eucedc,loefancidiufociimanmeni.pdiepuuuCzrlsteiccdoigiuadndlineadnteit-Flaoma-aAaar-irnenEe5ie.la5ucrdaadprrerseeotarcmveeitgiisitnsoaurailrurrseieicta(cirmlrleiflcdribaassigi.nenroaltn2eizergzdi-l,Eltl8ueic4ljutei)inni.-
tre Partea a doua (Anclante moderato, in 1o major) se inscrie prin-
cele mai inspirate pagini
lente ale creafiei instrumentale br-ahm-
sinienmeu. zLiciraissmeucl{ira-lfnirimloratexintreprnriemaalepafrotrem(epiridneterimecai a doua) e continuat
(A-B-A), cu vibrafie
ccineasrtaerumvminoetcenigtletecsupeu1ri6imtacpteloeataemrsdcoezcaartiapnrodpv.oe$aniieinindstsdacbirniiliitueormaleisingiusitntirmeuamir eulcnnqtua:ljidlus-riniigcuinur
c'oncepfia ultirn-eior geniale cvarteie create de lv{ozart.
secliuinniilifirltnoeacriaelae,rnreuazliiczaj tesptreininitnrteetrdmiaetddiudieuncaorrarcetecritnaltidvreaminatot:nicatael
de vioara prirnd gi violoncel, pe fundalutr trernolal al vocilor rnecliane
acomoaniatoare. Romaltismul aceslui episod este inplinit prin inter-
dveonlc{eia")ucneeripranreeloadifiipainssiopniraattete{mrndas.o6b0o,iufrlaugi mdicirnipuol e,,mrnuolltDodpnia.:l,uraone,
comllus cle Richarcl Strauss dcud cl,:ccrnii mai tirziu.
ln partt'a a treia, compozitorul tcalizeazi o inqJenioasd adaptare
a fot'mei di.r srheLzo la co.loriiul poctic al intregulu.r. in soct,unile
cxtre:ile ale folnci (Quasi :ninuetto, moderato; Jc nr.inor, 31,!), leqd-
nai:ea vechiului dans continui. fiionul liric a1 plrfiior anterioare, in-
sccacdf riuinndeealeemi emnetudlia,,nsdch. eorzar eldmoa" r{cAalbleilgdreetltaobovirvaarcee
; Jc rnajor, 2,,4) din
slntetizatoare poate
fi surprinsd in cursul cenlral al muzicil, intretdiat de prerzenfa,repe-
tatd a unui scurt intermezzo, in care tema secliunii allegrcito esie
tratatd in migcerea gi caiacierul secliunii Quasi Nlinuctto. o privire
de alsanlblu asr:pra constincf iei arhitccturale conduce la scherna
A-B-E|,.-B-Bn-A,-Cocla, ceea ce ilustreazd nu numai o contribufic la
ldrgire,a clim,cnsiunilor tradilionalului tljo, ilar gi la imbogrilirea coor-
clonal.clo,' iu: rxglresivc.
ppinn-aue1l,ssersap,oiAiinraialtleuiriziEltamcrteoiiac, rrdidiloa{png3ludiaamlus) siirdacuilinen),sgpccaiaemrrgiu{eiazamticaeaacnna:fttienpdrcireoimecvorurilodloa.r-irDtdr:oispuitn{odicnoadacpaolanmit1sppauairnripni,aainrmseoieolrine,n)tfauaqtl,ti
180
i8i
'(OSt 'ct 'II 'to-\ 'pu€tsoU
apnciJ rni er;er6ouor[ uI 'xa op] XX InlnloJas e1u eo16olorlznur oJrrlr?luauro.l r{"r ls
a.iedu '1nl:u1 lnloJos u! esrrJS ro11r;e,r6ouoru ea1e1t:o[eur u-r lIsoloJ 'lnuou]rLrI ,,
'q 99 'do aip 'ru ntr
'augrcl qnop n:lrioci Eaunls.ra.\ r( ezea:1st6a]uj suqp.rA'unsncio oll plsII u{ r
-oll p of a,lplnulnrp 'ro111zod'{uoJ prrolsr urp olpoigilo^Zop TrJiuipulp p
au.I{sppurnnJoltrrdrr"opdi'ur,airrlusruidouJrrjSrrPrl6nunplralpp"urlsI uooLsru-rrerpdJTnSs
ap o}so Jol inrusruoJrrrrs
!?lurzo,id gg'clo'a[r:L{n!j
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pclnp rup t.I op pluplslp eu1noaurepddenc-o olaur;cl
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sndruor
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LoIopupI Jf,nlltprrSroluJjloulenoloedr.uppudrruu.oro:rdp 'artlsargru glerua6 ep elrsnlJuoc onr6purr
lolrrlplrraruoJ alp nps tol alrrg;n6rysue;1
al a.) oJrpolotu olaluprrp^ 'rrrsrlrl ap
'pzpatr.IoJSd palrop 1e I ioluournJlsur raJl olploloJ ap lrnlpAuJ 'luJIIop
'so1{er6 .--- o1plopls
lullund
terminat calitatea actului sintetizator gi a permis integrarea lui intr-o
conceplie structural-dimensionald noud, autonom6, pe mdsura gi in-
tensitatea sensibilitdtii proprii prezentului romantic.
Pe de altd parte, tehnica variatiei pe o temd a oferit compozi-
de la primele lui manifestdri, deschidere spre afirmarea
torului,
inventivitdlii sale creatoare, apiicafie care a surprins recunoscuta
erigenld a profesorului Marxsen gi a e.ntuziasmat pana lui in rindurile
cr<rnicilor gi corespondentei sale. Dar de la I:antezia pentru pian pe
un vols favorit, semnalatd de Marxsen, pind \a Yarialiunile pentru
orchesfrd pe o temd de Haydn, intinderea artisticd este,
desigur,
mar€r. O primd treaptd o marcheaztl variafiile din muzica
pdrfilor
lentc ale Sonatelor pentru pian, op. 1 Si 2, in care contactul cu muzica
i;opulard 9i spiritul ei variafional gi-a ldsat o evidentd urmd. in pirul
variafiuniior pentru ppsipeaennctrioftitpci.dn9spt,reu2rm1spe(ennctre.tiv1cduSvica2ora)i,ardf2ie3o,n(2oa4pld.g1-i ;835qi-in36,fp)i,edceravfirolee-
d-5ivi essrismlniffiopcnaiirzre,a'aasotepidrceouepltrumiirluoi zrmictuarzdldicirarielesfl,uefpcletad--
pe cite o temd de
lente ale Sextetelor
Iufia mdiestriei de a transfigura
rcaulceclricreuafi-reatsrceaapimtdbcougdtrfiereapgtdi
tepti. Pe stratificarea acestor date, complexitatea artei lui Brahms
surprinde pe insugi Wagner, compozitorul care deschide zorii unei
noi cdi variafionale in conceplia contponisticir. ,,Iatd cite se mai pot
incd realiza in cadrul formelor vechi, cind apar.r cineva care are
harul sd Vlearmrcilniuuniaislocrd"pe-ntrusinptiacnupvientoelefc:rmodstd.itee de el
acord al clupd ultimul
lltindel 1, cintate lui
de Brahms la 6 februarie 1864, in vila sa de la Fenzlng. Acest,,har"
recunoscut de Wagner va smulge cuvint de rc'cuuoagtere gi celui nai
invergunat dintre criticii antibrahmsieni, compozitoruiui Hugo \,Volf,
atunci cind Brahms va ajunge sd facd cea mai strdlucitd dintre de-
monstrafiile artei sale varialionale in finalul Sitnfonjei a /V-o. Fatd
de acesf viitor grandios moment, Variafiunile, op.56 se plaseazd la
mijloc de drurr.
,,Dacd... el (Brahms, n.a,) igi va cufunda bagheta sa magicd in
adincurile din care masivitatea corald gi orcl-restrald igi oferd forfa,
ne putern agtepta ca eI sd ne dezvdluie gi mai minuuate taine ale
lumii ssdpuirpituuballiec"at- sugerase Robert Schunann in incheietea artico-
lului
in anul 1853, articol in care prezenta dimensiunile
talentului tindrului Brahms. S-au scurs 2O de ani de atunci qi ,,tintirul
vultur" al portretizdrii lui Schumann rdspunsese din plin acelui iir-
demn, depdpind -maprirlien realizarea Rpeeqcuaieremuelul ileCevramadna-prorofemtaienitilcuai
previziune, Dar rdspunsuri
Schumann igi au abia acum zorile, in aceastd partiturd a primelor
variafiuni pentru orchestrd, care apar ca file aie unei geniale uverturi
pentru viitoarea tetralogie simfonicd, Privind peste timp, impresioneazd
cu deosebire faptul cd muzica acestui nou compartiment din crealia lui
Brahr-rs incepe 9i sfirgepte prin gindirea pi forma variatiei pe o tema
{ultima parte a Simfoniei a lV-a fiind in forma variafiei pe o temd).
r Thomas San-Galli, W. A. Op. cilol, p. 93.
182
88r
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arBJarJ p:eo3p;sap as (rq rS
Jrpolaur rol InrnluoJ 'unspur n,ilud a1r: ad
pnop aIaJ '(g) gletluar epeor.loel
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ip
tv
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'(en I$ bJ : toi poraraqJul ul reop elerfuaJalrp azet,J
o.turary rrnspru rJurJ olir B azplt gnop ed p_reo3g;sap es (rV-)
gpeor:ad purrJd'(pnop rolaurrrd p plporJalur prnlJnJls Jpop pui3tpur
e: PrrJlTaSuerIrJse)rfaeJarrtclauurrpspJoalpaellolarrlapdJrrlserrJlalacpdJpp-srepooSuqn;srezprsauosJJrrspoelra.rularIunrsslnaJp
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lpzr^p rnlnupTJrznur p ersardurr grurrcl er pzeaselop es oJ e,aa3 'rolerued
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'plpuoizpJo arfrzodruor) r-ro1p1gns nrluad alps alolua{usilJaArp a-rlurp
po-ulnVoulnsranplnpollusluJaolJslpIiIn'lIJplppJcrrlozpnJJr)uIZ1nrunuolrn1aluJsyapor'qlJsnJlszaoEIuDaaruronrqoJJrtros-ealJlIspIanrlrotl.srrdnrllra{rJaa_plrpaet aopcl lau-rJpo(lauroul
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Iarp3 Ip auarsurqplq IIlBorJ raun palelTrouos plJoJp nuolnd nu rrfplru
-oaeJstpaepacaJosuprnuJrdrduuoiIroorarJldEloplCaJ.rrlsp':eoaaqauJrp6e.reoorol1crn4kuurlrerunSa1ezdpionrrorulur;ndaarog{6erdrronreleel,altrrsoaarunzlaeui]u-liuraoruJdrpdpru]JpoIpnllruJllllorsnulaurr}{ruJanTJplooepOsuipurlrsl.-oseruJJdrrruliapoeaJraupfsl
puud '6urzln1 zo-rplpq rnlnlps InJoJap ul IS t/BI rnlnup plpl uI
bl
B
b.,
Ultinta perioadd (A2J este alcdiuitd dintr-o primd frazd de patru rnd-
suri (o reluare a frazei c, in aiiii registrafie) Si o frazd conclusivd,
desfdguratd pe Sase rndsuri, plus o mdsurd cadentialS finald :
-.1. e
Or
A2
03
Pe aceastd ampld idee muzicald, Brahms creeazd opt variatiuni
ftmFpiunueelugdctdmria,ti,uarpezfpeiieecnleitdicruuelvuplaeadi tHimmnreaceeuiyndndsliituennance.ffia$eipu.iicnnTsuidtoaruuntlaecnatluieuitmarlitatipcemoutaeannmssdmttireoudibrisnveufdamirnudo-afsilcle,omcmUtuaapnjbrooilzg,or,iuFu{diraioondmzausilpait"naddiEtnetiadbsmneplsuoefiurnaio-,--
$sutrruacrteuaraloorm, eoxncimepetiieeifdmciinnodredo(sairbveamroial fmiuinnoirle) ,2D, e4piSfiieBc,argeinvdairtiealiien
este decis personalizatd, fluenta succesiunii lor atinge o excepfionaid
mdiestrie. acest sens
Un prim exemplu in il oferd primele doud. r'a-
rialii, inldnfuite prin continua migcare melodicd creatd de compartr-
mentul coardelor. ghirlande melodice
Fluxul neintrerupt de
contrapuncteazd pe ambitus larg doud diferite aspecte variationale :
in prima varia{ie (Poco piu animato, in si bemol major) se desfa$odrii
peste sonoritatea acordicd a sufldtorilor (aldmurile alternind cu lera-
nele) care preiau ultimele iPiu
mdsuri ale temei ; in varialia a doua
vivace, in si bemol minor) , improvizafia melodicd a coardelor insc-
feqte tema sufldtorilor, construitd pe extinderea celulei melodico-rii-
mice din prirna mdsurd a temei de bazd. Fizionornia acestei teme esle
in relafia provocare-rdspuns, celula fiind expusd in forte de colnpar-
timentul lemnelor (fdrd flautul piccolo Si contrafagot), rdspunsul firnd
dat in piano, de clarinete gi fagoturi :
184
s8I
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plrdoluoJ BrlnquluoJ nJ 'PIpl:IsaqJJo aipllzonul4 alpolldll:ls o Pzpaua-i+
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op al{qasoap alds .Ipc 'aipo}P3npuoJ laltra} pltTplsqns T3 plurouoizTJ nJ
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a:r;d'rras a alcp d
gB InldruaxE
Br--$uulsroeegJap)3ue'rpnr.rJ;1pToelzrpddnpueuralppeprafg'ul-nlrrleJrrdeosraolrzuutrpn(uzJ'pryaJIaIegJJalIuIuoaPnppllTuflclB^naaIsrrup)o:AaPPa1uozJoeenrrpa.pstpuu-pIplrJuqd(onpleolJd^puqxunia3rapuralusopsrJou(uJrslpyaI-plraqoorequIaLaoSuwenlc'nattIflilnraduaronpsndep)l
r-ran;ldo6aes;-r(o;oq[oerInn:llooniipraaqpIsu'rou1aosuPrlpuuoo3lu) l 'eur6rro ap adeolde al;eo3 Plulz
etotl e et{erren pJpp JpG'JTpoi
-orrr Inlprurrcl alsa Jr]sIra]Jp.IpJ 'IilpIJpA Pnop alo.ipo]PriIJn n-I]uod
s;+_,h
gB'ru Inldruoxg
Dupd treptata ;i acccntuata ernancipare a muzicii (variatia a IV-a
qi a V-a), tsrahms leinstaieazd legdtura cu subiectul ei in variatia a
gasea (Vivace, sj betnol major) tipmripniitotanrailictaotree,spmuentzriundbitnreapr tQelo/$r
de pe Si
coucept melodic (notcle
ce
alc&fuiesc conturul temei de bazd). Pe aceste date de inrudire, com-
pozitorul construieqte insd un rlou tablou sonor, tablou colorat eroic
prin factura ritmului impetuos gi prin spectaculoasa cre;;tere dinamicd
cc-i conduce muzica,
Un nou contrast aduce variatia a qaptea (Grazioso, sj bemol
major), un lied orchestral dr: elevatd frumusefe. tralti de celelalte
va.l"iatii melodioase (a treia, a patra), muzica acestui tablou idilic are
farruecul gi supletea ritmicd de siciliand, dans preclasic invdluit de
Brahrns in nuante cle poeticd nostalgie.
Exemplul nr. BB - Grazioso
Pe plan instrumental, compozitorul realizeazd din nou cuplaje
dAcae)t,ardealeiceevfaeiosatrzaid-fdanegoooirlteig(iisnneens-seucrtfiiiuie.nnxdeparpeuBsr)itv,aetpd,emsdteeelfobladauiast u-qli indepdrtatd gi de
viole (in secfiunea
care mentine vie
amiirtirea sursei muzicale. Din punct de vedere expresiv, caracterul
celei de a gaptea variafiuni este intens romantic, in pofida preludrii
unui dans de veche traclifie muzicald qi a unei scriituri adaptate lui.
In spiritul tradifiei este ginditd qi varialia a opta (Fresto non
troppo, si bemol minor, 3/4), dar peste stilul qi sonoritatea de orgb
caie o particularizeazd plutegte din nou (in mezza voce) fluiditatea
misterioasd a scherzo-urilor brahmsiene. Tendinfa de omagiere a
traditiei muzicale se implineqte insd in impundtorul Final, conceput in
spiritul gi in forma veche de ciaccond. Tema ei este desprinsd din
linia rnelodicd a basului ce insofeqte tema initiald a lucrdrii in pri-
mr:le cinci mdsuri din desfdqurarea ei, preluare ce irnplicd o reve-
nire la caracterul religios al coralului inifial, 1a mipcarea, tonalitatea
qi metrul lui binar (Andante, si bemol major, aila breve) :
Exemplul nr. 89
Andonle
Pe acest nou subiect (subiect ce nu se menfine in bas, ci se ridicd
qi la vocile superioare
caglia) este construitd o- trdsdturd ce diferenfiazd ciaccona de passe-
impresionantd ascensiune sonord, construcfie
186
/,8 I
'?9I 'd '1D1IJ 'dO'V '1 . 'lllED-uBS sBuroql I
'ruiqceog) ilnJsounJ IuaItIZnur oppcin+pll'(p1raalqpnuqrur5a's1r'errzf oP1lrna1uu) -ropduruaaIAluopcI
aIB rrprJnl olpAoruoJd :Iuls urnr
rferaual rJolrzoduoJ ep a+poiJ 'alnJsounc ut{nd tpur IJPJJnI ap rtnlPip
'(uanoqlaag ap sruualos Dss.rl^/ 'qrpg ap uorssDd' snoq1oyl) a;odopodec
gpuuad as JoI 1nrro1;adar uI 'ialtlsnv taleltder alp alpJrznu oluotulu
I-p'pnanfllpupelllnllurnooazuJpag,rnrlaBp'pasIuJnIl1lSasnJrifrlJl1JBIspTISreSn1luti{IugnrpcsalJnupntloJplJepuarcqlIalJlISJuJIaplIpaJJsuIJoaoIDplJroe"rridu3pIraaSarlpeppJuulrpprilIurepclruasoIullrlpJrrprapJJlupneaorsdu]pnnl]roIuoAlsror(]-aJJqiVpus
-oJrrrrs ps purrrd ap uptlog ap pLual o ad rc11un1tnrto,1 ei{ea-l: lredsap
e:ec true) gLBI-tLBl IIus allui sruqpJg rn1 er;etfiorq putlPurn
'9/8I rnlnup B
r--pBorqJrrVrlcrIunpnoolprlpnaolnpudoIanorlulplJl nIpruqIrpu- oIsrBualbnpplJat)rppqouplleuJ3plnAuuutp!I V-tLr{BpuIlrtaisJiarrpo8nllutulBlgpl
p-IIxp-htrBIanIu-IIIpIJpo lp DZID) stlou
-ad plsearp uI
elrp ap Ialurop
rrunl 1n1ndaru1
J:lIosAlllolqsprpnrr{lJgasarlonp6lpaarlaperuppJJJaIJl.niaoSpJeuao:oJJll'lsellofouJuttolpS JintoSuIoIaJq1nJ;uellnIlnli^rpdlulIaa/ldsaJPullppppllroauIC-rI
'Lna1 uupruloH ap aleltrrp '?dBI all-Ipru tI IS tlBI orlquarap 0I EI
a'apyuanla.rufoaJyunorlJ'6urzld'1uoe1qJtSuf.u'\Iuee1rlaprfIelalrpuplpIllpPnIupIuBaulonur1terdsune1JraIpaIenJepdgg 'do
lsa'-o'n1lIsuJurS:ropqpueudruperJfsorJi,ndagBluura1-pors'ppsSt'6drappurpJznsnJpfcuontofe1iruallpulus1rqaepoItpduuprIlnSsl1ulJo'np7-pap1aLlttJsaI8napnciprJlurunra{oJgpaJs3ulluu)Jrppuoqp.lp^erJnpArllerrJsoaqdogr3pallsoulnpaato:rIil1sqpJcousalpropsoJIudl'uoonlael.IlI'rtpzZlpufaeaoColIpadQal'.upIaPil;I3oASpPpIruZSlrspIalnnJlpprIupAuuauronupsrSJorlIrsocr_r'n}aJolB-JpJlourolP(nrrlrrqlpJspcplqPuJluslrJPoraouusJJpPI
oIppIuJuISlopsIJulIa-J} nl'aPrul+ope6prlaourpPlpcnallnIJJruraatprdIpn'JuupI'lsLIuenn1d1-sJpnrsIupar-qlIappulglunournl^plu'aolqizaalululri
plpJplapp
-nu nJ '-ra
arur orfearl g 'rrfeno nJ
-orl aJruourpll] ololraJuoJ aJlulp Inun-rlui 'ol-Iqltrolou 7 e1 otflpne
gp-ruIorordsn-4nuupJauocrsrlpatloJuaalluzron'trrdltn,L;atB1n l14rnn:olpnltuzIop$dprfug<otltJ'dqoorrrpra'laloapudtopiouutnnar{{peutrIrcexlansl'lagislgrun'pd,rHa.3'operIliIJsJeoSaq-:"l':'
rpru rf o oJnpp ou suqpJg Purueol aJeJoI] nJ"
'plloJar p1e6oq 'surqpJg lnl rollp
p
arplsoJluput ep ountfer pJItIn pJ Plpp alelal; ap PlulzaJd os ac otre1
-IIpuIJ 'rolpaJJ InlntrJB u oreolpflqul tt{p1t1euU PolPr}snII a}sa
aJpJ ad g,ttserdxa parpopuelF e1 Puld 'PipuIJ
purbed u1 alSoreonJ o
'ttrgrl
p-narIaIpnulnrtqrualp'pufrolp1 pAIlJaIqo Ia paJpluozaJd ep orpdp ac gieuotfoure;
plueuorsardrur nJ erurlJp e1 p iS e3elop as e nlluacl
'puocJerJ ap purol nr alSolaldul as
-ord utp psnpac 'IproJ ap Iaural
as alpolaru eBaalqeJdotrAt;u'p1fupeilsaqrnnspu1ooJerarc3l
u p1e1dar1
Bruch, Goldmark, Rubinstein), cit ti de nume astdzi uitate (Rhein-
berger, Volkmann). Din rindul crealiei brahmsiene apar programate
douei lucrdri vocal sim.fonice : Rapsodia pentru gailtRo,egcuoirembdurlbdCteersrnccAni
orchestrd, in
concertul de la 10 ianuarie I8V51
(la s2f8irqfeltburluacrdierulBiaTSpu-blicinulcse-aadreid-aicdaot uina iui audifie integrald
la Viena),
la picioare, rdspldtind prin acest
gest suprem marea sa artd.
Cu ultimul concert dirijat de Brahms in anui 1875 (la iB aprilie)
a luat sfirgit gi activitatea sa in calitate de director artistic al socie-
tdlii ,,Prietenii muzicii" clin Viena. Dupd trei ani de intensd ddruire,
compozitorul decide sd demisioneze, condus 9i de data aceasta de
dorinta de a-gi redobindi libertatea, pentru a se dedica ciin nou ex-
clusiv creatiei.
Un prim rezultat al acestei eliberdri din indatoririle dirijorale
tguiroarlgeavnoizcaatloer,icceomdepulsaeGinesceulisrcshual fut latimfoilsotreadnitai,recareuanlioi rcepiesseeamleiintuiard-
unor mdnunchiuri de cintece publicate cu un an in urmd (1874), inqi-
vrccianuilrdoipeuri-ta:asn1ete7(uoliinnpeu.d6tleu1dmriuqappitdeic6nd6atr)lu,gtu1iol8siuncsrivsnldaigsrupttareodtedevteiocccdoue,pppugrisiaeupncriuia.(monSp(ig.no6ipt'1i.cniitn9icteo69cm5ieJp6o3dqJnei,e7gnofcacmolurvaeuortree-i
pentru voci mixte (op. 62).
Cu liedurile op. 59 incepe sd se remarce intervenfia unor ten-
dinle spre accentuatd melancolie in acest domeniu al creafiei lui
Brahms.
mai interveni gi reveniri la tonuri luminoase, dar
Vor
girul viitoarelor lieduri vor oglindi, in marea lor majoritate, ginduri
gi confesiuni trjste, sentimente de duioasd nostalgie.
Din cele opt piese care se succed in grupul op. 59, patru sint
idaniisnpniorinardtdeuelpdudei rvvtaeatruscluofrniilcneeunltutriHalo(dllaseutesfiienGc.aroirnethg,edmaptoddentnadureaesnap{erainrsstep-iir-ictuecaalolegriddBeoraiahcmaersetiag-gtii
naturd, asemenea celor sernnalate in ljedurile pe .,'ersurile de F{ebbel.
Priniul exemplu ilustrativ in acest sens este Regenlied (Cintecui ploii
-viooorpd.5g9i ,pniarn.3c) raeactddrudie mBurazhicmd svpaaftirupraenluiantdaiintirpzriium. aCSoonntuarldulpmenetloru-
dic gi acompaniamentul (realizat prin jocul ostinat de optimi, evocind
monotonia picdturilor de ploaie) urmdresc indeaproape sensurile
nostalgice ale versurilor lui Groth, in miqcarea Andante con rnoto
tranquillo gi tonalitatea fct diez ntinor2.
Cuplat cu acesta prin subiect gi realizare muzicald (aceeagi io-
nalitate, aceeagi ritmicd, cu indicafia ,,Dolce con moto") este urm,d-
torul lied (op. 59, nr.4), intitulat Alcchlrlang (Ecou), cu semnifica{ia
I In acest concert Brahms a avut colaborarea sofilor Joachim (Joseph Joach:,'::
interpretindu-gi Concerfu.l ungar pentru viocrd ,sj orchestrd.; Analia Joachim - ij,ar-
tida soIiisEtxicedmdpilnificRaopresoadiem.).uzicali este ficuti la pag. 236 in leqdLurd cu analiza
sonatei.
iBB
68I
'fputiolgul eit:o1; lnzP^ urp 'pur1J 11do3) uLlnlq uauntg aqDuy siD l/rls ilrJ '6 I
( '1o11eu1 Intun,IP ln)sorrn3 IJ Ap,opp O\ "'1)Nnz 6aX1 uap Lpop Ll)I lss7l..t'\ O
'8
(1sr.r1 op 11)) fi!tt'tDll a.Iz\A,
'l
( "qlpclspo:tl a porlr (" lnf,os pu13) ;epunloH r.p uual,\ '9 z
uo]5^o6Brq) "'unlf $! aqa{I
aLIlaW '9
(roliaqurnro6) uac;nn; aIP uV 'f
(1ari:od Inuni Pl.tB ula uV 'E
(a.rrlururY) l|untauultg'7
(rr:ar'qur1,rd eoror16u114) 1sot1 sllu77t4y1tg '1 t
'g/8I Ininup p unIcPrJ ap paldpou uJ lolelJ l1n-IPp Is pruin uI rup n:)
'(uueuntlcg xllad ap rrnslon ed) un"i6 $I aqa!1 aul;yf
siiJuror ratru1r
I1--riu-ol)lprnn.loin1.,frplJrpi$lo"llelunaoaot-oruoq1pi-rJdruIrIr"Io1ulpnlig'Jopup','aqnpp''lIudpcIsqllun'cpurgl'laiarltalJolrponrlnlilll6lelrtsnrldppluJtou1p1Dannsaelaenarutplpr1T{urlsolsiJo{lesull[eanrIlno1srod+In.txpuJJ;rcdsue'qliIclnnlpsl)sarBIdcoIuun,rausrigdol)rlllIiaupopnllpl€op.ssooJlr'aapariuoAurarloIoolpprIlpuliol]lullo,a]lnSrlnPurJ-nalrporJpnIuiarnuxrnnslrIpnsoouPodIr{lornIIpaeuebpaIndaJqqdrllJqlpousfPlIps,naSslopiSaJor1ardlquI'.ue+o6lr(ZaIpEedquIt-nlnfIpuros,sOprJrlallnenlBr.STPlPIglu.sIdausIoeuuj'oraJIqao('^llllaIpnlonl.lpdJJoiJslJlJuneso9auJl'otp'IpaIlizI;3ta{lsal.zaI-u'd-r+ponutIaotolIn1SngrJblInlppnnoI3poalilIxuJJlqIelq-anPalo1oaaalnlof:l1]lll'll:spu'?ileeln-IzSarprppo9gsolJlrsIuzr-Buud^ullnapgPfl'Iorq.,JuuruoSlsloounrur!opInslduu{iJolsxu-prreultlp6siPT1aprnlnneha"npi'pltuIgts3duulr0piqnnfI]p;au1-lptlsl'prrliutattB0sIlniI{'qu-ppt,3r3gxi}l{'
"p1nic-rlnu-srornloi J p aJpzlupllo 9-re1l o olpdp tg 'do Impa![ ep lndn-r6 u1
'qfe6ap o
rr-*nnl-pnlgnluraaaup.rupIrrrntuespl;DduuArro:ecJdlp,l(rpelsuarnl.uaqolddonr1sudoeroJs51lIu)nallurltlrcspDrtpl^lJoJploeJllnullbq'eaaJs1opnabJpaeaucip.lJ ufuaredsue:1
atfealJ '-IaIu
tS (VtZ-tiS:|
p-cpnrtJp.ie1lt,prlq-Pleo^irunDnJuor'(npal)ieIi-JIlnrusoJ-tInos[AaPToBddnrppo)r1uts:narpSuabr)1ryppo: ulAor{lrs-uiag]dIcnslxaJoop IlI'saperarlul-ugJol1Jpelantpd6oaec]alu1oJ-awgloir1ela1.7I
-'u1oun,IIBa-rrJlrpanSuaruaaJrlrirJqpuolusnidpqiuq-pc:1Jlpiosyprptul.Iarnn-noJ1_con-i>cr-o1iiPnuq(op.-sEliIsa6rreuJnoIo1sSl1p)aPe1urslnrliatprerl^:t3rrlopelsuroaooItgdlpJur)pr'oalIruJJuaoanlrpscus]loreonaarsnpAluepootrerrr{tdnpadspJ1ual(oIzlrJ^ulnl$l1rluundia.'rrlabl1rlJyoep6sPc.d)eI[.leJpaaasnlsalboJppsoulioqaInurIpluJtatalnnaJnlIJppnn;Ipun$iueInVu,urgIjr
rrolparJ lop JoI
-aJ B gJqos rS plrqou palpllllqIsues nrluad olllpluozolda: also6eJp ap
araluiJ l:qI{l1IoItJiD3Oaiperblnnsylasal nood[q u[aU r$ (g1tugr earu
ururul) zrSrc4L1Ixs"1ap--un(lut1t3ieraq1ldu
1o1 Pnopu-Iue 'fg iS
:7u'"t1r-ur,'619S'dplorp)orlnalrnuctnart{6eratdiestltllnppJal/lap}pnzolplpaaIlaaup{Il}lInqolusIoSagcle'ru[uo;rqfoouraeda6lpr}nIsr
aJ aIIurrJ)pI nl azunrJ acl 6ur1a;d os aJ atoold ep alr"inlPJrd crlaod
puprnpasp qlo-ID rnl a1rlnsro1 '-IorJaluu InpaII ap P1p] olpllnulluoc op
Exemplul nr. 90
( LebhoJt ) J
be bt grln hle dt,' f/re - aL'r
&tscA und men /leb ftt echin 'wb ole .lo -
Ssiieonpc.Di0ru6i c:al)ecelccsoln\rgtoinocunodl(eoincitr.me2a0atreSc \ipn2aBrat)e.ccVcaiozsnitudcneprp:ealiraiorialelrdipre-eine{cglloorruupirrca.litcellaizinniiuriroibppra.shi6hi1no--{
ralgoiocagcalicer(eesai(pb-oi.lp6it.6ac6ot,1cmn,aprnp,or4a.z.r1i)ef)i,iidnpaosdamprreaiirrnlsdeaaluticestodmmu. unipnluoinizatictrcoueerpsuiltdiueueiiinn-fotoeipr.pdcaru6e1etq.t,acintirivvn..2oJcTd,aeulsner:td,tieliunelexlfacdcaisn'aptlletlori.ne--
fdcincl cintecul Pluinomen (op.61, nr.3) inspirat de subiectul miio-
logic al unui poern d:,' Coetthe, cra qi primele douii clinire duetr.le
ltoiitrpde.t6ii6nste(tilrl{iplsartneicgtaeetiv(IpdoS. liif$ol{inlaincnucg-,pcarIirtIme), ia1cterf:'i)\rcfeoerssutsroiinlditcimeitdpCijamrotouthrz,rfccaainplittteauctlreecd9ciuBprsraruh'<[r;inatis--
iqi incheie fir:care dintre cele doud grurturi de due|c \rocale cu c:itc o
crealie inspiratd de prelucrdri ale versurilor populctre, .o-crsuri lle c'.1 r()
muzica le urmdrepie indeaproape plintr-o rneloclir-ir gi un acompania-
ment de fermecS.toare simpiitate.
Cvartetele vocctlc compusc Ai publicatr,r dc. Brahns in aceasla
perioadd (perioada dintre Varialiunile pc o lcnrd cle llaydn;;i Simio-
nia I) sint cuprinse in gru;:urile op. 61 Si op, 6J. in prlmul m6nunchi
(cu acompaniament de pian) se succeld trei cintcce
o temd cu totul specificd clispoziiici sufletegti ciin -aceirigetci aarnei 1te li're
turitdlii creatoare : An die lleintett
Sternau, subiect cules din ce in ce ai ma.
(Patriei) lr(' rin poem cle C. O.
mai dc's c-l . compozitor din vr:rsu-
1Op.01 :
l. Die Scftrveste.m (Surorile), pe versuri de Eduard \,Ioricke.
2. Klosterlriiulein (Religioasa), pe r.ersuri de Justinius I{erncr.
3. Phd.nomen (Fenomr.rn), pe versuri de \\,-ollang Goelhe.
4. Die Boten tlcr Liebe (N{esagerii iubirii), pe versuri popularc din Boernia
prelucrate
I de Josef \Mentzig.
op.66:
7. Kld.nge 1 (Sunete I), pe versuri de Klaus Groth.
2. Kld.nge I1 (Sunete II), pe vcrsuri dr: Klaus Groih.
3. Am Stronde (Pe rnal), pe versuri de Ludr,vig IIoit,v.
4. Jdgerlied (Cintecul vindtoruluii pe versuri cle Karj Candidus.
5. Hilt' du dich (Feregte-te), pe versuri populare desprinse din antologia
Cornul minunot al bdiatului.
190
t6I
'sralod 'llpg oi - tl.) I3 99 'do I )irolulls 'llpa pi - P9 IS t9 '29 '19 ',dO z
.E9I 'd lzan t
rnlnspro 'uprnoslanr-t.eIIdoqrllidol-o6IrJasclzlpppp''lItprI?6oldapBHourlrtllngulnIIrIonl'luJnupipp{rpapJl{p'rAornIuIlaInX-ll Inlpul ad P}pzasp
aunrtpls (uueurpllA Jol{l1
qdascp pallJ+loD rnlnlaod
uruoiar-rd alSaspbar suqpJg a.IpJ ul Sero) qrt:n7 rnln3u:o polplPuir
gr-eouAlJsdauJrrppigIppnulseeJJrnfooJlrruulaIlpaauslnnuctqfaeprllslo8doIng'ufIuo]e{IrlrlaeqlnJl\soLppla6JapPJIaInls:IPZIaJrsnoapppeuaIlonoJlslupolpunnoiJouapuoiururnllJlnp
'Iup loloJp
'I--gnamgrsaJ_rns_auJIlgpl upra1ot(lflree9:nar9ls:s-cn9tbc9aaiopJ'duolnollar)IrluSpgaJtrugnu1]tolpua$arsua(atIrpgz;dI-laanIgs-rIocaJi J'lncpnlroJs)orrir-VlcIpelteugltlrstl{ltIppznotlueudopucorulIoaJaJJsroouP1rlsp}euPalI-pInr9eCuernrlalqr]PnpduJ
'{arnpqd
urrd otarpe o alpqPJls) plnrtt llp LIJtnp uarlan'\ u1a 7t1ab s3' rS 'g 'ru
e-rqrun) lqclusap[D4l : II]npPci a1e olpJlznur lJnolqel alrbprp
'{rirnppc{ pnop eIaJ urp pfebap i2dnp 'a:eoAJaJ PJIlueu{oJ nJ
os urnr
-u! +lnru
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ap pfei 15
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tS aunrspcl
urp alred oJpJ otpl
Hrcteeeeitlaiuolclrlleuctlucrbdrepuiriiglai lnda-einucnidnoaomvdpnainotritnzarioetoar crn-eualleiudin.tmicu1ear8ipi7du5cteo, inEnzfsgetausenidvmuueiltool1mua8cr5eer5idar,truaitlrnaailngienescsdcaaireliesrea-infBarrCmainhvidmlaiuestli'
Schumann, i,dsatri in lucru, revizuitii in repetate rinduri (lBOl'
pariitura acestei drarratice crealii a tineretii lui Brahm.s ajunge IBOB)
sd fie'
implinitd pl investitd cu numdrul cie opus 60 abia in acest moment aI
biografiei saie l.
La Ziegelhausen, uncle definitiveazd primul dintre cvartetele sale,
Brahms
compune $i ultimul sdu cv^artet instrumental : Cvartetul de
coctde in si bemol major (op.67). Intre substanfa celor doud lucrdri
gi organizaree lor siilistici sc dezvdiuie o maLc doosebire. De altfel
Eobsa1uemisprf.ipaitr5etrtrLeiAn,ignzctdeioiedtmodeprpseurfcdislmSeeqeueccxrllauteiefri:ieddtr:aeo1on,iurl:oaiiia1in'ctscai.lve.i1naBNortui{ecrrtatmoiedtudiccninl-aealdsccnolisoiaueburcncau'inlncnttenob-.iutlrazcmticclCrad. jyOtobruerr)arcs,theuesmrtt-eurcsnjlniuliaednintdadmnttaueiatnepcoraadlecrrzeeu,-
rdddcini aclinci in puritaiea muzicii prirnilor c'lasici. Viziunea clasicd
pare a fi dorninat cu auioritate croncepfia iui Brairnis in ultirnele reali-
izfdclaiiouieuitrrnergiviieslrpolcpienilruespnarpperdreinirencapoleltmorenetaeauardmmieleidz,nir.aCeorduraveetlateadrHmtsefeaii,dnLt,yictarctivilnlltdnaui,,trsatlcecjlstiottibcidncavbfsm{iieeiitelmonculelcioatzmldlst"ir,acctnoajesoorutir(vob,,prisi,ecen,:aurtorli2rcennpr4zliulun)edv.cdeaDragriinlirteaertatpaiiiumucranienpiscctie(tVrvocepaanuaurral.niaicaalcite--,'t
anctpd\guIruAcuodierieae,rgrniJn-isec,iilite,uistPaisrltiiiio.d"aituluaerompzscina'btco:poc";vtea,eruvesatgc)aPeraiiuiuqttso"tancuparclvaru:aors.itrraiasaetsdprApt:lorirctisttloertrlcr"o:c-asce,.ldgz0plciiP,oiacitrcqr:oiefvamriiaLmp{c(naluutiaue.'ii:ntznnimr):.dircco{uipviiislnanuuaocpotnsaprressitr:tua.rL'reei-mc{qi-lumiaiacuderlzsdenelzaenr(diszi}ttciteaefeo(fdpmcivbcugftouiilidnivt6onpieaasaaucei)lcrcul,ixeiriecl-pnp,lblc,iecucilrr-nlatAnecsiotscrhuitamtnpttmlruruddi.(icrrniepsiaanaiarmasatvnien'men;suittonedez9a-tvreci,iicmimui,sdaoAvelperild.ilo-cilnendnesifactiupdigulaaitleiuirinn.cr-encirceearnotiele-lfttimaesiioacaaa--'-
palianrentu.i insttumr.'ntelcl gt'avc) :
Excmplul nr. 9l
3Dr0 r:lt€.{rt4tt) ci'rl !
Fstorurrcntaureclaezsdonclaatsdi,cdceonliecedp, fdiaeasrchhiteercztoursaildceaa a varialiunii pe o temd
celor patru pdrfi ale lu-
cldrii, o conceplie in care pot fi din nou surprinse cleatoalele 'ellibabeor--
tdli implicate iie bogeifia materialului melodic 5i de varietatea
L Cvartelul ctt pittit iit cio ninor, op. 00 estc prezen'iat la pag 98'
86I
a6roaD ,(q
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rnlsaJp pInIslranqJrsuuIoHsllolrb{JporogD InI rollrnpall Ip laldJa}ul 'r d06I Inup uI
prpuoT lplllqnd IoJIUp Inun Plprolpp
ep 'Plrlunu
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'ro1 erdnse alnJpJ alIIZuaJaJ uJ JolTJpJIuorJ pued Pzpo-IPJ
-pllul IS glBI arrpnuer ZZ 'rIp Inlroruor uJ lncrlqnd pun;ord Pzpauors
-ardrur arec rrfrzodruor 1u1s up^DH ap p:ur.at o ad al1unrlotn11 'rou[LLt
ar u! Inlrciuo} 'aoruo;t1od IIJnllnJ plJolsr u3 erfrperl pluelrodrur r3
aqJal no lnSero ulp aIpJIZnru rrforll' olp aluorulualo olrlp{u ulp Inun
'tolrzoduror rS rolrrrp '1s1uetd ap alps ra]lp palp]txelciuror urtd 'ar:csu1
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eJpJ uI artpulfi ep pluo1rlod pulununJui 'alplrJEIJ qlrqasoop nJ pzea:nl
-uoJ as uprsuqpJq lncr;rrads '(gipull ea-rezilerfuilso u.r pzpauiurlnJ aJ
pzrtsardxa arfepe16 o nJ elruanap) por.iolezr.tordurr-;o1p6rnc pfua-Iede
n: ,(JIlJIp'pd)'alapJ,rropqlopula sualur rJruolop rol,uaupruJed 1e ;i5la1e,rp lnsero;d ui
rarzolupJ arsardxa npp ro alptnl!?lp olpurpJns elrJoA
13 rolorl Inrqurl orpJ uJ Jouos In+rroloJ rrl I puprsurqplq arJlsargiu
pJIdIl'op lrnJolrqro 'JrrSlrtelrl-eIdronclnusrsJnrrofupslnecllprlrarprlp'elJppourrpeul rrSqareI _ur.q r:ound
-p"rdns ulp lptrrgsul
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urp rrrorl puelilupJ 'rf:pd raurrrd ea:e11onzop urp rraJol ollos', erual)
ertelrpaur rS er;oner u.r porppunJnf, I (e-AI e ealred urp aJrIJrJ alrunrf
-pI.IpA ur'I palted uJ1 r,rnlpu porerrror{J'rrJprJnl e gurbed aJptarJ u}
lueubord prrlJrJp os uprsurqpJq InlprurlJ 'Jouos rnlnxnlJ erfcnrlsuor ug
'nfplt,r.rsardxa inlezop uJ Jrspl3 rnlnrqqrqJo alrrdrcur.rd ad lrurluclg
'erfeue.n prurlln ur rS rolezrlalurs
plpJolo pulo+ -_ rirpd i3erelaJp p plpuos ap ptuJo; urp aledrcuud rourol
aIB uJoJ ep apr{euo+ur pulnlal (oluorur.rour orddoq) paseS e elfeilerr
'a1red. purrtd rirp Enop p rerual 1e -rolrlp6ard lnposrdo urp rJnoJa puiJnpp
(rourru putoq rsj e-r1ed e erfer:err 'oieur; rolrrferrea paunrsaJJns uI plpz
-llpar pJrIJrJ eerapurrdnr plspaJp plpp ap rS elsa pllqBJrpura6 'InI IrJpJ
hmpdipnereraoeimficvleuute,sinprnoiz,gre\liiiinriutdeasset'diuubielicrarnaadifjednoertcutnriouc, ,pao}tFeallrurionacAluroncciomkahrsfdepaudesoqruttmze)re,iiitiesaoiHtrsGoReuirmnleeuicsgrfimcouah5nlladeiiuncldieinne-iontideri(rLnpMipmoerBiniepndoalrsursetattluseuoi-rnoni,ncB9Kairtiarnoetahtbiecnrplneedomsnriianzcdcn'ueirinnMfeetocvdassdirntscetdrntufdre,-ti
publicui gi pre'sa germand.
a datelor privitoare la
desfdFq,uarladreda'eeavceenaism'tden,atemlodrnudnifnitdprinimreegleistlruanrei ale anuiui 1876, docu-
Dmbaereeimdcneg"taorenlliaam(rlaaepjaeoinnrtticrtlneulu'pitunuurttmeiurlddpetlroueadntaroiericelemtaolarufio)nhroi$mnaiaoloefriiepspirrciimcmooudndsvdoeuarsuaieidl eidUlsieetneiJavmoeaCurcslvhtitaidmmrftaiei(itlduareilnu2sit3rCiinnmasrandsi-''i
rinelec,aas,aspC,el,cat,ererieSlicehfu'amte'andne-bioingsrtaaflaiirtcdoimmp't,leoztii'mtonprlluai. Berlin) sint singu-
Este de presupus
insd ca in acest rdsiimp in care Brahms nu a mai pdrisit locuinfa sa
din Vien,a, eforturiie s,alc c,reartoare s-'au concentrat asupla primel sele
simfonii, Simlonia in do minor, a cd,rei desdvir;ire este semnaiatd a
fi fost de-a lungul lunilor de vard p,etrecute in localitatea Sassnitz de
pe insul.a Riigenl, varoanfit prelungi'tir apoi la Liclilenthal pind cdtre
sfirqitul lunii octombrie.
Priina simfoni,e creatd de Brahms apare intr-o vrelne in cere
nioanipsaleiunngdigaie-fniiunu-aiplulRdui ril-cehSaaipmatdrfiofnWinidaemeigaapnxleiiInrrXndaf-uean,lsoidpnarretcdinae.ptrrAetuurcifgzohaurirmpleaaaerpnepotoueislntiicsbduiclpiriirendetatemiifroivareerbneaexispederteha'opstveivdenee--
tru a rezolva limitele mijloacelor simfonic-orchestrale. Momentul
era idupd convingerea lui Wagner) deschizdtor de noud caie in crea-
!ie, cea a fuziunii altelot: intr-o complexd siirtezd drarnaticd (Gesamt-
kunstwerk) , idee pe care genialul compozitor a ilustrat-o in monu-
mentale drame muzicale. Prima simfonie de Brahms apare cleci intr-un
climat in care excepfia primelor incercdri ale lui Anton
-de cu catedrala din Linz - teza wagneriand nu Bruck.
ner, orEanistul fusese
la
contrazisd.
Ceea ce se impune a fi subliniat, ca o datorie fafd de adevdrul
istoric, este faptul cd realizarea acestei noi crealii nu a fost o re-
plicd artisticd datd opiniei despre viabilitatea sau nonviabilitatea
sirnfoniei gi c& existd doar o coincidenld temporald intimplbtoare
intre acest verdict gi desdvirqirea ei treptatd, anevoioasd, con$tient
responsabild, Asemenea mdrturiilor din crealia cameralA brahmsianil,
asemenea Concertului in re mi minor sau a Requiemului Gertrnan,
Sjmfonia in do minor se inscrie in rindul necesitdtilor creatoare obse-
dante ale profundului ginditor simfonist gi nu poate fi interpretatd ca
o deliberatd demonstralie provocatd de previziunea lui \Vagner asu-
1 Riigen este o insuld a N{drii Baltice, situatE in apropierea coaeiej
Ir4acklen'burgului.
104
96I
', , ler^of et sruqeig ep : ggBI artqTrraldss zI pI ,uuplunr{3s ratEIS
psrifirll i$ mletrrod ad p1e1ou ,,,urdlp lnlnu
lnles
-ro3" E prrral plupuorsardurr rS plsrxe uinc gdnp,Z9BI Inup ug r$ lup_rantr
pareJoqelo pzpaxrJ arp3 rlznlp eAalJJ paueurasp ap plsrxg.(69.rto) tou
.-Iru .op ug rrotl nO lntntralln,r3 erfearc rS prnlrlrecl uJ psnd r3 e asiu-roct
arp3 rrI irp'ggBI Inup ulp psuJ plpJnluoc purlJ ellecl ra purrd'aJr{srrupz
ap sacorcl 6unlapug un a.re (AS 'do) roalu op u! lauolwts pJrzntn{
'IE3rZnU.[
-I--lenappUlllinldeTurJrpuuis'1sioaoll+lllJnuusorp1u/;r1xauiurserr.soluqr'JerJl,nldl,-alrpJeproauoeuulpJo6nu,euppa1lrp4clse{JeIlonpoelutrlllupsIoeenqaalrr;1uuaaooprrpJJll]drx$,IosnpuuIdBaarnJqllpaOopdrJt,lgeglaa1lrepenngrlplBpIp;rrn,arre1ptJlrpIT1IalIpsnleusaruoluJ6acarit6sulerga,raruuelap6trioeeJuls1ar{n,ur_1urIl
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aorzpJluoo palnd. .re at au
-nlJpm ernDulg 'p:lip uI atplsaJrupru ap rrdrcur.rd elaun gur{sns ps nps
tn1 gue;od.uotruoJ p;rznur aurIclaslu,gaclsrrlaxalsaalprrJfrcuaJ;arplocpl laprqdusrornl lpnsroalr:zeorduuro.rctl
eloJrue Joun pa-rplnrnroJ
e at{eurlcug ooJA alsa}p ps aJpJ alueurnF;e purrdsep as nu ,es er}ea"rc
rS efein a;dsep ptrsrxa aJ pJnleJalrl e1e6oq uI alunuprue ap xnl nJ
aleluazarcl 'surq€ig rnl alrrplsaJiupur aleol uTC 'rnln-roJrTA rrcrznru pld
Excmplul nr. 92
Singulele clate certe in legdturd cu desii-"'irgirea primei simfonii
provin din vara anului 1876, petrecutd de Brahms in liniptea izoldrii
de pe insula Riigen, ambiania marind nordicd in care compozitorul
pi-a regdsit cleplina forfd lduntricd. pentru a duce la capdt o muncd
inceputd cu doud decenii in urmd.
pprleimridtVatrizeeiaualnizeraanreulzuaiicBisi rapa,uhurmrems-datsoueapsrrctaeiesinitmrtrefuoicnshiciimpl a-fotdnciiianbtgrrauehnmtodsetiuemlneianxnimepadrceeczaoesmnti-l-
tind o ervolu{ie de la erperien}d la treptatd clarificare sau irnplinlre
a ei, aga curn se poate constata in manifestdt'ile unor presligiogi pre-
decesori Haycln, Mozart sau Schubert. Concepfia devenirii
coilstante a muzicii, ca proces supus permancnt c'volufiei prin dezba-
cteornidcuocentraacrtiiiu, nlorrainsoancourmduclduriaqcei edaigaileimctpicreestiroannasnfotdrmsdtdripidneiresuabsutanni{t.dl,-
tii Si fluenfei inuzicaler in prima ca qi in ultima sinfonie crcatd de
Brahms. Pe accastd consicieralie anticipativir, inr-erciun sd surprindem
aportul brahnsian manifestat intr-o perioadd in c'are genul era con-
siderat epuizat, urnldtoarele simfonii brahmsiene ioinp.aVfa3ra,9s4emSnie9loBr)
fiind evenimente consoiidate, unanim-
agteptate si
de intrebare cleclangate de teza wagneriand intrc tirnp infirmaLd,
Ca aparat sonor, compozitorul opteazii peiriru o orchestrd cu-
prinzind compartimentul coardelor, al sufldtorilor de iemn (pererchi,
tpcimeutepe,axntcrciel-op'irf.tiaroOmcoobnroctnrhaief_asgt-rodstuodllueici)it,tiapali lrdoaomlaSarmnintuicriuliolntrim(cpoaamtppraounttcre,o.narl;naliu,accnrlsodaurmdii)btlrluiolunai,-l
dar menfinutd permanent in concepf ia expre'sir,riidtii clasic:e
s-onocrcdo.
o desenului jnsfrumenfal gi a invdiuirii lui in complr:mentaritate
Ca arhitecturS, Brahms respectd echilibrul structurii qvadri-
partite, realizincl insd o noud concordantd intre pdrlile intregului.
Condus de substanfa ideilor sale, compozitorul plas:-.azd procesul ccn-
flictual in pdrfile extrerne ale simfoniei, investind mecanismul simfo-
nic al modelelor clasice cu elementul de actualitaie psihologlicd (inten-
sitatea conflictului, persistenla lui), cu rezolvarea lui indc'lung pre-
gdtitd de stadii acumulative (partea a doua $i a treia) 9i declangatd
de for{a ultimului gi celui mai intensificat contrast (intre secfiunile
Adagio - Piu Andante din partea a patra).
Prima parte a simfoniei i-ntrocodnuccetipvut(dUninpfoocrmo dsodsetensountoa)la;i(Aalliteu-l
gro), incadratd de un episod
conclusiv (Poco sostenuto) 1 - prezintd o noud mdrturie de adeziune
r Indicatia ,,Poco sostenuto" este' dat6 in partitura edifiei Peters (nr. 521),
folositd in prezenta analizd. In partitura editurii Breitkopf & Hiirtei, indicafia este
,,Meno allegro".
196
tbI
'('re 'd 'prcc
-Iznur 'l.rpg 'g-q61 'Il(arnrng : Puernol PqurII ul e:ornper;) 'lnlllsI sorlcsrqde-r6txiq1g
qo1 '/q6I '6rzdra1 '(ttroplrg ul ucqaT urag) sruqorg souuDqof 'p.renp[ 'ssui] .
'(pcluo1 aci) 1f lgd TgBiaIarB B ppoJ e6eer1u1 13 e: '(plueuluop ap qpped)
pilotl t3 tnrd. ntluad Dlari D .IalDuosl u alred eurrd urp (uere11o,rzap) quetpour aunli
-res e6uarlrr! 'nlzrIl -Tpilr luP oJaz 'PlnSPlsop BA os attdeouoc -ISBaoJB od t
: IJnsPu ]do Ipunu op plpluozlJo Is
plsJrlJaA oJpzrlpriuaso plerue6 o-tlul tolirA IpnlJiilLroJ Insesolcl pu.{1
-unup Is ri,rglf,nl p PlpluoulppunJ paap{ puizulldns 'o1e1txa1duro3 gl{qpJ
-rpruor o ap :lnqap un olsg 'Alsalctap ulsllalpci uJ lpldoJ} as-npulnlrp
rS puIpa3 rpp (g,inspru p,rlpcl p u-I lueulrulnf, lrund nf,) aunllJe ards
Ielllul pulfnpuor '(lnpg pi spqpJtruoJ pI op 'oJlsaqJ-io ttba:1u3 aIIJoA
ep pleuolul erluol) Plouos Pupolof, pruild nJ plppo pzuolelsttt os In-iJ
-srlprup-Ic 'sllprupJp sualul alsa 'irunrfJos p PJnsPu pulltrIn ul lpunppal
rS ApJ6 rnlnrlsrBa; alplllouos op olpf,Jplu all.inslncirl1t olsad 1pJluoJ
suas uI lBflJIp '(ap ap erieolor) unuroJ lcund utp 1tu-tocl 'Jlpolaur JoI
InsJnS'(p-ltt p'p-II p'I pABlJo) p:ouos Puoz iSPooJp tII Pnopulule Jei)
pI PllplpoJ reprpoJ e1 uun) Ip-llsaliflo lerqrutl uuld
'{utua1 ap riJo}PIJns
Irtrrrads un-JluI oJpJorJ ,alpJrznul rapl Pnop pcruo;r1ocL olpllauellnluTs
p-uurlspaPalcu3lJxrralrEnPsdalnnscpi-u-r,,;zaoslurspnpoe]u)tfrepzlpuaanpspaIpSurJnPlulIlpJpIdAoulrJcrpp'Jn"puPrJ6JlqlipellppuuolllnJq}oI-nlrslcndlrJooplrzapodzdeual[oeFJ
'(aleuotiipell Illruqal ,P ,,arez
-rlueruor', o pl arede aJ lJadsp) ps pJiznlu op alpJlSnII eiiapl plurzarcl
aI alpJ ad alrqerelcturt rolrrnsuas p olpztllselci ap rrfplrsarau apundspr
tS ec lsoJp ul iPG
p'iaa;r-rseallceuoorlfeusaurraaidldeurruaxlool alIPIolaJ u3 -PJIluuooruuIoJreu
pullJ a-IelrrcurepunJ
oJpollqap
ap efutpuol) uersurqeJq InIIls uJ gfuaueruJod op PinlPsPi] o eJ :aund-ulI
as spq ulp poJOA pll1salul olsa alpJ nr efuelrodutl 'tuDalra1 lnl
-nLuamboa u e1;ed pioJl p urp pleurJ p6ng efiearlgi rS unraJd llolpalJ
rnlnsaoo.lci pa.Ilqlocl pl PzpauJiIIeFuS os toulul op ut lrIuoI4JiS aJpJ nJ
aJptJnl 'tottlLLr ar u[ uortl ntyuad 1n1n1rccuoJ Intrnqap rS asezrralle-t
'arouos latfrnrlsuol p o-trurlt-tcts a]p]Ilppol{r ec 'ttfp}Ileuol pJIuol
-pJ 96ro ap In]3und 'I-inlone;pJluoc ap tueclurtl 'unspqpJluoJ eJlpJ ap
ad rS
(8,'lg rnlnrlaru e auil1do o.IpJor] ed) lrqerrezrul IS Jlulolnd PlpJlplu PJouos
aJeluarrrepun] 'ru,IoJ ap glnurf '(op) gcruol ep Plppod o ad arur6a;1u5
u-r plrn-r:lsuoJ o+so eItrJIZnru r1{e:luacuoJ lo}soJe e aunrfras BruI-Id
'glpals -TolJalup
pArlJnpoJlur arfcloouo: otBJI.Io uIp erezlptfuasa ap BlJo] alSaSpdap
aO aIpzIIBaJ o-JluJ ilJpollt1 ,IoIIJalpqzap aIaSIuIoJd pzearlua3uoJ aIPJ
(a1ua1 rlraJnporlui pounlsuorurp) rr:prcnl alp rJnsPu ap /t alaruircl urp
prutrlp os uelsutr{e-rq 1ni-rodp .ieC 'PJISPIo PIpln}Jo}Iq-ru utfdecuoJ pI
Exemlrlul nr. 93
198
66I
B P+BUOS ap purloJ urp alpcllJuud raluatr p psrrulrJ : rXtpd larniJd
ptnlJnrls uJ pllur
pA oJ pldurs pJrrulrJ plnlal o ocl lruJod'1ouaq 1ra r* 1os eiolauns od
lualsrsrn lnrol urp ]rnlpJlp ArloTrr un ad gurlrrds as ar pJrznvr'(tZ-lZ
elllnspru al1u3 sulrclnr 1ar) ruaJnpoJlur alrunlfras a.rtrurp ai{izue;1 ap
luaurber; Inun pJrznur palp r:n 1ue1;oclurr ipur 13 1o.r un 'suos +saJB uJ
'rolJolln JluoJrrrrs Inusrupurp u1 rriecrlclurr alrqrzrlorduri ea.tu tol aJ
azrrsaldxa rr{:un; nt plrlsaAur plrTrrlrr rS p1e:qrur} alpJrlrlpJls o alsA
96 '-ru Inldruaxg
V6'ru InIdruax1
'(gO 'xa) (olerrzzrd
ui) aprpor u1 g1u6o1erp araurfsns nr rS (fO 'xa) urrral ep litolplJ
-ns pI ludocurs ]up1suoJ JlurlrJ stnf, u! {eluapuacse p1e;o$rru q+utAJ
o op elrfrpdsep 'aluapuaJsop eJeru plxos rS qcru qrurlclos) aJrlpl,ralul
IJnllps acl a1e1d1nJs luls a,l,r1u6oro1ur olrJnsuos ,plerrtrrldrurs Irqpztsas
pJnlTrJJS o od'pJpoualui ra ea;ernSpJsap uJ r$ 1Jr,(orfradso:1ur a3npp
aleirzonledrur rarpJ B op plpJ) plporJalup pJrznur nr erfular uI illp
'p{uaprna nr qzealado [n]se-r]uoJ 'JSorrJ urlJns (OZ-O .sptu pnop
e uaunr{cas) eruolqrurn trprpour porznur urp alrlaropul
iS alr-rpqolluJ
'rTraJnpoJlur u aunrfces erul.rct uJ Jeluazord ,1ugr; lu3Ap lso:B od
Exernpiul nr. 96
Jocul sonorr progresirz imbogdtit ritmic 5i dinamir-', evolueaza in uni-
sonul coardelor cdtre momentul culninant al prologului sirnfonic (s:'c'-
efaciulfiuirnsameicvaatditvd,aeUitnrl-teimiianaate-psnaeirsmcettadiuitsnen.ter2i-m5aop-i2ienp9rtoar)ost,itdvamduzocd(mefeoreixrintpi(tsmrscindismsivc.oda2)r9en;;-oitu3ede'moi)ia,acrimodpnperceienCtuniole'rltalocusa-tmdz-,denciteoeJni{ite\---
dinfe de relaxare, pe o construcfic polifonicd alcdtuitd clin elerneirl-e
cunoscute. Se reliefeazd tema oboiului, prt.'luertii imitativ cle flaut ;i
continuatd de violoncele, desen instrumental clepdnat paralel (u
amintirea temei inifiale descendente, intonatd cie crorni, preluatd cle fa-
goturi (in octave) gi cclaorainrdeetein(inpteiarrnleis),spironloifo. nfrizeacrdeIoinacrhce.aiastdus1p1c.,'.n(s'filc-
denfa
rc.alizatd de
pe acordul de dominantd, abia perceptibil ca sonoritate', ;;i rezoh'arr.a
lui (forte qi fortissimo) pe primul timp al noii migctiri (Allegro) mar-
cheazd granila dintre muzica esenfializatd, genial captatii cle traditio-
nalul fragment introductiv gi cea amplu desfds;uratd in cadrul formel
de sonatd a primei pdrfi.
Primcrle patru mdsuri ale migcdrii Aliegro prezintd o noui parti-
cuiaritale a viziunii brahmsiene asupra construcfici muzicaie. Aparli-
nind la fel de organic secfiunii introductive ca qi secfiunii expozitivc
din forma de sonatd, ele au rolul dc evidentti suclurd erpres,vei intre
compartimentele concepfiei arhitecturale, conceplie estertict'r gi tel-rnicir
ce se inpune printre aspectele de sintezd reaiizate de Brahms intre
construcf ia clasicd (clar detectabild) pi fluenf a modernititlii roman-
ticc. Aceeagi concepfie va apare gi in tranzitia spre reprizd, anllme,
apartenenfa ambigud a unor alte patru rndsuri de sudurii intre:
secliunile formei.
Privit in ansamblu, intregul Allegro de sonatd se va impune
ca fenomen activ, declangat de forfa latentd nucleard a episodului
lent inifial, fenomen dinamic ce va inainta ferm, priu autopropulsare,
nedetagat de calitdfile substanfei originare. Principalul personaj al
muzicii (tema I) cumuleazd in fizionomia lui irirsdturi de pregnanld
200
r0e
p-unlnsJprauodEJpd'Puqlprllupqoassrora3aprpzlnoquu.rrr9rJopJ'alplppzllllPpzouttlruoo:rlJlolpJlunnll/po+anuppalrppuPu-aaallpspusclaPpPo'IoJI'+I^u'uIpdlellIu6ullnsl asd'PoiaJBpsrullppPrlooZIJpJlaJaualperplzus{sJlJlpnlpnqJl
uo-plJr?AlrnruouIlrulrs'PnassleIJc'Iu{Irieusuuot.altdlouplraarJuloealli}lJnoerlfsPualaJrzcn'tasxradI3oaJ-p-oIl{lpuIuJIJ-I'oIpJrrOuInIo.\lulonapquaprpoludIeead-I'PuaJolarpplu'oaollBpoul^PIJ}lonIapI
raze; pilurrzaduil ul pllozar os oJ PJlpolaru elelpctsordurl op alulpual
olarin plurzard (Ogt-Og 'sPruJ aunlsuarulp
PSuIlul ap alunct 6
'alpJrznru tatbrnlerueJp e pzpJ pnou o oJ]
-u-Iqreu;rroerprifetrz3liuuaerlSaJlar-SIaarjlus;sanlap1s6na1arn,cIdpl arrrSuuJlpplfuuuonJrJuuJeoerruorlp''{taf6,r8f Prz'lspoPpcualxtd)oI'PIJnoIJlulpureIuJtIPuuu;ropu} iitnnelinarruelrufrnaeSur
-plsair pzplullqns I-ar op ad elepacl rS g1e1e-td.talul oInqaJl suas trseJP ul
'ra ufplr.trsardxa p aJpJlllpou ap nu tS aledtrut,rcl raruel llroJuoJ AilJp
rrJ-SnaollunuerseruuferaJrnsolsl;alB/rqnpJ;apJlJubopeaJu1urJlreursafruusoaanpllpsuqrplnsarsaapIdIplpioItJfprnlJplrpopuisopoI;lAluaIlnlls'pPlnlZi-llppluqlnaIaarJlpllrueplp1ocua-ilpeluosl oeepllclaPlap-lpupoonz(lJl9on1l'uaJ'srltpaiopJrrauDlrroJP_Ip-Jr.
-nfqlsap ulp llJerluoc alrifelar nou ulp atniuplu3 tS pzeaxttr aJeJ ale.Ioq
aaplr}rollrleulllrouulnIIBlsg:aepurot:clriiapuuiroloru1)
-e1a'{ant1n}IlsuoJ pl orlualal ap'p}}ar}s
nps arpluaubnp arpolPllolzap rlrp+pJl
utrd 'IupluauroJ olpr-Ipn u1:d p1e11o.Lzap
aacllryrcposdpsn1uj.rgl1uro1eJpopuur{aa}la'luon ea:oundxa uJ pxolduror op }Iqasoap iga(
86 'llI Inlduroxg
-G_rluI e auntfras pnop p utp anrle6oJolul JolTtnsuas p',(/,ta6^J',rx-l.ud.\rjuIelrdPrInopp
r.i "'1ll
LO'Ju Inlduraxg
-lI o pJ pullqcle pzp,I; ro pnop p '(96 'xa nJ ierlsnlt) oiftzuerl ap Inlnl
-uau6er1 BJrznur ulp pu1nrJap pzerJ Ia Burrrd 'anrlonpoltrur IIJIznu alp
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Stefanescu, Ioana - Johannes Brahms
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