infiripat in episoadek: lirice ale prirnei pdrti. Motivele constitutive
sint clerivate clin celulele tricordice (a gi bJ
ale temei Scherzo-ului
alc temei inifialcr a sonatei ;
Ercmplul nr. 19 - Schcrzo. Ailegrr: encrgico
In secfiunea rnediand (Trio) a formci de scheLzo, tumultul dan-
sului este intret,liet de rerrerie, amintlnd lirismui temelor secundare
din prirna prartc qi mai ales poezia migcirii leriie. De data aceasta
pdtrund in inuzici,r nuante clepresive, ayca curr erlllimd formula rit-
nilr:ir Cin 'nas clerlrratd dil a patra celuli g::ncraloare (cI), sau Lrur,lr
allai:e in riinamizarea icieiior gi dramatlzaiea 1or (mdsura 74 gi urmd-
tr-ra;ei':j. I{eluarr.a seciiunii Schcrzo (dupa clesidgurarca muzicii Iirice
dil Trio cu. nelancciia gi gil avitatca ei e rplinatir in stil de corall
inti:eg;:;ie coni;:astnl clinit'e siei-e1c simfei'rintclcr (cu atit mai rnull
cu cit urmdtcaiea Intermezzc, Anclante mosso iniensificd
paairii-illea-t: -
ni-ialnieie tCtpr-esir,'e in clel,-utul iucriitii) .
Partea a IV-a (Intermezzo) prezintd parlicularitdfi de conceo.tie
arhite;turaid, clemne de se:lnalat. in priurirl rind, Iaptul cd nu mai
ccnstiiu"ie solu{la finald a pr oblematicii rn'azicaic, educind asiiel o
clcrcgarc cle la structura cvadr:i.paltitd clasjcS, auictior (gi in general'l
respcctatd de Brahrr-s. in al doilea rincl, se impunc prezen{a unui
ptirti:uzito- iulRuiiicdleiblaickco(nptriinvuirae sineanpsouri)ile- care ilustreazii intentia corn-
programatic-coufesive, rrrat'cate
p::in citarea versuriior lui Sterna-u ca motto aI pdrli lente. Corespun-
zdtoi acestui tiilur arnintirile visului de iubire se succed, fesute pe
tema ,principaid a Andantelui. Intervine crstfei o nouiL clcrivalie cjciicd
csre contribuie la organica unitate a ansatnblului. Dar ca gi in partea
54
sg
t jLr
o+pqnl p1u olpJapolu o16oIIV 'al\utl - zz'lu InldluaxS
'(Ot 'xe) Tnln-oztaqJS prrlei nl
(ourrssruerd uj lpzp-I] Ia pnop u ur-ld) qllpnrui lJorTp also drutl tteiale u1
rpp'aJpoIJoluT eJlulpulp Io olalsptluor lS ec'(q elnier) iplllul o:6i;l1y
ulp eledrlurrcl raruo+ Ip sonladrui InJalJptpJ
al3elutrue /IlPlun-ilrxo3
paluprroJlppl uuJlrda+p'eluropzoalp;dro'ua1oeb6oro11eolp1n'o1tertrnJ1sn[aeluilao;u6ureuluplpplipnulq1AJlTeJo(pro'uerlnrnJauJlii
Jolaluaurquos olp efuenu pulr od 3nppoJ '(rezrleue 1n1r$r3;s Btr aJnllap
uIoA o a;pc od pru;o3) ar-irro} oxoldruor loun eie aura} raJ} ieJ
'plrlJole
p o pJ pozIEeJlsrozdnrtupanloleupol -1Jelu.inlpl3rr;psupe;-1 todeul ariru:d enop
'aJpor.rolup
al3aune; a;er '{c1eq
-nnrJlepdruroollapuJorrp:colrupJorzr6naruly1-lnJ+ps-u,,o\Jepe-as1orel6p)Jipouc[idpurrileraSparupnzdoulrrr]uavs tf-rqii
TZ'ru Inldruoxg
: rrnsPur
ra olalullln EI puid g;qurns etfecr;ruuras rS-npu-r1rncl 'e;1ed e rrfrpd
psrzn{u PulIIIop (ou1 u1) plarl B ealred uJ 'I(ntlInlp'xuaill-os p e1n1ar)
rfrpd raurrrcl u pledrrur-id ptuol uI +purtl1p lpnlar
ufuaza"r4
rJrrulrr
olroLu cluDpuv 'GtcUqrycqy) ozzatnrcTul - AZ'tu Inldtuaxg
: PJrluBTUo"[
plpdel
ualpulb nrluacl arr;irads ap llqesoap aiuenu 'oJqaunJ afuenu
are: '(pJ Jrrrrlrr rnlnlpuruas erfuanralut urrd 'cur1 inlnluoruela p alpz
-riprue.rp ap e{urpual plplJprrror aspJ as '(orrl) ozraqJs ulp PUEI[]aur
iiriceAdicnloucalcsiefdinpudra(fraeampadjorr{)ii-anieevroiocaipred, trecdtor sfera sim{dmin're'1or
ocupd locul unui priir-cu-
piei (priir incadrarea eri de cdtre muzica temei principaie) 9i ioicclata
j;catcl ii llterpretatd gi ca tern6 secunclara a folmei dc sonaid (prin
tctreo<pnriit-acr-ca(aerstelaiut.lbmcaei-anttoirteantnlii,amarlrf5aeiizjoieimorx)npporcoemorstnaiivcen)e"tapauttiednmiancni sspatrinilnbdciuieillacFleoinradaliinugicupiiimiorannaa'fpecactreiaemu, aicillir-li
tratarea terrrei clin setcliunea mediani a Scher:zo-ului. Consiructia
ti se sprijl.nd pe un tnotir,i cic.,sctcudcilt, relluat in secvent€r ascentienie
ci gi in conceplia temei inlfiale a Sonalej d-escecx'n.d1er3n)t,, motiv derivat
aceasta lle tonicS, iil
(ca celula 61, Clar rezoivat cle data
din
specificul structural m€jor :
Exempiul nr. 23
AceastdL ultimd temd a intregii lucrdri, reluatd in gase inierpre-
tdri ritmice pi polifonice (dominate cle stilul canon), capdtd in ultima
interprertare (stil siictto, ririScare Presto, nuanla,,lliano", tonaiitalea
fo major) e>ipansiune nia:rimd, impunind concluziei un cateqoric sens
afirmativ. In acr:r:std noud \rizlune estc' integral,l 9i expresia selrrna-
lului ciclic (cl) care intretaie ultima \rariantcl a temei finaie (mdsura
309-310):
Exemplul nr. 24
56
L9
'I€i 'd 'f io,r 'in1.rc 'd6 'acua-ro1g 'trpllt r
-prprapp'I BsJns npxrJ o3 rpJauas InI alalulnnJ tunJa^ Jsa
-pDazJ:sl^]r"\aapsoleslaJsJllpui'"roJI:nIIoBIIpnIIJIpIaPllS]rqlpluofilJoaqJloadulaps9zIISnaiJSprpdJesoJllpuIna0sl-nI]ullJlasdop+^"Pp,uloJplnlqnp6s!pnnoneJruDJlllu6sl"l,l-sJlnopplpqlurplnlupdpplnuJall
lotrr-iplu InJrS urp fard ap Ipru pa3 puTopci -Tn6lsap SIJJSU! np oIzdIaT
el olpsiznu rrripulfi Ip lupJuazoJda-I olarpru op IlIPJl lup ap Isozrarl
adpo-rclp ial 'L{Jpg upl}spqas uuer{of prurn uJ loJas un nJ oslnloll
a'u.ur[ei]uurJa'i*ael ;dodrllsrqo4r-e6-uroJo/DpuIS{r npuqny uupqof Inl ealplr^Ilcp auln aspspl
lnrur-id uI'olpJrznur rJqlsa}rup'ur alp,uluasul
:r-oSourznulrru1-qnIdurag'p6l lepeaiJc1JrraSfuurapoJpunrgllofseprlrpprpstunro1rosncpldsounJapul-uJsl'aauJqrp-loiJdouDnJ;qrSon1f6apuclrts's1rasn,o-l6,lrruzednrraa1'alalqu3rnldu
eIa-e-(-Inurroeppu;uslsoeer'splrplanpurfrurrcnaipopeqrpurlruTereqrgnJaudplsIsiJraeu'na.'{arg1uo"nupplirlpnos1rrnlqeafopouaueqd'S!pJ1rrrplol;-roduterq^s'g!Vo[liprr-azt"gupuqPlu,',daio,l]serrppssueolrsnSppqJlldnaeraauupurlruurruonloournol)Jaurhcurrnlpauqn'I]pernIarnoogSlosJspouueurloerZauSoo1ssrrur,losnrueuesnlnrlc{cIraupJaScraJppJrrIrJrulJlzdo'uprn'raarqunJaucHuoJlrspurrueeuaplJleralasroJouudarJsurcrsenrnrou3Su-epInooappr3ulq1uJIn1srplZapv1colpJJaelurJ-rnorrarunS:Jzpdtr;l
pIpIfaeulauuIppzgourpnpiquJpl soarpuUIauIqnJ-o-aruJculag'aprafzlaue;aocJlrrdqoclpnllp;sluueluoropayss'',,,,rJ,rrJToouuaduarJr n,B,rsuoanlrpJscau/r'dnIx,n,aIoopsJleilUpulueVilcr.oe}nrudJr
pIr-rusrSJooeoulypanldplJpdo6ourrJJ'lrsllacriuuazurJp;toglnp6poJap-gplslenoocrlrppropaarapao.+rlprr'pStzJgaolnr8cJurlIun:rnrropodIJrpunJdrulnnlnlnlupoapppia'JpaulllrlIrlJrBpr-JpicrcrzllisunlglounrJprrllJqprpaJnrndlpdoooslpsFp+rraaszuplrda3latrpla^1uelrrp1nluldlnueurpnro3u1dJI1uangrUrsup-eagH-6ss
,,tuntpne6 lunJal +se eJanas sau"
a-aa-'rnIllreIpSsrpipuunaoueopdrlssoFoo,dproo'el1prpacnnsJrr-lspni{ooerl31lpillazoradaolzuu;doedirur-JulrrlaonnopcJpllliununaaIloJtlrlpppurolJalJo}rs^ldpoa'ocpdrqrrprosl:aerueppazluce8g1plsuJ6Ireiponsol-lnlprrunnrlprirlFor;a-rorr^ucdnlzraeqoouod-rrprsorullsrslrsnpeSagrrld-pf6udrupcep'iuaucsr1lru-prurSoondq63alJpqlarrepll.JnglJ1grl6ulxufnu[ooo1ellnJJsduF:prr1FtZuJooupeolalrou;;-ddtzprI
pg-'aillciraecieculehIeJsr1uo-atat1ropdri-rrrno{pu;Jrrupuepog,Lzul erpppoJllpcoualnlnu-lrdrleueacarrlldJurSo,'rr;rtrpfJecorrzrln,elio,ua,llrepnprcJanllaprgoudsuraJranfiJ:uplporsp1aupuulzlrunpSndouJuo}rtpuiouIlelpoostrJa(ag,,rp7appJr.pxaonersuJ)
-roJ olp alail nl pipuos ap raruto; olo+uoruolo gujqui eg 'rfplrrelncrlled
allqpJ.Tpura-i plurzercl Ipurd rn]soJp ptutoJ ,nlqurpsup uI pl1^lld
psaitsneidrcuei1r:n"srf}.'ie,iurl1icag1cMiAuoojerrsrrncsiiuidrhc"lxeeaiulCsusdltsoruecsonnflihsieenniereta"prri,vpeesazncomiiitgonbt'hrcuarieleriiznivntlcSefevifiicpiincfihie{nd5iauntdiuttlarriioedanprarmmco1SuuufBulcmzz4noii3ccizmliaeidemleeenariiict,Niadinaa'lesieieuenp;E;cdriineoeuctnlrsuuaodstl;ipu}tnaruesod-rinne.aau-npABlmioaaci;ijrotutaahnal,oossc,cel,o,deeslyniorend'-,
in caclrul concertelol sdptdminale cle 1a Gelvandhaus rdsunii vechi
atf;eiiriaioinq,r,cl"sIiiinnepcsaoiauiprrcfcfnleiecrisififopiitfplidoaerdraienlegu; pijc;nu;tliaoritulcoliemlotltlepuaitoociltororSlioarvc,ahapiunsrdrunp;p;atiiiritnniaopneJrecii,i'nr:pc;tcceiruudaalttaprl,oe,rDfciimlaaaisvldtai,eid,nLvioeiadlonarprirlqoodirinrn"m,Jumodlahuideazeasnirctntrcdiieqae"s--.'
rrBmaeioricaazorni:iir;tnunaaa,sgtnesucllcalucaciosp1:en7tdibclnuuiinocccei[ertevdomoirribiicltieroaicerrsile,ca1cle8See5ce3lcii,iaacusiarogitl,lcueidcrncaiaitarasreletec$r,dleideianlnuueoamdiunqiettloeulcopriuisticaviicuuindiluectluobunllitatmjoueSrsasicttldlheefuieticiumcaimatdSdunceznhcicuulldae--
lVeimar. leufei rBverashcemnslalacuLeciaprzeigeelalaagintespdtaut ncoenvceenrittunlelnutirnHuezcictoarl
Prezenfa l-iszt li discipolii ssdusi t-rinep9rini tareapcadrrea
minor fald cle Leipzig, pentru a
BipaieRrnlieoemzvoednieeyilca-re1asfdieaecaienfmlfaldburcied9.riaFetruiailnuazi
romantic francez. Principiile tinei:ei
gtlccoiiiiawcerircnaaflieezi eiu, ci aBreerlcioozn,tinnuuaaijnunsbeusnedrdrnadsfuirdimcpodnrctedp;iltiea programa-
de marele
tptidlaeriaucuiuarCbiewimleciifaccrfiuiidaiimzlaeuoeipcaclscdfdratio,e,il,antntfFui.sicicertetia,irnl,iaunaadBtladirrgiiteteinmaeipiljoe.t.clksunaaoifutierpuieirfBzasNigrepaalicesilhriutni{mgtdieuiitsre-ellatoulesnagisdici,oarciinnhetaleanltupea,sgoitindicictleliansmtpAda9epcigniceisaudipapnnceeuiaellse}tclesduc,eo,acdNihsirinatdcnoudtiriiarriileolneaira,etlcsiuidvtnpeieiepslSBsetteeeaialraufldaaptcihoneeouddansldee---f
a clat primul ardrstipcuonlusluntilmtuerioRasoebloerrt sSecmhnuemdaennin, tAre.buaurerninasttaalaptoei
Senfi,
cu apari!ia
odatti
pariicipiriier'sale ia cloui concette cle muzic.: de camerS, dote de cvar-
ietul vioionistului Felriilancl Davicl irnelastaalaRCiceh-,a1r'adndPhoahusl .in,,inclcoenlicdae-saal
doilea concert al
Cvartetuh,ii
pddriJgpneoeuiiiiavnfnobclriassleta,ientc,a3el\bnuion,,mieituuascmadialraiBteciirmurcreabioomaohrelr.rmuptiieSncsolsoioe.rssniltadpaaipnntluenielscditrn"afdlsLaoplcc-ciecraearfu.rninleedatdmCracuoatiueqnppzscldipii]tcnnceuLuiRisoienit,t,ioiuuiiinnlb-tlneudeefdicirro1JtaSarioS-nlci,dris'lchtetatoiihurupsniguomliniedtmredcnamsfal$nerdniinacBdcnerauuerasapiutnuipriomenpsdapzrrasatSeeadlcnSrugaihlc-ictaneapoaerinrlzstpdeivotnrouaientraippzrngceeeaaneennrrursintetfftliatieeusaaut-iit
atit clc simplu qi atit de mult dotat. Existd c€va irezlstibil 9i indl{dtor
1 Dln anul 18.14, cie cind Schumann pbrEsise Leipzigul, conducerea revistei
infilriate de el fusese incredintatX lui F. Brendel, care a subordonat-o ideilor pro-
rn.:r'ate de pcoala de la Weimar,
rttr{ot
69
Ztl 'd 'I 'io^ 'rrsluld uoq aT 'llpg '9[I 'cl 'I 'Io^ 'pln'd6 'acuarolg 'deyq I
'796I 'si.rpd 'surqD-.g 'ap'ZnetllJ'd'p'runuolPsoIquI I
I'Be 'd 'I'lo^ 'tDlp 'dg 'ecuo.rolg '.'le4 t
',rrou lrnrrnjc" uuprunr{Js lni JnlnloJrlrp llUll} pl olrloJau e
'BSi-1ti 'd'7n7rc clg 'ocuerolg 'Ie1,1
I
rr utruuD o+1o snrlnf 'prl6aJp erlurp In{Illlifl '6rzdre1 pI aruaJ^ Eaf,e
u-ipl JtlaeCiJp'zalelulUnlJsonprlnruf a/srarrIzaqnJiuSoIJ1AoI1 'ruruI.IO ollo snllnf nBS pTlpe pupu
zpubl ecl '(ro,re13 lglpl iS uupurnr{Js
urJaq/zoourlJInofIl IeeduIpprrdunaup nJousa+JroroJcJlniJn+nspoJs)uIlJrlapLJ\g,\rqnJlr.Erorlpsaarp.rodruacrlf'1ezlsriy1 ad r*
+--rgno+drPeJqRu'1JnelSi;i'pipp-3Jrrqulusr rr'Jpapupr-uoIrrf'oloeuprortSrppJ1orerol:urJSouiullnrJeE3JurAI'uppre1sep'1zizo9on1"l+,lJ€ousaagrEpolrpuprJiunUJlulorerTdr] ;J1ulnu'onJd-l;rpesolpiIsorn-Jlno;aupllJruuanlrsusq
at-rio-nnSropp;urorldpnreplclurulpluupnl-JplfIsenSrppo;u-urqurlJllIrpIrpJpuuouulJrrlpSsJpaTiorlsoeop"Jrd'e,JrpIlJeonaBlduxprirluouorupqroseJJJpbaJslplunlpXrNn.3'zuoronrrzrl$'rsaollonotlpopr,qruuoglpJdeiusan'1ptiJrplnlunfp1llosaspnolspoudpsnnJl^arJlcgoesJ'Jd/naJpapullpreuiorcu-rlsillerrurJqlpSaupszuJpoll+pvurJonJupnIJonrrpJulolJilrpJssJrsIenrqepltplsJrfprorertinnJnl-srrpplS*ruspp+nnniueprrr;rnFloruuiIoanarancpq66zIl
Irnurpfnudo.lq'+s'InapJporuul+eppulIi+Jpre'scoiu' rn: -arJrcozpllolrllueod'peltlunirlsoaupnlJllpgz'plnoruprJdne B leqJpq
',,plpJrlap
unPaaalirZIpJalBuppIsAonaaoJ+Id.UrrpJo6opuurou{llreselIIaOnJru1lSoaraasJpr-lJpopJJl-isn+raa}orpupApNlJopI"upnleorJtuooluI,l',intUnnpleiuiOilppseUJuarlrqr'l}suqpunpgngrcuddr{lOnuepanqJdnrgcenol'optIN"gns'r'BlI"+urcraIBnusrJpoJ}l'rsr+rIeo-zsrnpIqnapuuuIuOroon'JJorJs'gTop/p,UpJrr-pnt6nplUJsqur-{IrJJrapUppplrqqUrou,Ju,plRaaonuoJounrlolnqrzq{nJtJJpuSussJr;
paa-pI--nnonzIrIoulaeIrpaupyapl(pJHr'pIszduVnis'puIrpoInaulnAtfp-cs'olar-loeurlpltuIilrntJlszpdnlupJnsrrsrrpolqlrlpuournpappfffJyll,pgpymor')t(Bn'pppql-o-uursrttnlundprs1qidselaolesusoJ,lac'cor,DurelrplcstorlslppgrJaraua-prlr(r'eorr€'ueua:or'nsursr'uuorufrrll-n.Jnrrra_ldJJiqupesr-snu:di+srsoiJ1.)Ius-ellJzopr-eqpoJl"u,'A'erf,IlalI,;nr("gura'J''rSez)]JBglp'TnuIJ1:Aelupenr-u;ulaee'!gpprdrp1cl-iunJoaIIsnperpparuulsucoecJro-alarelonaJBtlAsg.lsdrllo)pplntrrJJ.lrpuDzapqooJr)aprdrJlsuzl'soprnrriooronrrurA{gg1pptr
apaspIlralurJJIrIpsZuJr"pn-'-JeorolDp,p,uielznaodusurrsonunrlrcfErrapeT;rIrouar-dlloJnIreJal+zpJua;aarBc;d1rlrsqJirrco.rrrndqr{.plruvlJuluglr"rnpa:lJ:apJrrcr3eIproepSldrgIuareoblso^alasJqloudJourpruruulrJrnaoJJ-Hiodosppnaqoea1us1Jeunrrrpgs
-'-a(ouglsprrJnissanecirool ulOulorp)ruod):r)ouaru1lur'nErr6l6quuonrnnlso1q) JpB1s.r-,a,as<rrpr.za{oi[auorlldJp)I1aSurIuDarlqr!r]aoo;plcsralt$raunlaglJrpzpacpJooradu-JlaolJu.uatJJIcDnr.ur!Ja.D',^pA}osulaptrrrlJDuppcrApoeuIptorlD,,prpt-n::](tot(r[rpulparu.{)l
pJllualnp o-llurp ueluods otrSauJnqzr aJpJ arpo+parJ plroJ o 'gpa6e;;
ap lllp plsJl^ o pl plruil+ul rpl olplrrniuru o JoI alrurbed urp apurrdsop.
lnlnd B-S 'plnJa.rl p-rpas lpluezord e-ol sluqprfl arpJ acl alrrprcnl ug
tei bucurii" iii sfera sobrietafii gi a profunzimii, au condus apoi ascen-
passriiuclru-f:sirlr:t.aigM: ioioe;rrsnc'iucmhlleeuCslsltorsceonliihsnlneet"rliv,peazcmiiigonhraderinzivlcefeiicnpchteiialundtltr1iorna:ramc1puBui;czm1oi3cimlaecleleearctNaiinailsceine;dE;iienulcsrusaohElptouaen-ir.n-aBuAlamacrtijotuhanolosl,d,e,eysir,end
incop sd sc adune pentru invatilurd muzicieni cle pretutindeni; acolo,
in cadrul concertelor siiptdininah cle la Ge'nvandhaus rdsuniL vechi
f5eian"c,si ecaipitcfidroippderein; ij;nu;iartuloteltlleuaciiooSirrc:,haiunsrnppaiirniaonilei,i,sccceuaitltraelol)caaavldide,,Liveadnrpilgoorirn"m,udlaideeastrrtciiega,--
tiior insufleiif i de
arti;'ui porni-ti loaralgupcilioi cimoipltootrriavaprdugtiitnpeei n$timap,,rfiimlistainoiloarrdin
rnuzicd".
In acest Johannes
Brel:ns la 17 noiembi'ie 1853, solicitat de eclitorii cdrora Schumann le
reclmanclase lucrdrile sale ca genlalc. i1 agteptau cLl justificatd cu-
riozitate conclucdtorii cle edituri, dar gi numerogii iubitori de muzicd
ai i;: apului : binevoitori, cei care crecleau in cuvintul mareiui Schu-
marir.r, sccl;tici cel care se aiiiti:raserfi. noului curent estetic cle la
Weimar,
Prezenfa lui Brahms ia Leipzig era insd un evenirnent muzical
minoi: fald cle efervescenla cu care era agteptat concertul lui Hector
Berlioz de la 1 decembrie. Franz Liszt qi discipolii ssduis-tinepgrini tareapcdarrae
qi Rnecmvoeineyic-reasfiea aflau qi el la Leipzig,
pentru a
la infldcdratuiui romantic francez. Principiiie tinei:ei
Sticcoiii:alvecirmsaalrieeziel,uci aBreerlcioozn,tinnuuaaijnunsbeusnedrdmadsfuirdimcpodnrctdeqpiltiea
programa-
de marelc
pubiic localnic, adept al spiritului clasic mendelssohnian, deEi aces-
tea ierurazuicdc"onf.stianntagtmi oesnfteurzaiacsut etelongdlaintefeindepraigisinpiuletd,,Ninotriierecveislete pen-
doud
tru
dircclii estetice, arta lui Brahms a reugit sd cucereascd atit pe fana-
ticii adepti ai traditiei iui L'Iendeissohn, cii 6i pe cei ai oaspetelui
la \treimar. Feiul in cale el gi-a cintat la pian de
aSeunijfti,iiaacEladt iptrririnii uBlrerditsiipoupnf s9ni uHmiiertreola, saeploori lucrdriie in sala de
in cea a cditurii lui
Bartholf
semne de intrebare instalate
odaiti. cu aparifia articoluiui lui Robcrt Schumann, hu urir.at apoi
paliicipll l1e sale Ia doui concertc cle muzici-r cle camerd, date de cvar-
tetr-1l vioionistulur Feriinancl Davicl in sala Cerrro.nclhaus. ,,ln cel de-al
doilca concert al Cvartetuhii relala Richard Pohl in cronica sa
pculiblli,c,u\oluu,iacureoviSsoini cprlde"npLaru'ntmruupziicuini,,in-" Braiiins s-a prezentat
Joirannes cu un Scherza pentrtt
drs n',ajor qi
pitti:. 3n mi bentol n1i!:rcr. Cincl Rol-rert Schumann a salutat eparifia
deosebit cle importantd a acestui lindr artisi chlar in paginile aceslei
reviste, ar-ticolul sdlr a creat cjestule divelgenfe de pdreri printre ne-
inif iati, dar orice incloialii a puttrt fi lisipitd de prezenla dornnuiui
Joliannes Brahns pe scend gi noi ne aldturdffr cu toatd convingerea
gi cea rnai mare satisfac{ie opiniei lui Schumann asupra acestui artist
atit clc simplu qi atit de mult dotat, Existd cc.ra ireziLstibil 9i indl{dtor
l Din anul 1844, cle cind Schumann pdrSsise Leipzigul, conducerea revistei
infiiriate de el fusese incredin{atd lui F. Brendel, care a subordolat-o ideilor pro-
tnal.aie de ;coala de la Weimar,
qa
6g
I'9e 'd 1I'Io^ tpttc 'dO acuarolC '.,18'.d
ztI 'd 'I 'lo^ 'rlslDld uoq oT 'lipg '796I 'sl.lpd 'surqDlg 'apnelf, 'puplsou I
'ZSI 'd 'utopIqI t
'B0I 'd 'I':p^'tDtp'dg 'acuorolg ',1etr41 I
rrnurnJc" uupunr{Js Jni InlnioJ-Ilr€ Inllll pI arlraJau
",lou 'BSI-Ce I 'd 'p|tc 'd() 'ooua;o1g 'ie1a1 z
I
rJ uruIr.rS olio snrlnf 'BrlEoJp arlurp Inrullln '6rzdra1 pI aurar^ EaJe
ul rlpiJu olunrJ op ruarJrznru llof irurIJD oUO snllnf nes pIAp{ pu€u
-ipJag 'zlal6 snrlnf 'saloqJsot{ zeubI ad '(te;e13 lp}p+ lS uupunLIJS
IE uerd ap rosa;ord Inlsoj) {ral4\ qrl-iopoird ad '1zsi1 acl i*
lrrJaq'zoogrlrTongI od rBurnu nu +IJaJnJ np surqpJg
Inl ul+saporu rS elry
'zgo'I,,IpJsagprupruurrJedlJlunncllape
-pdu 'lefrfpJquil B-I 'lo rS lerSrru ruipp r-npuls
Inloljns
i-er-rnranSpel-uPrrldnJqeqiupeuruJnJ-1frenls-Ss)lp'IqepruJiJ-rIprrTu:uurlusrr1pprls'UcolrJooBcup;plreuIeoJprrlupfxroorauprpupSJqe+frlunlpp1lrr'..JoJ.it1rrnizailS'suroJcn1ourqeluIonJ1e-SedtnBeirJirllSnipo'suploporu1ssnnSepalr1rersoz'd/na1narlllutplouuctaltutsItrpuSpeoBuup1livunnnJIlunOI-pniqoJIiJJllJsstSca1unu'papll3pJ'r;BOJ1sl-npsttt*p$asu-+InnnJaprt;ulluuouuIaraaarcuqi6zt}
I-nr;orp.ruclJpl rpuurlIJuIisos"i'rJoodlolrcqsJosp nJ a-rpuPuasp a.IEolrq4 o JprqJ nPs rnintr
zorlrag'Jplspl^ Jpull lsaJp uI errrnl p1e6oq
Iranuppifunlloldpiq'lso/oInp+JoppouuJrlJleeppulinliJlprurae'sbco/rp'uJn: .arrJJoepazuprilai1lrlunp1ond'cptelruiynrclfl,sBoe-upsne+JJilppgJz'p1raenuJ;plJldnsuo',;e,gl1e+epwrqr1Jnapppq
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pIouJV ap plpsaJpp 'qsrqosop areosrrJs o-Jlu3 rS leyarlar arede zorltag
InI Inrrrsprznlug '(erlseou Earalullqns) s,,"'Inu !rcIns DA 'DJ{znut
paapaas---nonzprIliriauoleuJrplayericappllp(Hruzsp'dszrur"rs'pnp1u-op'I-JeItnnAca-rfl'looauolubp,pllrr?,r.ItlrerJzllsrnadanupldJusrulsrrrrptsrrolr{nuunponpalrrfp.fclfl,rprlpfrtraorlpupn)lp;ppouIri--ouuartrrJ-dunndilopJndiJsIIgaroJspourzJyap:JlrdreD'a,rJe,aoc]rorrlSdsBc;e.gr'irarp1uq'li]J(ru1socJ'uErBr:rrnronfusdp'-iuuq|oqrl.r1l1-n:plrucn-uovJJli1upousrg"urirrIdn1rsqtaI:lIsulJ.+leraezrpBJ-qp:IoJ"reJc'eA'{iforlelar,Ienprg(1Su'aJ'drp)rzIJp8prgo'IueIrJrorEe6llpnesAu-ule+aare'gppsdLrlpuda-lIInpJJIoesurpepppuarJrululcuuruconr;;rolalraleaJlneJ:H?oids.glo+rspse)olptInarrJnJlrpqaoaqBIoaIperulsIdlJlus.p/rsorpnur"loou-nJrrrruspg1gpp^.
'-(oqsr;lsaecol uOp)e:rouruuprluqrnnsq)Jss,,s(rtzoa[a-IudDp pcoda a]DI DA atDJ
Dr]olsr ug al?lD]rg)t-r
IZ o-llul luo^op pA
ar BaoJ Io '- ((trp]
p1-aauJpnlprl1lllsulnnlopdJJlonpupleiol-isrSuoJd)J-)r^a'lp1ulonnlrn66ppruoaInulolp1el llrpEupuJro-aleadllqapsusriuoolJle+lSpplIuJ3a:laruIouz:lIntepqrqarlordz;rdnrrB$lpar-nuJaaplrIJJpsaoufpa,rqarroueplJlooJugallelJlranou'rrJrJcb"p'eJlppsdfuaJrudllolrrue;paroplououppg'gulr"ppcrraln:nd6ilslreplouaru3pgl
va pul'ta o nedezminfiti prieienie, devenurdu-i unul clintre cei mai
credincioqi aliali in furtuna de pdreri ce se va dezldniui de-a lungul
vremii in jurul artei sale. Deosebit de importante apar consideratiile
fdcute cie Liszt intr-o scrisoare adresatd. lui. Hans von Br-rlow, consi-
deralii care atestd obiectivitatea aiitudinii compozitorului de la
Weirnar : ,,Vei iniilni (la Hanovra, n.a,) pe Brahms, care mi-a trezit
un sincer interes gi care s-a comportat cu mine, pe parcursul celor
citeva zile petrecute in cinstea lui Berlioz la Leipzig, cu tact gi ama-
biiitaie. L-am invitat in citeva rinduri seara la masd gi imi place sd
cred cd .,drumurile sale noi) ii vor apropia gi mai mult de Weimar,
Vei fi incintat de Sonato lui in do major, prezentatd urie aici (la
\Meimar, n.a.) gi reascultatd la Leipzig, care este cu siguranfd lucrarea
ce rni-a putut da, dintre toate, cea mai categoricd idee asupra talen-
tului sdu creator",l
Se poate astfel fixa fapiul cd. numele qi talentul lui Brahms iqi
are consacrarea publicd in oragul Leipzig, la sfirqitui anului 1853.
Aureola de ,,Messia aI Muzicii" pe care o conferise Robert Schumann
tindrului compozitor din Hamburg, atit in testarnentul sdu literar din
,,Neue Zeitschrift fiir Miisik", cit gi in scrisorlle de recomandare
adresate editorilor leipzighezi, igi primise unanim confirmarea. Ivfulfi
comentatori ai vielii 9i creafiei lui Brahms au considerat profefia lui
i-ar fi indbugit prematur
Schumann ca o intervenfie care desfdgurarea
fireascd a tineretii, impovdrind-o cu o responsabilitate
mult prea
treazd in manifestdrile ce i-au urmat. Au rdmas numeroase mdrturii
sa mdeun,,cbaucduericaredaefiea, ctarduin",icddersapfriuenpeedrmeaaneenxtiasta9,i
despre detagarea
dirza sa ancorare in
ca gi despre incordata sa strddanie de a nu dezminfi vreodatd prezi-
cerile marelui romantic. Dar acest mod de a trdi intens in universul
mdaicDszndediivutuloeeesrznulare?ipidicisrcr"ieiciieieu,eftfnuiaeaatstbBluferilirnusmialfdeeiihd.npzmctcuueDruaesilmnsert.ba{uoap,ecal,leiVitcipBe,ncederrdtemairsftauharciteim'acencmrssumueqtin'mridinipepuaictuelrru?ieo-tsiiupfntpVudrnefiiiediaorlnueaiqdoalsDufiaeiinilimariuseeBIsesiucneesrSaredlxidiaschingonohmerfutufosin.slme,tn},a,eNadrrepinee'ixpnr-ig-pe'srareiacdm{editurtifadeaamdiuratbdleitu-r,-fduvioueierinsetmacesoosaseddnceclaeaefdnita9tledeei-lit
de rnare fericire, incit nu sint in stare sd incelc a vd nulfumi prin
cuvinte. Deie Domnul sd vd pot curind dovedi prln lucrdrile mele cit
cle mult m-a inconjurat 9i stimulat dragostea 9i bundtal"ea Dvs":.
intr-adevdr, intervenlia lui Schumann a fost un puternic impuls
in evolulia lui Brahms, dar mai presus de stimulentul pe care }-a re-
prezentat, ea a fost solida punte pe care tindrul ,,chemat sd intruchi-
peze, intr-o formd ideaid, cea mai inaltd expresie a epocii" gi-a putut
fdsaedcieal-aignitHrfaiarvmedabzuuartgtiptdridmeeesltdeimrblpuductorrdireirlei itniCpdrludrmicteieuan9uimlauuiIzeaicfaiinldcduuansuvinnreadmtaiinri' tpFrdeergriincgtiriilerouarl
I Ibidem, p. 137.
2 Niemann, Walter. Op. cilat, p. 53.
60
I9
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pJrznrrr o 'suqprfj ap roloru IS Ut tnln-orrl p]r.znur ledt"ti;ur p-s loluol
-arrd ptrueraqn,ya ap r* eleltlllJp pilrqo,i op pfuetclue gjspaJp uI
' (uueurnq,t5 rotplJ eo:e1o-rd
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urp rui6ed :Ipunspr np Ion3rpnJ;)ruel pIES olsprznlrio
ni ozneicie
op pouaurilsp op os-npullnJnq
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u1 arirun{1nur pslro}ur op
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lcazd primui grup do lucrdri lic'duri). DeSi in lista opnsurilor btiri::r-r-
;nuzicii clo crainerti (sorrate qi
siele apare ca (oa clintii creaiie pe:ntru o formatie insiiumc'ntaiii i"l-
:riel'ald, r"calizarea e'i a fost pregdtiti cle citcva lucrdri anierioare irl,r
Cvartci, up'1'rio;i o S$oi upaiatdn,1;CeeuatrucavricoaardCL9linopsiacuut) clintre cale'uil-i:rl,t,
uir cicose'bit sui:ir's
Soncilc penlru t'irsurcl
lu iitierpretarca c:otl;rozitorului 9i a violonistul'.ti Rclncuyi, de-a li.:r-
turneului din.,'ara an'dlui 185:1, se inscric'in crottst'tnnt'rrile tjntpr:-
cyul ca o crealie clc o remarcal:ild veiloate. Esic
lucrarc'a care i-il
lui la \Veirnar, se poai.e deduce cl itltr-o sclisoare aidir'-
aga ctunl Klinclwolth, in iunic 185;tr: ,,Re1,'1r'n','i
1;icrclut Frauz Lj szl"
satd cjr: lui Carl
ilu-mi rdspunde nimic in lcgiturd cu rnalnuscrisul sonatc'i citt Br.i'lintt',
i]citucav,iaoamrdr)d. sPforoitbcalbeiltrte.i.i I-a luat c:u t 1, deoalcce, spi e,: dezrldclr'lcit'it
ori toatc m.rLclialcle mele,
f drd a-i llui{'{l
gitcudrqsisii,.oiNaurcuerauprieetanaftirnusuici aimi BdpurJatihurmmt sufirai{girdicnslioliatr,ci ecsadustldtloualblrtliievcicnc}iaecii:neinasatundrumsloii1ntoa8al7irt"e2.aIitiil,i\o'rrs:-.i
aproximatirr treizeci dt: ani mai tirziu), Aibert Dietrich a ciat de urm':
rnanuscrisuiui particlei 1;entru vioard, ajuns in posesia lui W' J. \\ or:;i-
rlice'tdtorilor de a gdsl 5i parlilura;iiit-
erloniski, la Bonn. Strdclaniiltr
nului cu crare sd poatd fi reconstituitdr partitura primei sonate cr{'.}te
cie Brahrns au Idmas pind in zilele uoastre fdrd rezultat. Ceea clr: i'lu
reugit sf, dezvdluie aceste-' celcetdri rlste doar sobrietatea caractcrulr.ri
lui Brahms, deoalece in. nici unul dintre documcntele cercetate clr'-a
lung.yul vremii nu s-a puiut gldsl urlna vreunui protest fdcut de c.;m-
i:ozitol impotriva lui Remenvi. Loialitatea firii salc nu i-a permi^*
sr: angajeze intr-o supozifie ce ar fi putut fi nedreaptd, atituclinr: siir
r:e
:ru a impiedicat pe vt'chiul sdu tovarig cle drumelic Si aclirzitate rr:ln-
certistic:d s6-i conLcstc: nai tirziu ltuna credintir $i sii-l acuze de r,,'ia-
rlial pentru rralorificdrllc'fdcute intonatiilor 5i riimurilol'ulrgart'itt-
crustate in cleatia sa.
,\uropiat iu tirnp cir.l lirul lucritriior atrlt'rior r:r<:ate'(opus-uri1r'
't-7), Trio-ul in,si mctior se cletaqcazir der accsLe'a prin trlsirturi i:{)i
cle continut. -\5a cLrlfl a fost r:clnce']tutd la inct<tputu,l a.irului 1854 -,
niivalnica ir.iirlurisire a tiniirului L'rL{rr(-l
zica lui intruchiltoaz,d artis
incrc:puse sd cuiloast:a ttoi sensuri erlc r.ielii. Prr:fuirea cu care nrlrii
rnlzicieni ai tinpului id-ea,.ucllrnatci;mospteincaet .ptaalrcentauls,erltfriofiunniizriiptnaetainpriaecrllieir'ii':titt-i
ior, clar mai tslidmsdf irtnurriinletcucnaur iirnio-auurointni apinitt.irsi1n.:.it'.I1ls'stocncm.loitenirl."ii'.rii.t5lil
ales r-rsul
rile fiiliei lui eru fosl
arr SCoS ]a ir'oali
etare
rnirnerarflnliccsnactiurtadelnuuiicnluvufliiiberctrKtdi'nirdreareilstnucltcldu'riiiinnnlndtrei-m-<n.uipsnzeirtiraccsats;cdmncsiolnocit.iarr:l.sl.ita.-r1at1e;eilrnacilru'tca-llcc1l.tu:;ttamoiir,lttecr\iLIepul,elitcnimltcrmnputaliitauiaittrfieraeazcirlueh'."oir.l5i:inc,-{:}
anul 1890, Brahms \ia re\rizui paginilc c'i, c&utinrl sd-i eslourPoZ('t",-l-
nurile qi sii,i corci'tezc sLincyirciile incc:lrulului. Biogralii siii cotlsr:Ln-
1 Ir{a-v, Florence. ap. cilcrt, r'ol. I, p I4(.).
: ]luzic.r 'l ric:-ttirti .irt :l ,rtrt,r,r r.t fl rcfacutd cle Bralrnts in attr.rl lllii{)
62
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pfeerxaicelteueUisniarvimlroitarfdilre1ipnuuidintBulurtzaciflhrieamldreseepanadoirsan;isftidtfroefdorem-stcaejueaescitatieufiplcgtriarrimnetedue. idE-veaerircnsdeicmuahniicnpiae9uriiemtcc.sddderptufrcroruiintametsduutsenecleeu-i
complexe sinteze a spontaneitdfii ittspirafiei sale timpurii 9i a mdies-
triei componislice cuceritc de-a lungul anilor,
cu toate particuiaritdJile de confinut care au declangat muzica
Trio-ului in si maior in anul 1854, concoplia acestei lucrdri se inte-
greazd intru lotul in gindirea caracteristicd tuturor cor:rpoztiiilor ca-
irerale brahmsiene de maturilatc:. Se impune a fi subliniatii din 1ou
vlsceaoagmnldicutbulltuuruazii(iALcdeul1amesteagplriiicormiticuanolgnb;gnerbiaelordlihroao,niviauSezcntiheciaenalrllsze-iou.,nS,pi\eicrneliansnguooilolria,gosaAncnaelilzenlcadg,rereonpat)r,,ipndplaerniulvuailgruousirilmoduaepislteiartalane---
tea cu rezonanli. populare, alltinitdgiinirdiimrepacluinoatrseegleiri culminatii finaie' ca-
ractcrizeazd cu cleose}1re lucrdri, cit gi cea a
pdrlilor ei componentc. Tr]ndinfa dc indl{are se imiluncr de la prima
peqlnd, oclatd cu prezentarc,a temei principaler a formei de sonatii
- o melociie eleglacd de o cuccritoart: senindtai"c,
Exempiul nr. 25 - Allegro con bric
:ir:f '-r-=-:
-nr
melcclie ce-gi ampiificd sonoritatea gi intensitatea expresiei cu fiecare
succesivd reluare, culminitrd ca for{d
explesivd iu versiunea ultimd a
fcedtorrexadrionm:rusisleenefiimbiegdldrutpiiierlndeaeetsrciieoree(rnmaeaaaadcisdlsclieez.li(nan3aestt6d:rucrep;lroieioopusuzruaerirfmnmisitafaediu)atctczol5lii.ziauaciariiderriieeldieviue)e(.adirlsesocezirtrcia"ml'tiiouenulnatzaeCircraeeoa)zdlaeocaou,tdnarfccnirnali[uaegcp1me(orrireemlanplaotroizrmsdseiu)enczs9tiiipczuiraanIebaleiiuiidnoa-
cal e gradafia cucer-irii ecl-tlI illrului clervinc iiirprr:sicn an i"i'
fmtl5uuzriacsriuei aflluuSilcchsleeetzmlnoit-seutrleucriafe(tp:paaizcrtde1au;anarticceiu'opjuaisaroi,zdienalizsraiicm1icni aoinrr)e,adcdeeaarzsvitnddldiuueicsefrSaogruersadtraeersae-
aaagefleetgrctisetoiev-sndudtlipumimrioemppnrrteouiecsllupiamidntdoee(mzMeefeenfrnotiucormiiuraeiati.cedlgIenreogc)ersc,cnahicoteiusrrl:ze'eoaEs,sstdeaterdfneripnnllueif'llcioceicinnllieadc-m:doaaraecnisuBsureolaunhiisnmieecscglzdiruoenntualec-t
fdsincichaeeldraz,oleinacpcedalorriernddsoelauidmpbtieainmnd,ei{a(aerltleemrnreneloancttiulvial smcaluua.nzssiucupalrulaifpafutn'sgt)adsnctoaicnt tdduiirnnurssileeecclfimiuun'neeeloraa-
trio - la vioard).
b+
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t-''uISsoelpuutd'(eaiaanidpcrsuaaorlpcloltxninarr-arapJlulnrueorouuorrru,nn;a:JrJl6lasrnuJa1rrprJ1arlippipJr-prruorloJlonrlalrdulporl ldrJro{spetrrnunpooJclopsulrrlJpleolJupleanlrpdna1e.ediles1rpoelul6irnol1nlsearutpooueIJnrpsJsir),pTl{snoti;J);)
(roleur .rs rrg -- or6epy ,ere-r1 e ealred) a1ua1 rrf:qd e ennr]cos pu;r-ic!
'arsorrolup rriprSrur Ip crda InrolJprpJ nJ JoJJSlp pri1lsp:luoJ
i{enorocirea sa-artiisnttism-aplaartuinncantoianptaeapedlee 27 februar-ie a atiului
1854, cind marele
Rhinului ttc'maipuiind
suporla crizele de delir, cle halucinafii auditive, de panicii interioer:d,
survenite pe neagteptate in existc.nfa sa. Rinduriler adresaLe soiiei sale
cuprind justificarea faptei: ,,Clara iubitd, nu rnai sint stdpin pe mirle,
nu rnai poi rilspunde de faptele mcle, nu mai sint demn de dragostea
ta" 1. Saivat, inconjurat de iubire, Schumann $i-a recdpdtat increcie-
rea in vindecare gi a acceptat internarea in clinica doctorului Richarz
din Endenich, o pitoreascd locaiitatea clin preajma olagului Bonn.
in cei doi ani care au urinat lragediei de la Dusseldorf, ani in
dcainrtereefcoormtupriolezitdoet'iiatimfi psuaiuiviantiui vaiaulacolni teluncltic, liJtaolheaannceesiuBi mraahmi asprnecuiaat
in ritmul avintaterlor sale icneceioprutmuria. i,,Aiucbulinli
mai a.rut rdgazul s6 creeze pentru a-i pulea trimite
vreau sd
cigtig mulli bani
prieteni ai mr:i",2 meniiona el irttr-una din scrisoriie ctitre Joachim.
sintaabcileitstusncotipm, ptiIapeDnLtrrsusealdfoirfc, itinmioaci uaipnrfoaapdeindPeofsatsrntrialisaseSc1h3u5m. Aancno'los-aa
inceput sd dea lecfii de pian r;i sa-;i pregdteascd urr bogat repertoriu
CplailaaBnrariesmt-icencinu(2tc0uarnrneoereesdmdlpetroiecao)t,dnlcapeoritirean.miLi-raurDgsain(n2gz4u\grnoOsiaeAum9abilrdi1et6)u, rniloadieeKmlJebolr'aieLceh1ip8inz5i5gq)''i
Acaotlrtnaocgnedartde(ilinonrcnelupouiutBuarltaelhunmif.isadeccclrirnimtiacllcirieioearrst19d8i5p5m)eu,rizoeiacldiecdonncilcoueprtrtvienradezemda 9iiin.i rRespeupeEeceria;ttolerliuusd-l
crdri c1e Bacir, pMootzdaeLsi,pBrlnedeethocyuend,eoSscehbuirbeeret lo9gi iSi cpheunrtnraunfne' lDulinincrcoanrie-
cile rrremii se bpeemnotrlunpnicironr;iEoi ricnhedso-
interpreta mFciLnnoterzdiaecNro{mozaaiitct,dYcaleriBcaticiuhn, iCleoinncerrntuil
orehestrd in sol maior de Beetho-
trd in re
minar sau Concsrtul pentru pian 6i compusese in aceastd frdmintaid
velt, concert pentrtt care Brahms
perioadd doud ienarcabile cadenle.
Este epoca in cale cunca$te pe rind pe Otto Jahn, biograful lui
Hanslick, temutul critic vienez
Mozart, pe Eduard de care il va lega
mai tirziu o sirinsd jlrietenie, pe Anton Rubinsiein, celebrul pianist
rus, fald de a cdtui artd Brahms i;i va manifesta frecvent anumite
rezerve. Se pare c6 pe a'Lunci nici Rubinstein nu a reu;it sd descopere
profunzimile artei gi personalitdlii lui Brahmsr aga cunt se poate des-
prinde din rindurile uneia dintre Liszt :
scrisorile adresate 1ui ,,L.t
Hanovra am fdcut cunogtinia lui ca $i
Grirnm Pi Brahms, a iui
Joachim, pe care nu am avut priiejul sd-l cunosc pind acum. Dintle
to!i, uitirnul m-a impresionat cel mai muli.., Cit despre Brahms, mi-ar
fi greu sd precizez impresia pe care mi-a fdcut-o. Pentru salon, nu
este destul de glefnit, pdeentprurimsailtaivdpeecnotnruceart-l- nu e destul de aprigt'
Nu este nici. intr-atit ptrasa Ia !ard, dar nici
destul de evoluat pentru ora;. Am prea pulind incredere in aseme-
1 Rostand, Claude. Op. cjlol, vol. I, p. 155.
2 Thomas San Ga]]i, W. A. Op. ciicrl, p. 30.
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pJrp ur Jpp,auratl
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acLivitatea sa concertisticd {as;a cum au fost cadenfele cornpuse pen-
trls Concertut de Mozart sau pentru cel in
in rc minor soJ mcjor de
se inscriu ca
Beethoven). Doa:: doi-rd clintro luc:rdrile ar:estei 1;erioade a dcvotamen-
ciea, ambele rdminltrd mitrtut'ie
rod al nr:i:r:sitiiiii de il Vcriaiiuttile pentrtt pic;t o
tuiiii 1rr,rn1.ru ftiniiitt Sr:hunarin ireniru plcLn (op. 10).
de Scirurrcnn (op. 9J 5i Bclcocle 7:e femri
P,:ima, \,-cilnilu;rij€] pc o lcnrrj cle ,'jcitun:lrtiut, daruite Clarei la
njciijurr8;ilr,i5r:5'rai-i14.irriio::1iei1i,'.'e.a,edafss.irrcr.tcr-ci;a.:r'l,,rpah,i-.urrri.irrlicctcoikC{i{nr-ur.i:iii-l"ai:t11rsii:r;rp-r;iiairt.{npii;.*l(tiiiini'Jrlrfur-:i.r1rlrr:i.rcal:a..reL,i:i-,;il;ia1irciiltir1:,muie;dcilleaesoircaiimno"iusamiinr,lc'uapanptirpiiic(cia,sndirri.Liliocis'itootelLlia-.it..'i1it,u1intc.,euiitii.'ein'-trcrciii.ltrz'ur;;-riilituur.oua-raiiir:cviacrc{i;iiolanieilcjmt;i:1illil1?oillrzin.nciipucpsaaanrinroelifLeei----
iur:ti 1r:i fl..-iLr,;l St'humailn f.:\].'run:-.Blctt, olt. C0, rr. 1),
Err:rnpIrii irr.26
vteani-iiafpiuenicpelerrn:)tr-u cu un- au ilaiule -ei cotltpusese Ciara un ciciu de
a fi ia aniversarea zilei lui de nag-
dtiruite solului
ter;:. AleqeLi'a unci terne cil anumite semnificaiii biografice, ca qi
l)rezen[a unor a].te idol iniizicalc desprrnse ditr crcaiia iui Robert
Slhur:rann (vai:iatia a 0-a ci in iucrarea lui Elrahms t-'ste
inspilatd din
1\-lburn-Blalt, nr.2), seiu a Clarei Schumann (uitinele mdsuri ale va-
ria;iei a 10-a drn lucrarea lui Brahms citeazd inccputul unei melodii
cilmpuse de Clara, rnr:iodie lle care Robert Schumaun a conrpus ul-
tel:ior, ln anul l833,,,trmproptues" pentrll pian op.5)
ilustreazii cr:
r:videufd internfia lui Brahms de a omagia prin noua sa coiapozifie
c6snicia marilor sbi prieteni,
fn legdtur;i cu aceas'rd creafie au r6mas notaie citeva improsii
ir: jurlalul Clarei Schumann : ,,El (Brahmq --- ir.a.) mi-a compus va-
::iaiiunr 1re l,.rofunda gai tmii iucu1.n: amtaultterannduilatrlcuci uRtocbienrdt Sgcihuemuainnnsu-min.aam.)
Cdrr:r ln-fr crrofional
(iotrrnlrs rrarialii pe ca i;entru iubitul rneu Robert. Atenf ie duioasd,
2 Deosebit econ au produ.s Vatialiile,
care m-a inplesionat nespus.,."
op. 9 gi in sufietul bolnavului de la Endenich. ,,De ce nu pot veiri eu
insumi si te mai vdd Fi sd te rnai ascult, sd ascult splendideie tale
,,Varie{ii,' cintair: de tile sau de Clara, clespre a ciiru.i minunal-,I. in-
imntir--aosfcrraiszdJ,oaccahiimntr?-tut -u scria Schufitann iui Brahms, inmd-
terpretare prefios buchct, numele celor trei
nuncJrind
mmsorua;:lrrteicpi-.ocn{iidf]iu1p3redccasurtnerodsliuiccupittroe-alureiiaagigbcoiogdndetifniceuadareefael nroatbeszaeiceruivanqfiidildeeusippnddrapfcirteo.,ef.ua,ng,zCi.imsltcedraie-
1 Ultirnul copil al soJilor Schumann a fost botezat de Brahms, dindu-i-se nu-
rnele de Felix, in amintirea lui Felix Mendelssohn-Barthold1,.
: Mal', Florence. Op. citat, vol. I, p. 156.
68
69
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cisnc-i':nri):naicrbelrre'anpitJainltcngutniinucodnr,atr5eqi ig\ruer,nlrlurr'rellram'ulipiznid1iacritluoprrcaslo,ailnleertncimadrpreui.ra'iisc:colrEmr.'i-pi:jilu:c,sdn,,..oJ',eBlupi.ccarhnarlirr:ues
'p.::nlc, roei-a..tc:l 1i.n cursul anului 185,1 gi ciedicetc lui Jr,rlius-oito Grirnm,
c':1:-'pairu miniaturi pianistice, gindite ciclic, apar ca o e>iccpfie atit in
e;irsarnblul accstui prim grup de zece lucrdri, cit pi in i;rtreaga crralie
1,':.;lhir-siairi"r, ciator.itd concepliei 1or programatice. il s1:ec,lal piirnul
inspirat clintl-o vccire l;a1acir1 clln-
t;c'cele paL-u tabiouri inLrzicaler, sr.,r-
!leind (baiiada id.,i'riid), tradusd gi integratd der Helcir:r in anloloclia sr
Sirliuren Cer 1l'cilirei, se nunidrh printre pulinelL-. cazr-rii iir care conlllc-
zi'rorr"rl a dat incicatil iir partituld asupra intenfiilor sale creatoare.
Dc'sigtii c.i nu poaie fi vorba de o redare pur descriptivd a clrarnei lui
Edr"'arcl, ucigaSul prcpi iului sdu iatir, Pentru cd muzica ir-ri Brahms,
r:i'i:cinci lrclsajul nordic ;i indepdrtata vreme in care s-a infiripat le-
gi':rda (pnrlile extreme ale folmei tripartite) ca qi tragicrul moment aL
criieei iepisodutr meclian) , nu urnidregte decit redarea ciementelor psi -
hoiogice desprinse din epica populard.
Construite pe tonalitd}i inruclite (re minor, re mejor, sj minor,
si major) , cele ltairu balacle se succed unitar, invdrluite cle mister, cle
I Schunann dcdicase lui .Ioachim Fantezici peittru viocua ,ti orcircsl:d, ap. 131
: N{a1-, Florence. Op. citr,t, vol. I, p. 170.
3 Iolescu, Eugenia, Schuntcu:tr, Bucureqli, 1962, Eclit. tnlLzic.:ii, p. 113.
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rprunlr nn rS pzuJlpp rpur orsolporl ppporJad purucl qlspa;p ur6
'pueisL[qp]q ei;irods polrsplrpopuslaptfcleuiioloelul o 'prulil ulp
rrrlidJ s qerOieqsou e rS cnop u
eernjrerur ui isoloruop
ap BoJ nrqrioc[ luirod.s ui iji]T+srrolJulpJ'orfeldurcluo: rS crlselup,r oJ]
-rrrp 'llnu{n1 r! ursrrrl orlurll olo:}ssr}uoJ 'orla,t.o-I op tS ;apuo6o1 soluct
hoven, relevindu-i deplina splendoare, aSa cum a fdcut-o Brahms,, 1.
raDntre.iapnrduiloearzsete.amDiecennteaeallmfaeufli,zrmincaualfeivea- fdmcraeuzitdetlrevlaceeleLmesipupelzidcigiav-lrigetmraloecrepalinufodirnccdineepdutrmtiesardjoersiea-
latea rluzicienilor vor ajunge sd recunoascd profunzimea gi puritatea
intt'rpret6.rilor lui Ilrahrns, in aceastd privintd, inf orrnerliile adu::ate
der Willy von Bc:kerath in cartea sa Brchm^s la pian sint cciificeltoaro.
Ele vorbesc despre sonoritd{iie orchcslrak, clespro fra:,:aroe arl.j.rllld
ccslmieoorseleiodirniifrareini itnds,teilduxcpl''srilipomrrea, rcedlaoasrpiptaorteleifrosaninieccxdepr-iut,anteedraeilsopprirateeumeilsaattsiirctilrci,ii.tal-ut<i ra;Il;riaapaltcrnre-..'aisus.ltraRliiirri_;i:i-u
foinci asemcnc-a mdriurii, o singuid concluzie sc impuncr rie la
c{'e a unei coucc'p}ii interprctati\rr,r c redincioasii cloar crindirii sinq':
{ rca-
toarc'. Per aceasid linie a explordrii adinc:urilor, a confuncldrii in e'sel!.a
uruzicii intc-.rpre,taie, lrianistir:a brahmsiana itu s('pult'a liiurla {.u
epfueb'cli:cleultl'usnee'ci osluirlduliuacliriXciXrt-eleriroaarceragiobciusinl-luraitvsudi'aocoanpclaourtdisct.iliIinci.lrifet.,crrc,rnr,t:,
dr-' dornc:niil,r in care s-a manifestat arta lui Brahms --
in,rerrpretare
sau creatie tdmine inscrisir ca erpresir: a sincoriteilii
tiif ii artistice. gi a solriic-
** .-l
trrce'leulaoDrt dutrepedpcotmarLtocareirrtttmeeauprliuinoibmSi;ran:hruiuliertn,oaCln'alnaq,erraraialgeliaE.Jcuoeraolocphreimci;cD-li-ro:Luirniciinvrci;lotiouCajurrrora;artrn5l.ui--ra*-
activind pasionat la posturilc' lor de la Bonn ;i Gt;ilingen. I"iai
ciescumpdnit ciintre tofi parc a fi rdmas tindrul Bratrms. Neaviitcl:t!ri
re;edintd stabilS, nici sluibd oficiald, el continul sd iroiniirc'asri pinir
in toamna anului 1856, cind iqi opregte din nou paSii in casa pdrin-
tilor sdi din Hamburg. AcoJ o il reconforteazd 1uciul la o siriifonitr
pornitd sub irnboldul lui Schuinann, dar forlele sale croatoar..
a nu sl f i putu'i aduna llentru a desdvirli ope'ra pir li;ini;ri
Isitii clc i.:
vreme. Aceasta es'Le explic:alia fl.ptului cii Rrahms a c:;-irtinuat o vir,:-
rne s.1 se irosr.ascd clinC lectii cle pian so.u concr,rriiiir.l. Ai uai:ulca
r:onr:ert dc Beetho\rcn, prezentat cu filarmonica hanrlrurgi'rozil l,l 25
oc:tombrie a anuiui 1856, i-a adus ciin nou ciogJii in presl locaii-r, itt
Concertul in la dmr-i.noosie:bdite.cSlcc' hmunu:latllnpu-blicin:utol roirrrra.,q,tuatluoi lunii tnai tirziit'--
u irrpresionat siu nata1, z:tllui,-
clinal 5i erl de lecenta tragedie de la Enclt'ilich. in taciiul el:elu con-
r:c.rt ccrlnemorativ, organizat la llarnburg in 22 noitr.lltric' 1856, itlr a
Jipsit r:ici JosepLi Joachim, care a intc-.rprcti,l f'rlnti:zicl ;lcnlrLI r-jot:r''i
ti orclier/rd dedicald lui de Schumann. DatoiiLii lui.Ioachill s;i Brtihrls,
c-ci cloi crainici care s-au aidturat clevotatnentului c:u. carr: Ciara it
propaEat de-a lungul intrergii sale cariere concelListicc-' li diclar:ticc
muzica sofului ei, crealia lui Schumann a contiirual sd trliascd i;:tens
in sdlile de conccrt. in acest sctts - al veneLatir:i c-u carc c:ei rdrna;;i
t Ziarul ,,Signale", Leipzig, ianuarie 1856.
?.)
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*(geffi 9gB[)
fiEq TffiTO&HdW3
Brahms Ia 24 ani
il
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pJrznur iJp Josoioicl op lsoci un op eqroA olsE'(uuuurnqJs eJelJ EI ep
e1e1uoleui eaJp ur uJ alenlarc{ elus aloAoia
a,t o1e) JroplossnC pl ep
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Joun uotiJedorp o;n6rsu r-!s
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pdnoo 'Iup ep rn{niie Buwpol uI
uoc nJ ius ]]rEr]}in
Jpoil a-Ipciuuuis
uJ plrlaldurg llnut eil l1lp 'sutLip.rg sauuEqol rn1 er;o-r6oiq u I
Plor.u+ecl
si menfind IrorcLi sLriiiucitci]'lr r.:'rl)ca traclific. muzicald a castelului.
Inrritat la palab l;e'irtru a concerta in vt:ciolcii unei c..,rentualc angerjirr,
Brahrns a reupi'l sd-gi invingd orqoliul gi sd treacii;:este un umilitor
e12xalumdeonv.i,c,iAamtrefobsutitlasdDceintmt oinlddl-finilsocrripariencl ilaurei gi peuttu
JoachiirL d--e
opt ziier, dimine.r!a
pind seara..." 1. Rdzbat in acestc citeva rinduli scrise de Brahms ecouri
ale dureroaselor rdzvrditiri incrustate ;i in scrisorile lui Mozart,
Angajat imediat ca profesor de pian aI principesei Freclerjke
(singura cu adevdrat talentatd din rinclul celor trei surori principese),
ca dirijor ;;i pianist
concertist al curiii, ca profesor de rnuzicd al
membrilor ei, Brahm.s a infeles cd. increderea nobililor de la Detmold
fusese deplind gi cuprinzdtoare. A primit postul fdrd entuziasm. pcrs-
pectirra indatoririlor legate de gustul unei curti princiare nu puteau
atrage pe aitistul desprins din furnicarul de matelofi qi transfugi
ptt-
litici, cintdtori ai libertirfii, din nordicul port al l{arnburgului. Dar
oferta era atrdgdtoare, pentru cd obligafiile contractate
ca duratd erau limjtate
(incepind in lula septembric a fiecS_rui au
gi sfirpind in
ultimele zile ale lunii decembrie) , iar remunerarea lor era imbietoare.
Activitatea lui Brahms Ia curtca detmoidezir a in1c8e5p9u. tpirnivilut nina
septembrie 1857 gi a durat pind la sfir;itul anului
ansamblul evolufiei compozitorului, acest inlermezzo biografic apare
ca o punte de trecere cdtre maturitatea sa creatoare. Este pelioada
care inldnfuie ca o verigd, detagat coloratir, girul frdmintdrilor tim-
purii cu cel al realizdrilor din per ioada trditd la Viena.
pold Ilotdrirea lui Brahms de a accepta postul de la curiea unui Leo-
cunopteau firea pulin sociabild qi mult
a surprins pe cei care ii
psmoeri oglueotnialvieoaolaefriasaadgr.usgFlauuami,oiSebilnidrta:ecctrtddievgeide,goa(irucdfeaiinmatdpsarudebenjiueeerccdlteriviisni.eistdiull{utiiiai, utprBdnirgteaoeihramesui;gstiluiancraiugantv}eineuast,mogrpaiitetfeerurlleiiamnlgleuud}.i
colire li laa-npiluinl cdeercpadCfourrfeeaietict udeoafporrompiaaltic9ci oilramldaiqai trrndagei aaleposscibuitio-
tatea de
orchestrd care numdra peste patruzeci de pupitre. Este drepi c5. atri-
buliile de dirijor i-au r'ost destul de linitate, deoarece grija pregdtirii
seratelor muzicale Ievenea unor angaiaii mai rrechi, eSa cum erau
Friederich Kiel -sauuln(auri ldBinatrrgehceleer,vsiielcuuinLduudlr,rlruiciJ Spohr (pe post
post de
Kappelmeistr.:r) , Kiel (pe de
I(onzertmeister). Tulbur:ali la inceput cle marele talent al noului venit,
talent carer ameninia sd pund in umbrd activitatea 1or, cei doi rnuzi-
cieni mai r-irstnici vor fi curind cucerifi de modestia lui Brahms gi
se \/or numdra, alituri de principesa Friederike, printre cei mai sta-
tornici prieteni ai compozitoruiui.
Instaiat la hotelul ,,Zur Stadi Fr anl<furt" clin apropierea caste-
lului, intr-o camerl luminoasd, cu
pialr gi masd cle lucru, tind;'.ii
profesor de muzicd qi-a putut g6si in sfirpit muit cdutatul echilibru
pentru a studira, a compune sau a se cufunda in lectula unor cdrti
nult dorite, cdr{i pe care acum gi le putea cumpdra nestingherit.
1 Tlromas San-Galli, W. A, Op. citat, p. 50
JO
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Kreisler-junior captivat de uenroivielorrsulul iiitEe.rTa.tAu.riIilorfofmmaannntic, eci9oi mobusel dcaot-
cu cleosebire de psihologia
pleqit dr: problemele grave ale vielii, a1e rriciii saie proprii.
despdr{it
Coloritul nou ai. muzii:ii lui Brahms nu iroate fi insd
dr: ceca ce compozitorul i.rriise cu ani iir urnd, Petttru cd inceput';rile
ac;:s1-r-ri Lucrdri sint cle ciiutat il realizirrilc anuiui l854, anul in
indemnuiiie lui F-obert Schurnaltn de a se incumeta sd scrie o care
sitn-
fonie devetiserd obserlante rii in carr: er] asrultase irr:utru prirna dati
Srnrfonin a IX-a cle Beetho'..cn idirijatd cie Ferdinand I-{elier, la
Koln)" Se pare cd acest ultitn evenimeni-
biografrc a fost impuisul
hotdrj.icr ciitre exprimarc'a orclterstrald. Sub vraja celei din urmd slm-
gfoinviiclbeemeteirnoivaeueiernuen-icd9-i-inasipt epciiianisacpornintueriureii pdrfi, cu involburarea
primeie iciei ale unei
Ksiomlnfo,r:o;iraingurl'edme ipneorm{taolnuarliilteatrR:ahminoudlueilucitltiininismpieradtioar)ta' mai intii
la
vecindtatc
a
Bonn-utrui lui Beethoven, apoi la Dirsseldorf, in arnbianta muzicald a
geniului tui Schumann. Mereu intrerupt,ii, mereu modificatd, muzica
ptarcaaetnrssutfeoairnmpiraidmseeemdlrius,rctpurdditomriaoorearcitsheteraSs.tldruaailneiSi.scC-haeueimna facirneipnpaoitnrnatrins-eoevaogirefai,noddeios-aiamslfduonnsiogenu,altsdea
pentrri. cioud piane, pentru ca la inceputul anului 1B5B sd-gi gdseascd
dcaesredv\irragirsetairnsiuabtiftoeramcaoirnnteenrmtaeridi ioarsdtiideinqtirecasriemvfoanidee9sci ucmonpcdenrit,aftoitrmdde
muit elanurile tindrului ei creator.
Cr: a odus nou aceastS. lucrare ? Ce a nernulfumit publicui adu-
neai tauiirrJrlsreelalaGLeerinp'zaingdh?arusC,etaa 27 ianuarie i859, cincl a avut loc prima
putut jusiifica vociferdrile ql vulgaritatea
fluicri'iturilor dezldnfuite intr-unul din colfurile sdiii impotriva muzicii
lui Bratrrns, care, aldturi de pian gi de dirijorul Julius Rietz 2, continua
sd tid'ierscd zbuciumul pe cale incercase sd-l comunice sernenilor sdi
pe ce lea sunetelor ? in pri'nul rind derogarea de la spectaculos, adicd
tocr;rai de ia ce:-'a ce publicui perioadei, rornantice iubea mai mult,
intr-o vlelne in care biavura tehnicd igi spunea cu autoritate cu-
vintui, crealia lui Brahns deceplioneazd prin lipsa obignuitei strdiu-
ciri corcertante e:tterioat c', Pianistul nu-9i rrrai putea dernonstra
calitdiiie tehnicii sa1e, pentru cd partida iui nu mai era investitd cu
atribute care sd-i favorizeze mai donina
virtuozitatea qi nici nu -
prin CinineanIsdiuoniliesaaruinscol,nonriictaiteme-lodaisnmsauml .bnluul-;oircmheasitraafli'rma rolul
lui
principai pe intrcaga desfdgurare a muzicii, fiind supus cu rjesdvir$ire,
ca gi v-lrtuozitotea instmmentald, aceiui unic Ai neinduplecat fel :
proertevrie,afienortrcueoanieilccnaleicteiiio. adFaloetdrpiar-immeecliiaoprddiecradfi,lcicpodenrnetitgnrtuuciiatismsdeideixmpisrptinuetnr-ee 9i Brahrns nu
momentele as-
apoi treptat in
ansamblul mijloacelor de erpresi€, PC r.edsura cuceririi echii.brului,
I Prima audilie absotutd a ConcerLului in re mincr a al'ut 1oc la I{anovra,
la in interpretarea lui Brahms (solist) qi a lui Joachim (dirijor).
22 ianuarie 1859, -- dirijor la opera din Leipzig $i Ia Singakademie, intre
: Julius Rietz
1847-1860.
BO
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'oi6epyJ orpolpur-rn porp:(rru ug rS oluqg-Ils eA ln1 roife:igiuur;,s ri,rig
'(.lo1ru.tor alrncli-r1e.} aJrolo olucnoz.r.r e1 gugd lplJns ilp -rol\)jlidr.lil-r.1li-ur
ea--ax1apra-ripnaps;neuS1no6qre-;sa;nopp$J1proe;Is;d-ror.Jnprdeieeprlut3r'ounEorilo-Arrs1Jotrtr1JlnuJulpornuploualL'rilonrrirs)lfnue-ruuopourlrrudrpuraTrrsirStorr\lt1lucloeolx1q,octi"ioorioor)1rqlruJurr,.d,uoor?ll-nlrrutcr-orurrlolra,E'rli;l'/1rr\oJ".ilil1i:t,l-z,,,.ltoroiC?lA[l{
'qluJpp i)Ja-rnp o D:)'lnurlar']srJl puns rni erpoior^{'rnlnDololcl p pJTZlitr
p--'a'oriosnu).lIpdnippnoiuusun'prie?io--eJIrIlnciurnlurpaxlorooulnalrnlpldeolouJpopsJo.i1Ireoani(roopesli{urtrIunr-nnuipollrponooibtpcorzliiu.ssariprlur'rllrdcTnnsnsncilppiiprpnn'A-6inlrupn1Jliu'1lponooalr1n}lurs,ccerrolptnuroriocl3{:lcsJ}l plrt'porrA,rz$pelonirgcToporn!]uBqnsoriqn-uo.irJacl]p-ls-lp.:x);\too)roeuu-iT-iurp,sDrult,'grinJr)"zll-uurnni.6u-tli1s'uort2sullErrri'n!r-l-irril,tr{J'-r?,rI;ti1rr;A/ir-]\t]rI
'pl[oAo-i er) errlueruor rr;rlocis olurrupiruls Joun i]lp {riplrsu.,jur itp ;;h;rll
-riII ;r-Ir?;tortr pu1-iofins 'o3n,pwol trndn;6 aArspur lorin Inril.rru-t,:1ilr lrt.icl
,ucniIeo)ll-cpii;.iJlir!.i1oi.irj,,,zolr.jool:?--i-'i.sur.orrcriLlflrtcruziarl-olllIpsoculca',iol-uo.:pIlr]oqpor-s:nlerlprnilc(iJcjJllizlsiealoruul];lrloo.qilnorftpu,,io)"rc,irrn($hposleso'oeroft-11,ipIoutsdoliuJacnpuoluct'trrljiorr.rstppIronp)6e-loor-ooctrell:]x'uopoaTurlr!osnpJtisurnu)sptrorsuof;u,oploJiruu)lu!rsr:Jrrir{-npJlrp]ucb1fp-or.L,-i:lrlrlprrr,rt;rd-piu'r)t-rt.rnirp'J.upltnrlrnutJl-Gltrtrct1(!.r[i,)ni1j!rs1ip.,r.oi-,ii.[lrt,,rtriI1'li1rIplr
-'-ilrnoicldnc5ll.s-r,oclH.r,or'rololopr-oreuT.nprourliurbope-redp];)ue'prJuli"lJrlidelJ.qupipolscooapclrtruu{unoordd-urp'rrr,uleuTospruopaJrpqooari1nnpoin"nro^ruuIslnrrl0Jrrenq-lgorlspnpJut.li!llrirloppo
blul orcirc:stral, in transfigurdrile abia perceptil:iicr, in inldnfuirile con-
trapunctice sau in alteinanla cu scurlele c'pisoacie muzit:aie noi
inl-rrcalaie (cuplete), este o dopllnir siurpliiate;;i o cleosebitti rrerv&
iniprovizatoricd. Avintul m<:lodic cOntr:ili-i:t"zd celr: Llai r''ai"iate ilu-
anjrr 3ls fericirii, ciin care nu lipsesc momentelc de u:nor (mds. 226-235)'
cle pa".cronai iirism (fragilc'ntul ,,i'on passiol]e" al pianului; caclel{a
cu iLlcLcalia ,,Quasi Fantasia") sau de indilirtoare colltclnllletlic 3
naturii, rnoment in carc rdsund diu nou \rechea chr:mare a cornilOr
purdlnrf6i,.toFrincaadluelnifnetiru',QchuiapseiaFzadnotasgialo")r.ifiCcoairretraastirn.'c1lecliui,
(elrisoCul substanlet
primelor a aspiiit-
{iilor inalte qi a increderii in implinirea lor.
lulermcAa,t,orueanrBestctar'hdomnlu.csceit}roctur lusqcii rcirnlieecoIluanit.eLIoscatiancbz;ihligifri.na,,sClca'ojl"rHc-asnof6irr1;';rpiatq,,lpci3nir:sszl:p'iluiteaceuimvl,ine\t'd6rci'ilreit]
trei rniini au inccrcal sii aplaucJr: tim!d, dal pt:sle ticesr,t:a s-a auzit
crSnleionlmtitmeonaettnest-uapldrvrisfaiilgpeitculdenindSecuzliieaprmaadtigncilraecrar5lreiintdaeemrrzgiacoseclauplarta,s'etcn,aSterjnlelcrf'alo-naliramlaillnsifeimdstoafirtt€ii'pc..te"-
jii;onlicrnrrecplzleadLHtora,r',vcicnlont'btScirrie:Rurtiuunliina\ieaalerilr,lAra.tich'seeaniinee.lirIf-ndoter'-2Bai.ec..ol"rt:thr,-oillLizrl,eanic,.iilcnilv.aaua.{)j.."a!intcroicrr1inu1a}d}ioaziiictrozemlioul,r'
publicul cliu l-eipzicJ vu alrlauda inciol.ung riisiroIi[oarc'a I rca]ie llrahtn-
sianir, dar pild alunci prote,sie]rr impotrirre ftriulgi
nou in cRIe
Rrahms coltccpea genul clorlclertrlnt nu au irrtirzictt sai se manifeste Fi
iu prt1si :m,a,|i)onmeinnutel rBersaaltnmt spo.lsicb:oill,lcflu6pruiit partida lliantlitir acerstui con-
ceri cit o tratarr: iuslrun.rentald' fard
nimic ingernios sau r,Jinqag in pasa'ie. $i r:lriar claca unr,rot'i a:1l.lr'' i'r'\'.r
care pronlil-e vreun t ferct striilulitor, ilcesta t'Slc imeciii:t s'tiir'tit ;i
irErn,ocsdln1ub,.c'a;uurcc1lr'il|tupBslnieualr.lrn)is,scDdtt:oeucrasf atrai{lnrtfg<nrr,u'rolrao-ss-itiii'rcpaioa;iasatacic'rootrltdlirlutliliclns,eu,lSliaiaiglma<n'acltlrniocivt"lue,e<luli'uutltrl o:-cl-rrl--'iirat-nDltleiocrsJmtuerlipnLiid"uciea-uIr;icrtrellfseeliirillctoilaasr
zcoilenlsoicr ienroaafSill'oiref"e:i.cEuis.tte' ,cc'llic' sIiicqlu-rr,.-\t''ot lSi)ca''rduemOananfiramsallplieraCpaiIacnclosnitircaiziiClteii
Brahms (cleclar-aia dc crl gclialii iil tlrticolul ,,D,..ulruri noi"), ll:air!stilii
ce ciepdgea receptivitatera tirnpului.
Au existat gi pdt eri oltiectirre in lcgdtur"ir cu auilif 'a acc,lui
concert, ca cele pi,iiliicate in ,,Nt'ulr Z'-'itsr:]-rrifi fiLr ]vfusill" :
taaa,,iAcpeuprilnietneicirecniaeiicbrl,fli,lrol.ieeletrislceodai,pecceefcaroaleevnsaostgdtrioacilaboesrirpleddcempcmrlriroda:cteuoeluisfdeatLaisiultmtloatlertpeiniamrtoicrnpfjldueoonatooldsirvtiprgCaiaiinorsllai-ripcrltlliislntauaeull"ipnie,uccpl|'aeilioiricl':1Arlu-ielc':tlsau;odrpic.ca9nFciiatairact9teduiscrtdrrieleiee-i
dc,nni'ratc ct.r. care ca a fost primitd" 3'
i f-hoiriiis Sarr-Galli, \\ A. Op. c:lrLI , 1t. 57
: lbidcin, i:. 5Li.
:i'Ihrrnas Se,n-Ciaiii, \\ r\. Op. . il.i/, P. 56.
o.l
co
'(1eur,1 .r* lonu
-o.i\ o-rlul llliPl-ialul) p-AI p Dallpd uI ozraq3s un piul a.re Iy 'do DpDlr..rosl r,
'1f:qd rcnrr uI 'rolDur DI u! (91,-do) .tu
'tolow a: Lry (11 'do) I 'ru DpDuatas , e
DJlr,luaras. I r'i-rpd osps uI ElErnspJsap
-'oal(njcsl aufilr1r1zs(air-iIeI:leneJo€lrrerclsl oulJpuallpisIIplrdS.)(iec-ilirtnI-oezproaTll-p{3ds) olu.l1 JOITtp3Srw prz
p pJrur}rt po;p}rzoru
-ofiur u3 1 (rrpllni -roieqrrre p alJpcl erul-lcl u3 o;ede urnr eSeJ aruo] ro,r1
n;l plpuos dp rrluro] palpllxaidIuoJ uJ : nlqurpsup urp rJp3srIII raJpJer]
'-'pl'rrplB1slllnruooIs:ru{tpp^fopoiJrJ-"plx1ror[protrsirpp3slpprrlliulrraxfqpizalroupno.uii1supourrql3Ig.llrustoprIJo1nlario6Rolprpurirruutnpprtoeoifoeslldrperop-asdrancJapeulpoiiauerpsnlzluurou+le]rropl;apodblduJsuagourprelJlopo]i+ppJJpp,rgrruoCcJsrllporEJ'.BaprodrrtlrrrrrpuJJaurorJp3rJue.q-rIs-prprpogJss-AlsuTrlrnrnL{nplIrJpTouaa,--lTlTrlrzIaBnoloJnl/u'pdrlrr3ufrtrrrrnsdaorodscs
e afurro;a-rd rcilso;c i:uizundspg 'oleliznur ,iolalp,,ros lrupp3 ur olu,]{Jrlos
arrqasooil nJ neJ;r upr.pll r3 1rezo1,^q rnl aiappua.ras nES alrunrluSpJ '.itral
-ilaiusrlJ,anlil apun 'ploula0 urp P,a rnJ EI o'p pJrltrpJd rs olred ore,ur ui
p aJnJoi1 rrocla roun puiutfrecle' ua6 rn:tsaJp e aro6o1e, e1
lrn(lr"rl.rio3 '?JrlJppipoJn€ p)unlu ps plrualuoJou uJ ,rnlnlolrzoduo;r
p llrpnls irp pdp,13 pnou o plpropuj p.lpj elutzo;dar ro1 peJpJoqp,Ig
u1nI'qnnnrirS1rqlcdluuuleapnterds4lprrulra:oprapllctDluplxuXIJaarnrrJ1rpaaotlsausluc,neruuipsoSn3nypo.slrpr'nnla+daotprfllpueoJoolrJollrsrzleaprpqilrbIcerapJpaogoJrdJlrIrTpnniJJJplI'Uurue(LJ1gu{agrInS}'pdIel-nonroeirurpp:ootd'utdsu{uoeSrnqpleSepFuJ'dug5'Jono)rrlarnuipep1[DnuursjralasrarforqurJasau;iurBorcdJ
JOun pJdnse oura.r-A o pJspardo as ps lpu-rruralop np-I unlozoJ ealnd a1
u n;1uacl aipolrnurqJ alrJplnpJ 'irpur ep lrqasoap lso1 np 1JoJr{oi} nps
rnlnurud eaJBrlsor{JJo uI }nAp B-oI suqprg aref, ad a1r{pllnrrgrg
'lolptrros nps rarrroJ{rrrs Jpop jsun:}p qugcl tlrtads inur{not 'nou JI?putgJp
arolrnro't|tioirlrolurnpl-zurrgdcop;rpJorruilql1errl.ndsliirllEls1iBlSixsa]lroJorr€aalsyoriutluu.'n{parr-rrflpr{ulursroJ1{rn,irrl,E-lr.lIrainsip1atrl-uJnlcaraplxrraaiarSppJurnolpolllga3f;usfxutparoeroprnIsnJuupouoiJoJoaprSJiopon1JippfnoJuouparonA5l,n;-rqIu€uIrdirlrpcl-rc'l.oirrou1le,rruup{)epoe}-{aJrulgarnJearoules-oraueJopi:
luuolfoua Inpuo] orp3 uI €Jnspru uI lIJap p+plirrlos olsa nu lsrlos rninl
-I'apaurodprlraua3alupnro-ru{rlillnn.lqcorrurloutrloJu;parl3J.alurJeouJJoJuloruloa-ru5riu1}ienn6rlpp1qaooJrJo€lizoJrslpelaueiJprarprInnJelrlrsifaucrrlafinr.i-J]rroprlasprruuuoJqllpuIo,r{Asg
e-zlcciCio'esr3orcJilre.r*nraou--r{-rao;trrplsrrrruaoidouJrao.rrluJorplrJppu:}nsapJtrruuerzuor JICniluqiprluppsruseurlu{"rJpq rurpn}rlp
ptrur3}Jo3
l--puI-iri-,i,i,r-iraoEilppllii'-ip--r:roppJrulilrl9rl-lricu{uo. 1o'{luprunnPrlurulorrJr)r]-puioo}uAr{roofcqJStterporJaugolnrauuprTsrrDclai-'aXlelt,drpJnuftrrlerc;urtou'1qolleult:or-r;rcgria_elu-rapslJlaepldoo
Ie-a9ru,irr;...:.,d-i rqlriSl?Lrlsau.prrpr,A-ierellrgo[rpap'lilnJu1Ten-rr-dorolpniz;31odunrarurloui Jrandpln]'yplpolssJau]IoupJofr,-IrnrBfJisoJulaoanticpnlpdor{nieluiulnl osprJlasp.{Jrx.uapI-rpInpJ]unpr}l
prnSuts rnDrsep uro /6E:BI rnlnup lnlndecui e1 Slzchel urp ralsrAal Inrol
-ejuarrros irp Psur.rchns'r.psrlaod a1e1r1eur6rro g:ri1ualnp" plspoSv
in desfipurai-ea ecestora, formule de ciacond gi passacaglia, atit de
tcreiairlrneactat;reirriainsirt-icr'rc:oc{npisnililcr'utliecn{aiaafaigeiiIVdsi-amalee) nppseeiunnctrialueretreolhenn-daicoauimrvilpaorrroiasfilpniodantlaeat,idcino; nifcnoerpimnuedtensu(aceua-
anrr;loare) slmetrice cu prirnele pdrli.
dc aDdoeurtril.t:S-iellednivaedrdii,mceanrctu_lu-i psblraninrfoonacriehstietteeicin.tduAeracpedfarotsertmadzedlui iccnoranscrpceen.tcpriaraetlezicne-tda
pare mai aitropiatd de genul
unele particularitdfi dcrnne de rclevat in ceea ce privegte coloritul
e6toiirresiloornrrioodrre.iiFeleo;,mlo:nsnuiazindiccaaumebpiiracpndolialaeorctrliicehceucsomtmrapulaaltritmdirnianeincptuarleregvnliioaplnseetlosrcrezc9ouinaacnilel,sseudfvaldilre--
poeziei nordicc, caracteristice stiiului brahrnsian, in comparafic cu
rnuzica prirnei ,Sere:rcricn nenlinuid voil in sonoril.iti i;aslorale, spe-
cifice modelelor I'ieneze.
\f\Jo.'ta lIt-nfitin
in perrioada aceasta a primelor lucrdri pentru orcllestri, rnuzica
vocaid continua sd atrag5 pane compozitorului, a$a cum se rra in-
timpla d-.l ailfcl pe percul'sul intregii sale vieli.
Un piim mdnunchi sduebctlintltuccl eC, i1n;tuebcleicaptaep, uIdlcrtdre
la sfirqitul anului 1358, nurndr cie o1:us,
pentru copij, a
fosi rodul uno; insorite zile peiiecute de Brah:ns la Gottingcn, otra-
qui in care iriiia gi ar:tiva Juiius-Otto Grim:n ca direclcr cle rnu-zica
gi r-onduc;iicr el Asocial-tei rnuzicale ,,Cecilia", Localita!"ea, vestitii
pentru tradi{ia r.:i u.niversiiard, ii era binecunoscuiii 9i se lnscrie in
biografia sa c;rJ- rol determinant asupra crea{iei. Dacd in vala anului
185-1, ciud l'iziiase pe Joachim, in perioada studiilor sale, fusese en-
tuziasmal dr-r p.ulsul tineresc ai vie{ii studenfegti gi culesese din re-
perloriul c,,rAnii:eCloedrniiic{cc"a),reinvovl-ricinasnpfairaamnuaiiutiirIz8iu58lu,mc.ainroeasaad:ui.l.iuazsiecd?an
L;'i't:rlurij
cdtninui frmiiiei Ciiu:m intr;:g giupul cie n:Luzicir,:ni lcgafi cle aminti-
rea lu.i Sr'hiiqlailn, semrificafia momentuiui biografic il.llare gi rnai
imporiantii.
O primi nlir'iurie o lnscriu cele 1-1 Ciniece ptspultre pcntru
co;:ti desprinse cie Brahms dintr-o cu.legere intocinitd de Kretz:rner
qi prelucrate rie ei (pentru voce qi pian) pentru copiii Scliumann. Cu-
nosr:uleLe pelrsonajr: ale basmelor de largd circulafie popularf, (Vinil-
tolul din pddure, Frumoasa din piidurea adorinitd, Omulelui cle nisip)
figi:reazd in cupri.nsul textelor lor, aldturi de cintece de gen {Cintec
de leagdn, Noaptea de Crdciun) sau de mici piese cu eroi din lumea
vieiuitoarelor (Frivighetoarea, Giiina) pi a florilor (Floricicd de rn6-
1 in ceea ce priveqte fcima *- in prima Serencrclci, in re rnajor, se succed
doui menuete firX trio ; in ceea ce p6,r',i1ve(s;tpereridtmeousle-bireindecetaipduel a doua, in la
jor, dansrrl se desfdgoarl in misura ma'
tradilrional de
3,'4).
{t*
98
'Jruo1llrp rn{nf
-pciluli pa-IpzIlpurp.rp ui-lii Is pl iAIlplIJal I11S tiT r.Iolnpo,iluT a:rl olilPs
-a;d o3Ipciaur ap€oslcia pnop) rnl Iorulo] palplTxalc{luol ur.ItL (qnelloa
p1rrr-T o o.itrp3) oJrlrllsfoor;i au{d uV gzeai;e1ap os oJpJ o,IJulp 'tilo{l,rrs
oqleljy op a1e:rc[:^ur ]oi{-{npa'l €JIZnTLI PunsPl ts luunsp.t € atfeli,rruu-tos
plls?if, op nisr,{rl inr,rn 1n1r-rtrls uI 'ptIoIA sl inJE} si:clocl lnurt-rci nr
plppo'eggi-aggI -roilup [ns-In:J uI'nTz-IJ] IeEI iup p1\IlJJ aulzrinlo"td u1
olSuounl o,\ o ori€.]-iJ ln.rr?J r.? 'trtcqnLlJs Inl Ip to].pnuTtruof, JJelTl.) Lin p;l
rnlnpo:I pI,lojsr tt1 ezeas-:id i)s suLlplg'oJopor\ ap lluncl ]s.)3p tIlG'ieu
-v.{oso-I nps ro:l?zrE 'nI.IClo-ici inlnluoullluos E oJpztle-rauob op o'!ri:pua1
o?sf 'olps roilea"i; inr-lrn.rp 6a.r1u1 uI juoupur-rad e:pclp Dz\ oipJ Eirilps
-?-r1 o lllqpis r*n1c; r':1eocl os 'ploqoTS ip:qll1nesFpy ln-er'y"rI-encp[uprJoelsJoo6up's-tIul]r.l9DliT"IJgf,
Igj 1n:r:lrzoci-'u.:rl c-r9:] ul rit o-]pc11du tS p iolllp oil o.{pJ
1p.1 urodo l8 r:Jur:l a"rr-ls;p I.ii',ileTI oil
ES ilG-Ip-IJnI
irci ;1e1i1upour 'lr-:l E rlic;:i.Ii:s-riil lp alTAI:d o qns +iJop aJpJ 1od as nn
IJILI oui)Isiiil[E:e Joir]itllcr,; t't - t-lsit alrrarcolde PJ P.tolllsuol uueriloll{
Jo:lipArrJ?z[];:lj:lp,i?r T,--.;11 urjr,-\r]ouI Io ad turlt-tds ealncl u n;1uad
'qlurza-rcL al eais.rf,p r..rgr oci dr-il:;.)ipui op rololepoui pourpnlrlinw rrrp
nldriri-.x,r un s+i1j op na.r6 alsr) urnl pclnp 'sruqpJg op olpor: iolr-{nparl
ea{osnuin-i; .,;'ir.,,:-rcl l.; p;J ) u! oi!l,Is.IoI o }exrJ ep ne-r6 a1s3
iI-(-jn)tuiELuorLirrrlriarliloirlrnDipo']rippll?riiJ.qJuirezuDu,:lrrcq-;i{iioioLislZSianoiil.Jtlrr-liripotii.elJri'cfi't'niqeLlys,litil-oii-aiot;dlri:tl;nneuo6dirnio7-aia.dr'utpciipIolJiunna)1io-rnr:-paol'uclqseotoprolruJas11rilplpnro.lrrrcutg-p!root:dd,s[onn-ogeu;palorn:n!(luooTqr1tecrosnilioS"parac1lo[tEp'rluZrlilnnJnu']ouJrIp]raL'uopTrr1t-'rn6lutqT1rtteinrr';{dacorpclJ-olipslr)uJu-rs}rrJ
neuoInp,toplrszcleclirr-rir-r,oru;:it'lrilrslr'jJsJIpJlnglssion'inplparllrtcr iJnprorpalssoor.J)ullrpInol,urrlrtrrSppioorulrzI.cari1urpt
'(at'do'aiirrcd
c aiof, riili lnrrT.icl) n11ci1 ail alr-insJa,t ecl'in;rr.rps Iniroil n1 pluuoisecl
oqr-o*unJ-nOtsApSoeul tpi'r.serros;rrlnL.1rLlqqr,gnnLcluirlr'lpl'fol'tp.liisanellt;rn)lcrploeocjdoint;)sop'oI;]pfio3)allurrrir-llntJpps'oai(ufr"pql;'pcuollolgl)x'oaslInn]uddDauoLdr;oUuoJoi1tppeol11'pr!:'plapalrrcu6uayivl\nlui.,t'ilealopo,sBylsol'{ipblnopeioiill,pi}\t
nI-noal,-d\Iounun.lisl'riilonlpdJfo'irIr-rrrro.iifsrgi.JllilDslpr.l)lonrrlrrpufTdorusrrorln]orrsonaJl ouutrd1r.rlleJodprlnou:rf6pap-lprren]ilzrlenncuplt;prIuun]eJ'rlpcall0Jo(s1uoari5ic]:oiruqoo1zuapr6ocJyi
nrlu,rcl rnin.tclizoclurc:r ea1sol3e-rp ledur;ug E-s outuos ro olalrz ril
B'ocJ{gloIrIunrluuposurioLura,fTiiorllrlnoDplTp-riol?pipnJra$.rslercu[rluef:ugerrnpAi u'rpfeLor]-rrceuoTiroapurI-pln
}psir{- t:
uI
'oJil51ir+s rcr,,rilril!or-ul-nr1prqr up-rA.rusuurarr,ilpr-ii;a'roa:eplincqlJoudolsol3ooljurp;)sr-$insrrnrrsr;ponlTaripilllrr:oaJl3oalr1
oi;rir.tclsop
-n)
-L\ IS ri6ololriu o1l sp-rlav-plp3iznur eo-rrpuJb (a7z.'jcrlLJo-Toplrru-inI-pposrl lr(rJs,orirpnrod
rpiu al ui ol rirp olsalruplu as ps cla;ur
nI-:s,ilolui:6oeucrlrqlor l'podj;lp'rc1'.lirr:,-irLirsrrj-erno3l'ir).ircrr:ruIpSrzarraAle6oadl-erelonlrlduaoinucrr![-crIden]uaa!:1epuzlilrJcsrinitsnlelluJldopcuoiipr1n3oJrrnnf:n1oo]rrlozuoliucaoh-;risirliooli]it-orrrpJ:aopi
nc priililiri.in'llcinrrs a .Tol pd.irlzirroltr.Jv'icrleqles 3u:i;eprie,r1'!orJ
Amintirea iubirii din vara anului 1B5B va ddiuui mult timp in
sufletul celor doi tineri, despdrNifi in iarna anului 1859, fdrd sd se mai
fi revdzut vreodatd. Iatd ce noteazd in acest sens Agathe Siebold in
amintirile ei (din rindul cdrora scriitorul Emil Michelmann a publicat
nortOdiunnipdadasari-rsusatecluirnoiengtmtotieeta,drns$Ieauainluaipc1nei9aoar3dsc0boae),uatldoacnrumadrziiianinaletitvsrriidueepiffealeeiid:tuceeal,m,irAe.euimE.latiNuInitne9toiamraie-rruiaeapraaimtiotnleeaat-rrdraeeieiiceseucptsrioiasfeiudlezdrbieidcnirrPiiednipeacecvefietrniaantrarjtedudu
praer$ouapgrciituaimnscaesgteulolinrciteuim, dipnelcdveetcnuiulndsodrdiciinnefecgleeeainngiudce-drmeepatiluianl pslueamritindnaeeta.a$oirmuppeeennitlrraiuin, fceudrai-lea
ce ameninfau sii-I zdgdzuiascd in viafd. A infeles, astfel, cd in pofida
pulernicei ei iubiri, nu ar fi putut avea niclodatd un cdmin ald-
turi dc el" l.
in ceea ce il privegte pe Brahms, se pare cd hotdrirea sa de
a nu se cdsdtori cu Agathe Siebold se datore;te in primul rind insuc-
cesului
pe care l-a avut Concertul sdu penfnt pian in re mafor la
prima iui audifie de la Leipzig. Pentru cd numele unui compozitor, a
cdr-ui lucrare fusese primitd cu ostilitate in sala Gewanclhaus, nu mai
constituia o garanfie pentru editori, chiar dacd asupra lui mai ddinuia
incd aureola infldcdratelor
aprecieri fdcute de Robert Schumann.
Dc asemenea nici. perspectiva unui post de prestigiu la Hamburg, la
care continua sd aspire, nu mai putea suride unui artist respins de
prirnul for aI verdicteior muzicale. Descunpdnit in speranfele sale 9i
rnu).t prea rnindru pentlu a putea trece cu ugurinld peste consecinfele
e5ircului. suferit, Brahms a fost nevoit sd hotdrascd despdrfirea de
Agathe. Legdtura care e de fdcut intre aceastd decizie a sa 9i cdde-
rea Mp/riidmrnualunni ,scaduruCiaonBcrearht moscioi nvfairmfadceremladtdrtruilreispiroi eretufeluriitoJaorseeplah Wik-
tor viafa
sa singuraticd : ,,Am pierdut momentul de a md -ofeir-iaudnee-i
am dorit acest lucru, nu aF cdsdtori
clarat et. Oe cite ori
fi putut
femei o situatie ata cum se cuvine. Iar atunci cind am dorit cel mai
mult sd md casdtoresc, lucrdtile mele erau fluierate in sdlile de con-
cert sau in cei mai bun caz primite cu rbceald de gireafd' Eu puteam
suporta cu dirzenie asemenea infringeri, pentru cd erem conqtient de
vcainlodarreeiantlloarm$iingticaammcedrainmtre-ao bund zi totul se va schimba. De aceea,
solitard dupd
asemenea insuccese, reu-
geam sd nu fiu deprimat. Dimpotrivd. Dar dacd in astfel de momente
fi trebuit sd md infdfiqez in fafa sofiei mele 9: i,s,iadr rdspund privirilor
ar mine nu a fost nimic"
intrebdtoere ce s-ar fi indreptat sllre
ei
_- aceasta nu aS fi put'.rt-o suporta. Peni;ru cd oricit cle mult ar iubi
o femeie pe un artist, cate este soiul ei, 9i oricit de mult ar crede
ccinrre.'rdecela,rteesadinnmvudicptgooiarcitaeonlpsudoisleftirznaea.i.l,nd.Oa$,diDindocaaucmlan,sepuif:nledctoulmlaupiudertmiimadci,reeeeaaagsaiorfdimeeipalfiianffdid in-
in-
de
insu.ccesele sotului . . . Nu ! Nici nu vreau sd md gindesc ce iad ar
1 Rostand, Claude. Op citat, vol, I, p. 233'
B6
L8
'89-A9 'd.'toyc'dO 'V 'IA 'ilIED-u€S sBwoItrJ r
'o-lrtounsul ns 3J Inlnupia p IS lllPlrzorJas BiJn]lPur puiu
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'Frzdra1 pI ap olrf,luo-lJ uI
asrJosuI aluplnrap :ollrarrarde plBp p:tida.r plplirauraurq o +Buru,asu1
naneaaNu"a)lspruzra{puJllqraIqJpBJaJnJIulo! lnroeus BaJeoIBA a:dsap (,,6un1razqrsntr^l JorrTIJoE
(,,ualqJrrqJpN ro6;nqrneg") p1eco1 psa;d
u-r!uoeJlnrrnglndregual1lrre6rof1eaarscalirpurlrprdrtreJzpepq'61rnniqpuecor{lfI1nuJrllqun]dp
suud.sap ;ollzod
o;p:r nc alir}e,r6,
B'la'6ruuZp9plBnqquuJIaleIrd'nrnoe{rlrlnzgrpaud3p-e1ssaplIpnre1luenrarl*drrragarcpcplrluvzlq'1rrcnpVp{dAaZIatlanslpIrSJIuaar;r:le6plu1nrrgn(ru'6qprriru4nzcdsplla1Hpala1lp1pcBrrpeo^I1lrlnlrnrslr-uryuIrqurcduanusdBnca-lolsnppIBnarorul{upJ;nraIaelootr;aqsuEgio1o'rIep-JSsrucavrBolqorAtlurpo.oI6p}J}ly3fJi
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pryqry DaJDosITJS Inlnporl pJl'znntrztrrllurgeru1rnr1udppaAJaBzalpa3pllrqtnrtdfrg'fdgso'tpu'7ppp'dlsolJ)l
rp'pauuaApapJbrsplIuu3rfurtuUrlqlrrgIrpJpppurpgJasuBl'nraIpgdlp'Sr{ualiuoolaaucrrlartaprllrraruleBurldaaJuJsu'ngrarlItpoopl'ar-darrunlrourJs6rnalppnlprrduprADrru4rorploJsprer+n.prtstlaurp|JulanoralJd-uderrrlnuuaIJrnlelslelanaualr3dxlpeadlrlssreuarpquqrlArI)l'1TI1ena,n:lrpruzondirlgreoell:sr1nrruse*npo-lNendl
luIs pJ nrlS a:eo uJ inlal pdnp urfnd 1ac 'aurur n.iluad ty 1n1nct tg
Dcl;rliul irublic ai noii formafii corale a at'ut loc la 6 iunie 1{i;9,
clel;ut sr,'ri:nalat de prcsa locald ca unul dintre eveninrer:tele arti.sirce
clr,. sc;:riir alc vi.er-rLii. Tot ca errettinci:tt,r au fcst conr.enlatc Si p;'tinlie
aujili:, cle crcaliilol c:orale corn.pllsc;i inieglraie cle Brahl:Ls in pl'n11i'a-
r;rul cir: cclncert: zrii-e ),'kiritt, O, boill Jcsil gi ltdarsmu,s ?'e, C)itr,'sfe.
Pririlr: iuciare (AyC l"lOrrcl -- pentru COl'dc l'em..-'i CU aCCml-1an.i;tr:i'.:nt
de orrl:esl-rii qi orglii) \:e allare inregistratd in lista c1c opusuri CLI 111.1;irii-
iui i2, uliirn-ele douii fiiucl ppeunbtltiucattcr:c$iedipetofea;rnrci im, oapi..ti';r}z'i i(uce{rlin61g1-3u616itJ,'itn-
de ,,3 coru!i ,!lici{:"
cjii,r:rirL
1e ir inn secru, comilus ultciioi, purtinii tillul Regintt Cor:li).
Din coresponclenta piirtatd cu Joachim, se dt'sltrincle f a1:iul cE
obligi=fia coinpo;ritolttLui tle a 1tres1.a s;erviciul la cultela dc la Delnoid
tinact,eepdusirri:jcsriai dlire;v;iincdrecaii1.);acrvcairicl airlrizaaltliai siltldvlnlecrliaonafedlde de entuz:astd acii",.ri-
de
la Flamburg. Ala
se c:.;plicd faptul cd dup.i li:nile cle ttlarnil ;;i de iarnd ale anului 1859
-i ilepec:oinot.-rrdard.ctiante crir,r [-]rei:ms a irolllnu.rt sd-5i indc.ltlincasci indaiori-
cli-i:tisla :;a ciin
cr,iltl.i princia;:e . - a-' tl i-liri t 1;ostu1 dc muzicial cI
resrasietleeni-un(lleearecelaetaeiciieamcLospireonarclilneeai,tr1i:ririnrid-.'i.incpulacei:llittci:f-tii:;a;isiti-.ci'ic-i.i.tellii:|tlc"iterii(cirlrziiajcoiirnnriclaaraetl-lodeaesnutsncat:rnmeuonzbtiicrlcttliiealourniiiiiaccdeluetbfducionugicnrrfiicaocfnil-eoa--i
la castel. Rezultat direct ai acestci activitdii rdmine un ir:rpor-.tant
nu111lr de lucrdri corale (dintre care ul1ele terminate, ial a}teie sciri-
lfcta::j,ataet:cgecirlodetercscldiolivuiidrige,iSteeltreui.trltftacetdcr.'i:.o,ior.)r.r,ra,n)l:i:a(tajoileiisrtaccit-eaiiatluerfziiiiunpitdaotirifnaodiilristculerreiaivdoaurnn:aioiileor.rinAccOsieeult'iip.l:iOeti---
:;iir:-uitt, lrenttu a-;l iits''t1i irl i,ri.'l]rii oiltrestral, iucrdrilc coraie ele
ri, rsl.r: tt^ilorri^ s:' insirt l'-r- i,r sfe'i a s',.i.c1iilor aulcdid;rcticc inclrei:i.i: te
st:ir-r irr:rofunr]ai-.i:l literai"ur-,i clasicc coille, din rindur rle cirreia cri:.r-
!Biii::,:lr:i,c'jl-iiaonficpstiitrnoei lir;rca[ni.c.rori-lllr.crrcr.le',n'i.zPi, oatnliutei Paiestrina, Schr-1t2, liiittdctr 9i
dintr-o obligefie profesion:iii,
compczliiile r:ore l:: cseclisr"trltttt.trtirtt.d11clx:ollcl ipire-encfuamppeiinfilt€cilrtilnsr-eaaslllzriri:riijlienit"tlteill'-j-olti:
tril;ti la I)ctr:rro1cl,
clc-.giata mdiestrio ei luciiiilol' cl.-:dicalc cotului din ilainb'ui'q.
:irlir.riCi.'rir:zliul,cct'adrfirU- mUcSeeafec'r9:mi cpoumsitpplcexnittarutc,foirnmtr.i'zrliC,iaa
ile D.r prima catr.rrjol
l.i i)etItnold Se C]
lur 1353. Este o luclalc pentru cor mixt;i instrumentc de suflat {in
dldacel!lll,bsena-ti.i-ln'dir:oqrr.1ci8Fldi5crei9rtoep-.rnr,*epesoadl)c.ianliFlsenei;ammilctclaeaiptaauuuftunrulniurfeiillrbo:drr-ein)c,tortiemruaspcpHoeinarleaimstdtmbicuaedriegbctllaaeathxemtdguasolitreauicnneede:.,1i11Ci21lcr.,eo'td;rn,se:iei--l
cllc ccncertului (in special cea a lui Phitipp spitta) au deschis un
nolr \raL cle interes pentru cieafia compozitorului in rindrLrile n:uzi-
cienilor din contemporaneitate.
r Textul a fcst despriirs de Brahms dintr-o culegere de imiruri gerrnane, iii'ir'iil
de lvlichael Wcisse in secolul al XVI-Iea.
C,O
68
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-uIpH pI +o1 alred areur IeIrI BaJ ui osndcuot '(trqdo) alladclDc
ulp aJatruJJ pllal1J l-i .IaLUaI
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pr'papzJir:oluuzlorn'iraiu-sir:anad'slppurlnozl.{lsosppopJoif,irrrpuirnupIJprurJr-.rraocurflrJ,{uerJree{rdutq:eolJuuarrizloppac-l"rrlr6ocrJolnaillaonlBuluroigpst-gJrtiJspnranel]plinop]ruJ.urtpnriua$rppepo;snuooJrrpquraJu3urirenoplr}il!rIJnAp3r[ce,nirdlp]lae}jI:ln1UTur3)r
tizeazd. femeia, a$a cum au surprins-o Chamisso (Nfordrifa) , Uhland
(Cdlugdri{a) scainute\cVeillhoer ldminNgliriullpcul liLoopg. o1d7n, isctard)b. aCteogloiriintual cmeestlaendcoouliSc-,
caracteristic
sprezece piese corale, de la prima pagind (Cintec de iubire) plnd la
ultima (Noopte de martie), ca o rezonantd a sentimentelor ce se de-
gajil din majoritatea modelelor populare in care este cintatd dragos-
tea gi frumusefea naturii.
Influente ale liricii populare strdbat pi in cele Trci cintece pen-
tru cor mixt a cappella (op. 42), lieduri corale inspirate din versurile
unor poefi reprezentativi pentru rzaiorificarea fondului folcloric :
Serenodo (pe un poem de Clemens Brentano) , Vgini eCtcirn(tleecguelndtuaneubnruui
oraS scufundat, versificatd de \\rilhelm N{iiller)
al lui Dartula (dupd poemul lui Ossian, desprins din antologia Sfim-
men der V}llier a lui Hercier).
indrdgostit de poezia populard, de farmecul legendelor ei,
Brahms s-a manifestat permanent gi ca un credincios protestant, pen-
tru care lectura de fiecare seard a Bibliei devenise o necesitate spiri-
tuald. A.stfel, in cursul aniior 1859-1860, in care incepe sd se afirme
creafia corald, apar gi primele lucrdri izvorite din educafia sa reli-
gioasd protestantd : PsclmuJ ai XHI-iea pentru cor de Iemei pe trei
voci 6i orgd sau pian (op. 27), cdruia i-au urmat ceie doud Motete
pentru cor mixt a cappella (op. 29) qi Cinfecul sacru pentru cor tnixt
6r orgd scu pion (op.30).
In siilul a cappella, inaugurat de Brahms in prima versiune a
corurilor Cintecele lt4ariei, sint compuse doar cele doud. Motete pen'
tru cor mixt Ia cinci voci. Primul, inspirat de textul unui imn protes-
tant datind din secolul al XVI-Iea, erste conceput in spiritul muzicii
lui Bach, atit ca formd (Coral gi Fugb,), cit li ca elaborare polifonicd.
Aportul brahmsian apare insd in inventivitatea prelucrdrii motivelor
(preluate din Coral) de-a lungul muzicii din Fugd, CeI de-al doilea
Motct, inspirat de versetul al 12-lea al Psalmului LI, se remarcd prin-
tr-o tratare mai liberd a vocilor, cu deosebire in Fuga finald {Allegro)'
care contrasteazd cu miqcarea lentd a celor trei sectiuni anterioare
(maepdnalinnutetd-voaitnidnasnotebiieesteptreeasssivtoilu-l-ui andante) Ei cu scriitura acestora,
de traclifie.
Concepfia stilisticd sevel5 domind 9i muzica celorlalle doud lu-
criri relrgioase fPsalmul {il X{il-lea Ei Cintecul Scrcru), concepfie co-
respunzdtoare esteticii protestante. Dar peste sobrietatea polifoniei
vocale gi peste expririrarea arhaicd adecvatd fondului biblic (in Psalm)
gi tertrilui h-ri Faul Flemming, datind din prima jumdtate a secolului
al XVII-lea (in Cinlecul Sacrui pot fi observate evidente emancipdri
in tratarea partidei instrumentale (o196 sau pian).
Comentatorii creafiei lui Brahms nu au reugit sd fixeze cu rigu-
roziiaie cronologia tuturor iucrdrilor vocale aparlinind acestei pe-
rioacle ce prececle stabilirea lui Brahms Ia Viena, prezentindu-le fie
dupd caracterul lor (religioase sau plofane), fie dupd ordinea publi-
caiii 9i inscrierii ior in lista de opusuri. Cert este cd de-a lungul
90
I6
pzpalurparru! suqprg PJ InldpJ olpo Is 'Prllaod alpllllqrsuas 'ala{qou
'a1ey1dru1s : JrlslJalopJpJ leru npalB Balsa3p aJ EaaJ u1 i-ioltzoduo,l
-rop -rolal alrfglrleuos:ad eu1qu1 e red JrlupuroJ rnlareul 1n1i3.tJ;s ard
PlspaJp ecl runtfei;pn 0I oIaJ
-sap plpJ1znru orllurrnp Pseofarnp '?gBI rnlnup e arJpnJqe} /I
ap ealduou u5 ':oll.raFuJ InrparlrJolur urrd d.p1oq1.rag-uqossiopualq iS
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ad purel 'oJrJqlpJ ap ozIJJ elps Jolouir.rcl epuor-Iad u3 uuerunqJS lJoqoU
ap p+paJr piual o al3esoio; srrrl{eJfl a.Iprrnl PlspaJp u1 '(tutlru nrlad
p-uIlJuaplnrsd.enrurlfueaac;dl)utiZa']drpoJ]'eotlgo1lulniurtrpcfluJrplsJnoJu/ulnplnuJneLJI+JSniJn1ertnr{lrpo6ualIg Iol
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le.rooup Ialre BoJapurrdnc Jsp
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ap olas lSeaace 'rua1a1rd r3prarp '6:nque11 nes uabu11+oD 'plouloe
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-asoap luarede lIlap alsa nu plorulaq EI ap epeolred '(1rnper1 -rolour
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Rruo+ o od etletrPn
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varialiile sir-rail.eein- lr.li,irsi1pui,i,"rraai.iec-daeeteconniacecpeiil:u1i tpteettciraureitiial tro1llaagpeiaLtr--u 111i11i
rr;nlrr do
:.;rit.'ii
lala:atsiuupczl;lr:oi.aarciiriii{ciiu,rri.irlfutil-lorrttioteiglmcmroai1Lmmicuariljnt.ri.:eciJr6ui?i,n:Lo,ceui,tcttlilnrsatiici'rL.en{pae'il".ii(alri"iiinrrmuttcpdttnirieel'i'ssbuLieoidn'niaeiaotrlaemdatenaiia1jzoraicirra)iiuipciiti'e::ngil.liaurDttr1,i,ra.auaptniciluoi.1llfliu:.d:;irle;:-l
L'z-itctri:ii.ii.nro.rrLilslttnreai!ici ir-ire,tcrruiaistiiviiLiuaitremaagl;inirriiinriei];t1u11iuuzicaaclce,eianqiploonfiadlaitatteenr)dirn:sletei
iie scciiolare pi;u.tar-c src:r:airifeslti forna. Seniimentul d:: duiogi':l
jtcl,ou.i,lce-iirr!sraciencnnic:olteimSn.niieolecnilOiito:cnr-dCldeclUeniculeifnnocoertinbudtiilc:{iunrl{'apvlrrar.iialii"irrisi,aiiiiiaglial-par.iar"0al'd4-ie;a-::naloEur9ai iimaeaaU91-zcaCior)--nao5)i1r.iatIitsnlftliieuircrdlnurlunsi iidtcnaldateasac.iacuarccct'e,ilio;nsr---i
Lre variaiiuni, crare llal a se preqiitl 9i a se irni:lini una pe a]ta (e;a
cuir prezinti relaiia valiafia a 3-a, dintrc valialia a $-il
clinire 2-a 9i a
giifvciiaaiuaai'aiia9utdf-liaalc)i.raucSr5ara-:iani-f)lai;i,l.cifdeiCcae;r'riiteii.adrcncei ateccla'irc;ulanr,lirldc',sc-tgilztcii:coaminliiainivrndsaselpfipuaiirnjfatietalaoirrarae-tue6da-(e,al,Clleuiciiitsolctmreitigracit''nifdherei-alanut.rrea;ema"r)oleiitselisIc.iih'1e-
iiefeazd seltsuL pr'ogralnirtict al creaiiei lui Brahm,s, inLregind profun;rl-
mea unui nobil onagiu a.rtistic.
Din corcspoiidenla purtatd cu Joachim sau dit:'. insemndrilo eie-
r,'ilor lui ilrahi,ns (riintre carc ci,'lc aie lui Custat'Jcnet aLl rii1las (lcn-
se:niraic in str,rdiul Johc.'r;ie,s rl'.l-tilitn,S CQ on1., protesor '9i orlrslJ pCt fi
cir-'sprinsc citeva ciintre plincipiil': pe ca1 c s-a sprijinit mdiestria sa
vpebiizrpperieia-nuitirzlrrr;irst--ez-iie.r'arer"a:iagriiiliiiaci;ovrltcrane:eLnocl,eauua,cea,dlLnlliitnilecieaiei(,,s-,-crcrreutfallidarieitnrnargrlle:irl.rnbdemriiCiacasagacirsirulpi:)ici,na:i-rirc"cd.ilies-r:oltacpticrioil;iit.Ltdrnrip.rvr-sulerecefap'ziaEiio::a:Ioliaiii-n:critcra.t]iaantnr'l,lltc1le:cearr',Jq.lnn{cierc;-ti.oiuia.riguirnil1ticg:rhi;:ttraepifnsidiilnlenotdiir:iiiagiracre:tii;alirnuazie(mnealrii.lui.eoreSFapiipg:fiiornciaeienoi'rcrlrnasttfgcltoLt,ee.iucc";vzai:d:racj'vclmBl'eeeroiqergreaolianctehnaibodr'atmeticn,Vi,agatns-f"rlaciei'olntfii.celroi-9oaoCBrraiaanmJrraiislce:;eehear,fi:{nanmal'decnitcilrsier,e---
mltrccloavprcdscr-:ril:isoatiuerna:srraaai:iiurn:n.i,ai'ln,:r2:ciciiil!,iiinclel't:i'iAiaaJe-liio-iripilrtn:ilo-sliaei(Bcecmoen-1riaigiL-.ntr-Vigenrualeulei:l,arcot,ehnipzclaeSrenilr5riuudillniadirfnctrlbnlo;iii;epiicis:i'lligorgictofipiI,eLcrcoiaerorqlir:ruslrirerrinsls\iemin1..lpan)earru,il-ace(i:ki:sererbcooVts:(ucefei-ii.:z,l(inct'ripcc:,1jilc.;tiplLaialicirf:cutjlcin1itiu(eirr0rtilllr1i.itoc:ocuonn1iialnr'irvsbr)luii::tLnicelinslbeond}ciiiare:rbtsr,,reiirtnlrdiiinlnaerconplalecijLJl-id..r,l,se)1rJsird;ule-ia-it:zuii::nlazci:osiioroirlrc-csuuricilm-:ciloiel,pigaofifcoitrmatsiBrliri,i'.r,tnare::-cr',tl.lirss.itc'c;:l;ltcatilcee:eiet;tdoausdliaszhnni,njc.1sitiuodmudiptesn.ior(tpoI2loel:piosrglri1vce-1rLnuuiiepa.cSi8n-itcilr,iC0nPcr.infcc5-3{iiTrelei5e2ii''ieli:irdnseuiil1iscsre.timrpalen,euietiatrrrrcaiinicr:,cilnldpi6OatrnnYpeug9.otIuconnieral1ieidiisn1anponr1tesisteen)r8\itb]lit,-erll5ntqni,iooati:n!6drcriiitgtrijiet}oucic-i'ilsin'caaiictdisd'iarliarljCaieiuaen.tlppactalrsrcaouir:.-tuipirsrnee.rdplaa.beizliraae-oc.---t:'-
92
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prurrdllrr oreJ r.),\lrl.la nps so.rJlldpJ ;llrulr.I Inslnl IS aJluo-Lilrp III?JuIuI
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e(plp-rtltspe'r:r'eolit-crrrl)rJTirrpeJrrlnu?c1oitJo-rcorliufropSslr(ruu*l-a6ap1:o,u(ruu'r-eI6n,tp)euJ'irJrelsaup3)lrirrpor;JrfItnerl[or]-;rrctolpoe,Jr({pdn-aeB:su,e(oe.r-:e6enzeeJa':seroelri)du
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a.re;ary
IlnsPu pnou p ezp.rJ
oiSas,g_l
Iucrdrii un caracter de permanentd diversitate, in pofida faptului cd
tcaiomenc6pal-inalliidtnalitctleloaqaarrat1ecp3rla-anasfe)aiaiqs(cads'ruiinlorabecrenluamilctoittvioleanmi aeadlijietodsnrlf)ii6insgooeumrretionirnei(iimvnvaleianriremaiafi;culailioclo-r2aerl,-l(uarinrn)acg' rouiPatrrrofoianisupacaetlefdi5;r:-ciiaeileu,
iamleputnedmtoeai lehaiindFeulgieilirnfien)agldi (cu subieci explimat prin primele patru note
deosebire elementele culese
cu din stilui
lirutiresc unl;ar in spiritul unui preludiu cle ciardag (variaiia a 13-a'l
Hcsaiiniuncdiaer,iu'an-ruialtcifiolrpr:znelpdaoncz{euitaoitsrtuddlatncesamr}6eig. ad-_neceosc'nsst(etvruapirrteiazqefiinaeLaal tdin,1c4cl-eaa-d)a.rulGul insnqudiuitreleica:sea'lluoleri
25 rJe variafii compuse de Brahms. Dar vibrafia ampld a muzicii hiin-
deliene este mereu invdluitd de sensibilitatea pi graiul brahmsian, de
farmecul iroetic al muzicii iui (variafiik: 5 ;i 6, l1de9slilS1r2li,te20dlei
Ceea ce ?1).
leagd cele doud concepfii componistice,
rrai
bine de un secol, este desigur inpresiollanta sinceritate al lisiic{, aii-
tudine pe care s-a construit necontenit impletirea dintre vechi gi rrou
din qirul neintrerupt al marilor contribufii.
Muzica de camer;
Cind Brahms clibetat dc stru-jba dc la Detinold;;i-a slabilit serllul
la Hamburg __ efraanrl.ailieini cseapleutpudlreaanuul$uoi r18d6e0r-ealdizoarti,nPlaredsetigaiuslepsetactaorre-
nici in preajma
il dobindise in viata rnuzicald a Gcrmaniei ii inclreptdfeau speranft:le
de a orupa .postul de director ai societilii fiiarmonice hambutghcze,
post pe carer virstnicul Wilhehn Grund se hotdrise sd-l pdrdseascii.
Cu aceastd ndzuinlir in sufk:t a tr,iit gi a c;eat Blahns intre alii
1860-1862, ani in carc muzicie'nii 5i autoritdfiie or a;ului sdu ueital
nu au luat uici o hotirire oficiald iit legdtr,ud cu llel'sollalitatea c:e
urrna sd cr:ntinue atctivitatea lui Crunci.
Rodul accstor ani de increzdtoare aqteptarc a fost inestimabii :
un prim Serlet pentru instrumente cu coarde 9i trei Cvariete cu pian
(singureie ce figuroazd in lista opusurilor brahmsiene).
Sexfelill penlru instrutnente cu coQrde (2 viori, 2 viole 9i 2 vio-
loncele) in si benol ntajor (op. 1B), inccput in ambianfa de la Detmcld
gi terminat Ia Hamburg in vara anului 1860, ocupd un loc deosebit
in ansamblul creafici camerale din deccniul afirmdrii lui Brahms
(1853-1863). Fafd de muzica inr.olburati cle frdmlntdri a Sonatelat
sau a Trio-ukti in si maior Iuurcmrda.riinadnetaeprirooaarpee'- ca 5i
pentru 7:ian a Ct,ctrtelelor cu pian ce ii v- a
fafd de cea muzica
Sextetuluj, op. 18 este piltrunsd in intrcagc) ei desldqurare cle spiritul
Iimpezimii clasice. Asernenea celor doud Serendde pentru orchestrd
compuse la Detmoicl sub influenfa iui Ha1'cln qi N4ozart, ce ocupau pli-
mul loc in repertoriul formafiei instrumentale de Ia curtea princiard,
g4
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uruos un op Elspo3c ulup ap R'JJlrrIln"stl}lPruaAn]Ptfi,IIpJI',nJeJu;plrno3lIPu3Snnl1Aqpzpp'ruJnSI}ldppJl1qs.tAouP;opIprtraadt3itfnup1aa;nuasJr
as rsiuLIpJB tnl rnlnulsr]uuruo-I
uIla-ur-snTSsInloJClspeoJa[ror'l.pull'n-e]J€l-rtepc+rlolJaLrl{ozrJotprosnuu-licuIluoteqplt3ra.lsIpell:nuqlSlLnlcTderuuutus:snpdI]urar-elqiorr3aocog-:trlt]rus:rc;{sIo)tl:rpiourcpdionyltno]plll'lqpr6atItnaIpr1nons;uetyqllooliiq;p-"a:}ut:tlp3iux:rIl-elatnL{oinJgsollJAt:o;-:stp?apB]osIranuorilgJenpourpluelapolusinu:-tzscrrorlrLoc{Po1lIll'oTooapu}'Al\laotJeI{ppn]JIl.pcJ-iosTotu"lo,1io]ippr-Epnpsillo1louo\1n,aPIuu\ciIllUitra,lso}tleranoponuqqcJtfa.ePoilppd-o+diIIul'prlalsJaorl'saolsgppnlpLlBradE{rJIIsuilTIneJaJurinsl}PoloITaIps3ZJJ{l
ptrJf;peplsIr1(ecssurl-pr1psarnq€--rlIsonLulJriorJr.r:nar p1erSuerJtcollporupploaspo;JoorJcluenpaoplurseoolprl{epfu-rSt1ucn1od
np'gsnurnlsnururqoeflJgEop.rzpraLpTlJoIJruuleo1pn[er:'iulne1rqnudreIJulpl aJ ttferu;o; ar{rzodsrp u1
-sipJ PJuG ')salalJns tS 1etro1
nrqrlilira ap 'pptTeJ,r'rJorpsprrIlJrpruoo{:l-oIplriolutir-3irp.rnu6-trs6epInlJinqqIIlIJqlJuooJnJnp
lnlri
-eru Ealplpurues IIJIZ
InIn}
-nis
-3e1lroJ Ip lplparirT :Ipllnzor Bc arpctp sruqEJB ap sndruoc lalxas lnurrrd
clitd in+"enfie de zdgdzuire a slupcirrithurliuloi rssdaulerod:neaanrtnicplo- area. fost plima
iri:l.:{;oricd izbinCd clin rindul Se impune
a fi aninlit faptul cd atit Trio-ttl in si ntajor (185.1), cit Ei Concertul
lrcniiu 1:iun in rc Ininor (1859) ar: fost lucrdri uluitor dc inovatoarc,
lucr,i:i ce au irnprcsionat o bunii parte dintre muzicienij. timpului,
dar care au trcl:uit si-r aglepte inclelung aplauzele publicului gi care
au rlrzliinfuiL opinii contrachctorii asupra talentului iu.i Brahms. Pintl
Ia itr;unoagicrca cieplind gi ciefiniiivd a acc.stui talent, Sexletrrl in si
bcmol major rdmine creafia carr: rnarcheazd cle la cea diniii audilie
prii:nu} rnare succes cla public 5i de pres6. al compozitoiului. Br,rhqs
insu;i a prcluit clasica puril.ate a acr:stei lucriirl, prefuire coirfirmatir
gi dr faplul cd asupra ei nu a mari rer.enit prin vcrsiuni noi, aga cum
s-a intimplat cu nurrefoase conlpcrzilii cle amlrloare apartinincl tine-
r-efii. De altfcl, nici Joseph Joachim qi nici Claro Schumann
zicil:,ii lle care Biahms obignuia sii-i cor-rsu,lte inainic dr.l a-gi lansa o
neoi,urL:itrclsriedaelriiend--o nu au intervenii cu vrco colcci.urii in rnanuscr:isul
ch la prima iccLurir clc o nriicslrir:
clcsi.virSiti.
Succcsul Dc cale primeie audifii alc Sexleluiul dc Brahn:s l-a
obfin'rt pe rincl in fala pr:blicuiui din Flanovra (20 octonbrie 1860),
ciin l-i:ipzig (27 nr:iembrie 1860), din Hamburg (4 ianuarie 1861) apare,
cu atit mai catcqoric cu cit, i.r i.rrinrdrrartr i: nului 18(j0, lumelc cora-
rozriciuiui fus:st: imiriicat inLr-o polemicir csteticd dc pl esd, pole-
rnici ce i-a crcat o atmosfo::i1 o',irii:r in lrultc clinLlc ccntrelo muzilalc
gcr:ile:c. Estc vc,iira r.lc c:tlcb:ir1 manifcst intocrnit qi ser.nat clc
Brali;::s gi joaciriin ca un pro':r";i inpotriva ,,noii qcoli gcrriianc de
r.oier;izi{ie" de l..t \\:erinai:, i:'i r curoscirt fapl.ul cd iutre principiile
cle cr'::afie alc ccrinltilzitor-ilot or'r'r.,i.rni ai cirocii sc declan;ase un dcz-
acorl lncri do pc vi (,rnea in cra: r: treiia Schumann. Disputa pdrca a fi
$cclccolalirel'u:.:ie,Lii:sr-z. tc,1(r:'ioifriraolrotcd,ainpfelonrteiuauprtoeg;rrdamina{ctisimnngoiitopaerne-
rrr.rnsir-r-ictivd,
i;r liircirrrilo
tl'u iil; -rtatla ncilci".iiiliii ii foriner, pc
Sr a i ,:iiilibrr-rlui e'i arhiLi'r:'l'-rr.: {.'r.1u clr-. altih irrllc', purita.tca r:ruzicii
airil raLc r-l^ cornp0ilitoi,i care
r or;t,;luau gi dezvoiLau. curr,:riiil', ti:rdilili. Fie: ar;lr clireciie ;i-a adus
conl.r,]rulia ei insrr..raiiL il c..'oluti:r coml-,onislic ir ;i lre cerea timpului
d t1',l.r1ip;,11 rlisco'-cj.lnti:1.,: ap.iir,r.t r,-lr:1enLc, I)ar^ in oc:ea \.i-etrrr.', c:ele
clc;:i 1;ozi{ii os',oi.ir:r s-au lrai:sfr'rrirlcrt iri pritcrnicr'coirflicte llci'Sonalcl
c:r':.:r'1 o attncsfcr ii cle ostjliiale ci,r c.lre s-aLl fi:ut riispttnzeilotj. cloetl
.tci,,.t;iii fanatici ai <-'oncepi.illr lui I.,is'.1. il nunteIr' lot' s-a denatui'at
real;l."lrra in iraginih pclioclii:ci irublicatii ,,Neue Zeitschrift fiir IViisik"
clin --,.:-pzig, ctfirrn.indu-srj cA,,ioii rnu:uicir:nii gcrmani clo seamd" au
li:cr-'.:r,r.scut Ei au acic:rat la piir':ci;;iilc noii pcoli gr:tnane de compozi-
f ie, r-',ircipli ce i;ul baza ,,muzicii r,'iitorr-i1ui". 1 Aceastb. neintemeiatd
cleclar if ie ca Ei denumirca de ,,Neudeutscire Schule" (noua gcoald
qermand) conferiti curerntuir.li de ia \Veimar condus de un compozitor
clr-. origine inagi'Liaiii gi forinat in afara gratritelor gerrrrane a dctermi-
I \icnrann, \\-ailcr. Op. citat, p. t-i,
96
L6
zloqcs ptDurag
utlq)Dof qdasor
wwllD o?lo sn.rlnr 'Jo.rnlni /rrJlznur e rspsul llrnlpu oJprluoJ rs suos op
swqDrg sauuDqor pundul ps pullard
rol rolrlroal pelpf,IIdp 'auprure6-oau rilocS
olrsdII'Jorr Jsatrrnllnru es nu alpJ rBp'rldltulld olsarp JSTSTI re
aA.rlInJ ps
-ro111odrtsrp rS roIIJoS alejedo
ouurBpuoJ ps tS g6uglclep Bs llrap 1od nu rs Iopuelg rnl plsJlel ap e1nu1{sns olyg
-1cu1rd Jsounror nu 'alSo^Ild I-o3 peor uI 'pc alelrap ps IS lolrlptrIlpar p Ilqrnlpuop
ep IaItrsB raun e,r.r:lodrui azelsatrord ps ro1 BlJolBp ap EiaprsuoJ IIlpuiilesqnS
'ptoN op ETueurloD u! prrrBos nJ IBru /truolnJ rnlsaJE
DatpoAeJ uI p?EAiozal lsoJ p (inlnlolTIA B rJjznuo rallurnu-uie Blluo) nps nrluod
punlIrnladrtlsrErlppuoLigsrnrJJo1utSaJlperrczpinllslsural.IJrreppueprtlBIBoI IruporAaIelearpuppeoclroeeJdruoeeplIoIeloclreedarorppusrIoip:odzuEpoaJlaroEJlpluuIoelJnpruornnpa3uliBopc)rloleqJinprldirazBpodljIrunurinoour]
B-santrsptr'II^oTplJuea'rogunIrnJ-Iq.IrBpru(E{rspnlnwlserBpJntJrJT,o_rlrulJasll^rozp' lolnlsuol ue6ro rnrgc IB ,dnr6 liulnup
ep csotpuln Ir{uuruesqn5,, , Inun
r---uu-onInaupJnJp!qroaldJ3IopJ+'Sn(JuJIpurln9nJraaIIqocaIBrpJrp'J)l6uIIurdrppre^uorzoplH'rur0dnrCJ+rlrrgzBre|'pDBoIi:1IJuueJrIoplatBduDuaJLlpiarr'\uJlrTlIs-dlqTlnndSnTrlpsrpsErao]SranbpulWJrrotoalsuonAJDpuqoepruppuErrnBSrrunJEplpVzaqlpHuulJuJpr,od)Usn^acJlpuprioppJzaacloruIu^JBprJlproJpAIIuqnJJsIaEpJlnlloeIpannuppoJulIrJpqppguDparJBp,rulzpaorDuupedpn,ur^ur1naouaIelgqSnJrpasJtcdlJDsns,crp6qrupurup0rrllqa?opJroilcJrBJg)lallosopi)l[Jroauliru^3speyqiIoSuundJsuroaltoJnuloiross[rJraDuulq.In;roncpiJufuIlJt']jpurpErrnoraJou1Sr3rps]rfz
ppp-/aquIpslJauuunprrqdluIaupualrrplqosgrJaz''upn'iJlurrp0+urlsgr{ar^J+JpuJeluproerupfelrslIarIJounJprBullldnJneluadpIJitlrJeunuprI)Juopdp0u)g(JpulgJelunlre'do(I,unrouuuilJnnapuquuulcrprSopnJqpldp3rBrn,sJnAlplueoluJoJnlqpurlsaorplnluuJpsoo>urJrlnlJurorplAsrsp{u,oZusJ1roqua{eirlas{1JplaouDunpl
IpPIuIaepaNn]+lJlllIsIJaluNPaluJppuaIrPoEeo+lra6^OuAnd-lsIJnlIIdulJ+lppupsI'SpUasguropElroJ)Ji}epsnIJpuuUIJuBnpupnpEIp:JuzJZlsl,AJulrpBIdcAllJJ^rraBpOIoJrBn.loruuIIrrndBNarpnn+upIJlJalIrlpujInolJp1rne.PSu+IrdrJrOloSsrrsBnIJaNJruuJprnNU3sppeIplBrI-rpIrppSpqrurlsUSsJqUJrdaIpIINnuIq,nlrnI-oPgJuarrdlJpndJoJuPdplgplzIrszeJrprlP'ornOrefIprroa+rnS'ulArrtJPpleordAdIBpBdgB-ePJu6elJJrUiIul6nssBiperrnpuAJJoiJlsJruPoarIO-arulguSu}IoaIIl6Jq;elpl'No(Arpeui1nnd}Sr^inoPlra-nO\l1liUidnllJoiAIiauUrlnolpoPa1srOtIicoIrro'P1Stiarrr+irJdsr^reABIJ<paNSarlrieJqpiIplIJUipJIsn-nSrCiAJazlllf'Alxun,ln}pxrAosaOnuouBPJ1lr}
aI-I---JNpuuJrnpJouIIlOcp'pupguPu,JtIIriJoelprJJPi1asJaoCsoplreIJlonp'cppAJtlrsaldIlpJIqaJAdone,loPsJtdJln.IauadlNspqnlauE-pplrmIEtcagS'arrlllPrrIJ'drerdlIpnnpTasJlPtrlppBdl,uolorUo;JirdlrJaupaInaJolpslAzatpsponBIullunlpnAlnulJluJJlarulnlrplrlJoulrdO6Jln,rn,pIaorr,IpJJulUqraArslJA.luuIdrEId1rIJ.uu,eI,erZu1lnoprleJNJ{nJ[sJBUoleupnpl61rpsrIoduNelrrlserlZnerzruqI$lArnppBoIPlssncerlusourrTJlopiBceIqsUdpqoesIInlJdensreduglJpluupBuIaejnilcB6lPrdu0leaInaIg1ueuIJuBeIrrl:N1ppurI;
Ataltiounria,cocnuseucnurtievpee(r1to9r,iu27inScia3re0 aprilie 1861) la Hamburg, apoi la
rnan gi austriac.
pdrea rezumatd istoria liedului gei-
Creafia sa incepe sd figureze din ce in ce mai des in progra-
i.nele de concert: CdiinnteHcaemlebpuerngtriunccoorndceertetuml edi,ecioarn1i56iiahnaurpadr.ie(o1p8. 6107;)
cuceresc publicul
ptreucienlstdruinnteAnltt<o:nacu-caianrdsed, pptdremziennataimt lcadiHatamurbmuirtgoapreen;truSepxrtiemtual
pen-
oarS
la 4 ianuarie 1861, este reiuat in aceeagi stagiune de patru ori; Scre-
nada pentru orchestrd in la ntajor i se cintd la New York, iar Vorja-'
liile pentru picn pe o iemd. de Hdnciel, in interpretatea Clarei Schu-
manlt, igi impun categoric valoarea Ia Leipzig Si Paris.
Aplauzeie publicuiui 9i eloqliile ptesei au reugit sd redreseze
echilibrui sufletesc al tindruiui Brahms, pe atunci umbrit de conse-
cinleie publicdrii manifestuiui din primdvara anului 1860. La relaxarea
sa spirituald a contrii:uit in mare mdsurd gi intensa muncd de creafie
clin linlqtea locuinlei sale din cartierul lJamm al llamburgului, car-
tier in care compozitorul igi petrecuse vacantele in perioada detmol-
dezd qi in care igi fixese sediul principal la sfir$itul anului 1860. Acolo
a cleat, unul dupd altul, cvartetele pentru instrumente de coarde qi
pian, ca gi primele lieduri din ciclui Frumooso Magelona, ciclul desd-
virgit ulterior 9i publicat in anul 1865.
ln lista creafiei lui Brahms, in care figureazd 24 de lucrdri pen-
tru formaf ii dr muzicd de camer6, se pot numdra trei cvartete cu
pian, prirnele doud apirirrd succesiv, cu numdrul de op. 25 gi 26, al
treilea mulr mai tlrziu, cu numdrul de op. 60. Cu toate acestea,
mai nltimrrl toc-
dintre aceste trei cvartete, Cvartetul in do minor, este
cel pe care Brahms l-a conturat gi compus mai devreme. Luctarea a
fost pornitd la Diisseldorf in anul 1855, in perioada iu cate Schumann
ili trdia ultimul an din viafd. Puternicul tragisur al muzicii acestei
creafri dezvdluie zbuciumul sufletesc aI compozitorului de 22 de ani ,
ale cdrui sentimente oscilau necruf dtor intre prietenia 9i dragostea
ce o purta Clarei Schumann. Este acea perioadd pe care comentatorii
creafiei lui Brahms o numesc ,,perioada wertheriand", marcind ast-
fel dimensiunile frdmintdrilor lui sufletegti dupii mdsura celor triite
de eroul lui Goethe.
Compozitorul a revenit in repetate rinduri asupra acestei lucriiri
in anii 1861, IBGB, ISVS incercind sd-i zdgdzuiascd
sponiane q- i asprimile. Dar cu toate retugdrile aduse ulterior, ei nu
turnultul
a reugit sd-i imprime ecltilibrul cu cate personaiitatca gi concei;|ia
sa componisticd se intregise intre timp. in anul i874, cind Brahms
se va strddui sd dea ultima formd acestui Cvartet, eI rra justifica in-
volburarea muzicii lui unuia dintre cei mai buni prieteiri ai anilor
tirzii, lui Theodor Bilroth, cu cuvintele : ,,Este ilustrarea uitinuiui
capitol despre omul in frac albastru gi galbend" 1 (referire
jacheta
la portretizarea lui WertherJ. Legdtura fdcutb intre eroui lui Goethe
I Niemann, Walter. Op. citat, p. 237.
9B
66
'ltZ 'd 'ruaPirqI r
-II a-IpJ uJ 'rar-Ilsarpur s a.ri3-rrr\qsop i3 a.rptrTlr_rncl ap g{urpua} qlsrJe_trp
apaJJdeSJp'pau3-JIolseJppneJl3oqrcrsaadalrodplausrggu6g'filo,nApqTSiuepJoLFlTpiouJprlru*i-ntrlp]uuoiolruiJorozrLi uipa!AloruourlrlrongrtuenprgslulTaJapdrup,ranpSpps1let&1lncr[ito{r,}lrps1
a-illri plrf:pciuri,e,rpolp;,i,rl arps rii-r.]1i1uuos-iltci u e.rr3:r,rqsop ep erte1.,.
upS'Inlcuelqnr.,ptiiploq"cIln{glzpcop{lriS-npiZr,4t{-prti3oJllurpgr-pJr'rrto-l'-ndplniosopp,)eri'liourr)niitJlirrstcLiJplLarnAooclppr1ajlLutrrgigraTupl:ol:cl^palJirtaJDpnupnArquoJJpa-radapae}trllapeoJlloorrcqoilooou-slrno,rogerpLrlcge}'iL;ctL.ltirrrgi,lttirz{!..a1f{,prLJrp.Ji
-JilicLns olL:Jrlil 'lliolA p plrl3aiqo uafosnurnl"i rS anrl
o,Ttrui nJqIIlq3a iiclpJJplua-i op IIzntrtruoJ Iaun palpzi{paJ
pl pulnqrJluol
'alrsardap elrrnsuas pJsprnzg6pz o1 gs rS jol pololpqzop
aciznistLioolpetnouoaslpps+IanlsueI s;neecJlelrotpiezinrrlJorTlJllouco[JlnrosaoroloJlduo'l-urno]lparu,prnls1lnio,r1ssoo,.irlurpueJu_erodJ
il-ry.13.i e;un:{do ol.recl eunlln ul rS leurru,ialop e
-upiii.ril D o-18;t 1':r:orspci InpLroJ pJsl.l ls _ro}p.}lJ 1nltu 1e*
'r-rp:grur qnop olorili-r"l
-,-lr erinss^I
aleJlznr.t riirst,rnlJJ?ur u.r'-i'r.iioLiijltTods alsoc[ psnde;clns efuouoci.xa,sed
po--ujzpi+eJlo]-sS1Ien+ecsl'.lp.-rirJpnenJzae:!s.rari-prnr]TJs_ISniin('l1pirnnar.Iiiioelp1rooic.p!ll;";lirTni.seLiiLtoiuoiul.oiiorl,uiTsill'rpli.rnprofpceliuruzprrorTotppr;u:apo,uo{slluezoaerrnuuirlnnnlrr-Tfruclq.nesJusderAuenrpc.pi1oaeilapclm.l[trd-lonioo}c,rli{ui]DJllrsrJparaeriputt
li---g,rEn'lirelrip[al]or1seii'eirion]ozlrsr;n{*)oie1iLrpurSip:u?1r:--llstusrio'rilEiu;li-d{JqprlI.J-xnriprll_u_qiooiixnlrtiul[iiprl.JtJJll!itli,rlrtri.s.ri'rl])DssoirJrinI3ig,sr'pL.odr;rriilnuuus-rrol-irtppcslJdJ[,:iri1t,)irsrr]nier..;siJiJonlparuerlJfJr-ruq{foqeJo{doluoqIrerizunn3rp3TaezleElonslsuota{rda'cLpo;irac;ilelualuwpnuro,,eir()s3e,da1alr1ororps3lroooun6tlrr
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ul ,alpol
apeorred
lotlilepniiazulI{lA:rlnun{3fuijra'{S;lOe,iirr.li\De.J)Stfpr.rrtrll,c}'+.lrppu,,nllsoorLupirnolpu,l)er_u'uLrtrorp:}c?isulure_lqilne-1rttn*l1idplcez[1ertop.rulU;:J-.lzrsnJaua:r}qpJ1Sn-uUisni;6eu-ul-.1r_$toA:UWapt
,, "'Jol,)irz '1 pcin t
:?Arlpu_r3]ip p+[p d.rp nu oiuJ rrro un | :urLi:rnprcl l1Sia-puslr1lrc;.ltpp
rj-pzeaul5eru1,,
?iIp'e-spooplAlpteu:pduoleToJioi,6oerisopoCe{cullo;po{1epuqrlutsioiIueilq[pllpnln,u{]tlj,siLsrl:rro)r"nTaoi)J}J.uip_L.pu]*Utrrrip1ct)p,S-3;lJ1or{o:snoililn.utrnlr1:rdSc-,tn[lurIru,ln;gr:cu{cotp'llrrrr,,unrotrrl,coq{fudlplie,)J_rsiprooardocuppollritnpz,orIg-oSoillncpuJppi1oLo-aoaprlco]]rrpl,or)o:pipllrrpTp;ro,uJu\irlntclulspphporouus_J,QEptrlup}opzui,nnpp.lolIeuuofogl,Jru1rr,'jp,rp:,?,rc.qp1ltllliupjr,srodB,,rrriJsJfrigorrnpegqp+li]sa.l,.1srIuIpoL1nrIar-,uartp!.q?lopurJluarrnurirru.:ru,lrdzg,l
clr ul sndsrrurl Jor-rolln rS -rourur zJrp op ui
ierfrur ind.tlnot lso; p
Cg 'cla 'yntra1.i:s-'.-1 'Lrriu)poi qdasop op osrrusup-r1
olrrfeur:o;u1 pdn6
'il3tJDi?o
pIAs.qp|arclpA-r\Jniiriill I elnil-lIplrJunpu.)sprlqrqnpsigp-rrnolnuJpqJuJo:ltrprligllJzSnupor joplr;-njoslseriftlrzIorplrqrglpurpIJj
teratura tradifiei muzicaie 9i cintecul popular gi-au grefat puternic
influenfa ior, se inscrie crea{ia cuplului de Cvortele cu pian op. 25
si 26. S-a intimplat frecvent ca Brahms sd compund, ca dinir-o singurd
respirafie, lucrfiri ingemdnate. Primul exernplu este ilustrat de reali-
zarea celor doud Serenade pentru Coercfhoersftard,aacleiduoiailgeiaim-pudise.
acestor doud. Cvartete, generate cre;-ilia
Philipp
cSurnpeoiatrtfaiarei1cz8oon4lvtnet-rl1rni8pdo9it4fae)nrucitoleunisaislcedleuaraacueclduasiaapsgeecimtcueol nunenlianuiup,te,,arteianccchoditud'pbeolruiau"t,ciinnrdcsreainddsruuinll
aceluiaSi gen. O evidentd inrudire marcheazd asemenea iucrdri, atit
pe plan expresiv cit gi pe plan stilistic, dar fiecare din celc doud
crcaiii consecutive se contureazS. ca entitate muzicald bine clefinitd.
Fertru cd de fiecare datd nu vorba de o intregire, in sensul unor
adaosuri sau amplificdri de este
qi nici de o depdgire a mdiestriei
idei
afirmate 1n prirna lr:crare din cuplu, ci de viziunea noud a subiec-
tului, viziune proprie unei anumite dispozilii sufletepti.
Raportind acoastd manifestare la cele doud Cvartete cu pian
(terminate cie Brahms, succesiv, in anul 1861) se pot desprinde, pen-
tru fiecare, anumite trdsdturi de particularitate, in cadrele unei con-
cepfii comune de creaf ie, conceplie in care se stabilegte echiiibrul
intre subiectiv 5i obi.ectiv, intre dramatism 5i lirism.
Din punctul de vedere al formei, muzica primului Cvartet (in soJ
nj,inor, ort.25) se desfdqoard pe un curs mai caracteristic. intre prima
t(IaeAulreinmdppeaaoznreztteezoi"eicAi(oAlnnlelolemgrdgrooirctooe-,r-npaieninncofaofnorrelmtrrnBoddpradpdheoem)slsicoeenlcealrtmedpa)dadrr;udeics)eicsseeenauilnndatneesrfeccaalhelteercraezlzaioadr--uomubl niscgclca,u,asIrnrieec-
i1au'lsc5Srsde"rxi-lioertupslruaeilzeii,nntddsaior binseomilnuotJtrieemaiangdjaorrdl.izteInarearatffudinrda9licuovl ar-irqteinutiasnltdic,,ndRuocnenduoiu-araalpliarienzcienpdEiraaut-.l
rdminCearinasctderfirsutimc upseenfetaruinmvueznitcivaitidn{tiriemguelluoidiCcevagrtieatritna soi minot
diversificirii
ei. Aceastti miiiesirie se imcupuonientrcoledulaceirnececapruet,*i*ncfaorqmi aindCevasortneatutdl
a primei ptirfi, imbogdlitA
icnipdaole.mCindoir,moepl.o6d0ic-e reprezintd o anticillare expr:esivb a temei prin-
secundare pregdtesc desfdgurarea celorialte
doud teme ale expozifiei, contri.buind la o neobiqnuitd bogldfie a fon-
dului muzical de bazd, trdsdturd ce va rdmine mereu caracteristicd
concepfic-ri de coirstruire a formei de sonatd brahmsiene.
Contribuiii noi aduce gi tratarea ritmicd a margului eroic din
secfiunea centrald a pdr{ii lente, desfdqurat in trei timpi (solufie ce
va fi renrarcabil valorificatd in partea a doua a Requiemului Germctn),
dar mai ales coloritul ,,alla zingarese" din ultima parte a lucrarii.
E xemp lu I nr. 27 - Presto (unisono)
i00
IOI
'sndo ap rPtunu lsp B-! nu lnrolizoduror Blatp3 alprJnl,lue 6I p{ sndruoc
(rouiur op ul) uprd nJ lalrer\J un u'Vup'uIAnq'crlSlED1-nu1BaSlfespeursrouqIl
PzparnoJI lBru ?
'dO
'9L 'd'tllrc ;
[eu-'-zrnrapyurs-raurice\rttp*)r1:r-r3o6uIan^nlqaJJaqs3rl;aurag{rlpn.porrraplnrruplE1ainrsriaalaopsJurairsJdfrpenSrnuaunsarJJetJprr.raarprposJtrJrupnsolrJdrlJlrJlrue1ulaJsIpplsurannuaLcooqslhpJrall'dlsrprr{orooscoJtipJaa,ptJrorurru[Jloloser)urfpluAro'(rrlBppe]sEoLpupJJhJa]JspIc.rnnsrAl1lJr1u-l.ur)lXrpatl-gdu'rutlaroiLs-u,otorLrpJ-rl7r3puec]rpjdlrsxntr€olnuioRor]slauJ€]alJauero.gls],,
-run plrqeJ.rsurai lonlInslinpltqoulpippsuperillipJuorJrpdourtra+errp]Jre,rzpzortlp[ oI_nrIaIlnrlrnuqazSr ,uilpru
-nq3s ls +Jpzor\i p^a:lI3
pp''q_ul.u{iaIdrauzJiqpauJcorIdeonp{riAlerarulaliap-dr}rounr'onlnuplplnInnutpo}aslpru6+,urrepurJirJcJpalrrpz_lnr-oprulspsJplpr.}reosnrrJ}:f}pEnall-1porro],esll..iuaLi rcuuJreo1rJc{pplepJiuureouSlpo:oa}Ic,rnlJio+rou{s]repeiplrrpflrrarrqseapncs-rilouepaculupdei
apacorcl aJ pppol-raci) rrfarrr e arlugdspr ep pcleqo poJp uI sndurot
surqeJg orp"r GCI usrd nc o]oUpAJ Ia.Jl aloJ ,nlquresup ul a:lrlrJd u-a1
--pgpaazsrar1TelaIoEldpdp'rJ'ippgnlrgrsaldpluaurrnJrSelvno1ue'3wp'r,u)'a(ripprlpJpHpepotIrunin.rrJlouacpprlUolnplpJlasJpeJpuaerorprp(lfre1ueugonglrlepp1lsouaperrIas:uqpfruregrurpdnpozclr1erlo1o61lp)e-Jpr,seapplrteop,n,rll6luaonurlsz;rrnrS{srs3uouso6eIntauqoe,rsl}leosunlqasr;
-pou:llssoulrJrdarrns'pr1e;oalrieooludr alSrurl ppun;o:d ap e,alurfreurrrdgsfuurrspJrroiauonclInarJpelouuarraul
a.reupclap JoJpJ p ug
pol1ara-uapapJlJIdceoSdpeAepsa'3lp1isusrJ:saaoaaep"alJolellrJdedreasrrBooapfs'ulrrlrorrpraterpia"J.pcniroluulueoIInrrpr1puofluenu;3iJrcoJerpoirlprdlI,,ppooua?xIuJurBrauIJaJn-antrIrrlasrulrSurlasn,r'Jqrsqaso'JppLJeir(uJn{?aleurqrJu-rnpa-n-rnuIlrrluV1fs{rcopluseeer'losrrsluppJeaeruuualnrprrJcrll.]prnlrp-).ealiJfrrdu,Jdaol)1espsuu1zInnenareoioJ-llalosJrpuIcspzueaielpoao:eldIlrpqosurlosJJ,un,lrstoes^rdrSoJ6nso]oiaoerre,rarr-pJ1,J-,o(upu,ra{l,p!lsla(aopa.1oprnopsp^rroJaorrppuslpp;i
g-epI;laDreeazAo3llJed'rJIfnroupulopursrurraxrnl rlaorr,irgsrcolrsu1Sute1flu{enucrlpa1nzzu?gooa;rlladrDarp-l^rs6eJaupnIr'et(pgrrJlZopcruzn.rdnlJorIu)iInoto-ouolp[popuur3Jrotnzrronuyru:ulrruJppr.rz;Spouao1rzrrarfdJe:aunutorf3]ulupe!JlrupyfsriyaaradyJ
eJ--p?pSrlsaJuaEsIrJDrgSaIA,lunn,r)"ap6'nrIer.arnlcnru)u{l,rror;p-trIrn-c:lliralJro:d-olziruslosrrrlrra:eT}ztl;orn6adaaIrOucaqrlJluosprroaeruJprerp-.irrrapppr;pplrqnsJae}sJdoruSroJqalauprsgJrtlrdggsqnuacIprlupnleotlIcuel.ipr',poopipt6Ja:lllpuspnuro;pJlruraq,erJsorprrluufu-eprqrpJsoupcIr_ri;nrarag-uIut-,rnrg'tnla^e:_{elr_orpupnreJu6}[rpnuJqnsoJd6
-orpE a.iposr,[JS o-J]uI runrrlnr{pJpqoufepf }pe}rs{euloruJrrzppqzplalnzrruleanl3ar'(egre)rl:soliurfupr}crlJoeurnotsrr
-Irf,s ul ;olerrruduro3e
ppaulelJlr'3Jrrllsoeillcol rul rp'uroluc{)-roJJrrierlrpJJranqlTnls-errnfJcnerflusuuuo;Ja1u1ie ,(cer6a1a pulc ,seunlpd
ul ,espoiJr-ldec alrpol
-aur aliunrxalJiir u! 'rJrlsrlrls .rolrtolJpJ lolnlnl uote;n3p;sap ug uluard
-mp aund 131 ale6un t1Sa.rp1np1 rrorznrn cryrrads .rolezrno;drur inlr.rrdg
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Stefanescu, Ioana - Johannes Brahms
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