vreme (anul 1904) in c(acorensfotirtumitadfiaind1e9t0r2io) pArelfzreendtoa Casella-George
Enescu-Louis Fournier in sala Pleyei
Un afi5 din 28 aprilie Ig04t anunfd
seri de muzicd de camerd Brahms. cuprinzind : Trjo in si maiot penttu
o asemenea manifestale camerald, in re minor pentru pian qi vioatd ;
pian, vioard qi violonceJ 2 ; Sonata Enescu nu va nega
Sonata in mapi moritnuul gpiecnatrluitdpfiiolen qi violoncel' Ceorge profesorul sdu de
niciodatd Faur6,
lui Gabriel
compozitie in perioada studiilor de la Paris. $i nu va uita nici emofiile
trdite aldturi de el in celebrele recitaluri de sonate, susfinute impre-
lni incepind din anul 1905, Totupi, printr-o afirmatie pe care o va face
cdtre sfirgitul viefii, compozitorul rom6.n va preciza care sint adevd-
r,,aAtemiefofsibt,resindteinlecdgdgtui rvdoidfini tpreindella9mi SocaortaeladdisecipcoolmulpoluziifiGe6fdraanlgceez:de:l
mi-a dat o doctrind care s-a intimplat sd fie potrivitd naiurii mele" 3.
In doctrina lui Andre G6dalge, prestigiosul teoretician $i profesor de
contrapunct de la Conserrratorul din Paris, era cuprinsd 9i doctrina
lui Brahms gi cea a lui \\iagner, dar mai ales cea a lui Bach, a cdrei
largd problematicd Enescu va porni sd o deslugeascd.. ,,Niciodatd. n'aS
put-ea avea destuld recunoqtinfd fafd de memoria sGaa"v-oty,vaindceacldarrual
Enescu in al gaptelea interviu acordat lui Bernard
emisiunilor radiodifuziunii ftanceze din anul 1951, amintindu-;i de fostul
sdu profesor. prin Gedalge, infeiegerea filialiei Bach-Beethoven-
Cucerind,
pBmrraeaihmtmiirsza,iiuGve-ieorfgivieasaEfilnepe. su$criutdd-taocrudinlptaeerrntpetrrieu,t,ucmle,uloczroicmtarepilouz8ii"to,Braualcc9heilo9prietdBraeegieotzhgeouivlesdnue,-
Enescu a gdsit porti larg deschise in pedagogia 9i viafa muzicald fran-
cezd, pentru cea a lui Brahms a trebuit sd pledeze de-a lungul multor
ani, aspirind mereu sd invingd prejudecdfile locale, adinc inrdddcinate
5liei idnudreilubnrgahcmusliteivnaete;, pianist, a coniribuit la tdlmdcirea unor poetice
Ca violonist, sonatele pentru vioard
a prezentat
ca
gi pian (cu Ossip Gavrilovici, cu Edouard Risler, cu Alfred Cortot),
concertul pentru vioard (sub bagheta lui Pierre Monteux), dublul con-
cert pentru vioard, violoncel gi orchestrd (cu Andre Hekking, dirijafi
de Gabriel Piern6), precum gi valoroase lucrdri de muzicd de camerd
brahmsiene (in cadrul unor ilustre formafii).
Ca rezultat al inglobdrii muzicii lui Brahms in viata de concert
francezd, personalitatea compozitorului german incepe sd preocupe gi
condeiul muzicologic. Hugues Imbert scrie in anul 1906 o entuziastd
lucrare intitulatd Johannes Brahms, so vie et son oerrvre, iar in 1910
Alfred Bruneau face o consemnare favorabild in presd, referindu-se la
1 * * * George Enescu, Monoqrafie, Bucureqti, 1971, Edit. Academiei, vol. I,
fig. 58.
2 In afigul francez se strecoard o greqeald (Trio in si mjnor, in loc de sj
major) pe care o s6mnalez autorilor monografiei, pentru a fi avut6 in vedere
intr-o viitoare editie.
3 Bernard Gavoty, op. cit., p. 84: ,,J'etais, je suis encore et je resterai jus-
qu'a ma mort l'6ldve de Gedalge ; ii m'a donnd une doctrine a laquelle il s'esi
trouve que ma nature s'accommodait'.
352
898
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de asemeni epoca in care una dintre cele mai prestigioase coiabordri
licnuetipeercposrnedctaectoritvneptrzibpnuetireuplalvanioaaufnrirdimveaqrrisetaarliou-lnounciceaeall,tdccinootnnrecceeErplnuedtsecduBergacihoCmmassp,aoalszDi-tottrltilnuca--
omagiu adus prieteniei saie cu Joachim.
lntre cei doi maegtri ai arcugului din secolul XX, Enescu 5i Casals,
prietenia s-a sprijinit oiinnapcdarmidmirruuallficeroin,n,dfvdo-rrdbdicreailom9riapirnugricntaai"izeu-lccuaeJltea. iMccu.emCinodsrpereicrdlaaosrrea.
vDioulbolnucl ecloisntcuel rtsp-anpioel
Pe de altd parte, Enescu preciza in amintiriie saie difuzate in 1951 de
racliodifuziunea francezii: ,,Casals a fost maestrul care m-a invdtat sd
gindesc". Se contureazd, astfel, din declarafiile fdcute de muzicianul
ariB-orarmtaduhAmpinnesdicn*raurimeeGgaeEdtdntaugelrsgindceduc-irouevas(qae5anvqrtetiJmin5see,tirncoatd.et,rqleaoiiesscliaiutnloejiireiddeeed-ciarrueelccurudtnondgaodurgceltiininnaifdtirndeprgaueirmintasturaiuiuiueiicBvesaidiecufchie,.:
gl In secoiul XX, dcceniu dupd deceniu, se impune pe plan mondial
cariera dirijorald
a lui George Enescu, Sub baghe[a sa vor cinta
bcoerluclohl reosdrctorheuedscieSraleelr.berLneaaddnaino-iEinutorfoaaptread,lguiincArdpmorieplearipccuareriagletievddoinertrBredrsatuuhrnmnasee-p,einncturvuaecxaapnncsfaeemfliea-
prelungite sau de-a lungul anilor celor doud rdzboaie mondiaie, arla
sa dirijorald a deschis o adevdratd tradifie in interpretarea creafiei
lui George Enescu a conferit o deosebitd
brahmsiene. Dar dacd bagheta create de ce privegte
Brahms, in ceea
prestanld muzicii orchestrale
muzica de camerd, prezenfa sa in lara noastrd a ldsat o urmd inesti-
Amleasbsiladn.dArelsdctuu,riCdeellailuDgetlraivpraanrtceenae, rSi irlvoimaA$neirb-esccua, Dinu Lipatti, Alfred
Constantin Bobescu,
Alexandru Rddulescu, Theodor Lupu, Serafim Antropov, Madeleine Co-
cdrdscu, Ion qcrieMataieriialuFiotBinaoch$,.aB.e-ethGoveeonrggei Enescu are meritul de a
Brahms, indlfind inlele-
fi fost solul
gerea pubiicului nostru in zonele mai pufin accesibile ale muzicii ca-
merale gi orientind pedagogia romdneascd cdtre profunzimea ei.
Oprindu-ne asupra conceptiei interpretative enesciene, studiatd
cu deosebire de cdtre indrumdtorii gcolii romdnegti de interpretare,
legdtura dintre muzicianul romdn gi sobrietatea gindirii brahmsiene se
impune in mod deosebit. Se detageazd in prirnul rind principiul cdl6u-
zitor ln arta ambilor creatori gi interpreti, cel aI subordondrii totale
a efectelor de virtuozitate semnificatiilor grave, majore, ale unei lu-
1 Natjonal Zeitung, Berlin, 11 februarie 1911.
354
qgil
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lu lil.rJSt) ln1?,)i.)i 1r:chr.r ;n-r1u1 TJ u orpc[ n;]soul 'suas trsoJp uI 'I.1Pl:)
rului. Este drumul -lB ,,drumui prropriu" - pe care l-a cucerit, dupd
declaraliile sale, la ani 1. plan componistic poate fi urmdritd pe
Filiafia Brahms-Enescu pe
ntc(u,le,orlmuuiidculrucrdioitrooiBrrtrduiamolhunpmiautsJer,oihid:"a,irpnecrncioemtmsea"pg2u-is)cegocvi"eaicrapguriatooeaaivnprifeedlueiiennnntepfmeaiigomgidnpiinlfleildaciaglruilriic,airnsdinttriil(luo,pilrneurdiimoe9aaingdiscaeocraardil,ied)-
tranzilie spre ,,drumul propriu" (Varialiunile pentttt dottd piane pe o
Pivtneirorcnliidouu.ncnorcgdreiirgrliilipenaailcelpdoimicnonpfpiuu.ose5pen,-fien2i6cpborrnmaimrh.pmuu1lssei-pednintercaov(rmaafrapeaulcsatsidnneducinolusltuitiol1luua8li9m)8Xna;XapSa,aorninn9uaciltulcuuilstpe1ieBvrni9otBirrn)u'.
ndsSLtiiuttenedifoi,ci,lnpeeieoarlniamnuizIaaIiIic-Boraerioapolgr:pmeu.zls2ue-i1Sn,ZtcachetaunivrnoedaVnrfeonap"rnmrce;ezdi aincata-drme-luinmzcabiuc;onaiigudecnfuuaemrrgoetpeaaep,en,acverueodlausisnulpiebeuilciltntseimiiamientfoleien--
doil5. secol,:, la capdtul unui luno proces de de'zvoltare a ei" 3,
Al doilea aspect aI legdturilor dintre gindirea lui Brahms 9i cea
a lui Enescu pe care ne propunem sd-l urmdrim se referd la ethos,
Existd o evidentd gi constantd adeziune a concepfiei de creafie enes-
ciene la cea brahmsiand, adeziune ce se n.anifesti pind tirziu, pind
,,la capdtul drumului" creator. Pentru cd implicafiile formafiei lui George
Encscu la gcoala de compozilie pariziand (cu excepfia celor datorate
iui Gedalge sau lui C6sar Franck) vor afecta doar rafinamentul
mdiestriei sale exterioare, a1 coloristicii descriptive, fdrd a fi putut
pdtrunde in spiritualitatea unei lucrdri. Forfa morald a lui Oedip,
eroul operei iui Enescu, va rdmine mai legatd de spiritualitatea lui
Brahms (care nu a scris nici o operd), de sensul dezbaterilor de idei
din prima simfonie a compozitorului german sau de culminalia Simfo-
niai (t /V'a, decit de ideatica realizdrilor din contemporaneitatea mu-
zicald francezd. Oedip sfirgegte in plind ]uminS, lumind pe care o
cautd Brahms in mariie sale lucrdri pi pe carc o impune in concluziile
lor. Este o altd lumind decit cea care plutegte peste intinsul mdrii tui
qDee'briuusl say).l$urindinaacdstirndlucrceeagftiea iui Debussy (cdruia Enescu ii recunoagte
cu specificul ei efect sensorial, in sfera
conservatoristi a gcolii franceze ea riimine doar o realizare exterioard.
Innu_lucoi minutneircnaarcliaonpael care claude Rostand a fdcut-o in
de muzicologie George Enescu cadrul simpozio-
din Bucuregti la
BaE1r2rceaoshnlemiiipmsdte,iecmelcbdore(iEme-anpe1fos9acz6cui7ef,i,ecnau,pfnraaa.r)ncecaaerdzepeelrmiei:mifsa,im,tt1duonlincopearrairrmfegiaudillgfloaiuqrimintecMaahptoiistedztaaaIrraceta,acdBoecenmloesgiiechmdrovavacleietconilrnuquali
t Bernard Gavoty, op. cit., p. 83. Bucurcpti, 1968,
2 idem, p. B.
3 Zeno Vancea, Crealia muzicald romtineascd jn sec.
Edit. muzicaii, p. 259.
', Bernard Gavoty, op. cit., p. 11g.
356
rsg
la olrlBur6rro,I arlua lupu6ar prorJps?p aiqplr,^'?ul la Iautala,l
g rr1)",iolur.ulislurI?;1p,E:i3Jp,'I[JAUU rJrrnehl ]o .issnqaq apnpil oulurol saJller[ sJn]n] op
e'sogrlilrIroQ)rusJarlDrllsssta1lpeis-irollloirtAiJlaps,puoliJtosien^luU,nobllllulosraldla3:gJp,\eap'lno,:iuao6JS- auu[osrald6artogapgaorpnr'b"ilaa:pdnlaau,pn
pnup3lllspa'l,Jr"nb'Iyrus'drur-?pD'31ptc'l 'do 'pupjsou
a?uup eru.:{51oi} DS op srnotr f,olp uodpl opnel] z rnb
'Fsupd op c-lrolp,tr3srro3 ns unJnp e'u
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ap clli,\ pl sl-rr(1" 69'cl'q1i:;izllul'lrpA'896I'rlSarnJnA'Ai'1r:.r'arfc;oclzr1w op
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uill r{saici&ii olarnfiu:S 'ldssoJ ln.iusorrold op olpp olllzodluof, op loloru
u-rscI'Jnlo{sprCui-lnlnil-elio6o'pJllruuajl[gJgrIr-ollfii-l,Jppo^rsppd{lprelul'iao'llp]3JJl'3ld3{?rilIlpnlrzPpuJ3nli9p!sSouaI1larpuJrIp-ITIIJ0JusurIne1*pZJ-(lnPuuInonuSoJoTupAsJrIpoIqmIPlodtiiAo-i.loIn'plrIalaulpige,dIl,lptprPoIIoJosIPlaiI]i1dloLuPoooIlpJlJilreJPllopIllla'Iz--lurln\clrpI-rlnlJsunul'p"ullolippplapilI)al}CiPpluPtcfpd,u]-puJrIIsl.I)IoPIoosUnIJ-ppJrnnSPPpapanlJuzssuIulnpZglulpafoip'dpIl,lUvldlIpJeulInoplSlooarlJllJllluipiqpJllll
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-pf, op TJn1r,l:,?,1tr E;\ir]!3 u1 lrull InIuIJd ul pllpJlidxa olp IsI'luiJglil-In o
ps uauncicrd ou it-IpJ i-rd 'nJsat'liT-surl1pl8 PIunlIJIds Bo:IpllnuiluoJ
aanoo-p',e.irupJIl1u,c,nsntrll1,i..dprtri5-os)ul5aurJogofpprrI"6{.oitaEpl*s:plrlol{lElrpua4]rEI.SnloJlunlPlsldlpnlpooruotpiqt3nullIot-ll'rr{ilnu;eoI1ipo,?lcnaIlrlPisou'urlIs1.o.oIrJIulor;sIalzuJllrouppro;nJplrp):lpountulI-dppprJlttipo-lllau-3spllllIsoaeozer-laoT-lliirIll}rdlonsuJl^la1uJpturlIpz'aoo}lIriI}lBJ,ll3Srvppa-oopasuId'lIp{u1slsano1aI1^Jlsnn{oop-o{JAcinolulopa3lolllupsarlpIuplrpnrIlaollrrlslnJJpurplonpaoolJIluoonAlJaJupIp'porpuIzlSpad'ulo,lsoulpnIJllrsltnrPJopsllonAnudntsll^pnqupuuuloolnclilcppppJPt
pFinrrianvncrzieamLrdiesldzneticdlapinoDpwaeestmiimnoladpr,onrnutuicl-liaHusaigmoupbraruinrtgfap. NemiaBctireafrahiasmltdusloddfieenriItcadlrucdumerutceluarmteluua-i
zicii lui.
judpPcuoaneadspereiisilsocleuo,AndblucacfrEiontelieeniedanteaeaatcsigtintcdeditume,iibcs.ndacruMafepizenharaicmnibcavdisiitonimialaeugttifnienriaieatBudi.fncilrecDeaesvhloado,ilmvturdoefsiiadzanricortlpeetrieiiteasrdctgsdcioecoiiamsnciripnaneepuclafo,rtocezunaerlinueotaotlpirundrtmdifiibiaesuaWinliejiIn.tainaastdlgteaveienmmib,ee-ianplndr,ilaefr-epiic,ntr-miaetdetozaiuvdiipun9dleobtspidlitrnricdeeldgau--,i
mine viefuirea fiecdruia in metropola unei fdri adopiive.
tstcrraieuanlcerdcnoniitltiisiueenn-ltuaErcciueiaeaadteiergelangaXpsoctuIirersXisdct-lpoeuiBrerciriivaeinate)ohgaamlqutreiesmmPcfgeuaraaieizrmaiEismcd{nuii,aiuel,-zas($icplcaauua,c{lcsdai$unfrmiiioergsdaaaiicatnuuuettdlaforcsacesotcautumegLliuppneiitoraiipzsgmcziideteio-gnslrsuetieierlecl-(uoiiradcln)er.pcmdouMriinnljiual,sodsricdeatcruseledua-l
esacxphpaurremilsiaaiencnaealuenpiuon,,cfcdiei 1ina,viaaenaruEsl dd1o8i5nu3tarru-dchcciopinleodzneBnerianhdmmirsiojeadavziecdaledlaaol acpreaa20rmisdaepi raiinmnaiel-tled
opusuri ale compozitorului romdn ce nu implinise incd 17 ani.
dcfgaiedoi llrfinisaubatpeieSltrAiuaeancltml,ldcemn5cino.lnfuipflciezseuaoiscctpnuiaivoiorriela(.cpPriNeitogdin{eniatmmrdiudaeceoacnerltfosaemiumtrgednadoteijnracoaidcapr)alEpg/r;ateniecemnnehstetarciuncuiefa,iadpnpiicesnaremciannrlloeiooatrtinplttcBlad.ulrleoLdauightciiEmcnouhssmntep,eitprvdtioomeaMzrarssiitunooelnlunrviecaiedrlemtiaeedsrondteea-t.
Ifusnlxinltearezbvaeiecgc'ainiiraitpercamiprndteit,te,unpcrtedrug.ceaAarmrsestafuseneblr,lviasnouuiarbtecinnnootfintcleusirtte,aruanteiplaavprasercuiaurcsfvaieiunrinetpeilBoleeprpauchaliannrrtfseeii,claueBlnurdatie,oh,rmrnictasitrescsadapzteedo-
cificd atiini tsaretirllupnlouuriitagctrliuivapelocgpoarertazslepn(eAfacIliefuicn-upiramsocdltisiscutirii(lVmeou3rzs-icc4ina,glee7r-p-o-1p2u)m,lacdraseurgerieplerrmelza-en2ne,-.
1ta-nef)i
Legiitura cu cintecul pi dansul popular va rdmine o trdsdturd constan,ud
ambilor compozitori, trdsdturd ce conferd vigoare pi pros-
in evolulia
p€rlirne milzicii brahmsiene (calitdfi atit de contestate de iontemporanii
wagnerieni sau de cei francezi) gi va la
in creafia lui Enescu. conduce geniale solufii inedite
Bdbiirroaeghi:imatPefsrici(pvesiittice-lie-saitnicedexeq)pnlgisinceadnmrieaibnlaldurlui,zpddariercreiceleaostcetciitraatnrtrpedeusasdrieticuoarsiplteaiclbuocilmluoemiguEtnpeneoe?z-snitcoturre,supJlguiuriinitirudmoairmpleeldiacnsalafu'giuiii
cpuriiilnafilctraatefigeorinie,sceenasibaitictareieaatiesiaddeeg-acolualndgguil creaiiei de
a primelor maturitate. in
opusuri, influ-
1 Robert. Scliumann, Neue Bahnen. Neue Zeittsclltilt lUr l\lusl/t, Leipzig,
28 nctombrie 1853.
J.J ir
6St
'IZ0l.9-q 'iLt D)tzt1t\tr p.lsI.\Lil ul J!p n[-\lolttl 'n.)s,truq o6.l(,,ra I
aoo-Ill.pppIrlJcrIulasuJJapl ppJaonIulluJ'rsnppurnllqsll]lpppuJlgoI'ppplIpsnlpplIlrapopJcpn[-lprrnoonfJ,)iilsrroolsJupergulooprllJ6slnTarsou]uirosrlplpxslpruuIoqrnJJplpstpfolrlaurruJgSnrNipnp']p-plrllnpnusuliuplolplourll,rp)uipu!Ju,r)lpJ-tjtltrlp,sI)norip)i
'pfur,r.trd plspaJp uJ'olplnpJou r{gqrleur6r;o roun eo-redr,rr;ur prrr).rpr-ir
'[n]of,uI nJ Joi 1nrptr ne-r3 pJspauputo: r2fuaso op oJrlsilrls elrfplrleltour
'llnru Ipur lor sndur p-s surqpJg tn1 lnLuclrurl olp:) ri1 olrllorqns rrJr,rlos
roun pzpcl ocl 'pleuorlrllp-rl oJprur-lclx.r i.rp -roir!?n lp pzolLirs op Insi)JCr-rcl riT
'(rruopnrg Lr!'ronlxre uI'Jlrn5 uIj \), rnln)pi),\ 1e ru,ilgd lnurt.icl urlr
.lOIrrplrni inlrls PZpazr-TolJplps oJ r,rol)irnrlpcle-i1ri1 'olEpilosuor rr-rcir,-.,rci
rifnlos rS uulng,)'r,IplnurnlE i)Jlrrrp r,i.rpnn.r1pcl,,l"r1ur i)losporJurnr.L lurs-
suos +soJp ur or.lnltptl 'efiouo.t pA o nu a)lplr-inlput op i)ips olr.lr:r.i )nl
urp pun rDTrr o-rpJ oc[ arfcloruoJ '-ro]rlnlncle,rn1 i: pLiprsurr{p]q uifclo.r'-i1.;
alsoct o;rrqsrpls rtfnqr.rlLro) op ars;)riilplls 9ieicl,r,i1 o ulnrz.r-lct n-ri )r-il
a6roo3 rnI u oT.rncturrl erlnlolo IS pllpLuJoJ 'nlclrupsrll trr p1I,\l-Td
'TplnlJ.)lIqjp' )rrii.rJilo(l'tr irilr,I'Jrpc)i,lru
uelcl ocl ']sougruor IpJrznur tnln[ecgurl dtrrJl )d(.\ -]'--.)Lii.ll,) tS p,rocl.to,r
-uJ pA II prnlPJ 'lplrznur Inlnlplralpu ole rrpollJJuI IJP;]slru ap trndr]
rou pI puScl (>1rue]d Jpsal in1 tatfdacuoJ p arrllr) irJp.\loz,)-r efuanl;rit rS
'pzof,upJJ arfrzuell air pppolred ug 'e6nppp ro.\ os rtrplILIn otfrn-t1suo > ap
6-re1 nlyns rnlpJ ip e1) uersruqprq InustuoJuIIS pllo-\zilp pA Ia',,nlJriol([
nInprs[nrJJpllu" paulrloprr tarfnlo^a InslnJrud o4 'Pnr:r,l,lrtDe.\\ Pf,l,\I]oul-1to1 eo:l acl
dr1 ap olllpulol a^rlplou.)ru lrllpi-i-lp.iJ pJIUqol od n-Li tS
suqplg lnl rnlnusruoJr[rs plJo])aTp-I] ocl etr)sui .rs nJsaua 'greruttci to
eiuelsclns uip r-rpJJnl roun lrJrnllpp Ip '.r.IapJ-\ ap ltund lsoJp UIC
' () -rl,ll.)SAUF) OJiUOJIUIS I)IULl.Jl
IaJpoJir^ alp osrufa.lcl ale.rpnapp olnil]suo I I q 'c/c auDId pnop nrtLI .]cL
a1unllDrrDy ulp larua+ Ip Artroru lpnrulpt-t.lntdsPnJSt .rgp1cIIlrIuttJlu.l!tlosLsI\u)Jr)np)-IpElSPa.-\ilouIaI
a1a]rue.rD olsocl nes),up.rlni I-)LIn
uuci) :oi eixrnrznlui rS osndro loJtoill pouITZodLrII-I'JllpruoJJ-Jluoiplll
ollurp n.rqrlrrlJa -/oluoolerlllD-I2.rlruitI
1Irro-I;rrJancI[Juuln-l-?I],LInI,sI q-uI uplsurqpJcl Inl.rpour Pclnp
.rpll '.)uor,ldnJlp,tt o-Ipru L1l alplolPll ILInISUo:l
rLrnrsuel oreolpznr-rdrns op lplqnp als.) olpuoiferler olrlprnDtlsup-it ui
lnnilnpferslsul.rs)(.L)r),pprTIoipr.i;;o,5))lop,JrJUorIi.OL,t.{-,),f\, z(roPr)lpigz).Srnls-prrpl.il)rn,lrinlp.-:SIlplplqOr;uos-oIs-puot-urIpdJ,,O,pilnpIJnsolJol)oPq)flpnoleJdJnnIUpusLOpIdJ.IUJlJJLTIfITI,spl?toSsluil]tl-p!pts,lrnltit?nn,cl)lxrloiiltl?uLSJn.1uirr",i)'.Ji-rr-p"-
,-,),sirlrpL-Tronrl.nr;prrJulc-ilo"o-'rllrun(llc)plzsoi's.tirJr.tSrirrspPolZpDorponrllrnlurJlnruddIouo;rstInaazsJnerpol lupu!oJlpo/lPprilulIJlIfu,nppllprlpuu-oIruJllJdo'D0le3.ll"]Ir,TItlI1rsqtsl'p:i.:lllnluluosp,irio.l))1l,P-(ltl),;t:!.{i.l-r).:p1)t)
-,roo) toun ilrnplec-u\Iiu.roer1) rS urnro;cl '(rtiurre;\ n;) puta] op'opuol op 'i),)II
,,o 'plpLlos i trr-tolJollLlre aif :n;1suotr ttl '(p1e;o;-l rrPS p[P ]r)i\
ir-i njpiurur 'Jl.))Lro ) /,riuoJruIs 'qJnl-IJAn 'loJuIAl 'lallpA3 'o1-Il 'PIPI',1')ru
-n-1lsur Plenos) i)ip;lo.\ nps olpluoulnJlsul rtferu;o; allurnup r3 i-irlua6
,)lrriinrrp nrirr,;c[ u.xrnr]do ui gfuapr,to n) gllolJor os srutlp-TB rn1 e'l tt;r
procesul de acumulare gi de sintezd este sublimat in autenticitatea
artisticd a fo-iecddperetueicrami.tiInnddoe,vcdaoafimar pfddleerxddp,earpsfepieaacttviivtudtdeaapteraisbrteuotm-epiea9tuidnindeteri-duseuncliumclaeitzndfgraii
in celdlalt
ideilor ce
Pccoaermnetprsoudzciptdoorain,tduciftixenanudmuinanfiaraesslpipeirrfeaattioasritcgildintBrarealihtmamtdseiesasatruoiabusenexdrpearlitirenpfiaairtniiasuljcn]euEloinerg^irn<cclroil.,i
unei idei, aspirafie care a incordat existenla fiecdruia intr-o ncintre-
ruptd. muncd de autodesdvirqire gi i-a condus cdtre o caracteristicd c:xi-
genfd in realizarea finald a actului lor creator. Acest proces de dilLuire
indelung deliberatd a spontaneitdfii reaiizeazii o perrnane,ntd impietire
a sensibilitdlii cu luciditatea, impletire care conferd opt'rei celr:r" cloi
creatori perend splendoare. $i dacd gindirea lui Brahms a re.lii,:at,
in general, o caracteristicd deschidere in timp a muzicii saie, acr,rastd
trdsdturd de atempoqaiitate se va face simlitd gi mai mult in ginciirea
muzicald a compozitorului romdn, pe mdsurd ce el va descoperi gi
va integra in creafia sa vibrafia liricd 9i sensurile epice ale ciolni-
tului romdnesc. inceputul acestei cuceriri
este ilustrat de muzica
Sonotej in fa minor pentru vioard. Si pian, lucrare ce a dat compozito-
rului de optsprezece ani congtiinta forfei sale proprii, a;a curr va
mdrturisi el in amintiriie cdtre apusul viefii : ,,De ce momcrnt,
depdnate sur mes propres jambes, si no:l cie
je me sentis capable de marcher
courit tr6s
ca o punte vite..." 1. Momentul clureiaBlireaihamcses(t1e8i9l7u)c9rdi riinc{1e8p9u9t)ulnereaaplizadre-
intre sfir.titul vielii
rilor de rnaturitate creatoare ale maestrului rom6n, legE.tura celor doud
manifestdri geniaie ale gindirii muzicale putindu-se face cu deosebire
pornind din epoca in care in muzica lui Brahms incepc sd se estompeze
conflictele dramatice, fdcind larg locul unui nobil iirisn. $i din acest
punct de vedere se contureazd o traiectorie asemdndtoare in evolufia
dcooni fmesuizuinceieanili-ricdq,i unul 9i celdlalt inclinind in creafia lor tirzie
celor limpede gi curgdtoare, din care nu lipse;te
cdtre
z(Eimnebsectuul-triSstim(Bfornaihamdse-camCevridn)l.etul cu clarinet) sau chiar amdrdciunca
*$t*
Legdturile dintre personalitatea lui Johannes Brahns qi Romtinia
se cimenteazd astfel, la sfir$itul secolului trecut, atit prin prezenfa com-
pozitorului german in |parrainnionaflsutredn, fian scurtul sdu turneu de concerte
gi
din anul 1879, cit ce a exercitat-o direct asupra
ceior doi muzicieni romdni: Eusebiu Mandicevski gi George Enescu.
Climatul muzical vienez a continuat sd facd legdtura intre prin-
cipiile sale creatoare gi muzicienii romdni care au studiat in metropola
austriacd. Dintre acegtia se detageazd figura lui Marlian Nlegrec
t Bernard Gavoty, op. cit., p. 83.
360
r98
.290 .d
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asarcl tr," urp
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-urrd greoco-rls os o.r rrfeatr '(Lt'do'to{out toutaq lut u[ aprDo] ntluad
g-Iurryooadrult-eD)^oJgp'd: orgr'tJt'>lCztnotrrLu'aLpro1iDle)IoruJrn,auDpau6I;J;DalrulolortuSlnlu3npgtga'daJlod.PJ'otopbfsnogueaift:peuIlCnr?alpclpnl u[loaJsrduuIIt uetd nrl
ulouog)
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rS lnrolrzodruor pzetra-Ide '.,totpolaru Ip roielouaF Inluaruala tS autnop
rtoesopu 'a.IpJ 'IaIuouLTe luppodurr op lTcl--soop r\Isaldxa lol un PploJp
1-ino:lolprzIolderrufuooJs'ailIp-Ionulrtuu!lJlolnlsca{Illp}uogflI,.ipo:]e!.OIoJ'So.ilptrJpIZpnuPtIIqoplp}nsJSIItlplpuur iu6{ueoon"1re;uiur
ar(sno1orx1o')('ua'Jurlu- puIr{osArlsilJoTdpaueluho;ilnlnJlnJiJoo{foipSplooC,\Ipaaa:rplpu3a6isgllpronspu{{AulapnullJ-uPi'I}nlnu alpJ
ollu
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rS crlueruo-r Jruouilp rnln[eqrurl erfp6oq QZouoIr\ eleorS u1 o:adolsap
gs pulDunle 'aleuor{eu punlo:cl ozuq ad alSauroC ee:6o51 uelirel.q '(a1e1
rjr-t;n11ui cltis tieiir,roli es oiie .loriai-i uip iuPg1ol t:Oltzod
-uaprJlo rrlIZnuI
-uror rJlnur Itrrtr lolatr er{n1o-t'o op qf:-:'.ilps IaTl?ltclor p PJSpa}Ps Pf,IZ
-nut ep ar{qroscle ebeorlri3 q.inci esesgi ol ollnllsul 'nTqlS uIp uplalpuv
aIndJpprliuturrrzansrupIpaopl.inp.rols)lrrrsnrt:ll_r.e,occplo.1e'.r,oaIi-c'1-rpirilJalsnplluIopz,o\-ord{oasEJ(ueesttduruu1d'go0rO3JEeJ1
gi,,u-ol.pt,pJgrrul1eprnpn,ourpplJiniorAlUrurpr"Sela1nIl1pd3nu1ulee-su'rp1nuaapruJrqlpt-s1eeronpro.u)Iial5JsrJlu1nSeptParSuolqJllirlssii'uonaiaplllrilajuooPuPl:s'l!PJcIlearlIlirs,rZ;Jraorionionlrr;lud\puuuerJnooaaeqIrpululdnurp'6caglJlirlqone:laoeellJaladell'llPruaeiJrpassru;oaunuusauiIJJlnlluPJIlpolJlousa-sndpsoloeatlaJraopJslaplelptppl'lleJEzasa:'nul}nple6aegalpualsupp5aot1lolaCangl1llunorlSd'e1ddlal{;{rl1s1rcauaelsltadptturpsJ1le
'IPIpriour
roclzpr tnlnurtrd lBuIJn np oJ IIUP ul l{s^oslpuplni nlqasng InI e ole3lz
-nru aurJoJ 1$ lcunde:1uo:l ap pspls eI luapnls '(grol-goat)
'aruorrlJe
w
nscsinerdoezlsaaiu;ifltmiaiine,rtfdeacinodidvnreed$fcoaaoiptmeoffiirxupcdnaoheezecaisIfoiafisitnedafMua(paricunenercndishtitrcliuiunmeiavgmpsteekumnziz,uieicirimndiiaegonariilicoeofoerib,raslmuaevdxeiraaeGcttmeuedeloepti,rvegriaenetseppEcronaidnnerescesaicBpbiuniiial)ivil.theaamDtzedaisa,er,
lMBltlzcrilANdpfPslccdaanaieiliibedeeeedurccsneaanlirdclcnxuaaacvlgtdarcteeouuiot1retdtl)ruvrriedil9rcnceapDeneuiiuzem6rnreusae.naamfteeiiq4i.uptalel)ero)l.ssctssiieiBNorilup'aenpfpro-aceviDimrs(toerigehnsaprad1sisepaign.eciuddtahrno9emtoqudrrteouMrmepn4nuetmriielbpindfan_uto1lcaaoosmriMurioprcldo-trotitpdil1aza*oriiioludaolveeeuids9ocuiscrzizntpe-llnln7op-irrurioueinalcmeecfdt3psurlnlirsplCandncunidieuidotpjaar-udupitfuluopagnlrulMidledeoteiutgeuieij,uriientpda,nrarnionrsG(Mnreaptaerar1dmurieapuifimleiuv9raanoinaumudaieetlmo1iruutrdtnepnlnlxira9vodtimelugiainpion-firaepmadeza1iNlunieBraagbetnrii9efanncmedrotiiEd,c.aiaNetptagu1daicceenvoashlcae1receisdeii,.emmcberont)nugp,tecislirraaErcvsopprdieaoMecpreo1a,imoiocdtrhiuntgidna6raaMui.lmzacciuennid,c"tnrieesazictteosclaruouoortdiriilioniiaraubaoictatsriniaicdmdlucnainrcnidlsndioitpcdehlcelucdaduddedserorrNiciettnenpieenmddieme1vitemdtazveniicrlsgendsni5gaiprosiicaohu2rcnlsceedirimlopinsi1zueerttjcse.oaieaedzBc,cilaanotdacmupdufitedtrctnindu,udiareaoda,sap.oucos,Mbhig,'erpgtdnrrsefiiDmiigooemptnneupaiiepcrajigd(ezsovsfdc'eoeartBdidi.idoesaldicaipcrofcruenaiiarltisaR-actuornrddmlgva-ei,lcuharfelicn,niosaeonuteEmplerziu(puglor6nenlrnseueraeois,cusadrmmoiiecggdzmai'jautdlrlzhredoeiu-uiretleai9gindeaeai.ne-e-----l-iil
atsrcri.eonucbmd.oiutpImnldopezmionituizotluzeirtuisorcvltrireuiarunloutliidlivotrdusraifgnapaisesfmisnmrumtirusbuanllifadniidilaertaeoelladmeauviujililzanromic,uceudncplrea.iutdscitneuleiclnozocsiluiuuenvbalcuiihtnjdedtxeuieexlulrBreie9apsfiedrsteboutuzrtoeudrndnaiueatralitruedtiitivuldngdleorp4soine--,
care N'Iarlian Negrea I-a avut in stimularea clispozi[iilor sale creatoare,
referindu-se Ia anii de studii de la Conservatorul din clul (1931-1933).
Pester acest strat de studii la clasa de armonie, contrapunct gi
s-a aqezat apoi stratul de inaltd compo-
zifie a profesoi'ului Negrea, culturd
drrPndierudezdacicccliireinldaiasiictenduccrtueeegmlrtluituerlnliaiieemaAsuchozauliidncdeaedmld,eoiiraneeua,,rcnsodaap.rnee-tnae-cs(ec-peacaeuiisiaaste"tgradoctiobinfliiircigRavioatierncnraeoemlzie1ed9,dn3toer6aau*nsdlsgcm3dmBiasc)dru.i
dAipmelifrpa}e.ll4idnadoirrifrecieaancasteNiiolleolargir)zr,eoscantuiltingusoiltuaiccigeetsaedrdeaueagmIfcailuoozlininiiuccitaleaulp,liiuearntouemcl das-renuctiidocaeluaxlIludldsi eeaXbcroXcalounanldutoiiinnapusliaezXtmzIeXsntd-atlietsgaeoi
sprijinc pe muzica de veacuri a pdmintului natal pi pe cea a Renagterii
italieue.
grup A urmat procesul de sintezd, proces rezolvat odatd cu primul
o temd" populard, posscca-
de lucrdri: Varialiunile simlonice pe
g'Lia pentru pian, Concertul pentru pian Sj orchestrd. Se impune de la
inceputul consideratiilor, pe care ne propunem sd le facem in regdturd
362
r.oe
-olp] lpul o 'olrclolu Jolo}daJl p Plrro^JorJ prluo^Jalul op alpoJc Tn61q
-up r,insrnr nl r,ro.lun 'oJrpol.ru roliruTi alp olplloui TrnlJnrls olalpr-rp^
od pzpolnui as pf,ruour,rp €are+uJuiSe,tirl 'aualls.ruo olino olalaporu uJ
IS jIJ Jsauguror Tnlnlu1r p pf,Ipouoru earrpu36 ui lllp lru1pp lullppl?-I
nl'ursr.rpourl o-rcls Es e{urpuol ugtuo-I lnlnloltzocluo,) ITJIZnTU prui.tcl
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puuoJ erlgr q1c1e..ipul os elnpol '0gOi lnue pdnq
lnro'Ilttrz6oidIuntuooJ uy (ptopclod o
ptua1 acl
a)nIoluIIS alrunrJorn.l n.rluad) nJsaug a6loa3 atftzodruor ap rnlniurerd e
s'o-Jprlspuaalrlru,l:rpgoprulgnarpo;atldorrooppuJluuoou,sr-)ltIo-nrl-fSseltpcolsllulLeulninlrroplnarnJlSlolPrpPrIptlsIuJpeIuZlnulnauru;nd1Jaluu:utiJpolAusl1eon6JeJ :eolrep;tlouTole.tuIlpbnrurlnorIud]lelaJlIolDonJJusXlaJlJnopponop.sProPrsa.onI-llrpll-pol1ti-ll
u! aJllsluockuor tr.rtpui6 e alplIZCnJ.IIA p3f,p 'Plpuor{euen PJlutlol ilJl
-pf, salp rpru rS oTeuorfrpetl aleruto] aJlqJ ps peoo;et{ledoa,;icpuolppteIIrJ{dlnaurutLorc:l[ il5
ntr
: oulpnllle piqnp o 'e{npo.1 inlnloltzocluioJ
goricd apropiere de siilul lui Brahms oferd limbajul orchestral al com-
pozitorului Todufa, inclinat cdtre puritatea desenului instrumental.
Vehiculind nuante ale tumultului sau senindtdtii sufletegti, coioritul
tbuimrnaobhrrmamsl i{oepnmueer n(sCtaeounaaclneesratdemr,abmSlaiatm)tufcorognniieit)ri.ibmiuniuezcieicaeaarleec,lieeafsupeirmivideeengeitloearmfo9iramlraialop,rregmginnocaldinreeflaae
compozitorului Todu!6 prezintd o maximd organicitate a construcfiei,
marcatd frecvent prin transfigurarea unor teme ciclice (ceea ce conto-
pegte principiul ciclicitdtii romantice cu arta varialionalS preclasicd).
Dar peste aceastd. sintetizatoare modalitate de dezvoltare unitard a
muzicii se impune (ca gi in simfonismul brahmsian) o creqtere conti-
nu5 a suflului muzical din propria substanfd.
De Brahms iI apropie pe maestrul clujean gi pasiunea sa ltentru
eposul popular, ca gi cea pentru cintecul vechi al pdmintului, asupra
cdruia pana sa s-a aplecat cu pietate ; gi contingenfele sale sufleteqti
Bcauracphdomreoszriaiiln, arcipuurrocirrpeeieamtgoaririicalue'ietioa-ezxdigr-ce'Lenaitreai gdcioavuerednerveriaselpiliirpdEriiecctleiennleieiaadibooaurmdairncedraeuarmofirula.ziDc-iei
sale, ca gi autoritatea cu care domind sensui ideilor, fdrd concesii strd-
lucirii dr:la periferia lor. In fetul acesta, estetica compoziLorului romAn
reinvie, fiird sd-gi fi propus, atiiudinea fafd de artd a maestrului ger-
man, fixind un moment de ampld sintezil in istoria rnuzicii romdncgti
contemporane.
*
';. ,;o
In rse-aalimzdarnileifemstuazt iicnaleprdiminuflarriandnolaasmtrdu,zcicoienntiniiufiotartmeaafgi iinndgirciioalulai
Brahns
de compozitie vienezd. Unii l-au cunosclrt $i l-au venerat (Eusebiu
Mandicevski, George Enescu) sau au bencficiat de actirritatea peclago-
gicil a lui Mandicevski (Marfian Negrea), transmilind mai departe res-
pectul pentru arta brahmsiand discipoiilor lor (Sigisrnund Toduta). /\lfii
au cunoscut acest sentiment in clasa de compozifie a altor pedagogi
vienezi $i mai ales in viafa de concert a metropolei austriece. Inrpli-
calii ale gindirii lui Brahms apar gi in concepfia compozitorului Zeno
Vancea (format Ia Wienerkonservatorium lntre anii 1921-26), atlt in
predilecfia sa pentru genurile muzicii de camerd, cit qi in sprijinirea
pe dinamica polifonicd.
Crealia Iui Brahms s-a irnpus pi in pedagogia qcolii cle interpre-
tare gi compozifie de la Berlin, ca gi ln cea de la Leipzig, cdtre care
s-au indreptat cifiva muzicieni romAni pentlu desdvirgirea studiilor lor
muzicale. Mai mult decit atit, chiar in climatul gcolii de Ia Paris, in
care muzica lui Brahms continua sd fie ocolitii, rnuzicienii romdni do-
vedesc deosebitd receptivitate ia arta brahrnsianh dezvdluitri lor dc
George I^nEnsepseccuia(l,DmimanitirfieestCduriclelinc,reMataoarcreelaMleihluailol\v{aicric,eCl oNnfishtaalnotvinicBi ose-
bescu).
inscriu la inceput in raza de influenfd a concepfiei lui Brahms, influ-
enfd treptat sublimatd in factura unui stil personal, care nu va pirirsi
insd tehnica variafionald sau genurile in care Brahms a excelat {so-
nata, cvartetul, simfonia).
364
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uiq
qlsp.aJp
libratd 5i unitard, sensul ideilor se dezvdluie insd prin mijloace sii-
listice proprii iimbajului muzical romAnesc, marcate de structurile
modale ale melodismului gi de implicafiile acestora in armonie, in
cursul ritmic cu pulsafii frecvent asimetrice, de tendinla spre fluenfd
improvizatoricS. specificd unor fragmente din desfdgurarea muzicii.
Tn ceea ce privegte tema principald a formei de sonatd din prima
parte a lucrdrii, prin care se face legdtura cu rnuzica lui Brahms, ea
este desprinsd din a treia secfiune a pdrlii lente din Soncla in fa
minor (ultima din ceie trei sonate pentru pian create de compozitorul
german). Ca origine -vddeitsdteporovveecnhieentmdeploodpieulaprodp:ul,a,Srdteghe'icrmh ainndf,incsirt'crucr-
lind pe cuvintele cu
Mitternacht" :
Exemplul nr.230 Brahms: Sonalo in ia ntinor p. II,
sectiunea a treia) Andante molto.
---.-/ -r-----,2
Exemplul nr.230-Brahms: Sonala in fa minor tp.iI,
principald, p. I)
-411e6ro appassionato ). =as
Aga cum se poate remarca din exemplele date, tema din sonata
lui Mihail Jora pdstreazd aceeaqi culoare tonald (re bemol major),
tonalitate in care modulase muzica pdrlii lente a sonatei lui Brahms
{inifial in lq bemol major). Ea se desfdgoard pe acelagi contur melo-
dic (cu o micd transfigurare imprimatd de interventia unui motiv or-
namental interior ce va avea rol independent ciclic pe parcursul ce-
366
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plD)lznu DrlDet) 'uoJup1 ouaz : r6olorrznru roilrolputn pzeelolpp es '(t1f:odo-rd
ellroJlp op rS o,\ilrorqo olltoJrp nr) e:og 'IAI op ,A 'do'yapuog aIB,Szrlpuv r
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p olsg '(gZ 'do
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uJ) pctpououl po-Iprilr-rdxo pri*upunrnNJ'o(llecul'sroulrqppipgzpi-nrJl plpuos aupippoorrlrTlSlnSurur
-utci op plpI 'e;o,\-p7,zo1rL
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Tptt{ ptiJlJaJp pa-rp-rnDrJsrlp-r1 's IoJerros olp oluauociruoJ r{:pci rorl ro1
Consideratiile cu care se incheie studiul fdcut asupra momen-
tului Brahms $i a importanfei lui in fluxul istoric al muzicii nu gi-au
propus sd epuizeze mdrturiile continuitate a gindirii muzicianului
de
german in concepfia de creafie a compozitorilor no;tri, ci de a marca
rolul pe care acesta l-a avut in formafia unor creatori romAni ce au
dimepiumsboogpdrfierestiggiiotraasnis|fionrumtddriplecoclaiiredeaucosmurpvoeznifiitepreomp6arrnceuqrtsi.ulPuroltcimeseu-l
lor decenii ale secolului nostru in domeniul muzical sint deosebit de
complexe, gi implicaliile papeccsetpsetloaarndaenaraasfruirorpnaraallac-onmoppialoerziaafipezoidrmgtuduztziui(ci salealegud-etuxrpipleee-
plan european gi imlrlicit le va fixa dreptul la permanenfd) strd-
cu fondul tradifiei, Dar
briaetnetepr-inccipdiurol,raredaoliatartetiampluuil, care conduce atitudinea esteticii. Chiar
dacd unele tendinte contemporane ltrezintd autonomie fafd de baza
indelung consolidatd a creafiei muzicale, aelreteniugai nnuulepazodactoentiinntureitrautpeea
directoare a principiului umanitarist al
sveanlosaurleeai.cAocnetisntuuluacsrcuenildednotv. e$cileingtenipcui lusnulcavzientruii-imaunzuilceaalzed sau
neagd
din marile
sau micile centre de culturd ale lumii gi ale fdrii noastre, centre in care
operele maegtrilor preclasici, clasici sau romantici continud sd trans-
mitd, mesajele epocilor lor piin intermediul noilor generaNii de inter-
prefi, ca gi prin mereu innoitelc cdi tehnice de comunicare a artei gi
gindirii lor.
Prezenla muzicii lui Brahms
in viafa de concer+ romaneasce
Legdtura Brahms-Romdnia, urmdritd istoric ai privitd pind acum
din perspectiva gindirii cre;rtoare, prezintd insemndtate gi in raportul
dintre opera compozitorului german gi publicul de concert rom6.nesc'
Pregdtit in mare mdsurd dr: repertoriul Orchestrei Socictdlii Filar-
monice, condusd timp de jumdtate de veac de dirijorul Eduard Wach-
mann (1836-1908), acest tin[r public al concertelor bucuregtene de-
vine martorul unor prime audifii ale lucrdrilor lui Brahms in ultimele
decenii ale secolului trecul. in programul din g martie 1886 figureazd
ca piesd de deschidere a concertului, ,,Uvertura" (fdrd specificarea
titlului ei) , iar in anul urrndtor, la B martie 1887, Constanla Romalo,
sub bagheta lui Wachmann, cintd pentru pr-ima datd ln fara noastrd
Concertul in te minor pentrtt pian $i orcliestrd, concert ce va fi reluat
in aceeapi interpretare peste papte arni (la 10 aprilie 1894). Cdtre sfirqi-
tul secclului, Eduald Wachmann inscrie in programele concertelor sale gi
cSdaiomruef dopndreiianceasdiIemI-afcoun- ioilelalulu9ndimBmarraothiaemrtlseBa9(S7c)iom. mSfoepnopiazoiataotetI'uIsIl-tuaaibg-iieiramlasatfn3el(mcladar3ltaieaop1dBria9lit6ed;
1897), la noi in lard erau create premisele unei apropieri de infelege-
368
698
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rli!ri.IlrurllulnpsoljnJ;uerclr_iJiosTlo;ulorilorl'('iiepaeospllon.ertpruruuoooob:otfe,sa,,arXpl3uXniriqoarnpn6d:lo:nnr1lcoiualJpnradresfor,{onndl.cpailrs:uxrurraqluronn.lVrian)pJasarqrlJusnlrrrouluprprJ]r8qoJlsoopouprrrair0ll:ru2deo6rnluIo_p1;ugrri1;n'r61cleI
'(aura:n pi ru ur
Pf,SEougi{o-I €olp]rlpnllola+ur alrecl areur uJ ptrpluarlo e;e g{uanlJul 'rd.r]?J
u clns) Pzofrup-rj prrirdo op plepnpl Bra nu 03 RJrznTU o,InI rrclznur i-ro.r
ctcaionrntdac'etgrpitesiatrdndiiir;ntijidaittaAetre,t,dheluuracRcrdeursbitlienpsaltuesiiinoBn(r1aa9th2cm6r)sa, iWanpicialirtaeilnlr1loaBrp.arScokxuhibmaubasatigv(1h9eo3ta2s)u,stiia\Liiarli-ue
helm Kempf (1936 qi 1943), Walter Cieseking (1940), S-.riatoslav Ricririr:r
AnuiemxaenledcrueluDiemmaetiricaodus-tanpt einntterurparetalae1gceodnicnerrlienlodtupl epniatrnui;tltiilaonr
(1964),
romdni
compuse de Brahms. In ceea ce privegte ConcerttLi pentlu viottrC, al
cdrui drum fusese cleschis in tara noastrir de Btahms-'Joachim, apol
de George Enescu, acesta aduce violoni;ti ca Alma Nloodic (1:)2-X)
Joseph Szygeti (1930), Henrych Szeryng (1933), ,'\c1o1f Ru-sch (l$3a ;i
Jacques Thibaud (1937), Siegfried Barries i\149e4n0u)h, iCnei1o9tg53K),ulloelna-
1935), (1943), Cario Feiice Ciilario (1944), Yeliudl'
kampf
BIuoromnb6eV.so-ci-ucu(i1nl9i 6lua3nl),iauaiald$uttgueurfaisntd1eR9u7inh8ta)esr(paelreicnfdsi rcruoriimudidisnnci,aridnaidnputiirrleuutcncaiu:riecginefiurnzmeareaaietiir'i1i d;jrnei
interpreli care au cultivat propagarea muzicli lui Brahns in viala c'on-
certisticd a tdrii noastre.
Dublul concert, in la minol, prezentat de dirijorul George Cieor-
gescu la 25 octombrie 1931 (avind ca soligti pe Aiexandru Teodorr:sr:u
gi Ceorge Cocea) pune numele sdu pe afig aldturi 9i de cele ale lui
George Enescu gi Pablo Casals, in metnorabilul concert din 9 decem-
brie 1937.
gaif-aardindneocboinlacteprteelremliansicmnftollliriloegrlaumi Berleallmsas,lec,uincareafCaerdorqflee
Dar in
Georgescu
di[n,eJvddeiecrtasuctrehaidi,n,e7r'eirneatgrciecogeni"mcEeeirtVecarloerraia{sliaieulein)bi,]readhiprmeijsooireuntelemr,oddm. odiveinel-doIcLirngyaddnnioz(eprnuaeszdodcc-f'rozemucciin'cc}r'itntedt
pasiune pentru mdrefia ei. Primul dintre acestea este o adevdratd,'siir-
inrdatgotaerreeaiScraohmmpso"zgitioarureluilogceirnmparne,aIjmaa5lmmpalrintiierii1a93o3.sCutuii de ani cle la
acest llrilcj'
George Ceorgescu dirijeazd o uverturd (Uvertura ,,'1'ragica"), u1l 1ol-
pcoaesnritima(mcfoeenlniept ei(rnaatnrIuVsp-vauios-apredinnitnrmurieomrcmihnaeoisort)rrd9-,i interpretat de Henryfu Szerynq) ,
un mdnunchi de lieduri cll a(:3rr1-
interpretate de Sophia I'funtctrnu.
program exclusiv din muzica iui
a Ai doilea concert cu 1940, cuprinzind Yqriaiiuni pc o Brahil]s,
avut loc la 17 octombrie tent'j. de
Walter Ciit,'-
ITaydn, ICqoinSceimrtfuolnpiaenintrudpoiarnnininor.reUrnmlindotora(rienlteer,p,irnotetagtradlre: Brairms" au
seking)
ppdairvoceurntntatiitlnnodocser)iincgbuieapimnnluoiaill n1$mu9tae5l jf3o1al9n(6,la2Gin(6et1eaolrirp3gr7eh5tiiuaiu4t-nRmdieaeda-TurhtAieceoluddpuorlirensBzDcidnuuld,abnslCu,iio9scniiomcneSfcroitmenuliltlao,pninieinatiettrirfnau-
major). In anul 1964, cdtre sfirgitul vie{ii sale, George Georgescu or-
ganizeazd clin nou doud asemenea ,'manifestdri Braitms" : la 23 li 24
r Concertul pentru pian in re minor, prezentat pfima oard in l8gl de
Constanla Romalo gi Eduard Wachmann, cunoaqte a doua interpletare la noi in
a a dirijorului Dinicu, la 12
lard - cea solistei Constan{a cantacuzino ;;i decem-
brie
1913.
370
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traid gi corald, versiune ce va fi prezentatd de dirijorul lvlircea Basa-
rab in concertul Filarmonicii diir I februarie
1964.
Doud ,,Festi'u'aluri Brahms" organizeazd 9i dirijorul Constantin
stuilvl epsetnritr:upvriiro-caurld-, ta 17 nolembrie 1946 (uvertura ,,Ttagica", concer-
Simfoniu in do minor), al doilea la 20 aprilie 1947
(sitnfonia in tIantmerapjroert,aCteoancaecretustloprelnutcrurdvriio, alrad, Vari7iiunile pe o temd
care sc adaugd cea a
d"e Haydn-).
Sjnrfoniei o IV -a gi a celor doud concerte penLru pian, frecvent pre-
zente in programele sinaslecr-ie dintre care cel in si bentol maior, cintat
printre
de Claudio Arra'a se dirijorale evenimentele deosebite ale presti-
imprimat o specificd sensibilitate
gioasei sale cariere mult acliniratd 9i mult comentatd ln acelagi timp,
muzicii
lui Brahurs,
Numeroase mdrturii de preiuire a operei lui Brahms apar $i in
activitatea lui Antonin Ciolan, Vasile Jianu, Contantin Bobescu, Dinu
Niculescu (dirijorui unui Inemorabil concert aI Filarmonicii din Bucu-
rbcMeee$iliheotiarc-iaoBnfilcria'meedr3atie0cfiepliaiennn3uut1r,lutdMimepicireaeclumeeadbdereCiecBreir1san9thei6im0s(cEs-u,mi,naItionrn-usoecifalsrECienloegInnuaetrcadso,cvsuIeo,ZanNradlk)iBr'caapecrcaeiuincB,uteaImisatarat9iaomi-bna-,
Ionescu-Gaiafi p,a,). Sub bagheta lui l"{ircea Basarab au interpretat
Cancertul pt:ntru vioard. rnari violonigti ai timpului, ca David Oistrach
i(n19te6r6p)resataurecahrdisitriiajonruFleuriraIos s{1if9C67o)n-ta ultimul, elev al lui Enescu; iar in
a rdsunat muzica acestui concert
lbiipenOuesOccninuutfetr;ueg-pagamirtleeamenzbmoeTilne,adoud,omcstuoouedpnlnrcradteianeipldnul,ailelcuRfocaierrpdqvbriuroediilezlerobmendvnitotsGeactsetuacrlll-umngsiiqircinnosafraodc(knlhrauiecSlse1ttce8rorrbinngra(ci(lh1ea1m9r9t61es79filee)o.n$brMeirFu2i:iral0acRrreiimaeaapno1suC9noa6rdirci7siio)ei-i.
Prima audlfie lomaneascd a Requiemului German se datoreazd insd
clirijorului iosif Conta, care l-a prezentat cu orchestla $i ansamblul co'
ral al ltadiodifuziunii romAne {sotigti Elisabeta }'ieculce-Car}ig gi Dan
Ioicl5chescu), la 24 noiembrie 1966. Reluarea acestei lucrdri
pFinildaramtuonnciciiii,nilfuasrtarenaozadstulAnu-l la interval de $ase luni' de cdtre
nosrutd dintre cel mai exemple
forrnafia elocvente
de emulatie artisticd, iar impundtorul succes inregistrat in ambele rin-
cluri dezvdluie graclul de sobrietate al receptivitdtii publicului romanesc.
Fdrd a fi manifestdrile artistice romanesti in
care putut cuprinde toate
a figurat (5i aceasta cu deosebire in ultimii
numele lui Brahr:rs
dcama elrudi 9iinalteoacotencceeltnetlroerlesimmufoznicicaeleiludsin-
ani in care afigele rnuzicii de
treazd o pronunlatd frecvenf
fngaidmrdtue)r,naitnicdnhaterteioermcartescaulliciracijionlurtauilueBivroaScheanrrgseiu9aiCmpeaulirbbillioidcraucml hroeom'meoanantseepseccta,erpedrieanutor-fnduocnauretevleea--l
Fiiarmonicei din Bucuregti 5i Iapi la inceputul anului 1978 (concertele
dirijate intre 27 ianuarie-2 februarie 9i intre 24-29 ]jlai la Bucuregti ;
mceulzidciinan31roiranndunarse:a-oplaritIaaPsui)p. r$ai nu lntimpldtor alegerea plestigiosului
unor lucrAri in care este reprezentatd
cea mai caracteristicd dintre laturile gindirii lui Brahms - cea a
Jtt
cte
-rzodirrol ra..IIro,,ltrilr-tAo3-'r!oarpcl-[rn.;s1a'uJrorlido:rliiilAlu-el.rIorIdouTr;tlIZopnuliqaopsror.iel]l.ilr;.ieo;6rlS!aa-pToaau-iol pp
plunii;'cis rlp lJnuob rS oeut6uooltor corlzllnarJillpolSuorr,dttti1l;ai-ilt"tPllopa;-)
o-.Tcoc-lE o-rp]s.JJIupriI pur..,-toCiuoluot Io In]
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rl91r,l'r1re osro-raueF
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rS oirqer.reurr-r Ioun pulr InIuIJd u1 pzr:;:lolpp as olspoJP 'Ppuif,soJJ
1c,s.'{'+rr;pnll;a,rr.ix; onpr tq 3i,ur.3ri:or olEllznlg 1r1-oirt oloruurSo-tc[ uJ Tz9], sp aIlJSuJ
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r1ri,-;pnqs ni,-:; uEal(.,r.rntrnq rninrolpn-TosLicJ Ir? I-IosoJorcl r*orfirlsord lpriolz
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A+e-iLz]!ilr)r? illiLIOl\i)l) i;SelO tit EJi?-ir..i;Jp'i?tSD,-rt-Lrrir(.,t Ur6ODepeC[ U1 u,
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TIll i)loj,l.lJri0) ili .)il l:l ),),i1 np olgl lill? ail 1l:lnS O iJIt uit,ilt JSoJp ul
'rnl oiaipuporu uJ o"lopunllpd op orol"acl p-re,r
n,f :lpa,i.).),r i:-i r! lrlnlsjail il-l ,to[rrrp olo_rpru o_rpr ad sJoz\rut un,siuilpJg
Ini tf prri rqisir,ts Lt qure6 r:0uoJ1riJ otnl^EAZop o_1pJ iurpnlTlp ri alurur
-?iLlrls 'i.)llr .)ii s,r.),\ir-in rrn cjsE'{sgst rourLu lur ut raruo&.rrfi inlpur]
- iic.ii.;rJ op nlirJl o od clr4Dtlo-4)
!t:tBt ueru,io0 ,rolizoduloJ nl{3-ruur p
,p)rLro]nrs i-l,Tj" l?7:pauntrnSti! 16 optqcsop il-ItJ gj.Ip'pLLIcl o acL ratJltrt-t
ntoormi esanuulurriiimtourizipcraolfcn.saofriio-lal ca gi in cel de cuprincli:re Stiinfificd a fe-
$i uiljversal. In accastiL finalitate, de a
contribui la elucidarea argumentatd a procesulrii conplex de evolulie
isic.rricd a inuzicii, sc inscrie gi cuplinsul lucrdril noasl-rc. Din continua
cslterrd,,lcunciirree,5ai inrndpelitnai;iaet a artei nr.uzicale, cu momcnLeie <:i de puternicd
aria iui Johannes Brahrns, ca fiind a celui ce a
avut cea mai dircrti contribufie la gindirea muzicaii enesciand, gin-
cllre ce a 6cio1nec-eanptrraotie-ctaIlainrinvidituolr,eiin-scrraiiznedleintreisctucrtuialuci uinltuuzriici aulm, alen-ia-
irnbcgdlit
t;jtii o paginir cte indilatoare mArturie a geniului roiirdncsc'
16 apriiie 1967 -- I nai 1982
glI
uuB{unr{Js 'u n3 (sndo ep rgurnu PrPl-qrr:1or61 yrs
g:.nduoc JouTlu pI uJ PJEUoS rrrp) ozroq:g
up^pH air Prllotr o ad lUr1r jprrl^ : preol^ !S ueic! nilxad
IOT'III] PT rrr pl€rios q9l
ci ii .clg
: auerd eucp n-rluild
(suclc' oir :eurnu q:pg) o:p6un i;'l-L,cir!(l i t!l
.lozllljt\ -- JapoI[soc1;11 ,:n;
7,9
JOZIr?t\\ Jop-ris,r.:: .
- irl-.:rll 0g
uriprunutrSj op lrriol o od rrrnrlorii-. 0; (lrJ
iuirrir nrll:l EI ue'd n.Ilu,ld
( a1:o:tror nttr:.::l at r
aluoppl 'llpnrS 'rrnsuu1l) snclo rp JpLunu Plu] os,ir. 3Ii
dII
(orposdag 'gzzeutralul) oliJnlsiorr\El--.1 i !TI
(9friuuro11 Tg !ppiptl 'rzzoiurolui) oWrilsl.jr.\plv .,
bL
r.4zal:t,ia1. l
91,
LtaisLlt:r_i-r
cc
I rposrlc ii
, 'tLr tvI7a'
(lzl-a'.riloluI ri rr:r.ldu3) ol{f, n }s.ror,\tr Il'i
I *-, l(.
lurue6u4 ep puratr o ad runr{ur:r:
tii
IaprPi{ ep Err131 o od runr'1urre -\ -- l; "
9"
p:r.5un purol o acl iunilprjrl
q1urrillr:o qurol o cd rrrririr,'ii11 |"
a"
oilPipcl ;
IdO
uuprirnrltrq op pu:ol o od L'.iniiprp-\
ioulru r,.J ri] pjpLraq : ueld n-i1i:1.t3
JCrUrlu IOTUOq rLri Lrr {]i:iJllr\
lourru zolp ltj liI ltItL'rs
ro[cur c,1t lrr ]tlptr(r,j
VTYINdI,{NJ,SI.{I VSIZNPT
(linuoo oc) yhtvtSNl-lVUfl VtivlUf
Op. 78 __ Sonata in sol major
100
108 - Sonata in la major
- Sonata in re minor
Penlru pian 9i violoncel:
Op. 38 - Sonata in mi minor
,, Sg - Sonata ln fa major
Pentru pian gi clarinet:
Op. 120, nr. 1 - Sonata in fa minor
- Scnata in mi bemol major
,, 120, nr. 2
Trio-uri
op. B --' Trio pentru pian, r'ioard gi violoncel in si major
,, 4A - Trio pcntru pian, vioard 6i corn in mi bemol major
,, 87 - Trio pentiu pian, vioard qi violoncel in do major
,,,, - Tric pentru pian, vioard gi violoncel in do miuor
131 Trio pentru pian, clarinet gi violoncel in la minor
tr{
Cvartetc - Cvartet perltru pian $i coarde in sol minor
- Cvartet pentru pian $i coarde in la major
Op. 25 - Cvartet pentru pian qi coarde in do minor
,, 26 -
,, G0 - Cvartet cle coarde in do mino:
Op. 51, nr. 1 -
,, 51, nr. 2 Cvartet de coarde in la minor
,, 67 Cvartet de coarde in si bemol major
Cvintete - Cvintet de coarde in fa minor
- Cvintet pentru pian $i coarde in fa minor
Op. 34 a - Cvintet de coarde in fa major
- Cvintet de coarde in sol major
,t oJ4n - Cvintet pentru clarinet $i coarde in si minor
loo
,, 111
,, 115
Sextele - Sextet de coarde in si bemol major
- Sextet de coarde in sol major
Op. 18
,, 36
Pentru orgi:
Op 12? - lX Preludii de coral
J/0
, t4
aJolulJ ls IrnpalT / - 96
l.npaiT - !tl
ilnpal'l g - 9B
Ilnpo,I'I 0 - 9E
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I I/
I
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e9
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3 - 6?
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IInparT B - It
llnporl e - LL
-
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Jouolo6el^I ololupuou
- 9"
iInpaI-I 6 -
eul.loJ s - o 'do
oluBurou Tf unparl B -
TrnprrT / -
IlnperT I -
TrnpJl'I I
: uPId -16 aJoA nrluad IJnpaIf
YTVJOA VSIZNhI
'rouilu pl uI
'prlsar{Jro Is Ief,uolo-rA 'p"rpor,! n-r1uoc1 liocuot nlqnc - ZOI ,: ,'
jJr uJ prlsor{llo I3 }?rpoI-! n:1uocl ilof,uol - {t d9
jo pru
f
qrisaqlro !6 apreoJ ruluad
ll,tl-i iouaq Is ul llaf,uo) - co
iorri-cl-r or iro)uo] -
uJ 9I 'd9
: qrlsaqcro 13 uuyd uluad
- -rour'.u Iu uJ E-AI p pluojtiils - B6
- .toferu E; uJ p-IiI r? pjricJulrs -
- 06
,,€lr6prI" BrnUo,tO - IB
,,pJrruap€JV" Blnuo^il -
.rofr:ur or uJ B-Ii B pluoluls - OB
- iourru op uI I pruo]urrs -
- tL
upiiDFI ap purej o ed runrlpirln -
89
ioicrll L.I uj Eppuolos 'd9
899
-lofpul ,]r uI Eppueros 9I
it
: PrlsaqJro nJluad
96 - -1 Lieduri
97 -
105 - 6 Licduri
106 -- 5 Lieduri
i.07 J Lieduri
5 Lieduri
T2L - 4 Cintcce grar.c
-- 42 Cintccc popularc gcrmane (6 caiete) - (fdrd numdr
rlc opus)
Duete vocale cu pian -- 3 duclc pcntru soprand $i alio
Op. 20 -- ,1 cluete pcntru alto qi bariton
10
trl - - -1 ducte pentru scprana Si alto
ri6 -.- 5 duetc pcnlru soprand ;i aito
7i - 1 Ralade Si Ronanle pcntru doud voci
-- 5 ilomanic ;i Cintece pentru una sau doud voci.
ol
Cr,arlete vocale cu pian
Op. .)r --- 3 cvartetc. r.ocale
-
.)l ---- 3LicCbre-aslriteedteervo-calWe alzer
6.1 Ncue Liebcslieder - Walzer
4 Cvartete vocale
65
(t')
103 --- Zigeunerlicder
I1"'. 6 Cvaltetc vocale
Lieduri cu acompaniament dilerit :
Op. 9l - 2 Lieduri pcnt:'u voce de altistd, viold qi pian
CRE.ATIA CORAI,A
Coruri a cappella
Pentru cor mixt : --- Nlarie;riiedcr
2 Motcte
Op. 22
,, 29 - 3 Cintece
- 7 Lieduri
A1
- 2 Motete
,, 62 - 6 Lieduri qi Romanfe
- 5 Lieduri
al - 3 Coruri festive
- 3 Motete
,, 93a
,, t04
,, 109
,, r10
dDtDoO
Prlseqf,-ro Is ssojpqtPq rolaf,rpd InJolulJ 0tl
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(qd:eq t* Iuror lop 'ratuoJ op :or nrluod) orolrrl3 f - {t do
tit do
(ie11ns op oluorun.tlsul rg lxrru -lor n.iluod) nrqoun; f,,llrrl3 -
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: l!ralJp luarueluedruof,e nJ I.rnJoJ
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: IaruaI op roJ uluod
BIBLIOGRAFIE
Alley, Marguerite et Jean. Une amitj6 possionnbe: Clara Schumann - Brohms,
Paris,1955.
Berger, Wilhelm. Cvartetul de coarde de Ia Haydn lo Debussy, Bucure$ti, 1S70,
Edit. muzicald.
B:rger, Wilhelm. Nluzica simJonicd romanticd, Bucuresti, 1C72, trdit, muzical[.
Bickerich, Victor ; Petri, Norbert. ,,Johannes Brahms in Transiivania". In : Studii
de muzicologie, vol. VI, Bucuregti, 1970, Edit. muzicali.
Breazul, George. Patrium Carmen, Contributii Ja stucliul muzjcii romo.ne.iti, Craiova,
1941.
Breazul, George. Pagini din istoria muzicii ramdneqti, vol. I, Bucureqti, 1966, Edit.
muzicald.
Bruyr, Jose. Brahms, Paris, 1955.
Bughici, Dumitru. Su.ilc .9r' Soncla, Bucuregti, 1965, Edit. muzicalti'
Ciomac Emanoil. Enescu, Bucuregti, 1968, Edit. muzicald.
Cosma, O. Lazdr. Oedipul enescicn, Bucureqti, 1967.
Cosma, \riore]. Filarmonica ,,George Enescu" clin Bucuteqlt', Bucuregti, 1968.
Crass, Edouard. Johcnnes Brahms. Sein Leben in Bildern, Leipzig, 1957.
Creuzburg, Eberhard. Johannes Brahms, Leipzig, 1954.
Dietrich, Albert. Erinnerugen an Johannes Brahms in Brielen, Leipzig, 1890.
Dietrich, Albert ; Widmann, J. V. Recol/eclions ol Johannes Brahms, Londra, 1899.
Druskin, M. S. Johannes Brahms, Bucureqti, 1961, Edit. rnuzicald'
Ehrmann, Adolf. Johannes Braftms, Leipzig, 1933.
Ehrmann, Adotf. Johannes BrcJrms, ThemcLtisches Vetzeichnis seiner Werke, Leipzig,
1933.
Gavoty, Bernard. les souvenirs de Georges Enesco, Paris, 1906.
Geiringer, Karl. Johcnnes Brohms, Ziirich, 1955.
Geir|nqer, Karl. ,,Johannes Brahms im Briefwechsel mit Eusebiu Mandlrczewski".
ln : Ivlusikrvissenschaft, Viena, 1933.
Ghircoiagiu, Romeo. ,,Trds6turi stilistice in evolufia creatoale a lui George Enescu".
In : ,,Muzica" , nr. 5, Bucuresti, 1965,
Hans, GaL Brahms, Frankfurt u. Hamburg, 1961.
Holde, Arthur. Suppresed Passages in the Brahms-Joachim Corresponci'ence,
Londra, 1959.
JOU
TloOGC
'plpclznur 'ilpil '01,6I '-Ilsarnrng 'IA 'Io^ 'a16o1ocrznta
ap l.rpnts : ul 'lnf,saua o6:oeg InI alolpuos ul PIIIJIJ Eoapl" 'punulsr6rS 'ulnpol
'896I 'slrpd 'a6os tt IDJA uos tsurrlDrg 'auuo^i ']ou?lJ.
'z16I 'uaqruB'^[ 'sruqDrg sauuDqof 'v 'A\ 'lllE9-ups sptuor]I
'tr-l6I 'BrodpN-fn13 ,,erutg 'D" Inrolplrasuo3
'l€rolrop ap pzoJ 'XX lnqlo?os oa.rScadsrad u.Ip strrtlDrg lnl UtV 'pupol 'nf,sauplois
'BZOI 'olzdlo'I 'qtatr4 un uaqol 'stutlDlB' sauuDtlol 'prprlrlu '1qrac!5
'plp)Izntu'lTp3'[g6I'!]6a.1n)ng'!uar)lznw.r! pcrznw aldsag'I tlISurlra{Ios
'996i '6lzdleT 'suqD-rg sauuDqof 'reqllpl1\ /ozllnqrs
'0t6I 'liro^-.0loN 'sruqD.rg u^\ou{un aqJ 'iroqou 'ralljnpqrs
'/!i6I 'Ilsolnf,ng '9 'ru
: ul '"1}is^:orpuDt^d nlqasna inl earalseu BI ap cpa^ un" 'nl^lT 'nsnu
",pJrznlr'{" 'g!i0I 'sIrpd '( lo,l Z) su-rt/urg 'apnplJ 'puplsoU
'II6I rurlJog 'sutr/DrB' souuDl.lof 'rlJUuralI 'uupuorU
'plprlznul 'llpE '896I '11fa-rnrng 'nI 'Io^
'a16o1ot1zma ap Ilpnls : ul ',,ntrsaug a6roe3 el rIlJIr nldlluJrd" 'upupv 'nllud
'y951 'r1fa:nrn[ '? 'ru ',BcrznJr'd" : u1 ',,ea:6e51 uerfretr1" 'ue6n3 'adoJr]d
'I{OI '[nl] 'IIn 'lo^ 'a!5oIorlznw ap !a|ppr)InZjt'td:ouEJ lE',,uPo3ss."-e'upgrrlrpoor U 'eueg-do4
pJrlsruBJd BrlBarr ui ra InJoI !S EloI' IIpqltrAI
'996I'tsBI
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'plprrznu'llpg'Zl,6I'llSalnrng'swLlDtg'pll€r{'rpel?d
IZ6I 'Urlloa 'SrUqDJg SauuDqor Uo ua5untauurrg ' plsnD 'slf r{do
i.rpnjs :ul ',,xx 'Dlp)rznul 'llpE '896I 'Ilsarnrng 'nI 'Io^ 'a16o1octznut ap /nssslnJIN
Inlof,os urp IpJ]znrn lntoqutri is nrsaug
a6roaD" 'uBJals
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'8q6I ,lntl ,Lt .)\r 'a
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'n JroplessBe 'prnatJ rm qJsuat{ sID sruqDJg '9961 '6urzodlroJ1IopnU 'ua,(a1
sauuDrlof 'rap
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sauueqop" '(snrsdlT orrc;41) Blprrd E'I
u1 ',:o6rnqlraqars uI urlqceof '7761 'ulsadepnEl rsolp{p'l
',,urebut]" : '6rzdra1 'Il 'lo^ t$rapunqrqDf suqplg asJorpozuox'/ 'upJo1S ':aldouy
'1961 -'6, sap oSqcrqcsa6ry.rsn;,g
'6.roog
'f I6I-?06I u11-rog '('1o,r B) suqDrg sauuDqof 'xet{ 'rlroqlpH
'9061 'slrpcl 'ar\nao uos la ar^ ns 'sruqnrg sauuDqof 'saing'lrac{r{rl
'205I 'ornqurp:,i,'brnqurDry u! swqDtg 'ralIDlA 'aqqllH
Jdranu, Cornel. ,,Sigismund Todufa Ia 50 de ani". ln: ,,Tribuna', nr. 20, CIuj, 1958.
Vancea, Zeno. Crealia muzicald rcmAneascd, llucuregti, 1968, Edit. muzicalE.
Varga, Ovidiu. ,,Gindirea filosoficd gi esteticd a lui George Enescu". ln : ,,Muzica',
nr. 12, Bucureqti, 1964.
Voicana, MirbEcoenraeas;rceuFci(rumca:o,nMCoalgerrmbaaefin,esMacoy;rleiaHcmotifvf;md Nainnic,uA2lelfsvrecoudl.,);,$ZtBeofuaictnouvr;iecgRetaai,nfi1uu9,,7EA1l,ednEraiad;nit..inGAcccaoodrlgeae--
miei R.S.R.
Widmann, J. V. Johonnes Brohms in Erinnerungen, Berlin, i898.
o6o0aG'
oo (91 clo)(il1o(9u1r'ru1'rcolo)olr)o.uIruoIfreul?ruiolsreJ1qilfur,riopRlrlrsl'lisauaq!r]r{JJdoronnrnrlquriuuaaoddcIlenap]lpealuuruaalolaaJsS----
t8
b,!
LL pIou]laQ
(ss8r-scsr) III fnforldvJ
IL ' (6 'clo) uLr'p,,lQrinu(trlr;rs!rudor.,pu,',Rpur:rDpolr(ouOopntuop.rd1gluoruy)luJ;ru)drlu:Dnrnd:ur1dnut -on'rod1tlucuroouodn|dalloupacspglaiuzcr4gndL---u Lun)v"
0l
89
s9
u9 .'t :"1' :n'n*.': :'.':":"]''1,,j];"lfu ";:,::';i""'i1",,"" rro,,
L9
6t (S 'do) rouTllr !J ug uurd n;luocl uleuog *
$t (qrr,tlotg 'V rS uuuurnr{ls 'U nr puna-rdrug qsndtuor)
Rruor^ nrluad e1euos -
9V . ]":,:."t.'l:"lo.rs !InutnrQ"
",!ot-I
(oser-csgr) II rn"rotldv3
6t ' (t 'do rS 9 'do 'e 'do) IrnpaJ'I
:e (Z 'clo) roulur zarir e; u1 uurd n:1uod egeuog
Z8 {t 'do) ro!eur op u1 uerd nrluad eleuog
IT (f 'do) rourru Ioruoq 1ur u1 unrd n"rlued oz;eqcg
0e trlnan apurtrd
6Z ualartd arDur [nwtrd
'allasnuaouJtnle[lncLuu]rtrrdd
!u
i7,
OL rtnltodo alauJrrd
{,I t i o lpL?n t pu d! ILLT{,r
TT asrruilld
(essr-egar) r lnlorldY3
luorun0ry
sNrtdn3
G6ttingen B4
B4
- Cintece populare pentru copii B5
- Lieduri inspirate de Agathe Siebold (in op. 14, tg, 47) ol
Hamburg BB
B8
Creafia corald: oo
B9
- Ave Maria (op. 12) 89
- 3 Coruri sacre (op, 37) B9
- Cintec funebru (op. 13) 90
-
- Cintecele Mariei (op, 22) 90
- 90
- 4 Cintece (op. 17) 90
-
- 12 Lieduri $i Romante (op, 44) 91
- 92
3 Cintece (op. a2) 93
Psalmui al XIII-lea (op. 21\ 93
2 Motete (op, 29)
Cintec sacru (op. 30) 94
98
Variafia pe o temb : 100
101
- Variafiuni pentru pian pe o tem6 de Schumann (op. 23)
- Variafiuni pentru pian pe o temd originald (op. 21, nr. 1) 103
- Variafiuni pentru pian pe o temd ungarii (op. 21, nr. 2) 103
- Variafiuni pentru pian pe o tem5 de Htindel (op. 24) 103
104
Muzica de camerd :
t07
- Sextetul de coarde in si bemol major (op. 18)
- 109
- Cvartetul pentru pian gi coarde in clo minor (op. 60) 113
- Cvartetul pentru pian Ei coarde in sol minor (op. 25)
Cvartetul pentru pian si coarde in la ndjor (op. 26) 119
120
Lieduri : 123
724
- Duetc vocale (op. 20 9i 28)
- Cvartete vocale (op, 31)
- Lieduri pentru voce gi pian (op. 47 9i 43)
- Romanfele Mageionei (op. 33)
Dansuri pentru pian:
- Dansuri ungare (f5rd numdr de opus)
V ieno, - ,,oreFLtI sfint a/ muzicienilor"
Consideralii conclusive $i anticipative
CAPTTOLUL rV {1863-1871}
,,$i cit ct$ ti dorit sd md opresc la lTamburg"
- Variafiuni pentru pian pe o temd de Paganini (op, 35)
- Lieduri (op. 32)
- Cvintetul pentru pian qi coarcle in fa minor (op. 3a)
38.[
:(/- (snil'-.r ir1; "tRr.uiru plRJ) ul)r{l n.it:r.ld irt-,i-rr(j
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1ft,
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a,iG ii;a 'tio) .;oIlLli o-i ul l]-JI lt lnir)Jir-iiS
t:i:7 rlriril;r.rt j j.j.1 Dl ,lil aIa/rJnJir,,\
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;i;I i)lil,tTilttl r. r'rll.)i\ ] l\ ,j: )iiir ?./iiliU\,r
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t(rL LrJ 'tlo) rofliu rs Ltr olJ_ir)1).J op ir.tlrl.ilt.\.-)
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t)0 r
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I8I itlt .i,,r .'. .,;:.r, ) :, 'tt1j.)i-i
{i;g rlo) ;r)i,iluJ,) r$ i-ri1po''l
sl,I I'lq 'ilr)'} upnpl.l olr pruol {) acl pt}sati;:o n:1';;rci runrl"ilDl\ _
9LI
cl.I (Z',ru ,tg .do):oulru aI ul apJuo] ap Inlirj_ie^; _
(1 '.,ru,1g do) rourui olt ur ijp.tu0:) op Frlourr;\J _,
0t,I
,. i I){?T1LU {tU JleIIdtt t.iut r ! tl
01,1
l#et-ztstl :\ -ltllorrdv3
0/,I
B!)I i)LUJI) Ui JJr.,1r.i.1
irt9 {1;9 -c1c r:! j9 'r"11) rllrilol.l - -
Z9I tEg i,clo.r)jo1u)3ju_nlp_irj1Jlpuritrior)lip_lroJs)
s9I
(l
t9I
rS (!.S do) ltprur;s{)l) lntalul:) -
)97 :)solpqlq(l .rol ,ol[{) ntlu.ld
urposclt_,11
LY L
?87 fgg 'do) lilzlul,A-iair,:)rlsriiio.J irnoN ,,
0fr {i9"do) loziull1-raDollsoqol-J __
0tI ixg rlu) ,,0piDu!i{" u}iriulr),
1{ 0F .do ,1;p'cloJ rtnpoT.I
BTI i0',''do pJilolso,Jl;lrl(_)isr qzrluuV -
0uI nitJr:zntu rl
li;;.'do) rorrlur (S', do) ulutlil:) lnrirarnl;ag -
tur ri1 utrcl rt Tolu._\lor,^ n,rluil(l eli)ricS
tu 1rxtt;:,:1 {q;g.do) urrd l:1uad ijnsl0_.\
1,;1 Iitl uJ'IiJ0]l r-li tlltorA,tit:rr.i
r'!"r.. {:rr:'11c) JolBui tr)a- ul opjr)()^) n;1.,toll trr-i.J.
;rp inlclxoq -,
Irrulrr ostzi nJprCrl l0r .)l )
.)t1
Lierlirr i {op. 84, op. 85 5i op. {li))
Uvrrii:ra ,,Acarlemicu" (op. e0) .)1 -,
iivliliira,,1raqica" (op. {11)
(irnt urlr.rl penlr-;r pian $i crciteslrii in sl tlcmlt nlalor (cp. ti3) t.l ll
C,.rnl;.rla ,,l'itinie" (op. 32)
Ciirlcrt,rl Parcclor (op. 8ll) 254
'1-r'io 1rr:nlru pia.n, vioari;i violr;licol ln (lo jnal(,r Io]). ljl) 256
Cr.'i:r1r:luL dc coarc.ic in fa mrjor (op UO,'
cAirlT(i)-{-n. vIl (lBB3-18S0)
llo.ror/cr unult-ii 1B83 26t
- Simioni,i a III-a in fa major (op. 90) 261
20ti
- Lirciit: i (op. 01) zDi
- Cvarlele vo"alc (op, u2)
26\
- ' Lictluri gi Romanie corale iop. 93)
- Lirclur! (op. 94, op. 95, op. 96 ;i op. 97) 2ti i
,,(Jn lSacli cl iinipului nosttu" 270
Sinri,rria a IV-a i:r mi minor (op. llit) tal
P.: rtcrJuJ lacului Thttn zot
ro I
--- Scr','rl,r penlru viuioncel 5i pian in fa major (r.'p. 99) 2't7
Sonrla lrcntru viorri ;i pian in la rnajor (op. 1U0)
Trio p.cntru pian, vioari 5i violcnccl in mlnor (op. 10i) 4Ai'
--'- Licduri (op. 105, op, 106 :;i op. i07) c1o
90n
-- Dubiul concert pentru vioar5, violoficel $i orchestrii in Ia minor
top. lIiJ :93
-- Zigcuncrliecler {op. 103) 295
Sonata pentru vioard qi pian in re minor (op'
--- Lieduri corale (op. 104) 103) :101
Cetdlean de ono(ire al ora1ului klamburg 301
e n.)
- Lloruri festive (op. i09)
-- 3 l:Ioiclc (op, 110) 303
-- 13 Cunoanc (op. 113)
Cvartcte rocale {op. 112)
-
-- Cvintct cle coardc in sol
ChPITOI"UI \nm (1890-18S7] 309
309
Prin glasul clarinetului 310
-- Trio pantru pian, clarinet $i violoncel in Ia :ainor (op. 114)
*-- Cvintet pcirtrri ciarinet gi coardc in si minor (op. i15)
-/
9Lt (lrnuao act) pue1siu'::T'ff"t.,'j
o0c, r?:rs!iruP'LuoI l-ioluol ap D10rr uI lriuqdlfl lnl !I:llznul DiuilT-i)l(l
.Lrge . rl': n ",'"']' . *]"?,'H'.""j1""i;r::r"T:il;
-'vt - IISAOrrpuBJ,{ nlqosng : (r/8I
Its r,;irJu,\irsuprl oiogl]j() ui s[rtlp]g Ini rrilolplp) : {irflI
rurtllrof rldoscil rS qcrl.rq;1 qJirural{ : [g:tl
D!U0U10?:{ i'i SUrqnr6l
\i ,IN'IOIIdVJ
iol i: ,, t.or:,, ,,,,.llpiliar(l Ii -
(,4,4, llj]":0. rrrn;sod 6oyrd:1
(tet 'cioi i,rr..rl) '.;:;,lrrirl:ltp.13prf- al]Lu!trt fl
' oll)uos r)i) ii,jiil., i':Cnsu g,lr 1:-i.rclsorlat oir-rrld -
'0ZI 'do) "tofuiu 1ou:aq l nI r.:(1 IS .iotrrlD[.r n:guad r)ip1]r,]S
tt', (t ':u '0ZI 'do) .toutut llT
IZT: pJ u,I l\c rs lrurrnl:r nrluod €luuoS -.,-
0ei: ' aiDilos aiorurl/1rl
((;1 i 'tit, Is 'ili 'dil1T;L-c-ioarl')1Oi s1dc';c1i'!'.-'."('tgtrtl'ttu'c'I*'oc.i,,to.,-up',,n1.,1,n1l(:{inu):e1.}Cu\io)rndz}zsorlrrr;:;1-....l\ioduiiu{r)1;l)
{t;t
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tli.
t,la, ttn1opuout clsltirTn
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Stefanescu, Ioana - Johannes Brahms
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