![Wokół „I koncertu fortepianowego h-moll” op. 79 Raoula Koczalskiego. Geneza i źródła](/api/image/getissuecoverimage?id=picture_2023_79320.jpg)
Wokół „I koncertu fortepianowego h-moll” op. 79 Raoula Koczalskiego. Geneza i źródła
Concerning Raoul Koczalski’s ‘Piano Concerto in B Minor’ No. 1, Op. 79. Sources and Origin
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Concerning Raoul Koczalski’s ‘Piano Concerto in B Minor’ No. 1, Op. 79. Sources and Origin
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The creative spirit of Romanian people has materialized throughout its history in invaluable material and spiritual values; in order to express the joys and longings of their heart, they invented songs and the musical instruments, which reveal their creativity, the artistic taste and the skills of the Romanians. Without a full knowledge of musical instruments by folk creators and performers, it is not possible to understand instrumental folk music. The rediscovery of traditional culture, at a moment when the information explosion of the scientific field seems to penetrate in all domains is very important. Popular tradition is established as a fundamental cultural factor, its complexity requiring the creation of a reference system. The persuasive force of the message, the possibilities of the wind instruments to emanate new sonorities seem unparalleled, but they respond most convincingly to a search for a modern language, characteristic of current compositional creation. The mentioned values determine not only the value appreciation of the wind instruments, but also the spectacular increase of the number of authors who will compose music for these instruments. The variety of music through popular instruments, as well as the huge number of creations collected and studied on scientific grounds, famous instrumental artists have made Romanian music to be recognized worldwide as one of the richest in spirituality.
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The Great Romanian Festival of Vojvodina was born in 1959 in Uzdin, Serbian Banat. A very important role in the establishment of this festival was played by the Folk Music Orchestra of the Novi Sad Radio Station founded in the autumn of 1949. After a concert held in Uzdin by this orchestra, the idea of setting up a Festival to promote young talents within the Romanian community in the Serbian Banat, appeared. Only vocal soloists and instrumentalists participated in the first editions of the festival, and later during the following editions Romanian folk music orchestras, tarafs, choirs, vocal groups, dance groups, folk ensembles and marching bands also participated.Since 1990, this festival has become more and more popular among Romanians in the Serbian Banat. Out of the love for music that they have acquired from grandparents, great-grandparents and parents, there are more and more young people who are oriented towards musical studies. Even before 1990 there were many professional Romanian musicians, but until now their number is growing and the Grand Festival and the Popular Music Orchestra of the Novi Sad Radio Station have played a very important role in this regard. This Festival had a very important role into the preservation of the the Romanian folklore, specific to the Serbian Banat area, bringing to the public's attention the traditional Romanian folklore from all areas of the country through the participating musicians, promoting vocal and instrumental soloists, orchestras, tarafs, choirs, fanfares and dance formations.
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Gavriil Musicescu, in addition to his prodigious activity in the field of choral music creation, had a rich conducting activity with various choral groups, among which the Metropolitan Choir of Iași played an important role. With this ensemble he toured in many of the spaces inhabited by Romanians, such as: Banat, Transylvania, Bessarabia, etc. These moments of spreading the Romanian musical culture had important repercussions in the local musical environments, contribution to the dynamization of the zonal musical activities, to the awakening of the national consciousness of the Romanians from various provinces. In the summer of 1890, the Metropolitan Choir of Iași led by Gavriil Musicescu performed an important tour in Lugoj. The program of Musicescu's concert was structured in three distinct parts: religious choral pieces, solo program and choral works inspired by Romanian musical folklore. The Lugoj tour had wide echoes among local musicians. Ion Vidu, then a modest teacher, attended the Conservatory of Iași for two years under the direct guidance of Musicescu. Also, Timotei Popovici from Banat attended the same Conservatory, under the auspices of the great musician from Iași. In conclusion, the tour of the Metropolitan Choir from Iași contributed to the dynamization of the Banat musical activity, Gavriil Musicescu having an important role in the formation of some composers who will capitalize in their creations the local musical folklore.
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The panflute, also called panpipe, is an instrument that enjoys great popularity nowadays. Although beloved for its divine sound, the instrument remains for most people a mysterious object, without a tangible history. From the technical point of view, the evolution of the panpipe was very slow. The contribution of the Romanian musicians produced a total change of the panpipe's image in its perception and acceptance in the musical societies from all over the world. Due to the genius of some fiddlers, musicians and pedagogues such as Angheluș Dinicu, Fănică Luca, Gheorghe Zamfir or Cornel Pană, the panpipe acquired, in addition to the many pages of history, a foundation with extremely valuable elements of instrumental technique.
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Currently, and at least in the Romanian Orthodox Church, for the convenience of classification and sometimes expression, when we talk about choral singing we refer, in particular, to the harmonic-polyphonic (or polyphonic-harmonic) singing performed by the choir in several voices, type of songs that began to be cultivated in Romanian churches since the nineteenth century - more decidedly in the second half of it - and which is usually clearly distinguished from the chant of a single voice, monodic, such as the song called "psaltic" or other regional variants, such as those in Ardeal, Banat, Bihor etc. For the problems we want to address further, however, it is necessary to deepen and, at the same time, broaden the notion of "choir". Choral singing only began to appear in the second half of the last century, beginning to manifest itself a little more timidly, with time, taking on an increasingly strong development. The Eastern musical spirit has now been removed from the Orthodox Church and the Western-specific spirit has penetrated.
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Ion Vidu remains known in the history of Romanian music par excellence for his choral creations. If his choral creation of secular inspiration was thoroughly researched by great names of Romanian musicology, such as Doru Popa or Viorel Cosma, the choral creation of religious inspiration, significant, could not be sufficiently debated due to the historical vicissitudes in which the main works on Vidu were written. However, the musicologist Viorel Cosma left us a general catalog of Vidu's creation, which includes his religious creation. Because 60 years have passed since the publication of Cosma's work, perhaps the most important Romanian biographical contribution on the Vidu’s subject, we thought it appropriate to analyze comparatively the information left by the musicologist with what we can find today in the funds of scores of different Banat institutions.
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Through his special work, Anton Pann was immortalized in the pantheon of Romanian cultural personalities of all times. His compositional activity materialized in several directions: translator of church songs, composer and collector of folklore. Anton Pann's work has been a rich source of inspiration for many composers, whether in religious music or secular music. His musical creation was the basis of many songs performed today by choirs, psalms and artists. His most important disciple, George Ucenescu, contributed much to the spread of the work of the great protopsalt. Various composers such as: D.G. Kiriac, Ioan D. Chirescu, Nicolae Lungu, Nicu Moldoveanu, etc., used many songs from Anton Pann's collection, and the result was the composition of beautiful songs, performed by many beloved artists and prestigious choral groups.
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The research of Byzantine music represents the culture and spirituality of an important part of humanity. The unique musical notation, which does not use the musical stave, has had a complex evolution over hundreds of years. Knowing the evolution of this musical notation system is as important as knowing the evolution of western notation.The last reform in the field of Byzantine musical notation took place in 1814 and is called the Chrysanthemum Reformation. This reform is very important for the Romanian music space, because this process led to the assertion of a cult music with strong autochthonous accents. Byzantine music is structured in eight modal scales, each with its own way of expression and specific cadences. These modal scales can be grouped as follows: I, IV, V and VIII are diatonic modes, II and VI are chromatic modes, and III and VII are enharmonic modes. The novelty of these modes is that they retain their characteristics throughout the Orthodox space, that modulation is a common melodic phenomenon which has been used long before it became established as a composition technique in Western music. In conclusion, the knowledge of this musical genre is an act of culture, the research of this field representing an incursion in the specific civilization of Eastern Europe.
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Marțian Negrea (1893–1973) is an important representative of the Romanian school of composition in the first half of the 20th Century. His style of composition results from the synthesis of musical language elements from both universal and local folk music. He began his musical studies in Romania, in Sibiu, with Timotei Popovici, and later moved to Vienna, where he continued studying with Eusebie Mandicevschi and Franz Schmidt. During the Viennese period, Marțian Negrea had access to the tradition of classical and romantic music and came into direct contact with the new postromantic currents, Impressionism and Expressionism. The musical compositions of Marțian Negrea are manifold, within various musical genres and are characterized by a national - folkloric specificity. The source of his inspiration, and also the theme of many of his works, is the life of the Romanian village, with the picturesque and beauties of nature. In the piano suite Countryside Impressions, composed in 1921, we encounter elements of modal-diatonic language combined with tonal-chromatic ones. The melodic line is inspired by the Romanian folk song, but from an harmonical perspective we find influences of french musical impressionism. The six miniatures that create the piano suite – Prelude, Evening at the gate, Alunelul (a children dance), The spindle, Once upon a time, The dance of elves – are musical jewels, describing in the most suggestive manner the specifics of Romanian songs, combined with refined, delicate harmonies. The piano suite Countryside Impressions is rich in elements of musical language that create a picturesque sonorous universe. The contrast of tempo and character generates a balance, a succession and a natural evolution of the six miniatures. The whole piano suite is crossed by a narrative thread, evoking the composer's preference for the programmatic-descriptive genre.
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Opera buffa has its origins in the interludes of opera seria, having deep roots in the tradition of Italian popular theater - commedia dell` arte. This operatic genre, like commedia dell`arte, is inspired by reality, drawing its subjects from everyday life. The mask, one of the main elements of commedia dellʻarte, is removed, but the comic situations, the typologies of the characters and the improvisational character are kept, also adding lyrical elements. The emergence and consolidation of the genre is the beginning of the juxtaposition between opera music and the aesthetic category of the comic. In order to create an effervescent show, the composers of this style use the aesthetic valences of humor, laughter, satire and irony, and intertwine them with a melodic discourse designed to support and amplify the vision of the libretto, considered innovative in the development of opera.
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A brief history of the violin making with the origin of the instruments and the most important representatives of the great violin making schools. Construction of the string instruments. Units of measurement of the intervals and sounds, their relevance and the history of discoveries. The great intonation systems, the temperate and the free-swinging systems with their parts. A history of their evolution. Uneven tempering system. The equal tempered system. The natural harmonic system. The continuing using it with a short history. Intervals in the natural harmonic system. The Pythagorean system. Intervals in the Pythagorean system. The hearing, the brain and the possibilities of an instrumentalist in intoning just a sound. The smallest interval that we can certainly detect and identify with our human hearing. The smallest unit of measurement is the foundation of every system of measurement. Hearing training. The advantages of the Pythagorean system. The only free-swinging system from which we can extract a complete scale, sounds at the same frequency, a beneficial psychical effect.
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The percussion instruments experienced the most impressive development in the 20th century. Different instruments have been invented, leading to the emergence of new concepts such as unconventional percussion, an attractive concept, particularly appreciated by the public. Simultaneously with the appearance of innovative instruments, the authors of the genre also proposed the use of the human body as a percussion instrument. Thus, as a subdivision of the unconventional, a new concept was propelled - body percussion. In this paper I will highlight and detail both the transition from conventional, to non-conventional instruments of percussion and the fusion of the two. I will also present the inception of a new type of artist, the percussionist-actor and the importance of syncretic art in a new type of stage representation. Globally, among the most prominent representatives of this concept are Stomp, Blue Man Group or Mayumana. In Romania the originator of this concept is the musician, entrepreneur and pedagogue Zoltán Tóth, the founder of the group Sistem.
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Charles-Marie Widor, french organist and composer of the ten “symphonies” for organ. The tenth and final symphony, Symphonie Romane, Op. 73 (1900), includes a dedication, “To the Memory of Saint-Sernin of Toulouse.” In this thesis, I examine the historical contexts and performance tradition of the piece. I begin with biographical information on Widor and his compositions, placing the composer in the greater historical context of the French organ school in the late nineteenth century. As performer, professor, and composer, Widor held an important position in the French school and influenced many later composers. I also examine the close personal and professional relationship between Cavaillé-Coll and Widor. Widor’s music relies heavily on the innovations Cavaillé-Coll included in his instruments and I give specific examples of Widor’s reliance on the new symphonic organs. I consider the organ at Saint-Sernin using a fascinating primary source from 1889, the Saint-Sernin organ committee’s report on the restoration of the organ by Aristide Cavaillé-Coll. To provide some clarity to the question of the dedications, I analyze the differences between the Symphonie Gothique and the Symphonie Romane, Widor’s premieres of the pieces, and his writings on the works. I conclude the thesis with an analysis, an examination of the tenth symphony.
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Composed in 1944, the Nostalgic Songs-Dynamic Studies op. 27 by Constantin Silvestri is considered one of his most valuable piano piece. The three songs are short and can be classified in the miniature genre. They do not have a suggestive title, the composer simply number them I, II and III, together forming the cycle Nostalgic Song with the subtitle Dynamic Studies. The subtitle Dynamic Studies reflects the concept of these piano pieces. The dynamic indications are numerous and very fine graded. That’s why Silvestri published together with them a dynamic scale where he manage to sort different types of dynamic and indications including tempo, pedal and accents. The cycle Nostalgic Songs-Dynamic Studies represents a great research in terms of dynamics.
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This study analyses the early intersections between melody, rhythm and harmony, up to the recent emergence of new musical styles. Psychological studies of rhythm have shown that it has played an important role in social and relational experience. At the same time, it creates a sense of bonding between people and can alter the moods of several people at once and lead them in a unified direction. Melody, rhythm and tempo tell the listener that they are in a safe and good place, expressing a psychological need for a sense of security, providing a sense of life’s pulse, similarly to the heartbeat. Unfortunately, modern human life lacks the life-like rhythm that God provided for us in creation. Ritual is our identity, our memory, a continuation of the old, an exit from the individual sphere and an entry into a communal one, into a new role, suggesting a transition, accompanied by sounds, rhythm, song, music and dance.
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The Romanian music has many histories. From composer George Enescu to Dictator Nicolae Ceaușescu, the Romanian music reflected multiple faces of becoming and corresponding, streaming from a varied cultural diversity and gravitating towards the central European canons. The process of creating the Romanian music shaped a dynamic and fluid image of the place and people it represents, balancing its pendulum between the western aspiration and the eastern inspiration. Moreover, it has not just one history, but many ones because the Romanian music is not a monolithic tradition, but a fusion of various customs and influences that fluctuated their presence more or less obvious along this time of becoming. Seen in a long run framed between the second half of the 19th century and the first half of the 20th century, folk music reveals as the constant component of each ideological narrative that emerged from both nationalism and socialism. This span of time is vital to understand the complex and mercurial nature of the popular or the folk that has a relation to music and song not because it describes a historical reality, but because it has been used historically.
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In this article we intend to present some aspects related to the origin of the concept of heterophony and the theoretical concerns of some Romanian and foreign composers on this subject. As a practical application model, we present an analysis of a musical text based on the model proposed by Teodor Tutuianu in his book Eterofonii in partituri Bachiene, the book underlying the Spectromorphy course that the author, as a professor, held at the National University of Music in Bucharest.
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The majority of foreign observers recognize that the most important aspect of Chinese pianism is its technical perfection, which can be explained in two ways: first, by social factors (the close resemblance between the traditional Confucian conception of education and the foundations of learning to play the piano, parents’ interest in their children’s success as pianists, the competitive nature of Chinese society), and second, by the classical setting of children’s piano education to develop strict finger technique. Though it was unable to gain traction at all levels of Chinese piano teaching, the image of “singing on the piano” was also important for the development of Chinese pianism. The monosyllabic nature of the contributes language, as well as the dynamic brokenness and temporal syncopation of its intonation contribute to the specificity of the “singing on the piano” tradition in Chinese music culture. In general, the performing image of the piano in China is comparable to the image of the “salon piano,” just as the current piano boom in China is comparable to the “golden age” of the piano in Europe and America at the close of the 19th century.
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The article represents an important problem of modern musicology and aims to reveal the specifics of the functioning of musical topos in the piano sonatas of W. A. Mozart. The concept of topos is interpreted as a field of abstract ideas and concrete images embodied by certain musical means. It is argued that the model of the functioning of musical topos in the sonata cycles of W. A. Mozart consists of the following main topos: gallant, heroic, pastoral, pathetic, comic, which include lesser, similar modifications. The main role in the sonatas is played by the topos of gallantry, which focuses on communicative forms of secular interchange. Therefore, revealing the semantic depth of the musical topos of Mozart’s sonatas will allow us to discover the musical cosmos of the composer’s artistic imagery.
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