Ausgewählte Beispiele rumänischer Klaviermusik des 20. und 21. Jahrhunderts im diachronen Schnitt
A Diachronic Cut through the Romanian Piano Music of the 20th-21st Centuries. Selected Examples

Summary/Abstract: This investigation is oriented both historically and analytically. It intends a diachronic cut through the Romanian piano music of the 20th-21st centuries, but does not claim completeness. Aspects of contrasts between the pieces, the originality of the composers and the stylistic diversity are emphasized. In addition to all individual artistic independence, however, historical and stylistic focal points are crystallized out: George Enescu’s stylistic uniqueness despite reflecting the compositional achievements of his time, the turning away from programmatic romantic-impressionistic music at the beginning of the 20th century (e.g. “School Castaldi”, Mihail Jora) in favour of free-tonal music of the interwar period, not at last in opposition to Zhdanov’s cultural dictate (e.g. Jora); thanks to research of Béla Bartók and Constantin Brăiloiu the strong stimulation by traditional and byzantine music, regarded exclusively as “Romanian” music, between 1920 and 1955 (Paul Constantinescu); a confrontation with French neoclassicism in the middle of the 20th century (Mihail Jora, Dinu Lipatti, Constantin Silvestri, Marcel Mihalovici), the unique consciousness of classical form combined with elements of Romanian traditional music (Sigismund Toduță, Liviu Comes), the “New Music” of the “Golden Generation” in dialogue and opposition to the western post-dodecaphony of the 1960s and 1970s (Dan Constantinescu, Aurel Stroe, Theodor Grigoriu); new potentials from the end of the 1980s and the fall of the “Iron Curtain” (Violeta Dinescu, Dan Dediu, Mihai Măniceanu).

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