Exemplul nr. 99
h llog"c
0h
ceea ce-i reliefeazd desfdqurarea in ambian{a iindegiloernmeruazliccaolencienpvfeia-
cinate este pregnanfa timbrald a oboiului gi
vltooeirorcrnilheemelisoatorrrabic,foeipeiueis.leutariaeclo-pdmtteuprgaadilndpaitaructiermoaaatuserelt,uaiv(vifdnaiodglirootentdg,ceireseotlsaeruelliebzl iilntiodndrtcolbeinnaicsanouldtln),.toupDremuisnlteeidlnoecdszofidiengpt-ruizinbraai'rgvrteraiaaa-l
ttaeincaeusadteteilasteemimnetneasrlveianvladdediaelotoacgqtauavl6foc. lradmreiuncleaut-pecloiurflninflaa(mludt,d-osc.baorLei4, Biign-iisidm2ia)p,luosngeemcsunoancloucrpiotlann--l
clarinet-fagot. Pe plan expresiv, motivul conclusiv al acestei teme
apare
ca o iegdturi cu sensurile actirre ale primei teme, atenuind astfel
contrastul imprimat de inceputul ei incert gi sinuos,
trafd de sirnfonismul clasic:, Brahms realizeazd o subtild comple-
mentaritate intre ideile formei de sonatd, parfiald acest exemplu,
tidoetaeidcainreceinlcceepuermsdeaszed,ananuunmteed-in in
in a doua idee a grupului
secundar,
mdsura i57. procesul ei formativ,
decianqat timid de viole (in piano) gi parcurgincl o scurtd inginare cu
unisonul vioriior 5i violoncelelor, pe cregtere a sbnoritdfii
pinil ia o graclatd
(crescendo molto) afirmarea ei viguroasd din mdsura 161 (for-
organic forfa de acfiune a temei principale, impri-
tissimo) , continud
mind muzicii inclegtarea maximd a cursului ei din cadrul expozifiei. in
unul din momentele care'ilustreazd
ansamblul lucrdril , ac-^sta este
deosebit de direci aprecierea lui Brahms asupra procesului artistic
dezbdtut in genul simfoniei ca problematicd ,,de viald gi de moarte,,,
-
Exemplul nr, 100
Motivul de bazd din succesiunea secvenfelor ce alcS[uiesc versantul
ascendent ai temei nu este altceva decit inversarea motivului carac-
teristic din a doua frazd a temei de debut a introducerii lente (tema
202
802
-odxa uJ asnrqde leci;r1snl runc e3e) aledtcui;d larual tuplado-r uartl
-oJo nJ 'pp{p6oqurg ar{erlsaqrro p:eo*g;sep os pJrznur a3a.Ieoail
o ed
'qArlpiag 'arfrzodxa ap PlpJ alJlaruls PAIIEIaJ o qluizard ezrrda6
'rou-ro] oiruni{les a;1ur gcrue6
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ul olrroJnJ
ra poJprrlrrdxo ug IrpJIJIpou rede elseaJp Plpp eq 'erftzoclxa lectt:lt1ue
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aundul as aliltz
Plrlrrd '6Ll-LLi
alrrnspru rilp (apreor-1o6e3er1uo:) a1e6o1erp elllptrnlarcl u1 plerfrur
ini prruouolzlJ ul rS lepar iJ pA aJ nrlorrr 'it6 'xa - uiual op JollJotrpl;ns
zilie, cu intentia cie fixare a ei), cu eliminarea primului episod al
punlii spre tcma a cloua gi
cu augmentarea fragmentului de tranzifie
spre urmdtoarea secliune a formei de sonatd (Coda).
ln Coda, rnuzica se anunfd a fi conceputd in spiritul unei noi
dezvoltdri, dar elabordrile concentrate cedeazd curind locul unui in-
tens lirism (md,s. 477-494) , limpezire sonor5. pe care Brahms creeazd
un epilog primului act ai dramei (fragmentul ,,Poco sostenuto") in care
eiementele de maximd pregnantd ale introducerii lenie se intilnesc
intr-o noud esenfializare muzicald. Revin bdidile irnplacabile pe to-
itnnuiicrtaiiia, tlperaeg;s;tiicedccoaanrtersaupfobuirncr-cn,tcauturiealuai.aeDsciaedrnepdsuecrenitntadtceernaotmdpeafixticecaadrzeddoiinnimcdpoernbimtuindtuuatlrraetenmnsafei-*i
gurarea versantului ascendent aI primei fraze din terna principaid a
formei de sonatd, apdrutd in rndsura 503, reluatd Si larg desfdquratd
treptele principale ale tonaliidfii do major
in mdsurile urrndtoare pe
(pornind de pe dominantd qi evoiulnd ascendent pe ambitus de doud
octave) stabilesc coordonatele unui sublim echilibru. Armonia ultirne-
1or mdsuri, creatd de lemne qi corni pi intregitd de coarde pe tremo-
lo-ul timpairilor, invdluie in piano grava descdtugare a muzicii pri-
mei pdrfi a ciciului simfonic.
BomranghPi sacragteinaadrtaiitsotir.lu-Eal-Ls{toeArnnoadnaptnaictge,inisndoslcitreeicneduat,ocdeienpadcrnenisintmda aainjoarv)vauillut rnrieapinirternzeoibnbtddirlipcgaei
rbspunsuri, priviri in urmd gi ndzuinfi, simldminte de su]:limd linigte
gi de inaripatti pasiune. Forrna in care compozitorul iql concepe mu-
zica acestei pdrfi este cea clas;ci, de lieci, dar in structura ei iripartitd
(A-B-A-Coda) eI integreazd tenclinle clezvoltdtoare gi aspecte varia-
care dau remarcabild cornplexitate formei tradilionale. Dac6.
finioncaeelea ce plivcgte unitatea ciclicd Brahrns continu.r sii clezvolte arta
incorpordrii motivelor-subiect in desfdgurarea acfiun i muzicale gi
dacd in sinteza dinLre forma de lied r;i principiile simfonismului dez-
voltdtor construcfia sa se poate sprijini pe strur-'rura tripartitti comund
celor doud manlfestdri arhitecturale', 1n ceea ocenlotruivdemgtoedraelaitlaiztaeredcet
devenirilor varialionale, campozitorul impu-ne
transligurare a ideilor Si componentelor lor tnolis'ice. De data aceasta,
el nu creeazd varia{ii pe o anumitd temd, aga curn concepuse muzica
pdrfilor lente din numeroase cicluri camerale, ci i;i conduce discursul
degajat de principiiie de severitate proprii tehnicii varialionaler con-
solidindu-l prin cliversiiicarea arcuiriior melodice generate de moti-
vele din cornponenla temei principaie, extinzindu-le permanent
conlinutul lor liric.
Logica clesfaguriirii tripartite (caractci isticir intregului) poate fi
surprinsd pi in organizarea interioard a fir.:cdreia dintre secfiunile for-
mei de lied, secliuni incl-reiate sau sudate prin tratarea variafionald
a unei idei. Tr ipartit csle concc.putii 9i linia melodicd a temei prin-
cipaie, evoluind pe conturul a trei motive, fiecare avind pregnanfd
expresivir prollric, cu irnplicafii in dinamismul variatrionai ulterior.
Primul motiv (rn6s. l-21, intonat 1n piano cle r,.iorlie prirne gi fagotul
204
9AZ
'(t6t 'xa) A-Iloru JnlnrrrTrd e enop E elnler ure r
tOI'ru Inldluaxa
: raluoJurrs a1e uglSrru lolorpolpruJrt
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ar arfdoruoc'(1elodoi noLI urp zarp oy) leury inl InrnluoJ uI'plJpl3
ad gcrle,t.ielur aJapEJ nc 'rfrgcl rorurrd 1n6o1rdo tS 1n6o1ord ulp PJIlpur
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ptppJul as p arpcl eJ Plntu
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-ua1
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eaIpnfupuJooogzll-spI-iqusuuiJnornJoolpIpotonl'ro(lnnoupr.tuIror:IsnlrJsziprorIpiaedIr'uludpr)IroIqttpur{erglPet1rJtr-irItnupooluullroplo6sIplpopoezrteooPolpensPluetJliinSdludooaurpst.ftaPlc-l}(It-tplf-,lElpupu'1{srupen'uo1urr$O)e;tlnuo'uttl1lsoroueuudpr
oJnualtoe e.fuePU\t
I0I'Ju Inlciulaxg
hlelopeea oboiului este preluatd gi continuatd de clarinet, pe fondul
agitat creat de sincopele din compartimentui coardelor (viole gi vio-
loncele). Peste acest fundal sonor, caracteristic pentru intregul final
al secliunii B, incep s6. se afirme evidente tendinle dezvoltdtoare prin
care se modificd expresivitatea liricd a muzicii din secfiunea ante-
rioard. comentariile survenite pe diferite planuri orchestrale, intr-un
luflgiiiemrtltmidiinmbal(adurAejlaac-ereoitexmmmimsaiotetemtiziinvaapfejtcro,iidnrme)pc,iadi.psrtuiecanhsnldeiezasuadzcbndiuinlrnptaocemfureraspagrilsiemfdtilecieeean-nftfadatvdtacdreareriaaitdamr{iaimoensneieznagcifslfiieiiu(upmnnceeedormnsga.da7iun6sfceoo-e8nnrmt1olaa)reitcaarieottedranie,---
Exemplul nr.104
buit viorilor prime (ca gi in prima secfiune, dar cu imbogdlirea arcu-
rilor variafionale melodice gi cu organizarea acestora in grupuri de
streioldeetes-fd(geoxa.rd10s4u)lbUsremmdntoual ruenleurieinlutdernisaifliecatet mlireisi (mm,dsc.u81degoi sme6bsir.e95in)
dvimreinzepacnrofleiirnivnuipzt-oibgeilitmaicindees,i.Cot1orr0and0ataamgr(eimeundfrtimsnin.additl1udo6-a,i-r1cec2ilnue8d)r)s,ruprdlie.oeasRdrciaohscilpzuurinrlimsdsudoilmlieinasitgteimicrnveeainlaoleddviceciou{sriuinimibtopieinmrsoatde-t
linigte prin intonarea unei ultime variaiii a motivului final
Exemplul nr. 105
qi incheind in sonoritate stinsd gindirea muzicii lente, prin vibrafia
adusd de persistenla sunetului sol diez (lerl,a tonalitdfii mi rnajor],
indlfat in registrul ei acut peste repetatele coloane de acoduri pe
tonicd ale orchestrei.
Partea a treia (Un poco Allegretto ecogmrapzleiomseon-tai-iitnateIafaNbedndiael
major) prezintd o evidentd tendinld de
continutul migcdrii anterioare. Discursul se mentine in zona de seili-
ndtate a muzicii lente, improspdtindu-se insd cu substanfd muzicald
inspiratd din sursa populard. Fafd de intensitatea liricd sublimatd in
cel de-al doilea tablou al dramaturgiei ciclice, elementul de contrast
206
LAe
parglloisualurp pl ap ealebotap rs urnJaJcl '(rleorzzrd uI'a{aJuoloiA
p[ f?J{uoluJp pareurlsns nJ q}purquii nEs) IIIud rnlnutoJ e pldurrs earel
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g0I'ru InldInaxg
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rs (pzerJ errlJd ug)
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plurnr ap snlrque un eI sulJlso-r
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eJpJ uJ BrrrJog
p1'-aueJJrrptsS+rBrsgItoJnrJSlrnpurpuaEorlrusupldrunApoIrrplJa1atpnrrzpuqpoJoar1lJreasp1JdBo$oAepurlIraIpucarnrlrrSc.irdrflnsrngulapdrJfl,uu(lzpopnlcperuuuuovoJsB,aap-prpraelrtpllluJuoaerutr'JoqrreaJrnfllrdnsupu-dgdJrooredJpJlInJIInadrlzJaenpnf:suuouuaorerscuapg)Il
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-uoJ Ip 'aropol ep lcund lsaJp UTC 'aJruoJrurs rrunifce paJpzTrrrpurp
ug tS 1l1s uJ Bra+saJp aiirfecrldrul ap IS prrlsnJ BaJpoInJ ap snpp alsa
frazei pe tradifionalele patru mdsuri 1, corespunde intenfiei compozi-
toruiui de a se menline in spiritul muzicii populare qi in specificul
manifestdrilor ei.
Prin becarizarea lui re bemol din a doua frazd, este pregdtitd
modulafia la tonalitatea dorninantei (mi bemol major) in care se
desfdgoard cea de-a cloua perioadd a temei, Fafd de pregnan{a tim-
brald iniliald (a clarinetuiui), repiir.;a muzicaid din perioada a doua
(distribuitd lemnelor, dar cu consistenta invdluire acompaniativS, a
coardelor) prezintd in schimb deosebitd pregnan{d ritmicd, pregnantd
conferitd de o celulii ritmicd simpli ce se va menfine constant in
desfS.purarea melodicd. Ea imi:rimd muzicii un sufiu de dans popular
care intregegte imaginea rusticd (pornitd pe ton eplc) :
Exemplul nr, I07
Dar nici dinarnizarea ritmicd, nici amplificarea orchestratiei nu modi-
ficd simplitatea gi spiritualitalea muzicii. Repetarea nesimetricl a teurei
(cu ldrgire de doud mdsuri la fiecare dintre cele doud fraze compo-
nente) intr-un nou colorit timbral (aI viorilor) gi o noud sonoritate
orchestrald nu face decit sd intdreascd intenfia compozitorului de a
adapta muzica sa la maniera variafionald specificd interpretdrii popu-
lare. Doar in tranzifia spre a doua fazd a secfunii intervine o elabo-
rare armonicd prin care incep sd se anunle transformdri de ordin
simfonic. Clarinetul continud firul pcvesiirii lui cu o noud idee
muzicalS
Exemplul nr.108
pe care o preiau flautul gi oboiul, apoi coardele grave, in timp ce
oboiul, in acelaqi ton povestitor, o continud gi o dezvoltd. Alternanfa
strinsd dintre eiementele expreslve (naraf ie-dans) caracterizeazS. gi
construcfia noii idei, dar Ia aceastd trdsdturd din desfdgurarea orizon-
talir se adaugd in acest moment un pius de culoare epicd., prin fun-
dalul misterios de baladd nordicd creat de fesdtura acompaniatoare
din intreg compartimentul coardelor, amintind particularitdfi ale stilu-
lui brahmsian din scherzo-urile a numeroase creafii carnerale.
1 ln prima expunere, fraza iniliald a temei se desfiqoard pe dimensiunea a
cinci mdsuri; in a doua ei expunere (la viori - mds, 19), pe gapte mdsuri.
248
602
: raruolwls InleurJ ulp aualua^oqlaaq
roglal ale alpuorlpuolur alualuala gzpozruoJaJd aJ nou srpolaur rnluos
un-rlui pzeauaroup as 'pnop B razBlj e PJIpoIau prurl pI ap prnr^ap
'ertrIrd prpor1 'p)llcp allDltlluwas ptuaubard ap pyocrznw a(odlclluD o
oreclu pla.rpJ InJoI uI 'pledrcur-rd pmol urp apeorred raruud e, RzeJJ pnop
e-ap pa) ptrpururla oisa pulr lnurrrd uI 'pJrrroluTs aunrzrn pnou o-rlu!
u(orzrcrolqpczsaaapzrr-oreu1rnorJr1e:eaduonrsfca(s.roeleurrn.rdIo) uIpallqluiD1IuucrIz)nrpuraInJlplppruJoaulBnrftlrcaBgaJplBr:[
'nrpc$rru IB IpJIznu Ininqap uI plelragoJ o)Ilsnr rrut6Bmr
uolelrrrd azeri):Ilp ps pnurluoJ raruo;urrs o alual lrJoonpoJ+ur p)rz
-ntu uip surrdsap luopuaJsap Inliloru i:cl rr:lopreoJ p pnrsardop ecrldar
rs uuial ap rolrJolplJns iniu,Jrurlrechno: ur roI Inolil nr 'ro1a1adruo.r1
r$ rollutoc rl1e o116un1ard olotrpuutas '(yit-OOt 'spu) runrfcas roulrd
parpnlar ards erflzuerl uJ qleluambnp alsa lr3lznru p arezllpuBlp ap
nr'|aaluuIprnprrpaualacrpul J'rrBnruc1nuuifo:rr:roce[slerS1deoluJlugoarllru)n-brlleoJpsJPplSlspaI]nlulleo,)lr)ezlopucctlzlulaprorrudrooplquolar:lrdlpJa3nlcaapedr'nreo1fpulp6ulall:o1o^duzratur1pd
: /6-C6 'spin (q
: 16-69 'spur (e
60I'ru 1n1druoxil
'rJnspquJluoJ DI rmr:1pd op rtolpA ug 'aietfrur oJllpruorJ r,lfuop
ppIarupzJn.rlpouro-d-lealurotrmnuepp'uIanr]uo'pJnulslIastcIltxlaaJanrpeorrrJlrusiol[upr
-uatrsp JoIlBorrIdrgsJspnpInirrooJl
-Je.rp3
o$a J-rpolaru Ins"rnJ 'pJruo?prp o1n1t:nd putlclop u3 rS a1ern1p1e o1dar1
ad arrnpun r3poo:rB od'(orle1:o ui o+tsIqnp tS ofral ug asndsrp rf,on ul
rrolpiJns ap plprJolur) azu:; raurrtcl ollunlxalJur no pfueuJallp rr3 Jol
irrB rolezllrls sirro.rd lsoJV'(ro1op:uor olezrlredor a.roului rS aro[pur
i):ilropuaJsap:olrrliod:p Eounrsollns u3)
ra p pzprl pnop p-ap pac urp
aluautalo pulzrlrls 'runrf:os raurrrd n o1i;drcur:d tornal efuelsqns pzuarl
-uacuoJ pJrzntr{'rofutn rs potrp:irleuol u;'tr1, prnspur u5 odacu3 ozJaqf,s
op prlr.roJ rrlp rnln-ouJ areolpzundsoJoJ puprparu ueunrfoag
-nlnqep gri;r::.rcis- olllrundi:.l1'uJroucoJru$rlso3orzuzoalllullplall.lullerlnelsrol sepaIlBelrIpldsurzrnsIIIpsrunll
prnippl os u B.igJ 'Joualup lnposrdo rirp Jalsrur op InIJns pnuquof, os
o-roorBurJraoullsrpracadl.r((poqnz1uoli.lrri.1tu'ealrrunarr.r3rddn)pririaroor;ur)\f)uTar-oisniaasppprrflel Ron)r:ileeIeJdlultaourpluoaoazcraf(trz9dus9reB'rs:Slppuun)IoaIunlelrOderlcuuorurdr
ExemPiul nr.110
o;A5tsifilrmn#iin*fti;f-dcio'cr;ani;lipiitpnc.daStleit.*;"i.ra;onprEeJ-rpsse;ttr#tee"a,;tcuroioi.ulcal"dto;tiooa'titl;rluia;iii^l"ot;-iir;rrle"""e-;cliuipiiarnl"itrotioeii"ota,"iaau1"teueant,eat-cu9sm.o1ci.net"aersie(ictdsrrfozeouinnocucacua|neilna.nduasDtaroatraieennrre,moga$arredsifpiidcrdempeoerreniiionndttaedicandrit:updea-asielnoevlaedrec)soeneadiarisumetllaaa--
.cttcccmi5tcrgpitDi"eisigecsrcoil6tneeeleonuieoerpniisuoddJa'itptlalpensn*uprueee.edlntacme*cdearntnutuniltrciEcr,rd-eeaaPun#uaneaPelralzi"zarazsacfcdiljeelriiinriiefiiud,rdt,reco"cnteinteec,iee,zttmcilfirevirusnorreresnrr.teoipiaaAiifsoorelaplrlloi*tidinitricgit5(cccuennforegatrld-)icaelscliuricezo"o,euuncrcir;.aeiacep:oiUan'lnona'umr"dnstiicrdrtrpannuilaaetimd,-ncel-iupue-eatinarca(tipariiixaeaeebarlads.g,;ltl"zunurip"rcne,"use;"e,,upiro"oatau;',siplirti'intlcHoPiiitdiiiiir"a-atiienint"ii**r.t-r"g;iii-eirto".i,"mi"-'r-it-u;es"atinrr;in;ctzi-,m""c"o"rnuo1iiniii;biu"ooebsip"omtm;ro[;;e--,udl"-i""iIratniu"ip,-iraa-iI.d-iulzi;oui;rritcn",,;6in;o;piAie:ss--r"-iaca"e;"agltplam*ti"'itdri"ei-raia"ntarenilnio"ot;u1otelri"fu;iluttdo;crrtu&eo4llnrc'fduce"i"iszieeai"d4)eor,a;tiotuidetit-atdlscuai.eucirace-r1saosml*citlasueiprra)teno5rgi*at,sa'autrtpmctici1anniaiaouup"rvmpimi.ll)siainc"fer*iui^g'r*tcrnuiebilr3tofti"9eetiaai,*a.iecleeaoiccrlnruinziiuttnatrrcotatlliae"tu*"piiiiienlalaqducnnaiidtu'Filar"oiutp5r"tenl9itrgqriaieniildidc;oar":et;ern-9ditu;|rdt{rarcican-sra;vpa,:ai':toitron'ct1trstllitsieolegoeiems&tn5rauampiotuop"ippiraui",eumr'triai"'9tfodeuunst.tfaiao,5ma.no:irm'idctrilp;?gictialiinrim.lfcStoicet.:9ru.mlialaorro.1:i'i-eopdlnfc;nzpn1nci:difov"nppnilrvl,i:.&icncuabi!:csinica9reJinsrztn:onup.nteapaeiiel"1rp"rsadlcinmitgbecgetonorc"tiedid*asrupiiill(aeffoottnte)ntnaiistioidtrmuo-ttdnledosdep+afiuanr-9cnzaianscnrmrreiindeinaeitu9ethiaitteipinseceaezpmitecuricineiodottsepeimraear'ienlmactralconpiaaloadiemvsaetnrnrofhercIregepoc;etiicenntiioicee'tcidaidupnnaalnsdscadtieurpfiabreltaapi!naomouatceeal;lfnpirrproldrtc'nnlicdrtrosene5aiddeee-uaeaeier-d--c'--r-'i-l'
crenpufzieiccaedidnetrpn[t9eer;mteemzzoodparleitzdifnileid.rloemgdatnuii,creicidce]jcreebmiedrioreocratiroenscaleu,ccoitnar-e
a u.nor idei,
csloltirgraeicfaiaePnadacrelvtvseafatSaologeaurrieiiriVd. pr.Tiainraaa"Sid*airjilnmeiocnfotoiacnlpedireeapizirinfnionstrdcmfrocieerolinaocfnllucerror:snuno{sdantrareudtdmcirntigtavriedrcpatarroabmfdiuluidntizddeiecapinic,iotupgnairni-lnd-
21Cl
lIZ
-up qlllqns o pulzrlpar ,Jouos rnlnpautrieblrlpp+puo^zrsrtaotduaIprsppaslprIlJr^rsrsaa.rrEd{xqarllpusI
oJ plual paupd auprpunaJloEsdrrJSu{a-rrdur-rracIlIIaal}rrIoetApaplr{oppJIIpe
JrueCJo Ezpa.r6alur as aluauala urrcl
srur{pJg req '(ru:oc 'i.ro1A) alp}3o pl a.re3rIr}etls
Inn1loul urp osurrdsop
-olaur eaapr pnurluol
ZII'JLr InIduIaxA
ap ronrinfdaasrpuJol cplSpuueroo:rulxua1p'(a1Jopsz-rolrplsJ alelirua;1xa ap alo:Iouns eI psnpaJ
Ia nJ 'a.rprur;d o3rpolou rafuapuacse
e-a{mua,ziaaf;udaptBuaeJusanpdrlunrlgodserrJnpsI qpurorlasraulrp.rdpa1repndlrrpuilrSearrlfnprllre:ocul oIps uI 'oJrpol
e q1e1da:1
porpciJ{sualur urrd 'ia.r.e1co ui alrnqrlsrp 'one16 rolrJoA 1n.r1srl}ar u3)
'IprlsaqJro Inlqupslrp ap pleSelap pJrpouou porplpr+ ur.rd 'p:r6eJ1 lpur
iII 'ru InIdtuaxE
B:lspoJp plep ap erBdp rn1 efuelsqns'(06'xe) prerurrd ernlon;1s op PipJ
JrsoaI qIn'seuaa1es1ar.cIol r'{Pous eallpnlrquJlssaopulnuraspluuraorsualp'lJIpn^dIr}uooJJAIa'IlppsllpTruul JprluoJ
Jruolelp 'ezauab
Jrpolaru
ap rolalualuala allJntrpsgJl unsg6ar 'a1es ratado Ip lpulJ InlnJsp lnbercl
uJ rogzoclruoJ ap pleseld 'pJrlpurplp PilIuTI PJSpors pUJzTIPIIV
'alr:l3p riqlsoJrupul IoJgJIlo p aJpulJoJsuerl ap ti6a1
-IpntlrusaarriplouuntdsoaprooJronrdrl.)anJponlllpupl losr6'lpenplyrIIuJrupolJnurnrslnrfsiparrlor'pdraIpJl Pllurli Inlnlp
u ilf;pd nctz
siqJsop AI+JaIqo InluozlJo alsad tf o1ue1
-Ilnl-rrupdIpprJellnzdnoucrl lnrtltrads ap AIllarqns Insrallun alsad afuruaup ps
ap IInIP^zap
FiIgrnnSroreluldagoarlScscltrrpaustyariorsuidaacnLpna-lpoJrlussrza!1gpJSlrnatalrulup1SoslaoloL;pu,l'rIrruonldJpturuuaIoI3lcaJItafJnrcspn'na-ltnroJbloIsJsIupupnorIianJJPllJl,lprIeIoaIiuJJllaploualqasoupzJreoorpgrIpup'oI(IoIr(pa6-a1Jaal6u1J-ae1luIyIpoVuJnauy+nldrPitnudslIlri)ee4t.anI)Put+fqnnrf,lnez-lotJn1nlaeuuep1rl
-!IeJ ra paJpu{Jo}srr::1 ruSlp3oallsoalpIIIoPJJpJJnuI pI (Polrp6+eupotyu)pPpu}uno] lpaalaapJnrp:otiltrrpudr
roa-uJrlrutci lPplelplulpaiJnu+oJ3alrtqloreu
eifdaJuoJ PzBollpaoJ IIJIZnUT ei{on11suo3
r-TnJl1nSlpa.u:I^r{d" 'pppurJrlJzrznnnruuu.IrrSn,olurJiartlls1orlpelr-llsurpnlaonzpJolIuloeT}us6peel'rsr1ird1{3aepcpusPosIrPuuapJ!HJrIs,n,6IpJalinlqleluer'rsunoo1uqlqi ouqJl1pc;il:JouocII[
Ex emplul nr.1t3
\ rr.1I
Al doilea fragment introductiv (mds. 6-12) aparline cu exclusi-
vitate co_ardelor, fragment conceput ca o avalangd de sunete in
pizzicato, pornind de la sonoritdti anevoie perceptibile, pind la for-
tissiroo (la limita ascendenfei melodice). Expresivitatea acestui al
doilea fragment pare ineditd, prin concentrarea maximd pe care o
prezintd. Totugi, rdddcinile noii idei sint de gdsit in muzica introdu-
cerii lernte a primei pdrli (mds. 9-10) qi in implicafiile acesteia in
scriitura specificd episodului de tranzifie spre dezvoltarea formei de
sonatd (mds. 185-189), apoi spre Coda (mds.458 si urm.) aie aceleiapi
pdrfi. Reluarea modificatd a primelor cloud fragnente introductive
deschide calea unui nou eveniment dramatic dezldnfuit la viole 5i vio-
loncele in rafale cromatice, cuprinzind (in mds. 23) intregui cornparti-
ment al coardelor. Se impune gi rolul sufldtorilor prin marcarca unor
celule ciclice (mds. 20 Si 2I) gi cu deosebire prin secvt'ntarea unei
formule ritmice in sens ascendent (mds. 22-23), ascensiutre scinord ce
va precede gi va genera iderea muzicald conclusivd ciin viitoarca fornd.
de sonati (cuprinsd in ultima sectiune a expoziilei, mds, 148 li urm.).
Exenplul nr. 11:l
La sufldtori se va infiripa ;;i o altd lr:gdturd ciclicd, anume cu motivul
de debut aI temei oboiului din secfiunea mediand a pdrfii lente. Dacd
in acel rnoment motivul, pornit cle pe dominauta tonalitdfii, declan-
Sinaspe alirnteiaa unei iinprovizafii cle purd manierd populard (Ex. 103), iar
naratiunea melodicd. a
a treia acelagi motiv deschisese
clarinetului (Ex. 106), in aceastd fazd a aciiunii simfonice insistenla
Excmplui nr.115
ll
lpdslsiuttoeercaluarctcadiroitcdr)unieir.tcplduarTrergetrugoiaaldngmthltaiuesoldgdmittei(euv(pdltuorteoerirmiantcmrlieaoiizaprdacjdtoeraoierctr,dan,idanumcettlaeseuonfliadusdcgsiiifeuofimicarcliaisnsatatdatt,iuinrdo-cisetaAemttedpeiiaemngcgoiti,ir9o,refidoicaiilapalds.tteneaoignnsoarteipecrmuedtnrnp,aeecrdtieoaeinimcnetal,aarapgntnsoapintosnaeeustaldeaia--
onato ;
212
€IZ
u(axrpetrlanrdcolrdalurrrpPoSlaIwI'IrauJzrPlurpaulnl p'arsaruuonJrpulsarIuIlleaardIr3alIuroruo pplsPpIpaurerJ pJrznur u[
r$ ldeg ap)
auarLraAor{}a3q rarpoieIII aIp aArlnlrlsuoJ aAr}oul ,ioun eare.16alur ap
1c 'n-y1 o ratuognls: lnleurC urp lenlard lp]ro un ap pqroA alsa n\l
-fo 11
BII'ru lnlclurexE
'uoloq+oag rnl pJrznur r* ;a11rqrg
rnl ppo ap elnJpJ rbarlu; rrunl rruaurpo atlul a,rrfpr;ui ep rnlnlesaur e
purtunl purld u1 poJaJnpp : p1;eoc1 o o.rpJ paapr nrluacl pugr
pAItrpJuozorcle6'orluewoJ urp rrpolaru lniurrd u3
rnlnrusTuolrurs prJolsr
arrrlpluoz
el--ueoorucar[truaeo-erl*ulsreipA1rlsruu'aoIoJJplOpaoplplrla;llrtpllrpuuulrlsnpdrjppJaulreeinlq,urzpoepdrJJppdopoppJnproa_orlrre+uioluau+o&aduureru,see,rfio-aprloJr;oirrzrpgnoduirerJplpeuJtlrJpezdqnoJsrJlAooBJrJdr'peuuuuriJprlr{dunnataarpuAraaoum1qra
-laaq pulol : plpluaurppun1 rnl pa3pr altrpJ eJrqosoap nl
I-poUJTluJ rIn1el3pposar-d[]apJpaoJlraopprrlIJEs-eopp gIo6Jre1,ruopleoncl lndoruo3 a]so arSluraelwrTelrapJn1pit
lpzilpuy
Inlqupsue uI
Lll 'iLr 1n 1cl tu a x g
a-aeJ-up3IpnAolrouflRJlaoJasrup'le'oer5lJrleuJnaolprrqslluplaurrloppprlupluru1urreuoropnpseoarrp6ryp'eIJonleeI*porrrlzdoro"JllopraJ*apiJlzsyan+otup:pr;ll-sup*no;lr^r"upiI*rlarr'pJi,a1ol-laa:tr1u.r,n',p:a6;1lu#u;rcu;sTjpuputgo?v.rfpnfo;rdill',s,
a-IanlBrru{JJoSpPuIBprsJJrBIzpInJruaardaprrJaonsqlereplnlualrees'Blesg6rBuuIqnaplarJrgpqurauIraeuldJlapns JazloI,,luuqrodpr1upaoJurnpr lonusuurlpJosJIn,o,u-Btnlru'u(pIzazolupuoa'xpxlsuurJg)r
oTzuocssrz{ e
atusPuu srd
gII'ru InldruaxI
lgBrtureerealigaltBgretmiieannsrdludiSoiirnzini ,tuucrlWmreteimuaamtigoeeznoiloeordenrde,aicsBBomurenunuedceltukhipsnoaerevinnreduclelmsripaiac.uatcaeleMliaoeualacnhsfrrliidaenirnrdai)ief,le{uaccsrluliuialmorrsier,eapcdpeirceaximl,lrij,cenccictiiicalneltsieciIrmiaetcaafeoctliezincm"dlieirepiidlnndee-''
sjunile unei epoci creatoare. Este un proces asemdndtor celui pe care
gindirea beethoveniand (afirmatd
intr-una din ultirrele ci concretizdri,
Wpini uaanlsfuteipririona),gCliuvnediritCreii6trlstulaipr FeFrnratarnunzkcLo(isoinrzctleS(iiinmnfPofanreiQmluadiinioi)l,r,leuoPimR. 1iinc3oh5ra))r.id-aNWudaepgtecnraemrtien(aifnti
vorba cle lipsd de inventivitate in nici unui din e.-{clnplele de ade-
ziune ideologicd date, ci cle legdturi muzicale delibcrate,
profund
semnificative.
Ia bCudntrienceethpoust,ugl ibdeienthaocveesntiapnunccotndveelvgeiddeerielenlouucardterimi ldulinBrcaJohrmnsajdoer
tparicreerlsaeoxpunzg.rspber1maalz1emte8iet)ncear,itatraicepcgtadaiiva.crdtierata.adznci.unfpsfiiiifottuaropen-treomimai ucImpdluueurulineiizouasicaoiilmaedilnAfeaostlnruiedecibcogsa)mtma,pinunaifBznriecragccuatiehdrnspmpudrtrsitlnmerocucatpzlrrirdelacuercaoce,led,iccasaoslaIcitilleudeneznotidibuonaeddrt.oiecirnmsoedcnedcsecb.ptlreucitetupncrlddgliieaeeei
guainleacfleonmaoramtnedeiancmuleteuniatvefiei/ilcitlr.a"Pn9sirimaviitismd, pmduiunnzeaicucaensFtdieluaznlnugol|{uil,dimadilninftocsrfcienrietfousnndiuqtie3mflnaecsdtaeoj
minor ilustreazfi in egald mdsurd manifestarea unci atitudini Fi ma-
nifestarea unei geniale concepfii artistic-arhitecturalc.
Urmdrind in continuare conducerea ideilor din acc'st utrtirn stadiu
de erprimare a lor, se impune din nou constatarca unor trdsdturl de
specif ic echilibru clasic, echilibru ce domind substanla coniinutuiui
prezintd
romantic. Erpozitia formei de sonatf, o desfdguralr,r aseind-
ndtoare cu cea a primei pdrfi: o temd princillalai (torna beethove-
niand), despdrfitd printr-o ampld punte de gruptti secundar tenalic,
material muzical incununat de o temii cu cai-acr.ct conclusiv. $i de
data aceasta, viorile prime au rolui de a prezenta terna principald.
O singurii intervenfie strdind de luminozita'rea rnelodica surrrine in
debutul celei de a doua perloade a temel , cea in c:are fagotui amin-
tepte (in piano) elementul tr.:gic initial al Sirillonici, iiuslrat prin
descendentd cromaticd :
Exemplul nr. 119
!t6
u-ujlorteals-raol(aqluzar:uc1loo;iopsplpoljJlpeorblpauirurtoJpsleurpnll*peyJspaJpoq(proiolepuuror;id: c nJ pipnuri
ugi alednuird
ra{[o] efuaze;6 'orfrzodxa ulp irJIZnu e trptreciar oleuor{rpu-i+ raun pale}
-rlrqrsod prpJ 'gJruo1rurs pounrf ce rrue6ro pnuTiuoJ pa"re:ilcAZaC
IZI fit Inlclruoxg
1pre---roaunedcJ11olrrrol-JeopIrBuopIrorlSaIcalJrprrloqpub-noarrooaJlrpldurpppuarIrenpruIoAonlearutalua-lolrtopsrar3slzrlprarpJ+raJ'lIeJrsIploo.uJgrJJJTpopeol'JupupSl3plruapur:nplgeupirJololuo;ee^rqurszsonofopSeuoapplorpprlpJrpeeAesurdoaappaepuulrplpJrnJrruE-rSuooqfTrJl+lereudu'pes(rprpnrnul{as-lqor3l;uJzrcprooortlsSpudqpJrxooeuepac,Iri-ll{Jprruradpsz-rrrerunp:proeo;lurrnelppitlr1u.rruprarorepsuld.JnJrrpleupeaJ'1ntJrludsJrr€dfursoiruenena]lo:;;rul136Jp.orl
-pp-o1ntIo1pppal6psaaprlidano^rupuTrzllolelantlrsu^olund'rirrxnro'lp(nlrrllouuplnrueurroduoIrpJSJoosolpplruulrnfgeppllluorrlueerr-zuraaoorJJldpnpJpproJreurll;pru1+oreItnldJol'enproJer[pJl/dnruelsroaga;[1err;raaauldzogu)oatrrppJ.rpcpqnlturleearcup]i
--tod) Ipano1un6ran:11ue1zeplzseoociltruunyde'ra-rrluuooFJrr.arslpItp6 lplllul luapuorsoll Inlrlour ntr
alrcon : lplpuruas ep puurof]
slnJ
unPrtJlreIdIcJIlpJluepgzcrrsrueuolpn;rp:1ro1odrepadJrropr+J:lrspJoJlfp,oilnsoroJppalpJpplppJpuruJrraluql nn,(-sp;1loeuldrsrradcu1ruSadugeacirriepraronll*arpu*Jrseorrag)
'gdur11
EA.reA
aiurrci
aIIJoIA op ]o1 plBluJJ'(oleunue) rr{und pf,rznur rS pr odruol r3elace u1
gzi'ru inlcltuaxE
I-Ipe1--paztuel;tooprriruelllzppczlaurrlnrulllaIlrpurinIezpraupsoflluuudu)IJarIxSappr:osrn'u(lIuplrpIp'ann(oiur6gltlaflupenas'tprrsteaulrJariprlarpTl'ceuxllllnpouuleaoIloseaunI)Is)lutllrprnuoprrl,oornacllpfepJutluhnpurdurzuaooasrrpJl+suJnuop6pDoranJpoJuJs-pzrprpJoprp1JeJrururepsoJptn3auununJpJooalrlaJsaltlaud;ouJcIrlp;SudalarolpaduSe(puapgrJpeco0er(nuelJoo;pIgo{rdr-rIupisiaJ(0rregnpslpipsftpusutso,rE-asiunlalrp,larupoOuourEou;r)Jazoa1I'snaJ]pfifg,t.r":er(rr,o,aoarpeu,o{Jur1c)rp1EurloEeeeodrsolucaarisqi;llu1eplueor:ruulair-lrp-ron;t;-lu,cclc^uc4llii
nftrooanugaimilitoearntgetaadniitznnairAebdesatongnooilorcmi(am-jodrss)e,. mf6an-z1idf2ic)ian. liUacramdrri-da' tmeosaattreiecadreanfaeczmedoluraiatddcd-e-azlvdoinolttidlrt-rroaii
(incepind cu mdsura 220) este construitd pe muzica punlii, a ciirei
indicafie ,,animato" nu Inai conduce la verva melodico-ritmicii a ternei
a doua, ci la un episod de maximd intensificare a dezbaterilor moti-
vice gi tematice, lmbinate gi polifonizate intr-un coplegitor marq ai
evenimentelor. in plind tendintd de dezechilibru sonor rtlzbat ecourile
temei cornului ce pulverizeazd ultima dezldntuire dramaticd a muzicii.
Purtat clin glas in glas, din regislru in registru, motir,'ul solar se des-
tran:d intr-o linie melodicii descenderntd (rriori prime -Nicmi dos.ll2rc95';-d30n0u)
pc ('are se incheie secfiuuea medianei dezvolt.atoare. v-ioriin(mcadrse.
mai intrerupe fluenla muzicii pi cloar tonalitatea clo maior eliptice de
grei luuarmtd,)temmaa;:cshececzudn.dainrcde-putinutlosneactdliuinniicroenetxinpuoazrietivdee,
e-'stc'
302
prezeirfa temei princrpale (prerzt'ntatd anticipat in falsa reprizd). Ideile
auxiliai'e ale grupului secundar se succed in aceea9i ordine, urmate,
ca gi in expozifie, de terna a treia cu caracter conciusiv. Totugi, ul-
timul cuyilt ei nuzicii nu a fost spus. O tranziiic liricd, construitd
pe suci:esiunea de terfr: mici gi mari, in piano gi pianissitno (mas.
36V-374), desciride o uitirna pagind de analizii a subiectelor conflic-
ctRuiepaaalpclacr{cC(:ionpcelmert)ii,nbdr.prenu?slcf11d;lmauirlaaujoiadr)l in intiegine pe o pedalii de dominantii.
in continuarc : mdsurii 374 motivul inifial al temei prin-
l.r vocile grave, moliv prclucrat armon c
f ,'; o m ll lu l nt'. 122
ai=illi
{::!41-:i
'F u74ft.
Rirneetvro-i.nop"miaevoaatsliavcnee$ndcdicusnnooiansoccurrd'ccecme-aciiocinri ndcupiccilleticitldea{mflaraegtlromodncibcntoustlraf-ui-ncamolni,i,tsPr.aiup3u8Anl-lcl3et8igcaro-i";
unison galopant in intensitate rnaximd, construit pe aceeagi
celuld melodicd cu ritm ostinat de dactil. Fluxul de energie sonord
va culmina in intonafiile de coral afirmdte in ultima secfiune a in-
troclucerii lente (Piu Aanrccuiaiuretern-elocdxic..l1, 1d7aJ.r in tonalitatca inifiald lrJc
pe aceeagi cu valori augmentate, in
major) pi
ait tempo, altd intensitate (foriissimo) gi noud concerpiie orchesirald
(ancyrenind in mdsura 4I3 toate vocile orchestrei), tasund inllatl'r
imnul final, intregit de repetate acorduri staccate li stdvilit printr-o
coloand solemn-prelungd a tuturor glasurilor care au rostit rnesa-iul
brahmsian. Este mesajul pe care Walther Siegmund Schultze il cali-
1 ,,ult ultim mare apel" la
ficd drept ,,ein letzter grosser Aufruf" -
iubire qi infrdfire al artei romantice.
I Siegmund-Schultze, \Valther. Johonnes Brahms, Leipzig, 1-066, VEB Deutscber
Verlag fiir Musik, p. 206.
216
Ltz
'jil 'd'II 'Io^ !lDlri 'dO'acua:o1g ,ie141 ,cIIi
'szs 'd
'IO^
'ulloJ puetrrrv arrlerq-rT'gI6I 'srtBd 'anb1snytr DI ap atralstH'salnf /nalluquro3 I
rra--lenuJJrsoopz-[trfd]{rFpaap{elipap'Ull-lrpprlJpularnnpJpllndJpgdaaolulpauruutsorrtuuuerornoospsaup-pprrzJoIulrnpunppOpJrpoJrJ'latr6cirIeiSdrrpS,ropapdlpleaoJrrroSJu,rqoluallppsapourl^lrrlOp-olrrdoSdunlrg,orl,sIe'Ia:Isnr,e,fu6lrppquanneJrer1dr{grgsgaall;7rnpnnc6-ariruylaserrupsesaJorerlaplr^prdfindndi pnsaue-pcrr
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-1Deepa'araradllranrJnrllriesJaeDzq1aJlznrnooiprranrulq,ouetrroppnlJ'ud6,IruslpenoIA''rrlsrJau'uueaurroaplnuu-rlr,lqaror{r1rp.pilrtauJor6q.-Lpruprpol1gusrlpruaupsalnlJoncrIpeDAupdresuortpacapt':asu,uJFl,r-ropruuo;:ot'llpesdnlw-"srrlrlrpu:aprlroigolrJp:raod)Ju:J6\irTpJeauelneduaop"lAlo;rete#rul,Duicaduerrrl.r.zoaf1DJ"nrJnuru*arau,l;aut;r.psqu"Jalaerpqlrrp:plJlSna,ngorotoJJpsie5pplru:SgrnrraaaJTaspJpI,llA{ltprss^uXepaJnulrsprdrp?iafaqueonpe'lcrllteorcrpxgrlilnqJrea_IrainrululadrdJrapaoa.pna-;dcarrfonnnoInuqu;ltt:artillBaa,ertrunpalrTenapaergrc$ub5ups)l
r\{o{?g ap leAaIaJ alp}inur+uoJ ap Jr}a}sa lnsato-rd pI ap puru-rod
narplrusruua".s)',als{nnopaJ:rp6reuqrJurqrlona3rlrrrrJsaoeJrlcneap1:)dpaysueS'o161eu611n61fepsran,ropdsnappusarnuruenolnoulpsr apbfdlienauprufeiraSrsrldle(x,n,a{usrr'olduoooJccA
IPrrBn--BIuarSuoAsJrauOonoIP^PzrIaJrOurnPrlTdPJuISppnt]nJaIdIrnE'apqIpnraUJproprolIelrIlIrIprslqnzIl'JdssorullA!ernnod\e1IodlArr"ouprluPnrloaprJpr8nrJaoIod^b}r6luspllrpaJIas+o-urpppPu^o,a,oIlp.alnrsIrquSlo.ruerroou1rBtE3JspaoeIHdrNrdur'erpu+orpn1.Srop6rz$ldArnJrraeoJJd-u6aPrruaaqlzex,-IlEa,nlr/Ju1rAinuJaauaJ-poJcrApIuslnZporenJlAl,,pabl,roJroIuu;ranle^rsaIrurr}zCru^cUaausoaulIupruqIrlraJnodrla^prIlBspPnolouu^q8:uqreJPb+qsar1dlaaeerlsPloypJaurnPqrugolOllpedscrAo-odnau,X,IpArpfrfare,,\rd1,urxrr,iaTau,rJo,d3roe1l'NsJecBrcueiA1nr;ru1rrr.,rpl1ailsrsaiell;
nea publicului 1arg, toatc acestea se gdsesc in noua sa lucrare" I
rperronnaurncfaataeutroerzuelr,vdeagr iinchciaorutcinuuaoreafcigoamtdennteaardiueirasrdeulaest,e,prporfeusndzirmaet ac"u
inuzicii pe care o subliniase inifial cronica sa.
eloqiile se
Dacd in presa vienezd apar qi alte mdrturii in care urma pri-
irnpietesc cu rezervele, o-rticolele pubiicate 1a Leipzio in
rpnor:zi iatoucruliiliui id,esliantGeuwnaanndihmaussup(iearl1a8tiviaen.uaMrlueziLcBa77p),risrunbebi aSgihmeftoanciromde-
Bsireahpme.sc,a,areprnouduas asupra auditorilor cea mai intensd impresie, impre-
iSsat-o pind acum
nici o altd simfonie. Nici chiar
Schumann, la timpul isndu,,,Lneuipzaigaertinl{sacvrheroicdhattedn"a.se,,mOenluenag1ds7p1aluf3zl/d' -a
relateazd A. Dorfell
urmai Simfoniei, dar nu atit de lungd pentru a putea indbuqi exaita-
rea 1;rodusd de muzica ei. Liedurile qi Varialiunile care i-au urmat
Variafiuni pe care am mai avut prilejul sd le aplauddm (este vor-
b- a cle Varia{iuni pe o temd. de llaydn) au fost aproape urnbrite. Am
dori sd reascultdm in curind Simlonia Si aceasta, dacd e posibil, fdrd
altri muzicd,.." incheie Dorfell articolui sdu2, marcind aslfel solicita-
rea psihlcd gi intelectuald pe care noua creafie brahmsiand o impune,
r,,nEdsstue.rdaeennteuczoiantsemstualtui- a subiniazd gi G. Bernsdorf in .,Signals;, g[
fost enormd gi Srmfonjei a- fost
cd succesul
unul din cele mai rari insclise in analele conceltelor Gern;andhaus"ll.
La Leipzig deci, gi nu la Viena, se impune muzica Sjmfoniei in
do tninor de la primul ei contact cu publicul gi aceasta intr-o vreme
gi o ambianfd in care arta programaticd a qcolii de la Weirnar in-
fluenlase in bund parte orientarea iubitorilor de muzicd, inconjurat
dtreuvaechaisipsrtiaetleani,evmeunzimicieenntiuvl emnuifizdicinalto(aCtelacroal{uSriclehuGmearmnann, ieJiospeepnh-
Joachim, J. O. Grimm, Julius Stockhausen, Hermann Deiters, Carl
Sirn-rock q,a.), Brahms trdiegte in ora;ul lui Bach 9i l'{cndelssohn-
Barthoidy una din marile izbinzi ale artei sale.
Urmeazd. un asemdndtor succes la Bresiau (23 ianuarie LBVT)
qiniifaialttuivleini pAi ningtleiarp, rlaetdCraiimiubiridJgoese(pBhmJoaartciehimIB.TIVn) -lstoulrtiiamuslimdfaotnoireai't
consideratd de \Magner a fi ajuns la apusul ei, Brahms inscrie in de-
ceniul al optulea al secolului. trecut un document de perenitate, in-
ldn{uind pnn e1 giasurlle narilor tradifii cu cele ale ,,muzicii viito-
rului".
ldenr, Op. citat, voi. lI, P. 170.
Ma1r, Florence. OP. c;lat, vol. II, p.171.
Ibidem, p. LV3.
LqLloI)
*(ea& Lrat)
IA "EffilSJ"HdV}
rzz
'ppplpq
ap aurzunJord nJ ',(llgH ap rJnsran ad (artqnr ap calu;3) palpuulry
rnlnrurlln u a{osnruu} plrqasoop ap alpununcui luIS (Z cold ps rl$a-roq}
2 ttrab t1c1 ssnp 'np lsl.r:lA : olJrrreT IJeJ rnl Inl+ll ul psnd
-ur ad lpa.rJ rnlnpall lu Jrlsrlrls InrusrlprrrE-rp rS snprpupJ inl ee.ieqarl
pJrlrl ap
1e;rdsur '(inlarrog) sruuraqa3 rnlnralulf, B quJnlrou ap Tnlnlrls ealpl
i--nrrnJpqrasoarIalrdJuxrpopzo'>olprleoJbrruuarrrlegrri{-IeoJrJurrdJpsoualatpuInrrJrpnpDsarloppnlrIloprclJulIZa{tnnruuuni11'aai1nusruroodluHuJn3rn)a1}psiuaoarz(weoroeudirapperua1ur:ecV1i
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no anildrrcsap olrrqJona alSadoluol aJ prnllrrJs o-Jlul JoI parpllsnlr
rA g;n1eu urp JolalJodse ealelolrpl ap alIZaJl et61e1sou ap olefuenu
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re-i'ol(nlrn1dlrnsoeeJsr-or;uJlIlrerncaqotJaa'uld4ppadenaJJss-dlrdpr6IeeuEr.1'uorauipnoapn'g1anpulpnplDeqr6uaIirltnnoDJrdlsl:n)J1epllortuSepzrulgJp{ppoJJuuuaSulorr)l'rpifpadnpuBJlTaedJJpJruIupIoulnJplipnoespJu'JoCJooapqaqrquilllpnrIpJ'ralapiagrJXDqr1rzprIeq:JInnpJauusnulasprloraopifur,aloJprJprup-rdJlierolnoonrrprslrn)efrJn,or'llJpornpapSoJJpJzlausplepdlnenoJnsrprl3rnrSJ-JredrupropsrrIuprlruputlezacr1rJpellep'epa'grIadlrrJ1serl'erper(lIon1anplJ1lprduJeanoooo.1rIrBAudddJp.
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'(21,'IL'0L '69'do) rrnsnclo ap plsrl ui Inllp pdnp lnun alpparrns
ua'a-1IIpB1JJeuo6JoAqPrUJunnplIprur,u,nJroularratnrppsaaar:ll'arpareuJplLununtlole"pdpLlpprzyJupao^luanoprl,BrruurrolraspoElsrlpSoluorapurnluldlnuuprouornJuTspr'larprpqluppaorgzJ
-erd rS glr*rlnpsap isoJ B atpJ uI rnlar Jolqrutn Inup,l,l,BI inuv
Jo[rrnPerl !e leu un
pn:rIiernneeUalergmdruodptuoulrluucliingpterrecuecpe(dcinelesnptcir-iantceiladliieondnudoerious(doeebpi.tvd7e2rins)udsrlfieliempleluasai erCataizsndtdic-iddu.sa)Dsseite-l
dubseernat'aanhgtmodeasianirzecdnce,eecr.liaenPdfmruuu,narr:iiirtcauaints.ce.da.f"re)dimgEeiiatsemtgeiSdnriieeiidsflseterusicegt,caeilrtnidaettaddintuedl iepmAalpvtgeleeinsLriisioevnboa(ecn,a,{tDlaVeeisnacihmleedpeciluirptebairaitntefdeier)aii,
linie melodice:
Exemplul nr. 123
--@' ,fch*a/-be
r^^
Pprdsidaldeidctiduuvhrereni-r)sadu;teuDrdriedaedtnmeeLemoeCinsomlefffericmoirnkndeeta)np,l(dsVsr,niBehufrorizzxeliaoincnggatdaeicnlndu-oi-c(BOaursE,aerhzlnetimtttraetrhs:rnaeleea)racrr;eacWbdefioaleledrldliGdtde/oeene-vdtSohincceOhaldut(o,Ubgaeneprrrenltiobe-acersiaenpliltzdv'riantadd----
toare.
Ca o incununare a pretiosului girag de lieduri op. 69--72, epar
cele doud Motete pentru cor mixt a cappel)a, op. 74, declicaie lui Phi-
lipp Spitta, unul dintre prestigiopii cunoscdtori ai muzicii vechi. Pri-
vite in ansamblul creatiei centrale a listei de opusuri, !4,otetele, op.74
rdmin o singulard mdrturie de realizare inspiratd din tematica religi-
mBoareasdnh.tmu5sliueiiqsdtieecdocenrespatrrfeuiesieug(pttBueVsm7c)du. zCsiccaahqilpai erienatecmxotneuczecicupiflieialsoeRr dediaqntueBiaezimbdliuaelu.utiienrGj.eoprrrnirtrnennuo,-l
tWotet (re minor) apare ltentru prirna datd in creafla lui Brahrns un
pesimism filosofic fdr6. rezolvare, pesimism
cu implicatii in coloritul
srltoilaisrteicp(raogvolocmateerddriedreepcertoamtaatiinstmre, bteanresiu,,\n\riarruitmmi?c"e),. secfiondri inte-
Structuratd pe
patru pdrti (pe succesiunea lent-r a'pid-lent-coral) , muzica este con-
dusd de o inalid artd contrapuncticd, repartizatd pe patru voci (pdr-
tile extreme) qi gase voci (pdrfile interioare).
Cel de-al doilea NIotet (fcr rninor) este conceput strofic' pe
utenrmtriandaitlio(sntarol fcaaantucsinfciremau) sc,uproelduuabt lpdefuringdd,deinvtooncailetdcopmepocnuevnitnetu9li
,,Amen" intr-un viguros Allegro.
Din aceeaqi perioad[ dateazd qi crea]ia duetelor op. V5 (4 Brilade
6i Romanle pentru daud. voci 6i pian) dedicate lui Julius Allgeyer.
La baza lor stau texte populare aflate in celebre culegeri ale secolu-
lui al XIX-lea sau adaptate de diferifi poeli gi scriitori contemporani'
222
ffia
'OLZ'd 'tD$c 'dO'rallplA 'uuelEalN t
spoesffJpilolulullpllu"-rrn'slarrltEerrrJirpl raagllpa-lcrlznool lu,1,Bluuilsrpn-iloInl-supnds'arulPst{aJpJ('aUgiN'rdenco1t)Jlolutroufeofoasurcat paoJllpJulrgauJnnoJuuuaooJpsuIe.rISJlonoutnrqpr*l
'IBJIznTrr uo6 r3emlace pugurf.rede r* cr6o1
-orroJJ alpulJe"rluI olos n3 nps sndo ail JPiunu pJ al€uPEaSu; alltfuaJ3
nr B:n1p0a1 ug gsnd i$; pleluou:o3 lolralue qrr-r1qsP1 'EpIdS ddllrq4 ap
;€slsos ,,,-Jple nlqnp" lnlidtl ap asndiuoJ lluolrrrls qnop lolaur
-r:d i; p1c:oCural olllpul3a,t 'srutlp-Ig
ElsPaJp ulp 'nou ulp qzea.lnluotr oS
'.rotrqrrli sueg lnrollrlp ap qluluazord
naig'alrrdluoernadl.rporsle.Lsrurl|nsoLeuetrrlapaururr€nqur);inl;pIuiuiulllurcpBn}pln3IptulaaipspuuiLE-lII-ntotB3ollgLuappinpJnutsre'lurualodppI6uiIuIeEzaaqeaiaulIuunsuIaaOflpelrJl{clB3sllnzlTpuncltIlplolqlIro-nJlgqldzlrporutalIcol}silrIraoucuprllodu}ra0oaplatx1prrpp;lnggTrsnleee'lI1tp:ola6r{iereutauudr1apier."o-oirc11dl
aip gJpA ap JolIunI Ins-InJop III
n'i;.prleudaad.rai1jpn:roor;larndin- LIBT Inlnup Etnlippd JEop
pcirn;ug as Io 'PJSEalaIJns er{izodstp pnou
(r-rlui pleiJe rninrollzoduroo B;l}sllleuosrad n:1uad pAllPUazoJdar ap 143
!I icp 'eurrrd ap piuifi.rorajlp trlnu sJBlJnI 'iluoJuls Iou Isun er{oarr e1
';.rir.'fi-rI]?aJ plnipourl o E{ aonpuor 1J af;og rat:do.ld ufutil$uo3 'eartpulf}
;p-r-zLlI:oiiTudJ:ieoosTe*{{.ln,r-urpg1i,us,gSion1:lul.ilqo]ngsseuo{sIp.nB4ul.UurlIqrIunll1,-q;utnr*finu'iidl''n1|'IIorganiol1uilln3oi:uou,nrletrrrB1runlE1sgn{1IrplJueao1lTH1cqrsaruutnunlcldgll"unogr1ruSonlfuIi'ntzaa:notl6papgpulPPa;tUSsl3aIeJPrudnfulerruuolnmI1rurloupugsudplnrlJtogno3udJ;}s3nouIqoprnJadtaJrsltPqao3ssr
!.{*sr.{es+rod e! eD BlafiiieseA
'dIgI rnlnup s{p olcso.t:otrrXci.,-r;r lnri* plepolol IE gl,'do rolalanp lndn-1fi
:r1a1ed orai{JT-rl sII;L{D.[ti 'Jolllul $1 I?3]E]rtrPuo] 'olsa.id earulSltu 'eue.Id
J--uc-nucurSi:1us;rto'l-rn{uax1-.ii4pa.oril:u*aaac1'lqlnd;nl,o-,puduoA'(i"erptoprpruadsrznp.lsoB6lroaosm:anplr)cjdoisin1spoi{Jiearrqalllru-uuo1aTroola:il;a}udo.ln;iIt1icoo;t}nitd;3;ou}da;drlaone'o:o5d1Jllilsxio}li)o3uaoe;1iIr;l:lqe;;ltocr:pJor:nd.o:art6uri-dl1s'"tu{da.r6Ir"nas6oItrlura1Efn'aospedSIr'crl1]upIl.pneionnruuq:I1lpV!nt4rItpnppndeg3:ls3J}p)slataqutr'lplr5.lu'rotl6aulpl[rlnpee4zluuJlrutu.npaiu{lvnrnuI1tanloB6nJsrraaruuIo1lPnun3l1o;lIElSnsJl.Pe1rsIJBraDiliusIsJJII
r* .roieru iul palulllpuotr ',,osolzu"ln Oile.t6aIIV'r EareJSllal 'oueluoJg susul
l--.-aro;ope3sip3guo11'n(lu6rlA:or6o\luofa,roui.rI"rcIrAerrq.VontrSduluJo-olVgld{Asa;uauduaa1I1ru'I{onqnuJFrsnVae'pcl1nua3IruBp)tu}lrogSlapJlJ]i.:lt'ltsi[lD(€ue]A3rt:rIildperJsocaap,(lp1tnonuCd1lxanual1sBrr3lruIpLnatqire}dlgI'Ir}BlaureelIlstll6pl'a}qoao1;'nPatorp?slus1g:upntr'o0Iupulrlfooit*3p'rda)poplupuJ--etattao:tlrpdpl{l
y.'tu'un.rd n4uatl DpDIDg l.ti sulqp.Ifi all lulpll',,prEnpa" Inlsalqns eIo.I
{:oua1 r* ,qisrlp: ilp rr;loA nrlued 'Joulur DI 'oJ6aIIV) ianp InurIJcI
sirnfonic dc Scirubert" sau ,,Simfonia vienezd". Raportatd la Beetho-
ven gi Schubert, pentru puritatea sentimentelor dezvd.luite, sau
la climatul vienez, pentru pulsafia de liindler qi vals ce-i leagdn6. nu-
meroase pagini, muzica noii simfonii se impune ca tipicd pentru sis-
temul brahmsian de simfonizarc), nu numai prin toate argumenteie ei
cle ordin stilistic, dar mai aies prin ,,afectivitatea" proiectatd perma-
nent din interior, din cercul simfdmintului de cuprinz&toare iubire
--- iubire de naturE, de oameni, de viald. Este o muzicd a frumosului
qi echilibrului, conceputd intr-o uluitoare unitate. O unitate la
pe calea vastci experiente ln arta variafionald care
Brahms ajunge
qi a
r:nei clcpline stdpiniri a mi$ciirilor contrapunctice, conducte prin care
rnuzictr sa se dezvoltd continuu din esenfe primare. In aceastd privinld,
a ramificaliilor expresivr: pi a evolutiei lor dictate de un fond muzical
c.;cnerator, Simfonia in re ntajor constituie unul dintre eminentele
cxemplc. Intreaga frumusefe muzicald a primei pdrfi (Allegro non
i,roppo), in care cintecul gi dansui ili disputd consecvent prioritatea,
i;;i trage serra dintr-un restrins matr:rial sonorf secvenlet de coardele
gravc in prim.ele mdsuri ale lucrdrii, motiv embrionar peste care sc
l-: x r: m p i u I nr. 124
leaqdnd in ritm de vals lent piinta temd a formei de sonatii, tema
cornilor, tern& preluati ir-L corrtinuarq: de armoniosul cor al lemnelor.
llstc uimitor citd. dramaturryic simfonicd poate genera o formuld de
ll-*4 sunete (mdsurile I ti 2 clin ex. 124) Si o linie melodicd lind, lip-
sitir do impulsurile energice ctl catc'sint investite in mod obignuit te-
rnelc dc debut trir: uneri formc conflictuale. Remarcabild este gi mdies-
iria cu care cornpozitorul roalizeazd clar-obscurul colorit al muzicii,
sprijinit pe o orchestrd ce nu adoptd grandioasa componenfd roman-
iicd 1. Pe plan structural, dc ascmenea, forma de sonatd a primei pdrfi
i:u e clezbdrtut& decit pe un material reclus la formula clasicd a doud
r Orchestra e compusi din corrpartirnentul coardelor, al lernnelor perechi, al
al.lmurilor (.4 corni, 2 trompete, 3 tromboni, tuba) gi timpani.
224
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PSUJJISaJ purrJ poJell0nzap) rouJoJ roirunrfcas p aJErtruesuolr op ufurp
-ua1 rS laluaryrrs e a1"ied purud plspoJp nrluod o+so Jr:IsrJo+f,pluJ
[ur1e 'a1orn rS alacuolo]A op p]plurJ (rourru 'upisurllpJq rrdrl lr.toJoc op
JrloJuplalu zatp ng) apunres
slp^ ep uilu ur Inusrpolaw op psrlusuD_rl ,olsruil rauta] Ip
op auoz
gZI'Ju inlc[ urox,1
r-auotrrusoa:r1aI)nulpunnopouopioJprulrleqJpuplosplp'(oiz:dat'sJsnpepurufirzouJ_i:-.or1Jruu(etrctl-urp.rscrqllru:ilrup)rs:ooTlllloporuruurplaolprrnlocpIcnlal,u+euiqJonu1aiap1lg3surrruluo3q
'rruoJrurs raurrrcl p
nss lloJuor rninrirrrd Etrzllur psrqtsop osasn] runc p$p ,ArlJnpotlur pos
-ida ;oFnlsrur un op olepoJarcl ar; ps potrsaf,p pJ pJp] ,orrlpruol r;ndn-r6
mentul simlllu rcalizat de clarinet, fagot gi arpegiiler in pizzic:ati ale
rrioloncclului) deschide qi. fixe.azd natura pastoralii a tabloului soitor,
alternind cu imac;ini de involburat mister (secfrunile 2 gi 4) in mi'ca-
Exc-mplul nr. 126
Attegretto qrozioso quosi an dontin o
0b.
cr$
Fq.
Vic.
rea ,,Presto ma non assai" qi melrul 2i4 (prirnul tLio) li 3iB (al doiie'a),
Nu numai conlinutul epi<:-f antastic intercalat particularizeazd simin-
nismul brahmsian al acestei pdrfi, dar gi organicitatea materialului
dmitudz.icAasl,tfceal,rein-trectaemgai inpripurcimipaaldmi;5;iciadreee-a
este extLertn de unitar gln-
secuncldrd a primei secliuni
existd un raport de inversare, iar tc,rma primului presto se prezintd ca
o clasicd varialie a temei principale :
Exemplulm. l2V
Pres''o n'io non ossoi
Coorde
Spiritul variational domind in general concepfia scherzo-ului, fiecare
reluare tematicd avind modificdri in coloritul armonic, timbral 9i di-
namic, in mecanismul contrastelor interioare care tensioneazd narafia.
Exuberanfa gi misterul, dansul gi basmul se intilnesc ai igi impletesc
cursul in acesatd pagind simfonicd, in care apare realizatd o noud
remarcabild sintezd clasic-romanticd.
Tema cu care debuteazd partea a IV-a (Allegro con spirito, in
re major, formd de sonatdJ prezintd o ingenioasd legdturd intre uni-
versul fantastic al pdrfii a treia gi caracterul energic al actului final.
$oBtitd in unison de coarde (sotto voce) ea pare a continua atmosfera
epicd :
226
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alp rJouroJ aspoJn6lr ap loJas 'ta 'qJouos
areopuerb plilso; ap luaruoru un pzpazrlpal oJlsaqrro rrbarlu5 aIIJns
aluoru
-e16 arer ug aunrflas 'ppo3 eldrue uI PptilJsa.iJ arllnlpJls nr tS
IJpJrJIpour alarJsrp nJ 'pzt:dat : IIJIznrtr Ip IeUIJ
-rp rS arferlsaqrro ul
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'(oi1lnbuer1 arexelar ap
(o11rnbue11)
posrda un gzpaleJralur InJo1lzoduroc 'plspalp Blpp oC 'pzp1 ro Drrrrlln uI
p-ugJlpeturo{rrliazr<:rduldsxpapluArS!lopasccp-l-aJ.rprJplulalelroruylzrrsladr6pulBp'orlraeJqdprJAluulrrSrgcrnlerrlorazluaoaldulxaeauroe(aaloucnoorndf lrqasoap poru
o11os) glrldoS
oas grr;rldure
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6ZI'ru1nlcluraxg
: JrpolJur r.) insJnJ uy (tarttolutls p plnspru prur.rd tirp) reurlrd rn1
-nlrlour eoJplprJalur rS gsurrdrns rJ aleocl urnr pdnp 'pJporJdlue ualred
urp aledrrurrcl rarual lp IDJ nJ ra rnlnlnqap parrpnJul pJtprtral oleod
aS 'arpolprupckuorp rrfnqrrluor ap alrJnlpJls olsed ',rer6 -ro1 1nr1sr6ar u1
iarudl p]rznrtr-prurrJp
aousrracrtpdoIlrr-trrp(iI6Aar(d]p.l,l,ealruopwlseebaJ.elp1"apdlp'u(LoLlu-rV'7op'supnt)ua)s
rrlplfnl e rfund aler
I--pooJJclrlseuairorsls1r.Jr3orzr6nolrr;ue)rrlrsorspJrrpetroJaplnaorp:l)prIaunrJJlurugroepupopiurroroulunpI Ilunpeuaunsodprurslrarorpd.rrrsquJl^spias)pporionzrtlnJelururl(f9un7out'saprteurruq)
oy4ds uor o.rfu1y
BZI'.ru lnlclurdxl
doua Simfonie intruchipeazd, in lumina ei proprie, cele mai caracte-
ristice clate sufletegti ale compozitorului, pe plan emofional (sen.in-
grav) gi intelectual (clasic-romantic), ca considerentele de
qi prin
ordin stilistic marcate de fantezia sa inovatoarer o fantezie mereu strd-
juitir de cuprinderea unei vastc culturi uruzicale.
Plasate in desfdq;urarea biografiei lui Brahms, primele audifii aie
Simtoniei in re major prezintd surprize : rdsundtor succes la Viena
(30 deceinbrie 1877) pi dezaprobare la Leipzig (10 ianuarie 1B7B). ,,Vie-
lezii se aratil cu mult mNaaichpruictiinrteenx"ig. e,n,Nliodi eacviet mnoai"lte- scria criticui
Dorffcl pretcnfii de la
in ,,Leipziger
Brahms gi ii cerem, atunci cind ni se infdtipeazd ca sim{onist, mai mult
clecit o muzicd frumoasd sau chiar foarte frumoasd. /\sta nu inseamnd
cii n-arn clori de la el ceva senin, sau cd am disprelui imaginile viefii
rcale pc care ni le-ar putea oferi, dar noi dorim s6-I avem intotdeauna
in plindtatr:a geniului sdu, fie cd acesta se rnanifestd pe aale pr,oprie
sau pe urmck: lui Beethoven,. Nu am descoperit nimic genial in,noua
simfonie gi nu am fi putut un moment bdnui ca e o iucrare de Brahrns,
dm,,auuczrddicsdIauLnrr-aft-iu,orfdorniusgeptiundelaxpdlierteidcmutciatioaatneducitesoarurutubedluiaffdiinecoeuniin"timld.Faerta"Bn1fra.a$h-im, spvaairnardeioalexrvanal,altuoaci nmPuaaluiulai,DceIuBaks7atBds,
Simfonia a doucL entuziasmeazd publicul din Amsterclam (in 4 gi B fe-
bruarie), iar Ia inceputul lunii iunie, in cadrul ,,Ft.lstivaiului Rhinului"
de la Diisseldorf e declaratd de presa ca evc.nimenlul ce frunte al
manifestdrilor festive : ,,Execufia celei de a doua simfonii brahmsiene,
sub conducerea iui Joachim, a fost o sdrbitoare cum rareori avem
prilejul sd ascultdm". ;r
intre aceste doud etape de verificare a noii sale creafii, Brahms
face prima dintre cele opt mari cdlStorii ale sale in ltalla. Peirtru prima
oard, compozitorul ipi ddruia o asemenea vacanf d cie piiiccre, f drd
concerte Si fdrd program prestabilit. Pentru arlistul noidic, fara soa-
relui gi a cintecuiui, a marilor amintiri istorice gr a mdrefcior mdrturii
artistice a insemnat improspdtare gi bucurie a spiritului. i:r tovdris;ia
lui Theodor Billroth face popasuri Ia Roma gi Napoli, la Florenfa pi
Venefia, orage prin care trece ca turist, bucurindu-se de naturd, de
artd qi libertate.
Inriurirea acestei insorite cdldtorii din luna apriiie a anutui 1878
se face simfita in lucrdrile create in vara imediat urindtoare, petrecutd
din nou in intregime la Portschach. Se remarcd in prirnui rind o
schimbare in preocupdrile componistice : revenirea la creafia pentru
pian, creatie de mult pdrdsitd, Dar spre deosebire de genurile gi for-
mele in care s-a manifestat arta sa in perioada afirmdrii (sonata
pe o Si
varialia temd), realizdrile pentru pian de dupd anul 1B7B vor
fi
in totalitatea lor miniaturale. O singurd lucrare a treculului poate fi
sceramrenaclautdtoctaulpirzeocleadtdenitnagl iaruclesctoemi npooizdifiiirleorcfiini r-egisBtaralatdeecleuonpu.mLd0r, lu-
de
May, Florence, Op. citat, vol. II, p. 183.
Rostand, Claude. Op. citat, vol. II, p. 207.
May, Florence, Op. citat, vol. II, p. 189.
228
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il.1,rnsln;o{pri;o\.zr,ilrpopprr:-\Jtrr3so!i)Jrluu:o}sulrroAru1nt:r'o.srloarlzoJolyudor'uguroT/,tlrTIono.Jsrpoeuloiunlptilr:rdsp-lrIornnpitprueIrcautlrausiqrnoraloup
gJer
0p;l!
Ultimul capriciu aI grupulut, op. V6 (Capriciul nr. B, in do major)
se inruclr'gte prin confinut cu cel cle al doilea al grupului fsi
rninor)
iar prin tratarea c:ontrapuncticd, de o deosebita suplef e, cu primul
(dtt diez rninor). T"onalitatca do major irnprimd muzicii Ini seninirtate,
fdrir a ilildtura cu clesdvirqire indoiclile stre,curatc' in prirnul ci episod,
tmraulzaict aimsiotactlievsf-dpoca3rdn6lnirligc. P(teeminadiacadtroiaua,,)grgaiziomsoozeacrltiuann iilnocu:oltivmivealcee"e,i
masuri {piu adagio).
Rerluincl creafia pentru pian, Brahms pdrdsegte complexitatea ge-
nurilor ce i-au dominat cu autoritate inceputurile-' creatoare gi se
afirmd romantic, prin gcnuri gi forme caracteristice literaturii peutru
pian a epocii. Darintreg girul sdu de pagini miniaturaie (,,monoboguri"
-mt'dciutamfielei gvi ack-n. utomnui lminatietriirozriiuzaHt,acnasrlaicckte) reistsictrmdboadtuutludi esdpurodfuenazimcreeaa
muzicd, trdsdturd care le detageazd de realiz,irilc contemporaneitlfii.
O apropiere poate fi fdcutd cu gindirea lui Chopin, Sclutrert , sau
Schumann, fdrd ca sensibilitatea tipic brahmsiand sd poatd fi confun-
daid cu cea a primilor ronantici. Ilustrative in acest sens sint primele
patru Intermeizii din op. 76 gi mai ales primele patru Capricii ale cdror
imagini erpice (nr. I gi 5) sau poetice (nr. 2 qi B) nu au nimic comun
cu stilul de virtuozitate gi cle scinteietoare strdlucire imprima.te d.e
Paganini genului.
A cloua noutate care intervine in crcalia iui Bratrms din vara
anului l87B este realizarea unui concert pentrtr vioard $i orchestrd,
unic in intreaga sa listd de opusuri gi unic, cporinncecrotnacnetpiifiae,gicno'ilsiitoitraia-
genului. O istorie carc are in urmd
traditria
lie:ne, clin care s-au desprins in timp doud diferenliate ramuri : cea a
sLrdlucirii tehnicc instrumentale pe care s-a inscris arta lui Pa-qanini,
Vbirrt.'uixntesmepcso,luWl iaelniXairX,r.-slekai S) ina-aLulncolor'cvoendtiet mrepzoisratenni ldaincdproarginnuilme eis(tcoerliee-i
cornpozifieri (Ernst, Lipinski) ; $i cea a icleilor, ilustratd de crealia lui
Bach, lvloz,art, Beethoven. Publicul epocii romantice ti-a dat adeziunea
pcntru priura dire'cfic esteticd, influenfind angajarea interprelilor pe
linia unnueriiilptesrrlaaauncfnatneteezmiileurlagliii a virtuozitdfil 9i a unui repr:rtoriu din
larg potpuriurile incdrcate dc exhibilii
tc.lrnicr:. Concertul lui Beethor,'en cade in seara de 23 clecernbrie 1860,
la prima audilie clatd la Vic'na cu prilejul unui concert de gal6 la
tvctealiooatvcaterruddalietld,i,naAduc1ectdld.apeigunrlibvWinelic-rits,cenricpn"urc,ecxrientpr(lciFtcgimrataebpniazldcceClardlmcemimtaeilneivienari.)miimnpopenartofoaavlridistza.inatdegfieaui r9sudiunpocueoisrafgmircndaiaadrtleiht9avciteiiconau--
paul rtimacpruolubia, tciacp. aRbeilvsindeasluociieJzoeacnhuimmemluiclruitiuBl edecthaovfcin picsc de
lonist
efect rerspec_tat
ca1:odopert-.le geuului gi de a fi luptat, prin interprctarea lor, pen-tru
reclresanra bunului.- gust din sdlile de conccrt europenc. N{crit cu atit
mai tnare, c:u cit ilrsii$i ascensiunea carierei sale a trebuit sd se reali-
zeze qi pL! un repertoriu facil, apiaudat de public, aldturi de crealiilc
1 Pincherle, Marc. Lttrncc virluozilor, Bucure:;ti, 1968, Edit. muzicald, p' 19'
230
r8e
'gI 'd'lDltc 'dO "V '1\\ /!llBD-ur?S spruor{J }
,,,rlrJ:ls aI nu e nrluorl atfuolu nJ rJoJaJls otr gs otnqaJl llJu3 llpoi.)ir
polJlp Juapurlnlard rsorol;uJ IJIP ad" 'alunIII a'Ids 1aSJ;rpe1tnalprdus
palplllelol p:eofuoruJ qsrq"ls.)p
6ru1 o:rnrrd nr 'qreqJsllod
Inlnlstlrp
qra1o o-r o:er ad parplu.tJul utp p:tdsar urnr gdnp '(nnurluor pzpJJq
-rA arpJ pleuorsed pounrsuotr ul '.);llpolaul InI alllnluJlp u;) tor1e1tr 1u
rolpz-rp ad ap asnpp azer alSarulld (LL'do) p4saqcto rS plDeti\
nrluacl r1cn{1out1uruapdt
ul [nl]aJuoJ 'InlnJo]Izodruoc erSe;borq ul ]pspld
azet6alur as gs rS r'olJ{rousrnlorul npl;pp+ulreutldl uptslnodanpsasrudrqperJsgear$npl dIraJprzrSn-upslnodluSrilgSrnou1r
'pup-rsuqplq prrlsruolorl ur{doruoc ap asnd aruolqo:d olrou ap qfey
lndarul u1 lrldors 'rurqJpof tSnsul 'ro1t13i1uorun-rlsul alofueurroyred rl 1ir
JolaluournJlsur palpuorfrotrracl lJlp puluorslndun arplrJlJospJclns trp .i1.r1
-uouroru 'olpluawnllsur allnJ rr)rznur erfnlozra uip rnlnJolpaJ) Inlol zeJ
lsaJp uI rS gnol;r.t aS 'suqp-Ig op oleldacrp lsoJ np sulnurari ap luo.iecle
oluqoJ erdnsu oles alrrfualJolur arlurp anrfnd BoJd "[rq
roirJplinlgrp
-plnloxo nar6 graprsuof, II 'pJrlsruolorl ptnlrrrJs aJrJrJaA r-ps lplr;)rfos
'rurqJpof qdasop rer 'r1Sruo1or.l. 1nur.rd. prplJop 13 (rarlsaql:o enrrlodmi)
,,ralsorl)Jo sep uabap" nps (lrrorn enrrloduJ) ,,a6raD arp ue6a5;',
ra irlrJorpJaulq ap plBSelap arunl o-Jtrur pJrznru paJpitr
aunctrui e ap a1dn1 r6unlapul laun snpp nrbpuo 'nrbpruo ap arferr;ruruas
glreod rc '.)unrlJaJp ap orrnl-Ipu pldruls o auIrtrpJ nu urrqJpol qdaso;
rnl plnJpJ erfurtpap 'lcadse lsaJp qns 'alplruraporu ap pfel ourpntrrlp ap
1sa6 nou un a)pJ surqprg 'aJalpqzop ppun;ord op p)rlpurerp gf ut:1s
-qns o ppur:dnr ps alrqeder anrsa.rdx.r 'rrouunnrstruaoutrpugnurolrndunetblupaJdspI,n:lsltdJr)
-ul ps pJpo pnop u n;1uaci puruzpJpul
-uoJ ul Id op lpxr; Iopour inutrd gdnp trualap pnop e1 '1ebr1qo lil;rru
-nrlsur nJ lruoJrurs tarin e{e1 u! nou utp rutsp6 oN 'pluppaJuoJ ra etnl
-pralll ur olualsrxa aII,Ipzllpar csaSpdap or artpul6 op rrurzunJo.rd rrrorn
pulproJp 'pupruanoqlaoq pJrlolsa pral rS rninuaF rrunrsua)sp a1e o1dar1
lolsa:rp e;dnseap p'rlpll as suqprg 'alplputuos aJrlsrlrls rrfnlrp ol.r(iiup
u-ulpo:o) l'ppolllisplul oolporrArnalprsaplorlluplJzseooqpol6ronlgos.{r"nps1ooJqpppgrr-upqleooslsdloxpoudal1,{;ai;nral dInJror.ur.ni}
e rS a;xpolaut rfelrrrrsJnr alupuclrs.rrdurr raun er{daruor ad ',tploqt
-lpg-uqosslapual/{ prunplruponpo.rrJilo-oq-1Jsroludpuarroferarln;rlnplsoplao.sroelplalge:lnuburrsn6l uu.iird
'lar,,puJJnuoIqllou..r)gruroSrunsuulnnf],solpJpuVnJ'ulpolJ
rII pruJIJp rpru i)s
u1 rS lloeq lpllpxJ rup-ur rup-a] aJp.l
llJolgllnf,sp
ir-i(Ji,;1)lpr)(pSr--2r)lIJJ.dulpr)rlr-srulPgrrtp.opJlnslip;pll)aoi:.).ol)rstauiJsnpalprn.rJunJrruqIzuqruIaI.nrolIlrrulplpJ:ulS''spluofuuoiuIrllnlpinln)Jpao''-crplrrrL:rp1rldaJoIurulJ-pgr^rrarTu.oooeAr.l)1dq1noJpsul1ldluo'Srrrpuf'rld(opllerqpXJolrlluprrIdnolXrrrIolrgppnouulIrlrnpenpnurlpullfnolrpon)orlAJ1lojundprlIoaPJJJlJ.arlpr'ln-'uur1srJiJuolliJqs,pppJrJrollJrr.Iu)rrooippflrnJolJonIoerpuJJ.ulf)lropJsolrptruorIpoup1nipf)lni$Je,.l-VrI"olnpl'orpg"euurllrIrpndpu'aBasnor.p?orl1aapBnprllIpp'uIJIoeupuulg1).auo)rSorJ.tJIIutIllaprxJpeIoIpor-pnl;cnsuJtrlrtfpti,l;Ilrrrtn,u:Ji;)ile.rllsiu)ip)u;p,I;)t
9cln6f iJ.)luo:) i)p .lips olorue;6orcl u1 1u1dor1 olp-rnrorls oJpolpx ap
scria Brahms lui Flar-rslick 1. Din priveligtile acestui |inut fusese culeasd
gi muzica Sitrtfoniei afrudmouuas,elfuecaraarrecucruilocrarme enlooduilcec,onpcreinrt se inrudegte
prin tonalitate, prin intensitatba
simldmintelor ce 1e inaripeazd. Dar fafd cte muzic;a Simfoniei, Conecr-
luJ aduce un nou gi impresionant val dc trdire inLerioarii, captat in
imagini mereu transfigurate gi uluitor dc inchegate. Apropiorea de
Slmfonie fusese inilial pi mai mare, prin arhitectura conceputd in patru
rnigcdri. Brahms a revenit insd la forrna tradilionald, detagind muzica
stecghrearztore-uiluaindi imn adiestifrSz$iuurainreacenlodiiecareIadfioi i-leapcaognincedrtpcpecnatrreu o va
in-
pian.
Pe
forma tripartitd specificd genului, muzica incepe printr-o amplir intro-
ducere orchestraldz (Allegro
ingindurata temd principald gniosnattreolpifpiioc.-i 135 rndsuri) care prezintci
rnelodici secunclari (primul
grup tematic), realizind apoi intrdrii solistice o pregiitirc de proporlii
expresive gi dimer-rsionale fdrd precedent in literatura conccrtantd a
viorii. Originald este intrarea solistului pi prin lungul pasaj improvi-
zatoric ce conduce la reafirmarea temei principale, a cdrei curbd me-
lodicd, mlddiatd in registrul inalt al viorii, cucereqte o impresionantd
noblefe :
Exernplulnr. 131
AleE-o non irci)o
*P
Abia din acest moment expozifia formei de soneiti se desfdgoard in-
tegral. Primului patctica prerqirtire a temei
grup tematic ii urnieazft
secunde
Excmpl ul nr. 132
;i infiriparea ei, cantabild gi expresivd :
Exem plul nr. 133
r lrfay, Florence, Op. citat, vol. II, p. 189.
2 Orchestra cuprinde compartimentul coarrlelor, al sufldtorilor d: lemn pcrechi,
al aldmurilor (4 corni, 2 trompete) 9i timpani.
232
cc7
'aualsItrqerq
!o16lplsou alaiLrpnu Sualul pZPaIQIT\ oi?f, ul luourrluos rnun P olrnl
-gnzap ep'ouflrs')JrT0.) ilp r] P:\ ra Inlol Jpll 'lnJaluJJ pnlard pA pleoi1
gsl 'lu InTdiuoxl
'lpIJnS 'rnln.rotrrzoduroJ paJrlu!rup urp alrp-rou rardrull Insurlui pulJo^a
-ortrrp ataurlsns psporrr
ap aluaurnJlsur allpIJol.),) p olpolurupdruof p
ad 'aura:l laulld pualllupJ drulJlarlril ur pzpauolur _- pJporn nu
IasIS-ularaJr-tpqruJnlqIJnlpooltporurqoJoorslroIlgsun)ll-r_rPno.lleIrolnuuJloanrdrPloplq'uuroIroJzloouIpIrrAdIil)aalrpJJJ;Ilrr-spr.rpruipPlrSPJluqdPpruTlgrrplanuJorouoprlroolJorriorroulnoaoup6luarlrrdrunpnuJnnIrppulIrnoagr3JpzrnuplppoJuuooJauJJli
arpJ 'oJIpui6 ap olplrun pJrupbro l:lurzJ-Idor iJ lsrrroJrurs od 'rrrr0plur
aJrlaod rS Iou prrdsur i-al aIIrIluIu? urp lJJoAzr Inusurl 'lo lllplTiri
ua-rIudras'rrnpnlanlgllps^lrrzu^oapJ1pr6u(rprssaplPt JoPrppooJplourlsurropualnl'eprolarJfelnIucort pPDJl/unr'lozn.rJl6rodpJlppJovI)l!JerPrnn]opJpPoTpRl JopnpospPInpurd[oplplpa6lia)
']uelJai)uoJ rnlnuaD prJolsr urp rur6ed
arpolqrnqJnl Ip(II olal aJlurp pldun pJrznur {)raqruJ os aIrDnlPJ}s IOJPJ p
--a-ruqdrBlc"plr,sloI"luappIJuonolslpuurdunpaor"{Jr'ooarlJJpzrrnunoIrJJdJUrpnOr.Sl)pIuponI}llpllrlrr3npJ,o,o'oJr-lpuJJuPlluoc'u6!i rurarrIqiJueJlsrdpr"rr.oJduluf1lulnedpl lZreplaJrdlrplzuloarnJ)l unpoIlr.srnpipullntrplnup}olprqrs}Juop,lrp,aJ,olrlp}l{[uurInoonb:^:ll
-Jarl rpru 1t-rr '(nrsauE 'JolsrdrX ''snrpuor{Uprpgr.ai p'{dp,slrnrdpruuooJ':}ason}yp) rlSruolor,r
rolrSoraurnu alrrfnqrrluoJ arlurq
nu {?poJ
i3 pzrrdar a:1u5 efuapp3 'alnlpqzop lolrapr Insu.)s rS efrog 'orerFolur
pnr-ruaeJousPJl6laueprnflrlsuIzJoolJu'drlopuoJeJurltpsrrrrIaIdqlssr'ropo(rlau?rrrrfllr^lqzn{no'i)sdri.xprI.pIloIIaorppulupr1ilsa)sPlr:lozJpp1ouaJr1lrn1Jur-raiJruprorlls1dJruurlor}$3usupueiunirrrlroSoprJo(sl3'ieJorgrArrrtzor-rnJtrgrrnrurtrrsrno}'lsslurpoaeu3pltps)r
r-rulParluloo^szaop1eeaafeuunorfs:roascl u.JI Ii')ulr?[0is{,lu).Iirrs)ldr]rlsan}u:qrporsilnrlru- J)odp.lrplo^.dts}rr)dlnp:sr Jolrrlpl
osedrqr
-nrlul o rillprunqls o.rp),lcl .)urni'-rolrrinr{lu u rS.rolrlplu,rlup.rJ p'Jolrr
-nsIA p 13 Joilllprldsp p attlnl r),:Jp ',)r]upluor rs.Jloijns insJd^r{rn npi)o.r
):Du J'
?tI'ru Inldruaxg
plrrulu g{rieu6a;cl plrqasoap nr acr6-roua ir{uaa:a1
i) I) alprplatliiJ'alp+rsualul plpr6 nJ aleurrrdxo'aorrrl alatruaturluas
fdcni-uoeonctnrdl:aaddlmEd.epfasipiitcsndoeodandddt-eueedinefvtciseieop,d,rnaisintrnerasacdnvlseodaorunillnolasftoiucenrurmpcrssoreiutln;iilolscrdf,iii,te,nqocuar])eial.elscuairllaraeticpc:rmieutacecteiiavciornee,,ta,ipioDd(refeno-veraemgntdeuiorldetueaamdvetaaermtisraede_-,i
Exernplul nr. 136
V-solo
dsdteeiinctnicsapaurlilemgmiraiuenppltoruaadlrruitecei ,dddloeeinpigrdtseeteumscrifvaaiutanipcelua(tamincdddeesusz.t-evs3ieo0lc4tsde)t,rlauimilbeaioliataicpvcuaeprleuerienaglgudiiaicsptacddrreeelict.vomiuooaatrilvdmtirnuiczopicari--i
nrrsiinneiaticr_tlteoiurlznl-nnuaraRsdectjdiaoieifrrirlpecuer)e.idatraimrTrmmeieiamapecmnumievagpnnoacerpttirdeinieo$arintiitrcedeafatnizrlnereasoe,acinupelaosenrrnoieiefm(ldaeiAxceepildc-tluieaileennsgdleedulraocanvilnngiisugostueernalapnririzpoatnciimprotoesrusneeotloddanglourrtriui,icnimleetadeeaiimvrfxgriliecotzdhauaiilualptlltiinrzacrL,edetreoaglraaiapnr.ep'paDeoonmexeetvpvoetipildsnivoceeefazdirbnncsivietoetidada--,
Exemplul nr.137
asociere cu originea violonistului .Ioachim. Ea joacd rol de refrern in
ctdueaelstrsidamf6tcu;a:;trueareraunirleuoaaiiplomaforruriifmzdieieceiii(ifmdroacugczrmooicnneafdneleotrud((lcAnu,,-ppoBlocu-tcAeao)-1.pd-ioiAsup-Brpoe-rzAneilas)ie,rtocpma"o)b,eraialidtrrviziitcinrndatdntpseiefnrigncuiauarrardruerecl lsieneai
terrnind bucolica imagine finala.
Pe concepfia subordondrii virtuozitdf ii se'nsurilor expresive ale
mvuurziiicitie, hBuriachcmisnrseianliez,eauznd,coinntcre-rot-seimpofocndicd_e. icnatecgaorericidnsvtriucmtocrinetual
esemoclteiortnaaqelea.zdLadinprecofamlaplperxiuml eoircehdeifsiitrla, l bra-
solo
pentru a sublinia intensitdlile
Joachim indreaptd interprefii
cdtrc inlelegerea acestei noi conceptii, conceplie pe care arta sa a
ilustrat-o in prima auditie din I ianuarie 1879, dirijatd de Brahms, la
Leipzig. Prina zi a anului 1879 in care are loc evenimentul ce intru-
nea l.rei valori de maximd indllime interpretativd
fixeazd o noud pagind -de Brahms, Joachim,
orchestra clewandha
glorie din litera-
I Editurtr Simrock, 1879.
;tq A
3Jt
987,
selugruou lli surr{Brg" xI inlolrdpl ul lPlprl also Inlralqns L
'{6I 'd 'II 'Io^ 'lDtr) 'dO 'aruarold ',iB}t
e
'gZT,'d'II 'lo,\ 'tDtn 'dO'opnpi3 ipuplsog
'f I 'd 'I 'ion 'lDlr, 'd9 'apnu13 puplsog r i
araaarIJllrrpanprJunzlponr-rlspeooo:lloirrroollplouupssnpoJpodotllplllslourrullopllnur^ulpl(pPprrgdurfnDriaJopldpdluJrpulJls+pna.IlpppPlo)ordqIuuspoInsrlpaapPtp^rrsplaprJrlanJeurrsJJrpyrr'1sro6Sda[lD,c8PDt'rIuzrjDeprlanuorldlospnspuurp-sr/appDJtuJllpsDpap^ou6oroUu^lssICrna'alJrrrJlpruolearuAddi
', rnl lrrPzrlpor oprlpcslopJJutropl Auio-rplourrcrtqJJapluorf Inl p rpa{'anJl SpaauuAoluaa6srpoo-l)
orlrpp-r+ plnrsoun)ar ._
rnJpJ
ur-anoJlJaraprolapJll^lrnonulllsJaaJu'rparsrlupupl ^lpJIloAslupapbsrpJd-oorlpdJaoJlsosprluoJpoJullarzlaallrplradJlruJnnupurJsdaerul^u1prJrsudlo'ronrurlzzonollrlnugrrpoprpu;) r{u
rd;_)
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p'-rotnrrunlrnzaouJapdlpomalprlqprrJuprznonlf-[asrluoarrJqp]uopolJpJfrlrrlrJIennlludunol srrPp'6olJda'BBruIunaaurlJnupI1n$u]npeJrlsspoauudnneJpl nrasgJepapJaIoII!enululra1roqsupooJf
r'no--rnrqrolnrlrJnJuJnerJllNroruallartnluzJlsaodlrap6SdurIuIznrnrrdnrolrrpJlarnoan-lluI1Jlo"snauJuiuoauJ-r)tanp/I6'arpl'lsqposJuplrJpuorlrsqCapeppuJorpnggnuzslgep)renronueuullp,r$r.palr'rarnorrqour6puopnoda-ar1usupapruasIdIanasnnJlaprnlsploJuJpuplro-rIJalndllzraol$o,sruludSnaarrJsrrturapJdpooJnJlJulrrsesruoalaorlaoq1erlOJJJelrupJ"[apoJr',fpJJu,lupIoasplaaroIf-,JarlaJrpanJp-.dlJlmlJxIrn_.nJr.Vs_otr]
rr'osnal-nSln*peldpraopppaJsrnpnIpJpqtaprrpuznpnp*rrtlar rDa$JprprJidpeasndroSalperazloprcripllrupuarrrpaalla3*rpafrorpaunnrenJlarnrr1r-aruporurglrrfIedpgplJrIeasJquurqo'6pJrzJdIgnraoa1up
l;ersoeroJrfuUaoraJ,uLaoJrolunuTrrJ-arrdJaISJdpprpuaJnuourul arsuppnoJp rlozpnop nr leurdrrrllul lsoJ p
'r,,2 arpJJnl ebearlul urp arpol
Ian-aoSappJrp-nplpaarpsplsnlredpn)lJpllrFirqlJsluorrosrlpJusooedalplIdrrtllrruuunperllp"JSllozsr'JIolfonogoJrrrlouulJpqlepo-odprrJusuna'rrolorlnnprrldJplnapunoslp:sr"a1nlruu'ru,urJeorrdaaul'oltrof-IouralelIrpSp,pLaaln-pulrpporss:appdnItJapladeaeru5plJprapnroasJru+ppprpsuolpuJsnpuordJpllJsssJuppso-rorrlouoJrJp-;uprl"uIa-u'r-tpqJarrJdoe1osoolsainpntruppaT6r
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rrrnppru apurrclsop puplsog opnpTJ 'alu,sp.tps olqpd nJ oIpT pJpnopg ap
glelrnd efuapuoctsoroJ ur(J 'porurzunJord sunrlpcl
np-r nrr ,arporJolxo
rrrrJnlprls re rpifrdrlzaoaprle$up'iyrrufuuarepoldu1uo3rzuaalourlodoraql:ra1oo$pgruoarlnos1rrnlJinsrrSuuola-raboIruoanJp51p'ldt'.p,n{z.ppoio,rryqrlrJrop$grl-,uqprl.{ercngs]
-slopuahl rnl
ap 'ouarlplr
doud lucr.iri au ca irdstitur.l comund faptul ci aru.itlcioud pornesc 9i se
merefin iir aceeagi sferd dc slmtdminle nostalgice. i)ar in t,lnp ce
fj,onata in ni ntinor dornind in
farmetcul epic, ,Sonatc" itt sol mtiior este o
paginii cle intcns iirism, invdluitd de ia un capdt la altui cle interiori-
zatd trisicfe. :\ces1" constont sentimcirl cieiermintl ;i ck: ciata aceasta
o specificii coirsttucfi..r arhitecturald. Dacd in tnuzicra So;talej Tlenfru
i,ioloncei 6i pian, deminatti de cantabilitate pi spiril pastoral, fusesu-
evitaid partea lenld, in noua sonatd sr:nti.tnentul nostalgici ciete'rminti
evitarea sc herzo-ului.
Denunirea,,Reg;en-Sonate", sulr care lucrarea estt' in generaL
cunoscutd, se datott'qtc. leg,Jdturii muzicale ciirecte cu unui dintre lie-
durile compuse intre anii 187 1--1873 iC- intaenrcuruml eplcouii)c5eil de al treilea
clin qrupul op. 59, iltitulat Regenlied primul dinire
lieciurile inspirate cle. r'ersurile poetului nordic Claus Ciroth, originar
din finutul uolstein ca 9i familia Brahirs,
Muzica }iedului, in touaiitatea Iq cliez minor, in migcart'a Anclanto
con inoto trancluillo t'slt: prcgdtitd de o intrtrducere cie patru m6suri,
in care se-. impunc formula ritmicd iniliaid (cu implicafii la inceputuL
conturului melociir: al cintecului gi cu rol genet:ator in tnuzica sonatei)
E x e rn p I u I nr. l3B __ Regenlied
d,e mc F,/ta - c4r
P
Brahms, aserrr'n/.ra lui Scl-ruttert {qi arga cum vor face peste cite\ra
vscalaelcoseurniffleiiict€Cinr-adjus-scotdavianNrterf-aoci'orllrul€ic'ssrpaaorlncdRed,ncefhdaarmcdupSlrotrraearruess,usri)iir,l.ermeluioainriennnscptlouirdlaitiaonalirceead.rueFludsirtadsrdesua,i
fi rdmas vleo consemnare despre legdtura Cintre cele doud
anumit.5,
crcafii, muzica in sol moior vddegte in intreaga ei concepfie
Scncfel
qi clesfdgurare contingontd cu sellsuriie nostaigice ale versurilor lui
nu numai melodia liedului (anuntatd de ter;:.a trlrincipald a
Groth. $i pdrli $i citatd integlral in Final) a dezr;&luit legdiura dintre
primei ei
fonclul emoiional eil celor cloud lucriiri compuse de Brairms in deceniul
oq)a
LgZ
olDrapour ouaw ofianv'l?I'ru InI d ur a x fl
Drrrrlrr In^lloru'(rourru los ui plspaJp ulep ap) plpljJ 1e:6e1ur alsa rnl
-npail prpolatu arpf, uI (olerapour ollour o:6a11y) a1:ed eurrlln u1
aryDpu\f nld - 0?I'ru I ni ctru ax g
'nrqaun; Slpur rnun a1e a,ner6 alafueuozal puJJlpru 'alual rrJgl
-Srur p puplpaur aunrfcas ebpa-rluJ puruop arpolprouab pcrurlr: elnurroJ:
'or6epy urp rauo:l p prrpolau afesnurnrl Burardns uI plrnlp^ul jpl4l
'ppoJ u.r 'rozrrda.r e rS areolgllolzap eaunrfcas urp aJrlrloru
allrprrnlard ul'(gt-62'spru) pnop p eruol ards ealund uJ as-npulnu.rsu1
ettcD .\ ! (.
ocldotl uou Dut o)at\l7\- 6tI'Ju In1 dru ax g
: rolpuos e pierfrur prual pzpauorqndur
areo (Agt 'xa) Inlnparl p plllrnporlur pclrulrr plnruroJ alsa (oi6epy
u1 rS ec) orprJnl e6ea-i1uJ u1 aundrut as ar eae3 ('971 rS WI 'xa)
Ilrpd rautrlln e arern3p;sap ubea.t1u1 ad (rurrcazerdsrpS ap lrolp^
-u-npogJuu) r-n1aepndul1JnalJuu;oror{ASuzaaararr/nlciueloua'ugo}rrsspna1ruuprpf6o,dralrur1uerodpJJlospBlpruuarrorrJpreldprlEuuJIlrsnl-adslJoBnaJaerrpr'{{epglopbglor1diqlllrsanuoplldaluJnpeorxoalracfrne)uolrpp.lrlerlddurlrquulaprIzluelloluellraooeuuJl
'aJlurllr rfplrcrlseicl raun efuozolcl tS JBp '+nJa-r1 InlnloJos 1e ealalde$ 1e
inif ial rdmine caractcristic difc'ritelor prelucrdri melodice, armonice,
dinamice gi agogice cje au loc in evolutia muzicii. El capdtd pregnanfd
principale, jucind suil acest aspect ro1 cir:
in a doua frazd a temei
punte spre sectiuni rruzicale noi :
Exemp 1u1 nr. 142
ca formd, sonata prezintd o structurd tripartitd, pe succesiupea
unor construcfii traditionale (formf de sonatd, de lied, de ronclo). Dar
in fiecare clintre cc'le trei tipuri arhitecturale intervin rnodificdri de-
ppterrreimmdoianmaptianeratdnele)eiastrpeeemcpeiifiictprudrilnscdcoitpunarfiliencua(crtuaocnlutceie.rpisAuttiscdtefceoflo,mrfmpolreemxii a:dedo'eoli1es-adovn,\ a9dtiadato(rldiiptidn-
tcsddtioenleeeentisguseafcidlxliregiprsereuioescczrczpeoaouierlrnl,inevcefddaatl,diaicndcurtp.einpdrRzcriinvicnlerooonctlaurlainetpradfrilsiruieanceicialt)ce,usfaaminuicnsfneiiattraeelmtdeezqeaaremiitaiefuoolaucumrrnnmomlueitutedieourtniateo.ieo.axlaSrlpdersee(oeicml,sze:otdiifrmtndiriadvafmtdlemiiciiifinnnitaotmtecnaiszluecaoeaezlrcenrisfce,itnuuaoneanlessceuetoiadaturaileamgrrmeitieplacopuuetrrreszi,ozeidcielscnuiaeinu-,ll
(repriza) unele intensificdri ale melancoliei, sentiment ce culmineazA
in nuanfele stinse de Ia inceputul sectiunii Coda.
frlioneardmrceidmAi gcpcierleuienmsaoucgnotidanstcdiuen.ppPltceidaolrendscsiiinlnnutczeloitairszgaiemationae(isrzteeraicaraleiucapnadecrraaoficnai tseattrrrdieusoitcauicf)aide,eiilfenommrcumeaznrietceeai flso(eAprm,s'eBeca'iAfridce)ee-'
BBrJa, hcmonstroepaindducue-leininuitcimodaaseinctliru-noegaemnibaeldle idei afirmate anterior [A qi
sintezd a expresivitdtii lor.
In Final, forma de rondo urmeazd schema A-B-A-C-A-Codo, pre-
zentind o specificd rezolvare
realizatd intre clebutul primei a unitdtii ciclice, Prima coeziune este
pdrli a sonatei 9i secfiunea ,,refren" a
ppnpbccpaauradusirnlntnrteeaeleceiciiirapt$e-ceafaiiair1rtliimatds3nlreet8reaiaeci)iai.ttaaet-prtr,diearialiotcinnanmmtousdt;mapee,iuinnuiglpfactusrperuaevdiadlsziposnldriddurnotd'idtnadua9iaasnelioctaesealcpdoitlempeloanapsdugriastenrniedttisnoieeiicmtidritiiedez(pl(eamceioceuraixmueeldm,soor.(m1usnuem3iilzuxmmuu9ei.lc)zilpa.o1aiollc4Ldiuimnesa2eicii:i)rtlgndoeicdpnoB-otrrraa(uriindsmtartmcuaihneaadgimpctceeet(uoitsccnretniavamlifi(iaarcRi_pel9ldolaeieoatirgdrsrseeifpmeuifntilrempouleiimsmelziniaoicdi)a)--:-i'
atit in prima, cit gi in ultima parte.
z.Jo
68U
't6I 'd '1og1c 'd6'ralIBiA 'uueura'6lliIt, 'do uI
p.rarl E '61 'do uI pnop alorurrd 'unyd nt1uad .r.rposdog 1er1 snduroc p surqplg r
un asal surqeJg '(V-A-V) ozrar{Js ap girlredrJl puiroJ o ad .rnln6al}
ru--Sud!pIaarBlJrprnp{upelrppru6pd'ant Js'-le_Berrcapfaca{dnsJssrl'ssaululoIpoeu'Jtoog:us\g!IrJSlorIlnsaInpuruu6prrJsoudrprJppralJlalorszr)annrupuJrplraullllnps(pplrJscunurIp1nrnluJdltqurno+slesao,roau1urueeIrJ1uer-u6uypu)ud,na,lsrqlponJorlsads
ap alnJpJ IIrpzllarpod eallururp JsazaJl acrlsruercl rrJnlrrJJs
InJalJprpJ rS lnsoled 'rpnopp-Jtru,I 'r,,alplrtnlp,ur purlct u3 Ip JruoJrrrrs
rnlnrolpalJ
lpalnJlpJmearrJrroapdrrou'aJsoRalrIaJdeuaralllosnq'e6urdpfcglual lcr'urJo'(or0l1uIrn'pdlonlldr'aoa1praup!'so1apouIgua)ppgqroaufJrpnInoslunrIJJJpoSule1ollp-Iurnlrulnl1n! uqrr$lnorlJruIuiaIrBpc
-ap qnop nr asnduroJ Jolappleq urfdaluor Jsa+urue 6L 'do rolrrposder
1n1dnr'llls IS lnurfuo; urrd'DlDort ntyuad [n]rc)uoJ'D-II D Druoryrls
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'rrposder qnop : areolchue 'UaJuoJ nou Inun alrrnlndacug rS rrpnls rall
rS alplrlpurJ 'lnurfuor lpIJpA
op uerd nr1
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ap glerrd'asJuproptrlpr6lpulrrlpuaoJruoue{ruSegrqleruruprou;rlsoozJ]aIqJJSrprnqulonJDeaslnepr6l3alurnl1'aetrrz6a1oe1d
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-pcl nu ar grrboi rS g1e:qilrqJa pr[JoJ o-llu1 pleuor{ouro olplrun Jouos
inlnlqtupsue purudrul olplr)rlrrJ ap IlplIIpporu aIaqurv '(lrrprcn1 e1e
aJI-Iepioo1rulacnu-lrurtrarppupnlJrdJatr'llrxorcpoIpaJnooIpsaJailrnnlluprrpfs.l,rpJ-pipnoalcr'1lspoSpue-Irron.nu;6raupJrpeurusupoelr1J6'yoalos)r1uurgd.rpordroeJl'pcdplrriielrrpuopfrrrrlrlfrerruefue-tdlrreosdlrldplurenouJeulrar1:n.ogI3rldJodrureo'q(Jucrluoaluruprp[rJ:peaucluuuieesnJpr1lu)rrpopzq'g1aJoJu1aslopea1paJ:dnqu6pniJaeoJJa1l1JLo.uprUAprguaOJbel-rrrano,'d,-JeporogrpJe:lIrl"euepnnrrfrouagafareJpysup:dslrapuoJrprgnoloulplluoiloalea;udJ)ll
-;ed tS IpurC aJlul lrarrp rpur rS plBZiIBaJ alsa prrlJlc ern1g6a1
conflict de formd clc sonati, lntr-o irnpresionanld inchegare. Factorii
constitutivi ai muzicii, desfdsurali in dezbatele contratie, apar subor-
clonati u;rei prefaceri unitarr: devenite tipicd pentru stilul sdu de ma-
turitater. Il prima serctriune clomind tema priircipalri, agitaLd ;;i asprd :
Exelrrplul nr. 143
Forfa expresiei ei indbuge cu violenld. afirmarea temei a cloua, infiri-
patA timici pi rugdtor o{msdus]-.r3s0ec).fiuInne secfiunea mediand, prelucrdri dez-
voltdtoare conduc ia cerntrald
in caLe rolul principal il
cuceregte terna secundard (fragmentui Meno agitato, molto dolce, es-
pressirio), impiinltd melodic qi transfiguratd emotional. Ceea ce fusese
inginat tinguitor se transformS. acum intr-un lied de schubertiand pu-
ritate. Reluarea sectiunii iniliale, cu estomparea rnuzicii pe conturul
noului aspect ai temei a doua, incheie cu intensd expresivitate ima-
ginea epic-idilicd (Coda).
Conceptia de unitate tematicd este caracteristicd gi pentru a doua
rapsodie (Molto passionato, so1 minor) , dar de data aceasta muzica se
desfdgoard pe omogenitate de expresie. Tensiunea dramaticd domind
fdrd sd facd loc poetizdrilor pastorale. Pe forma de scherzo, eroicul
(seciiunea A) alterneazd cu fantasticul (BJ intr-o tumultuoasd lncle$-
tare dinamicd. Ingeniozitatea melodico-titmicd Si cursivitatea modu-
latorie a armoniei imbogdfesc gi coloreazd pasionat stilul acestei rni-
niaturaie balade eroice a fanteziei lui Brahms.
intr-o scrisoare din 4 februarie 1BBO, imerdiat dupd primirea qi
studierea cuplului de rapsodii dedicat ei, pianista Elisabeth von Flerzo-
genberg elogiazd impresionant ,,sdlbatica" lor frumusefe 9i sugereazd
doar schirubarea titlurilor lor. Se dovedegte gi de data aceasta com-
petenfa cu care ea rdspundea solicitdrii de a-9i spune pdrelea, concep-
fia acestor miniaturi intitul,ate simplu Rapsodii neavind nici una din
tr.isdturile rapsodice ale genului cultivat de romantici 9i cu deosebire
nici una din intenfiile de strdlucire care erau caracteristice rapsodiilor
Iui Liszt, construite pe succesiunea unor melodii de largd circulafie'
dscapebsepic}rSifiniclsiimre t-edoneinsziiummneaengeiifeplosictgddirciidlee-aafrrohfiicitelodcartiutcredarleodrpd-tquel nqdeiegmtai.afiFigoaurlmeras.aspu-rbinstdtraeenfocaerlleeomrmacaru-i
rfllieurparatedzreepnvrteiannttiivrt-eoasppuaprgoraibnaitbidtilleudlsuacishdoeacrziteoirn-euifrciiaual le9aiciincteeicpriatintuuunreiaiapjueasnnttitrfiuiccdaptiaadne.nnBourtmaiuhirnmeiais'
ceea ce interpretdm a fi stat la baza opfiunii sale.
Cu Ropsodiile, op.79 se intregegte micul grup al lucrdrilor pen-
tru pian compuse de Brahms la mijloc de drum creator. Sint piese mult
despdrfite in timp cle prirnele ca gi de ultimele asenenea creafii.
Pentru cd vor mai trece 12 ani pind cind va apare 9i ultimul val (val
240
Ttz
'sruqprg
aldsep oirrltrupup orlulrd uasxlrJ\l ap lplrJ olso aJ nrlrJlaxo'(sro-rur rS) seq urp
BaJoA BI Iolpolour eeraundsuurl uI plsuol uol BIIeW ilpl ap tZ 'clo 'Dlor.rog
ulp ,,allqorlr unnladrod" Ipuri Inopuor ad -lezl.lrpaoqra1-\
Z'tLt unrd ntTuad FlpnlS z
'€ojp)Eiur rg
eldorp 11u1iiu prnlJ.rrJs lJTJrpou rr lpp 'palpllluuol rS lnseq errliuaru jI srur{p:g 'urdoq3
ap (7'tu'SZ'do) roulur DI Lry Inrpnjsr aC JpzIIEor -- I'tu unrd ntyuad lnrpnts' I
naqcrJlsrpuBnaluuwaplsauIlDrrdrrsduprzuqpDIalplgpzpspaasulpalrdrDdolrdlaofllusIeinJrlSnpll(ulpnralcorI^u'6aInLl4J'ddouolnn'puyot'lurard,S{.ang14gura'adpcolua'oalri^lppo}olsosddpoDnguY)
aJluoJurls-IpJo^ alrrlparJ aJlurp pnop r-roIDur ar u[ Druolu.rs pzpalrJrp
(gggi arrunupr) ploJaJll pT 'Trpzrlear alps Jolarurlln alp urJolpqJps rou nJ
'alJaluoJ ap aaurnl rS ruolplpJ aspoJaurnu nJ plprpsercl alsa suiqplg lnl
epraJelrroboplqlp'-I8oBp IrnolrorqJuaolrporal l6rr{uJlsp arllpnp rnl purrJci IS uprd nJluad
alourrd oupdsop lJaJuoJ
orer pDporJod uI
Jo+ustdou lnsounJJ
'(ffi'clo) rclnur pLuaq
rc ut Inlrccuoc 'PJlsoqJro rs uprd n:1uacl JJaluor Iplu.rrunuou un-Jl
aa-ufIuIrnpaur6rearJlrnoSJls-euaspIrpl JsppuAJiqraSeslqgJqorpI$rI6nlpo',Jq,pIJlJsna'qa^l'ounuIlzsJaIadl IlrpnSuuruePIurSdpEetol1gaalt'lSeuorafrulnpoplnunJrrTrpJnzouslqoauJxrlrsuJ
al ps arnqaJl +3Jul rrpo{alu palJlp orupoopruJr}nploajcpl rse:o1;ul 'rJrp ad" 'ocru
-oJurls rrfroclord ap erado pnou arpolpz:e efurrop
rnlnr
-olrzodurof, o1Saza.r1'runrsoJuoJ rolrfiunlapul InluaunJlsur'lnuerd'nfp1
-r1rbe 1e Jo[ rS rarzatrrrpJ Iu Jol BJ'rrpn]s rS rrnlerurru e.t1urrd reg
-uacl oraundsue;1 o a'rloslarrupraalrraull[1DeUeJTrDdduurtrlpuIIau/oolJoJpprJnJpoptt6ttutJyltsrapdu3rrouuntwJl
-p-oeproJa-InaOnllIdsr1qbpsoaraonpropurluJpsgcreulepsuJtolrlaau6sfIDneaJprtnI(pparJuDIulJprluUnlc'alup.urOarlr-aa'p'aS[urdlpStapSlralnqIlulsaoplrailr-xrrll1lrlJpolpJae,us1pqxdrJareIop^Apnrl1eSl'dIleplleanlIlxl0p,Bpl:tl;ntalnoundoorgllrplsourrsodpouzrspDopen]ioaPptqnrldllra]nro3pu-;fuolrIirngpSadrcgupodqrrde-uap'lrapa-nl.oxnIpllIqplapJadpooJlsiaJJaueaJInplllpolgJpslrjsJlrludordlprruurrleguulnlol'll:rprpIntlpp.Js{ErIcrrusSndrlpanapJoJorleruote-Jli{our'rApioanreJasienlqlrnqrloPolncltneg;tunltepl1splduJoa)-dIJopnIdaTpanrppcurl+lIuruplcuppJuea]Jalllnlpa1,spaprliprSiuallt-utrasptr\lr-tcznotanftetrr;zlsnooecsspoglp-ulJopdIu'llpJirpadurooJlnncEusrrsf]uolooBpnrrnpguupucpdJpJ
elrfgllnrrgrp uud oraluqzpJ ap lJunur IaIoJp 'uerd e1 InIn-IJnl qzpasalpp
os 'lpppor.rocl r3poaop uJ sun{prg ap asndruo) 'tlJDg pdnp yypnls t aIaJ
'arferrdsur orrdorci ap JoIrJpzrIBaJ prp;e u3 rS sndo ap rpuinu plpg
';oiqsrrierd tS .rolrzoduroc ap alpsaJpp elpJlznul Jollilalnhq
lpnAlnuaererdr (6yL'BLL'LI['gII'do -,,rolrrn6olouour" Ip
lnrrS eununJu1
und Frcund (Johannes Brahms ca om gi prieten) ce va apare opt ani
dupd moartea compozitorului (in 1905). La Bonn, participd Ia inaugu-
rraarreeamsutaztiucaiildludi eScdhcuomsaenbniti-di ianmcpimloaitrireul(3o0raagpurluiliic- prilej de comemo-
gheta lui Brahms gi a lui Joachim sint oficiatt' -luc3'rdnliaai)i,e
Sub ba-
mareiui
romantic, c'drora li se aldturd, nu clt' mult c:realul Ctncert pentrtL
vioard ce rdsund in interpretarea celor doi artiqti ca un pios omagliu,
Urrneazd prima vacantd petrocutd la Ischl-Bacl, celebld staliune
balnearti a;\ustriei gi loc de intilnire al protipenclaCr.i vioneze.,,'I'l'r-'-
buie sa aduc mari laude acostei stafiuni, sr-'ria Brahrns iui Billi-oth,
Si de$i sint amenin{al clo un sinclur lucrru {faplul cd jumdtatc clin
Viena ester aici) , pot fi dcstul de 1ir-riEtil".I lntr-adc.vdr, ambianla cle
lux nu-i frineazd nici inspirafia, nici clanul cre.ator. De la Ischl, unde:
va mai icvc'ni in vara anului 1BB2 ;i undc va petrtcc nlLimele va-
canfe ale viefii (1889-1896), compoziiorul acluce de fiecarc dati. rtoi
$i inestimabile mdrturii de ddruiro creatoarc.. Primelc roacle sint trci
v1a:olozritooarusleinqcrluucpluorigiducnleieleclpuarig-ini op.81, 85 qi 86 suitd in care corn-
-
antc-'rior cre'aLc.
mpreidagnniuun-nec'aheisRdtoheiinncusinipuciiriadltieeddjeoustrc.i'xP-tcelrecrocunlsncioelirpcuacLifnical,tp'cftoerrcnulttrotuiipcuullncaarFcI-a"ciu.'nusl
Primul
cloud voci gi
cir,culalie in
Schmidt, rnuzica primelor treri miniaturi so dr.sfagoardi pe dialocyul
dintre o mamd qi fiicri, intr-o tipic popularii sportanci'Late. Lie'clui
nr. 4, intitulat Vergebiiclrc,s Slcinclclcn {Zadarrrica serrenadir) de:
data i:ceasia un dialog ilLrc cloi incirdgostifi p- opaulcaior vccs:ntcit unul dinllir
cele mai celebrc licduri brahn:sic.ne. Te,<tul
Lransllu.s in
muzicd cu finele gi prospefimer pe un conLur rreloclic secvcu{at gii-
galnic, in tonalitatea 1a major pi mi;carc' vioaie (Lcbiiaf t).
IxempluInr,I44
6t't en 4
Ultimul lied, intitulat Spannung (incordare) s(i ingorli.lc:azd (u c'e'1
precedent prin tert (,,Guten Abend, mein t:-iusir.Jcr Sc'iratz !"). Ceea ce
il deosebegte de toate celelalte cintece alc grupului t'sle sc'riiLura
conceputd pentru doud voci, exciuzind alternativa irxlicatd in titlu.
in grupul cle c:intece olipe.d8u5r,i:BSraohmminscrlr:e.bi'.-r:n1crlo(tS,.zciaarelui ideHev.ainreir,)
care pe
crceazd primelr.: doud 5i
Moncienschein (Clar de lund), amincloud in mi;i:zirc ]cnt."r, l.onalitaic
si bemol major gi metru 414. Din nou o aldturarc clc crc'alii inqemd-
nate ca gi in ciclul anterior $i asemenea numeroaselor perechi de Iu-
crdri din lista opusurilor brahmsiene. Urmdtoarc'le doud liecluri sint
inspirate de poeme preluate din lirica populard sirbd gi l;oeniand, in
versificalia lui Siegfried Kapper (nr. 3: ,A4cidclit'nlied - Cintecul fi-
1 Niemann, Walter. Op. citat, p. 107.
242
8b7,
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-rtfSaoadsa'urauqo;JlspJoolptoeaaLlInJrlrend1 np
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: Ia re{ualsrsuor e oJpJ
-r;rldrue pzrrserFord nJ 'pnplJo op snllqup ad puglsisur 'a;u{1puJ ards
apurl aJ prpolaru gzeaSelap as 'palplpurld econo r-e n.rluacl or]lsaipru
pler nJ 6lanuor oJ rgr 'rordruJc e'alelprnFuIS uI Fq-r1 InlnJuourrJues
p aJpJrunuroJ ap alrpJ urq 'ps pJrznur nc arferrosp uJ
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-uarirrp rou rS rrnJnluoJ rou puglpdpJ I-InsraA ap glerabns pourfipurt
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JsarnlqJlp ac esps -praollapJlpIJnnp6uuIIrS"u1'p,,tpttanlpi ppdolTpoeplptIrpPJoniFsguIs'(",,1Prdan>Cluresura
-piad") ,,iardurJ:
ri, - LL'e,' tltJ " x/es
-r-'Ap
g7I'rulnlduraxg
'Tnlnluezard ealelprn6uts t$ orrlulrup a.Il
ppzue1arilnspnullo'd{JoaulplroulayruosIn-:roPlJuupr ip1oasII) plourru pa:r
p-urrnplJInnrllsspJalJulouJI Inlnrullln p rS proleur
p:r61e1sou
sp-p'agJduuurnrzrr{6prnrerudr'rr(ogr1irrnerInr'pIapar1nplJupdrp1qp3apJe)-rooIlpullseaplulopnTunrosnnbp6i'usIuaararlqJqslarunoolrvlDCJlIl)llaI:noUpInaaupuyeIfpliullurD'(efuoasnurstugprnaVrOsurann-pl'rnallDlIaJrnaSuoAprdeavurTan7:lllIpeJr.SIune'JsJ'nsurouoourlplqaaeur}udralgpo}'o(ItProdS1lr:uauaeIunnrr
(liedul nr. 6 : Tsocdheusmseahnennie-ne Dorinta daefiafomsut rsit)r.dIinntdenluiiiaBuranhomr strdin-
nu pare
sdturi stilistice
creafia liedului inspirat de Felix Schumann, iar tonul deosebit de grav
pe care concepe muzica ultimului cintec se impune ca element nou in
creafia usaltimmienlioartupraalt-rvuocliaeldd,uprire(4iudCiiinntdec-e fiiosofic 6i s1t2il1is) tcicar-e-isvpeo-r
grave, op.
cificul
incheia intreaga listd de opusuri.
Din aceeagi vard a anului iBB0, petrecutii de compozitor la
Ischl, dateazd gi creafia a doud lucrdri ingemdnate ca gen, ce figu-
reazd cu totul izolat in ansamblul creafiel sale, cel al uvertulii sin-
fonice.
Uvertura ,,Academica" (op. B0) este riispunsul muzical Cat cle
Brahrns Universitdlii de fitosofie din Breslau care-i acordase cu un
an inainte (martie 1879) titlul de doctor honori^s couso. Fdrd a fi pro-
ginnraamlaecactreiecpdsfipu-inredaagepanetcuiouzrmiaatsoivmdangauincufddvuitniiottluugiiluei-,. gi fdrd a fi nici ,,acadernicd"
muzica acestei lucrdri ocazio-
Entuziasm, pentru universul
tineretului cdruia se adreseazd, pi duiogie, pentru privirea pe care o
aruncd asupra amintirilor de la Gottingen, cetatea universitard in
care compozitorul tindr vibrase la frumusetea cintecelor studente;ti
ce Ldsunau pretutindeni. Bogatul irdneaitemriaulzticeamleatircevael nuinvedrtguiriiirnspeledteins--
fdgoard cvasi-rapsodic, primele un impundtor c;;ui
du-se cu noile terne, pregdtind
Astfel conceputd, forrna nu are nimic comun emolionant final.
schema tiparului
tripartit clasic al uverturii. Ceea ce se poate remarca in arhitectura
ei este o clard succesiune de patru episoade, fiecare avind o variatd
dispozifie a materialului muzical. in primul episod (Allegro, do mi-
nor) domind o temd de marg, temd ce sc imbinii cu idei secundare
(a-b-a-c-d-a-e-), conducind la citarea ciutecului studenfesc lVjr
hatten gebaut ein stattliches llaus (Am construit un falnic ldcaE) :
ExempIuI nr. 147
Episodul al doilea (L'Istesso tempo, un poco maestoso) aduce o nelo-
die in do major (fJ, derivatd din tema inifiald (o)' care alterneazd cu
m,elodia a doua (b.) li se incheie din nou prin citarea unui cintec des-
prins din re,pe,nto,riul studenlesc (iLnaantdt ecsinvtaetecrul-cinPteacteriloar)- pe textul
lch singl das Lied der Liedu - :
9VZ
-aspi a3icla JoI{rpJnqioAUI InslaAlun ulp PspaInJ +so} iJ p oJpd q}lpPu{
-n-prpp-r--'aa',q{u(ua{solJralflte6{ptr,arr6plpSf,rdl'po,rpesrpupi,aoolaqdrrtzcrosd,-3ld}urrpl3leiaJpnnaor'uiItloasu:olllt}onorn-D-Jiu{lol1b1,pulu.apupr1slJrueorpxn;lJpnit)alaa?ctp{piuriL1slIrJtulpJIziltraJ-cq1aoaaoiiortorlIapiarcuqroprpSu-irl'spo{ain-}(pcerllouzonttdllfnpsoIBounoUasao,3lenurJpn3Jp'reaada})prlloPolcsluqlOoaIrl;Plqlnl1ltaJcru.o)IarIunIalu'lIdoalJulusBprqpplCSIirlPSJaplproaclp{IaloIl'plPlu>tratpl6atspplltrltIndlp[orlulrlltonpeJansod6attpoppq'alu6ptplpacdpSTlloloDulnloupopllPlJdlalpPptapuJztqnlprIldp/rllceldulunslJ{rorllAzJraoaoupaauglueInpoJJ-LqJpbe1saIurnlu4nJuerulptospsIu1prtolll3cAJsllglo'oeroPpJlpJrlIsaSdzUlpJps}lontpUppnnnpulJIlunloeIlxoIu16a-tIpesJIs{-IIllooponpiJlrtldI'A'ljulo't.lIlPuduppnrs;dp-nlrenoIouoIJdpsrppll:u}uElonoJpops6ppperlTn}I}poI}ooo^JduZnIJo'IqSJTIlooIZopdP'JqIIluZulpJ-Jcnuo:IeBlanIudpplanprlucuelu}o}slueJula-lnrtSoolIpllIpopaaooulu33InllA/alselg€ptr}lpIgp.rnpaqep3IeoqsP[ualq{aJptinrlJunl$uPsaaadipfEJunnSsu5luau3lPotnulljnta3{pJninJ.alJJ1l-tapPuigcIpUfldldc{tllpIl}{Xiii
-aIpulrpiplppoIsoaatratzrffp,unerail{narpaJr-soaerprp.it(cusrkrpiulla6uuo-JlslxlepIo1oO-aaIosplpoplunuopiIJfpasnauldlliulIopluEsJ6a]aapnAJlrc)ilanlerduodonJ1-uaPllneuJlP{rrou.JlrnleorCc'zploisaouJlJedupu'rJJlOupOr/JJtelucJn'6}IpPlurntzsLrPuopIIa-pcopIlplluduualilrlosloupellJono1^lldio6IJluupOallnEtgIroOalspl-p3tIl{aoeouurlJJ"^llI
'{roleur op 'osolsoutrg) -rn1167 snuDapnDD o}plr-Iqolor Plpuo{lpu
-a--rrr1rraDanluuTlPill.urtaldslppurp:l1erpplopop:o1lrauiuernau,dI?uaPnd1greborrnnauAeltSbgpaloesrlalaupol-dsI6uurseIIJ1epllnsJorplaasrIdupoo(p!rl'aua'(u3n'qrrr'n1appe'ncudoo:uroln'u'p(PBlolpfpsliltolcol'a,xu'\1)oz)Ia)epaUrapInlJeaolaIdnssruradoypal
6VI'-Iu InIclrrtaxg
aqra^ ap o(,,rrpoo1riroouc1rtr:c-rl"luItrncJl olrlauiillp- palqllJng sog) PJplrslalrun atitperl
Pzpolnqap (o1eurru17) posrda Palral] IV
BtI'ru Inldruax![
menea celor care au inspirat Baladele, op. /0) gi nu din zbuciumul
sufletesc al eroului lui Goethe pe care compozitorul l-ar fi putut ilustra
muzical cu geniul dovedit in creatiile sale anterioare. Remarcabild
ldmine bogdlia melodicd, infruntarea ideilor muzicale qi impietirea lor,
ca ;;i sinteza arhitecturald sau orchestralia mentinutii pe principiile
terraxatpludrleuasi icsveoitlndoofriridd-oeusdpeonuauviteueirtfmui resi,luocrdpaicrria.ncsDtdeinruoladcfeeeosssttievpbuainrIecptirndimtereeviefoscloremlriecaitf-iinadoa,orlcahmpeasa--i
rnare amploare sonord in compartimentul sufldiorilor gi al percufiei,
Noua muzicd brahmsiand a fost ascultatd pentru prima datd la
VacieandeaDtnu(iUcpadve-vratuc4raainaftnaraudgaeircilaea-1I8sEc2ih)6.l, decembrie 1BB0) qi Breslau (Livertura
a creafiei 9i a primei auditii a celor
clouir uveriuri, viala lui Brahms continui sd se desfdgoare in turnee
cle concerte gi recitaluri prin oragele Germaniei (Leipzig, Ml'rnster, Kre-
feid), ale Olandei (Haarlem, La Haye, Amsterdam) qi Ungarlei (Buda-
rppueolrsuniaei gB-teill1rino3thfae.bdDrouiuanariepsoaipBca8ds1lu)d.rtoiOlei"dieaptridninclutmavlaiearni,lierdeioanrapn9roi.mur,didnveetroiil,vadcrodVmgeipanoedzfoiitaoctroula-l
Palerrno, din incintarea p*- carr: i-o oferd intinsurile rndrii pi ale ceruiui
italian, Blahms igi imirrosplteazd fantezia gi schiIeazd in continuare
idci pentru Concertul p,entru pinianAu;istorirachqeistsrtda, binilicteplteurtniirnu vara anu.lui
1879 la Portschach. Reintors lunile verii
in localitatea Pressbaum ciin imediaia vecindtale a \"ienei, compozi-
torul dd formd derfinitivd mu.zicii lui, o rnuzicd in care transpare
d-e
ccaurginidintrdCitoen. cLeurrtauilnopzeitnattreuat,piocalsradju-lui intensitrili ale sentimentelor
italian int-prind cle fi ecaie datd
artistului desprins din celurile nordului, vibraiii noi, vibrafii cu re-
zonanfe imecliatc in inuzi.ca pc care o creeaz6.
Concertul in si bcmo)
major pentrtt pian ;i orcl..estrit (op. 83)
conlinud principiile afirrnatc
de Brahms in creaiiiic concertante ante-
rioare, dor fafii cle acestca, muzica lueii o mai mare apropiere de
qenul sirnioniei, prin dr:sfdgurarea aduce Iungui a patru rnigcdri :
de-a
Allegro non troppo, Allegro appassionato, Andantc, ,t\llegretto gra-
zioso, O arhitecturd in care pdrfile mediane Scherzo pi un
Afonndira:.ntAen-plodaaieuaainnsacmabrelusluei contrastul interioi sitccific ciclului
ficcdreia ciintre sim-
desfiigoard muzica cele
patru ptirli (pi cu deosebire cea a pdrtii iniliale),.rldturatd. concepflei
de subordonare a stilului concertant, contribuie la o realizare de purti
gindlre simfonicd, intarind linia constant ascendentd a afirmirrii unui
nou prctotip de conceit in istoria compozlfiei.
ln prima
bld expozifir:, praealreut-ea-<,rpeidraee-smilieeai. ftoeCrrmaiaeloui ludpie.alsrttoriicnrunallaa:irrsitaianpttedlrtiriinoezdcciciiaaartecoiBnrvtare-hroimancsltudo-
rnuzica primelor sale concerte -- ci'a de.qoiicrtare a
anrplificntoare
instaurase ln
instrumentului soio in mdsura necesitdliior de comu.nicale a conlinu-
tului -_ Lt:irr,r priilcipa-lti cs|e cintati. de corn, insirument cu atribute
tirnbrale ce riispund imaginii muzicale pe care compozilorul doregte
sd o fir"eze ca poital al muzicii sale. Este indepdrtata ci-icrnare a tla-
Lnz
oJppunJos ra1uol e pJrpoloul plliil rrJ iapunJes rS or:ir.icl eurloi,r) -E
o],E]rnur]uoJ
nl '(1er1soq;;cr el
1-'lo1n1rl{nn}1laJ)oapqrleqrcnutnsicruspurrodar-rrrEpruprur.arnlJ]JpapJanlEpplEsgoal}uJrruJperuluser{rl'rgprfSr;dpoa;1a:coppslprduoori.rIpanz}leuoiolrrJopnpplptrlluu}Srar'oa:rsuriauprezupsea!rsr\lrl ol
I-JJnnoIJIoepJuo1llops(run)1nnurlprardlccloolnifulcaorduseulrr'retsaspruJre.r6d[n'(qr .pi bn-rrelc1aalqpnspwlnolral dosealsugr
-r
p
o
D:
-I
19I 'iu Inldruoxg
:laurJpl3 'roqo 'lnplJ ap lpuolur cr61e1sou Inruslpolaul op PlpnurluoJ oapr
0gI 'ru InldruoxA a
'(rnlnuerd alrruourre nr pfu'eu;aqp uI) aiedtcutrd larnal I(
alp azplJ alaruud aundxa e nrluad uror ap rn1nse16 InJoI IJop pzpap
-a: inuerd 13 erlsaqc;o 'orpulrrdxa paupo;inalJolur lpJaellfsuaelp{JuJoodspaaJuoJalPalrspaarJpPJ D
a4 'nrlrzodxa InleiJalpur eluazo;d rS
p
e .I
uJ alaporu 'rarfrperl alalapotu ap eareselap rS plepolol pJJelrrar aleod
aS'aluplraruoc tatfdoJuoJ Balpllurapour ap lnlnrolrzoduroc eareSelap Ii
gfuapr.ta nJ plsalp aledreurrd raural potaundxa u! JppunJas InI Inlol Jpp
p'llrpuurlluIInpI z1pnar1lpsJr6raarluul 3Fpulprerdod'roalIplaorspuroJad'so'erlaeut6aa6d'6tpreI1Ja1IauIIInqIJnnssPnoJlpo'Illirlrnul -
-
a
t)
I
Exemplul nr, 152
:;n'-:l;_-L.-_-
--i1:ir:-'*j
gi in viguroasa idee conclusivA, derivatd din motivele constitutive
ale temei plincipale :
Exemplul nr.153
Pe acest material muzical (restrins fafd de obi$nuita bogtifie melodicd
din debuturile creafiilor brahmsiene) este construitd o a doua expozi-
fie, cu dirnensiuni anrplificate gi noi ipostaze sonore. in aceeagi con-
ceptie amplificatosre gi variationald se incadreazd, gi procesul dezvol-
tdlor, sprijinit in exclusivitate pe ideile dublu expuse, Dar graciafiile
de la prima chemare a cornului pind la intensificdrile emofionale din
secliunea centrald a formei de sonatd este impresionantd, Intrarea in
tonali-tatera de bazd gi in atmosfera de liniqte pe care o vestegte din
nou cornul (reipriza) , ca gi vibralia finald a ternei principale icoda),
rgeiagiizracnadzioi acroenscolunzcira6. unul discurs muzical de deosebitil expresivitate
suflul\'{dttrz-'icbaalpadddrfini oarddiocudaa{Aclllierngarotualupipassimsiofonnaitco in re minor) readuce
brahmsian de necon-
fundat. Povr,.stirea muzicald o incepe, energic gi incordat, pianul (tema
intii, in fortissimo). Contrastul creat de cea de-a doua temd, legdnatd
arhaic pe trepte aldturate de viori gi vioie (piano, cu indicalia,,tran-
ciuillo e dolce") implicd un evident element al formei de sonatd in
coucc.plia formei de scherzo. Ca gi in prima parte, ideile muzicale
sint reexpuse gi dezbdtute dezvoltdtor in cregtere dinamicd, cu punt t
culminant (fortissimo orchestral) invecinat direct cu muzica secliunii
mediane (trio in re major) cadentat dans popular cintat sinrplu,
in spirit haydnian, de viori. Survine gi in clesfdsurarea acestui episod
muzical reliefui diferit colorai al unei idei secundare, dar pulsul vi-
guros al viefii, dansul, este imaginea pe care compozitorul lc.ugegle
sd o aldture cu singulard mdiestrie farmecului misterios cle balad.i,
reluat in secfiunea finald a formei tripartite.
in sjPboevmesotlitmoraujluoir)iiinutrrumcehaipzedapzodevtuibl.raMtiuazilciraicpddraliiroamtarenitaismiAunlduai rrlulei
Brahms in deplina noblefe a stilului ei de exteriorizare. \iioloncelului
ii este inchinatd una dintre cele mai poetice pagini ale literaturi! lui
gi aceasta in cadrul unei creatii concertante pentru pian qi orchestrd.
248
6VZ
'aJporiolup roloFrouralo alp arpolPllo-\zap apPosldo : L r
[y) uorgor reuro] p-o(xlp)lrl-Taqo-u0t -'p)o-svrd-osln'Yurrrcl u1
I{v- -i' t2itr.tprtt) Dpo) - 0 - tt - C - 8) - V
IIi 1I I
: apeosrdo rJprrr ra-TJ ad p1elnlrn.r1s
'aunISof.lns pa,rpo1pruin plurzo.rd ro1 ea-iernSpJsop 'JrleuoqJs 'arporrelul
rololaldnr er{rzodsrp rS earelu-r1 uird elucr;tpour i3 alrfgboquiS opuor op
raurro; inJppJ uI olplr-Ipluauraldruoc ap lroder luauerurad u! porJns es
'pJirl{lr.{-oJrpolau pfneuba:d p]Iqosoap nJ 'olpJTznru allapJ 'Inlnrlsapru p
gltniluonul Iollctosoap
alprn?Jatrrqrp tS aJrpoloru tf plnlpl e:1e1rzo.iouo6
nJ pr"s11;p as (osorzu:6 011ar6a11y) 1eu1g uJ 'JIlsTroJJp-lpJ lpur Plutzarcl
Blsalp aJ poal ui oinlqnzap os upisuqplq Inlpiurir (aluepuy rS ozlorirg)
!n[nl]J)uo) olp aJpolJalul olpslznul IJnOIqpl PnOp aIoJ U_I PceC
'oIpJ1.'ioL{J -ro
rrnparl olpzrlpoi rpur alor oilurp prnun pJIZnur aplqJul tS aptqrsap ole;t
'InlnlaJuolorrr e ooctolaul piuEtqll nou utp oput-tdsop os luoulour lsalp
ulq ',,orurssrJIop/' utfertput rS oulissruptcl aiuenu nl',,ot6tpu nrcl"
posrda un-Jlul (a1ouue1c op lnlclnc) IpJqurll tS ripoiaut JaIIa-t nou rnun
1e{urperou5 '3I-nI sLril}ur Inuc1 pI aulAa: as e.Ieclutolsa q1e1do11 tn;ql u acl
ggl'lu InlcttuaxI
-rur rR{nAr}our p olSrurlau ap Ip^ rnun ea-I€Supl3ap tS olttulelaulrnadl leutnf
o}ro} u! paJpJp}p uttcl 'leuorfoiua 1se:1uoo
rarfpurlunabut;onuJr las:olpJpoluaIut3IapIuzeIIoearfu:rassueqaplSlgaq'oopleoldtnrutsJatlSdxeataprodlluopreruc
arraAal leiutpotrut postda In.iolPurln uJ llnur plpraurlBllllpdsunl3pl€lqlasspoaalvp
-or op uy ttotcl nt1uad DlDuoS ulp alual ttutbpd
'rnlnuurcl 'ap1ep11re:n1ddaPr1urpTJlqlpnsolaoprugprroleJopdrnlaPulerbpeuprrtoS
'toulw oy
alfalurure ar aur6prut
'pleoll ep se16 rnun PzpazllpaJ
.to1oplpoJ
1ndn.r6 u1 alnsa{ olrrlroulJp ap pllnlp^u3 'rrel6 gileul o alpJ ec{ uuo1t1ue3
:.'rrygs' ds
if;-fq-qol;-11
--'odluppll t
VgI'ru InIctuIaxE
Exemplul nr.156
in-cadreazd tema a doua [B) cu care se inrudegte prin caracter gi
modalitatea dorecheexsptrrdim).aErepissoondourl dailadmoiinledaouedstfeiincdonesxtrpuuitsepedeflupeinatna gi
preluate de a
trei idei muzicale, dintrr: care prima (iema C) aduce o ramarcabild
varia{ie de colorit expresiv, prin patetismul inflexiunilor maghiare, in-
tonate in compartimentul sufidtoriior de lemn.
Exemplul nr.157
.-t" :a'"rrit-;
\iarietatea este implinitd gi cle succesiunea urmdtoarelor doud idei
{ex;:use de pian) prin vioiciune meloclicd (tema D) :
Exemplul nr,15B
px;
i -l .. r-
eri
qi prin insinuarea elementului fantastic (tema E),
Exemplui nr. l59
Cche
aspecte supuse unor strdluciloare Ilonmeepinstondruiil 9i rezolvate in muzica
ternci reilen (Aj intonetii cle oiroi, final, ideile noi ale sec-
a succesiunii
iiunii anterioare se riesflgcaril lntr-c nou;i dlspozilie pianului 9i o lor,
iratarea ior variatd cuirntnind cu o scui-t6 cadenid a scli-
pltcare concluzle pe tr:ma refren.
Organica uniiate a fondului expiinsiv ca 9i a realizdrii lui tehnice
p{prirnincipdaelrelv)as';eiaimrnpeulnoediiiin.orac:;te-'csut nfidnaarlecdaintr.lsmdotutridvusltipiisritmicdardeal.retemmaer-i
cabiii'r artd sinteiizatoare, in cale se integreazd gi impletirea intona-
?En
rge
gclnp I to[otu at LIt" DrLrolurls oi] qi.el eiue;ojtpuT +puun E-r Jol,r:iil cp L:!
raruori;,u.is e:lnJErJ l.tiun-lci rase'ci6o1a) ilAaTi?trrpui:rri'l('cfBsBoilnoBrliu; neuueiTlraip)
strriE-rfi I
rn1 r;ifeo;; uo,torr;r,rdp ttl ot|enlrnl1 iii::ci..t1
Egszairdoaritilirro?s:icE1iJzrTanZllinrriroa-aJoElJ'niilos3ruiq:Ius(rro?lri:pqgrlIuonoJ1JoueGopirregluZi{oCin6o3;0xeoZ:I-c'pg,a;)ns6puuuirrolsErAJ6g1i6'aespno.":1ricusl;oorS,:rgd1,-Lrni:rI1-J.r1Iic1iI1InZ1iif
e-(ogf:1dei;auoir1;:uqurnriioiOolrneocpulput,r{ZypgIog*,;ieZetruZlFq)prnuuerorbioouulirur5ilop)luiedolslraldlcrlo1slpiern-e[g1p1rene11ugoi rerfrffp) nsiutrl.upulrnlupor]rfcrl1lilungl'll1il:jpl-uq1l
l*-"nrunr€clFnJhsruc+nruscoii:,er.t{ldJcTtilorrTilroil;tiTdripulprpILip"It-a:f[ilrJr1z-rln-rLp-u1riialJcJce1loioaoIlls]luonirJturuusroonszellpaqprecnosloporyarrrpno;-lnroe;lpsJriz'cJ-rielopllulinau3,rsrrolI-zeprT-uaiI{dJ?oaefJiJ3o--oia1iile?eruucpniootrqs_soi]dipiiiu,)rl
-Jpur orJolJorurl plspoip ad 'qJllsllrp pllp-rqir\ T-npirJlopolir '-roi o1r-ridrsi-I
r* air:tuildrlrr prosrs16 161 alrrnlulAp alp r ur irucJap 'aln3oll rruoJap
eolnrJaplJrrJrns-urprqupr -orCg Io'd,rolsreadysoo:cpl ,,JosoJOrcl iS uoloi-rcl sorilurpoJJ" inJSitJp
11 uolalrd noru IninsoTJuTpa-rJ" : oIa+urAnJ
glnrpg erf ecipap n1p 13 esur-rd
rS 'ouiiJadsorci rS arle;5 oicolplulJ
urrci 'uasxtpIr'{ p.ipnpq TnlnrosoJorct
-rns rJ ctreod prrr.In ul rr;rnud ut3otng
a-urruetlnpplrparrou[oDJLUu"lipoLurnalqn[ospuuol g[ne!]op)furool7psppzoelanrrrpnluronclulsj aJ
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Stefanescu, Ioana - Johannes Brahms
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