Wooden Porch Skirting Designs

Nicolescu (1880, mines-Large - 1950?, Bucarest)

Composer, music theorist and teacher. At the Conservatory of Bucharest from 1897 to 1904, he studied music theory, choral and liturgical music with Gheorghe Brătianu and DG Kiriac. Eduard Wachmann was his professor of harmony. F. Nicolescu went to Lille to develop into a subsidiary of the Paris Conservatoire.
Back home in 1906, he received the Jubilee Medal Carol I . That same year he taught vocal music in high school Râmnicul-Sărat and instrumental music at the Military School in Craiova. In 1909 he settled permanently in the capital, where several responsibilities within the Academy entrusted him successively secretary, substitute teacher and Professor of choral singing and music theory (1926-1946), Deputy Director (1929-1940) and Deputy Director ( 1940) of the institution.
F. Nicolescu has set the standards of higher education in Romania Music. He wrote a Great Waltz concert piano and a melody O tot has ş Tept for voice and piano.
His name is sometimes spelled Niculescu. Sources

• Viorel Cosma din Muzicieni România, vol. VII, Editura Muzical, Bucureşti, 2004 - ISBN 973-42-0366-5
  

Wer Ist Mysterio South Park

Bentoiu Pascal (1927, Bucarest)

composer and musicologist. It follows from 1943 to 1948 teaching Mihail Jora for harmony, counterpoint, orchestration and composition, Faust Nicolescu for theory, Vasile Filip for violin and for Theophil Demetriescu piano. Alongside his musical studies he studied law at the Faculty of Bucharest (1945-1947). Since 1953, Pascal Bentoiu is a researcher at the Institute of Folklore in Bucharest, where he remained three years. He is the author of numerous studies, essays, music reviews, articles, comments, criticisms to the Romanian press. His reputation allows him to intervene speaker on radio and television, and be a guest on several boards. He collected folk songs and music and realize their transcript. Considered in its own country (State Prize, 1964; several awards from the Union of Composers, etc..) P. Bentoiu also enjoys recognition abroad (international price of RAI, 1968; price Guido Valcarenghi Rome, 1970, etc.).

Bentoiu Pascal is a leading specialist Georges Enesco to whom he dedicates his book Capodopere Enescu ( les Chefs d'oeuvres d'Enesco , Music Publishing, 1984), a capacitor en plus recently Roundup Enescu ( Bréviaire Enescu, National University of Music Publishing, 2005). D'autres ont été écrits à Bucarest édités: image and meaning (sense et Images, Music Publishing, 1973), to world music spans (Ed. Eminescu, 1973) Overview music ( Regards sur les musiques ) musical thinking ( musical La Pensee, Music Publishing, 1975), ESEU asupra fenomenului Muzical ( Essay on the musical phenomenon , 1979).

He began composing before the end of his studies, writing in 1947 a Piano Sonata to revise ten years later. He returns to the genre of Sonata in 1962 (piano and violin, op. 14) but shows including String Quartet with its cycle of six pieces (1953-1982), whose last four share a number of opus (27a-27d). In his eight symphonies (1965-1987), the last three explore the close links between music and other arts. The sixth, entitled Culori ( Colors), is devoted to painting. Each movement has a title: Negru (Black ) Roşu ( Red ) Verde (Green ) Galben ( Yellow ) albastru ( Blue) and Alb (White ). The seventh symphony, Volume is related to architecture and the last Imagini ( Images ), poetry. Its five movements are Vergilius (Virgil ) Dante, Shakespeare , Goethe and Eminescu. P. Bentoiu also wrote two Concertos for piano (1954, 1960), for violin (1958), a Opening Concert (1948, revised 1959), Suite (1955) and several symphonic works inspired by Eminescu (symphonic poem Luceafarul , 1957; Eminesciana III, 1976).
His music scene is rich, inspired by many classical writers first and foremost being William Shakespeare (The Taming of the Shrew , 1956; Hamlet, 1958; the two gentlemen of Verona , 1960; Winter's Tale, 1964; Romeo and Juliet , 1964; the dream of a summer night , 1969). Among the twenty works that he devoted to this kind we also note Marriage of Figaro by Beaumarchais in 1955, Cyrano de Bergerac (E. Rostand), 1957; soldier Schweik (Hasek), 1958; Caligula, according to Albert Camus in 1968, etc.. and four music for puppet theater (which, in 1967, the Wizard of Oz of Iordan Chimet from the Exhibit L. Frank Baum).
On two occasions, P. Bentoiu operates about his music for his operas. Thus, for Jertfirea Iphigeniei ( the sacrifice of Iphigenia , 1968), the first radio opera composed in Romania, the composer uses the partition called Aulis Iphigenia în , three years earlier. The following year, Hamlet, opera in two acts, took the stage music of the same name (1958). The Opera de Marseille moved, under the musical direction of Reynald Giovaninetti, the first staged production of this lyrical work (April 26, 1974). A first opera based Molière, Amorul doctor, was composed in 1964. Eight
song cycles for soprano and singing with orchestral accompaniment ( Cantec new , 1962) illustrate the rest of his catalog dedicated to the human voice. But Pascal Bentoiu is now known for his work and orchestration of restitution. It performs the instrumentation Sase cantece şi-o rumba ( Six songs and a rumba , op. 12) of his professor Mihail Jora , restores Symphonies No. 4 and 5 of George Enesco and the cantata Isis of the same composer. Musique
scenes

• of Beaumarchais Marriage of Figaro (1955)
• Fountain of Alecsandri Blanduziei (1955)
• stubborn woman by William Shakespeare (1956) Cyrano de Bergerac
• d 'Edmond Rostand (1957)
• Hamlet by William Shakespeare (1958) Soldier
• AND vejk by Jaroslav Hasek (1958)
• bourgeois gentleman by Molière (1960)
• two young Verona by William Shakespeare (1960)
Ocean Alexander
• of Stein (1961)
• Irkutsk Story Arbuzov, Vasily (1962)
• A train ran the race Stephen S. et Vrabie Ira (1963), for théâtre pour marionnettes
• Oresteia d'Eschyle (1964)
• Winter Story by William Shakespeare (1964)
• pepper-Magellan Road by Costel Popovich (1964), théâtre pour the amorous doctor marionnettes
• op. 15, Opéra Comique en one acts, book 'Pascal d'après Molière Bentoiu
• of flint Ş tefan Lenkisch (1965), for puppet theater after C. Andersen
• Aulis Iphigenia în Euripides (1966)
• Viforul Barbu ª tefănescu-Delavrancea
• Vrăjitorul din of Oz Iordab Chimet (1967), for puppet theater after L. Frank Baum
Romeo şi Julieta
• William Shakespeare (1967)
• Caligula by Albert Camus (1968)
• Jertfirea Iphigeniei op. 17 (1968), radio opera, libretto by Alexandru Pop and Pasca Bentoiu from Euripides
• Hamlet op. 18 (1969), Opéra en deux actes, d'après book 'Pascal Bentoiu
• William Shakespeare A Midsummer Night's Dream by William Shakespeare (1969) Musique symphonique

• Concert Overture op. 2 ( OUVERTURE concert, 1948, rev. 1959)
• Concert no. 1 for piano and orchestra op . 5 ( Concerto n ° 1 pour piano et orchestra , 1954)
• Transylvanian Suite op. 6 ( Transylvanie Suite, 1955) Evening
• op. 7 (Lucifer , 1957), Mihai Eminescu poems seem symphonique inspire
• Concerto for violin and orchestra op. 9 (Concerto pour Violon et orchestra, 1958)
• Images Bucharest op. 10 ( Images bucarestoises , 1959)
• Concert no. 2 for piano and orchestra, op. 12 ( Concerto n ° 2 pour piano et orchestra , 1960)
• Symphony. 1 op. 16 ( Symphonie n ° 1, 1965)
• Symphony. 2 op. 20 ( Symphonie n ° 2, 1974)
• Symphony. 3 op. 22 ( Symphonie n° 3 , 1976)
• Eminesciana III op. 23 (1976)
• Simfonia nr. 4 op. 25 ( Symphonie n° 4 , 1978)
• Simfonia nr. 5 op. 26 ( Symphonie n° 5 , 1979)
• Simfonia nr. 6 "Culori" op. 28 ( Symphonie n° 6 "Couleurs" , 1985)
• Simfonia nr. 7 "Volume" op. 29 ( Symphonie n° 7 "Volumes" , 1986)
• Simfonia nr. 8 "Imagini" op. 30 ( Symphonie n° 8 "Images" , 1987)

Musique de chambre

• Sonata for Piano Op. 1 (pour Piano Sonatas , 1947, rev. 1957)
String Quartet No.
• . 1 op. 3 (Quatuor à Cordes n ° 1, 1953)
• Sonata for Piano and Violin op. 14 ( pour Piano et Violon Sonatas , 1962)
String Quartet No.
• . 2 of "Consonen Þ s" op. 19 ( Quatuor à Cordes No. 2 "often consonnances" , 1973)
String Quartet No.
• . 3 op. 27a (Quatuor à Cordes n ° 3, 1980)
String Quartet No.
• . 4 op. 27b (Quatuor à Cordes n ° 4, 1981)
String Quartet No.
• . 5 op. 27c (Quatuor à Cordes n ° 5, 1982)
String Quartet No.
• . 6 op. 27d (Quatuor à Cordes n ° 6, 1986)

voice Musique

• four songs lyrics St. Joseph O. op. 4 AND bass and piano (Basse et piano, 1953)
• Eminesciana II - Three Sonete op. 8 AND soprano and piano (soprano et piano, 1958)
• 4 songs on lyrics by Michael Beniuc op. 13 for mezzo-soprano AND and piano (mezzo-soprano et piano, 1961) Jealousy
• AND bass and piano (Basse et piano, 1962)
• new song for soprano and Orchestra (soprano et orchestra, 1962)
• c Fl Ă Ă countries black op. 21 for tenor and piano AND (tenor et piano, 1974)
• incandescent Þ e op. 24 (1977) Sources

• Viorel Cosma, Musicians din România, vol. 1, Editura Muzical, Bucureşti, 1989 - ISBN 973-42-0015-1
  
• Creaţii Simfonice Româneşte, CD 8, UCMR-ADA 2A18469, manual Loredana Baltazar
  

Nervous About Gallbladder Polyps

ring (Philip Lazarus)

Established longstanding Paris, Filip Lazar was one of the closest friends of George Georgescu . The chief vowed a sincere admiration for his compatriot symphonic writing and assured the creation of six of his works. This applies to Ringul, muzica pentru orchestra nr. 2 ( The ring, music for orchestra No. 2 ) given in first hearing in Paris.
If the title sounds like the four days of Wagner's tetralogy, it is only pure coincidence (or a harmless mischief!). The work of three minutes (the duration of recovery) is inspired by "the impressions experienced during a boxing match." Motoric dramatic rise in the strongly marked rhythm, evokes Honegger (Pacific 231) but Stravinsky (The Rite ) and Prokofiev ( Scythian Suite). It differs, however, its models by treatment staff who argues for a rediscovery of the composer.

Click here to listen Ring of Philip Lazarus

Sources

• Tutu George Georgescu, George Georgescu , Music Publishing, Bucharest, 2001 - ISBN 973-42-0282-0
• Romanian Symphonic creations, CD 10, UCMR -ADA 03L070150, notice d'Elena Zottoviceanu. Orchestre Philharmonique d'Arad, dir. Dorin Frandeş

Invader Zim Bowling Ball

From Matthew cetire (IN Otescu)

Ion Nonna Otescu faisait partie des proches du chef is George Georgescu aimaient reunion qui chez des NUITS entières Brăiloiu Constantine. L'on en volontiers voyait's a grand espoir de l'Ecole de composition roumaine. His disparition premature and the modest size of its catalog do not tell, especially since his work is apparently it unavailable for legal reasons.
In the original comic opera From Matei CETIR he planned in the 1920s, there remains hardly a small orchestral suite of ten minutes.

"Tessitura refined and graceful, wide bill, harmonies, charming, we do not know what to give more attention to the melodic lines or implementation competing in a noble emulation. The patterns inspired by music popular or invented by the composer, sound effects are marked with an intellect refined, "said a Romanian critic of the early twentieth century. (*)

Listening to the Suite is actually very pleasant. harmonies combine expressionistic language and the last romance. Some archaic accents (the opera takes place at the time of Matei Basarab, Prince of Wallachia seventeenth century) already address the orchestra Katchatourian while Otescu suggests rhapsodic passages beautifully made (at 4'50, 5'33, etc..) claiming an affiliation with unambiguous his predecessors national romantic.

Listen online by clicking this link.

(*) RN Cioculescu dance Literary Truth. Sources

• Tutu George Georgescu, George Georgescu , Music Publishing, Bucharest, 2001 - ISBN 973-42-0282-0


• Romanian Symphonic creations, CD 10, UCMR-ADA 03L070150, notice d 'Elena Zottoviceanu. Orchestre de Chambre to Radio dir. Ion Dracea

Yodora Roll On Con Reily

Caudella Edward (1841, Iasi, 1924 Iasi)

Quatre années Durant étude you dance to their natal ville avec Violon et la Theorie Hettie Paul musical avec son père Francis Serafin Caudella. En 1853, il poursuit son à Berlin instruction. Hubert Riess son maître by Violon east, Adolf Riess introduced him to the piano and Karl Böhmer perfect his knowledge of music theory. The violin virtuoso Henri Vieuxtemps takes him under his wing in 1857, Dreieschenheim. Eduard Caudell deepens the mastery of his instrument in Paris (1857-1858), with Lamber Massart and Delphin Allard in Berlin where he met Hubert Riess and finally Dreieschenheim and Frankfurt, again with Henri Vieuxtemps.
He is a violinist in the court of lord Alexandru Ioan Cuza from 1861 to 1864. He heads the National Theatre (1861-1875) and the Italian Opera (1870-1874), Iaşi. Parallel to this activity teaches violin at the Conservatory before taking the leadership in 1893. Its action Teaching takes place at University (musical aesthetics, 1875-1877), New College of the Lord (1894-1895) and the Ecole Normale (1898) in this city.

He makes tours in Germany, France and Russia. Eduard Caudell publishes music reviews and studies in the Romanian press locally and nationally, and collection of Romanian folk melodies he makes himself edited.

His students called Georges Enesco, John and Constantine Bobescu, Alexandru Zirra, Enrico Mezzetti, Ion Chigi, Romeo Draghici, Nicolae Zadri, Antonin Ciolan Mircea Barsan, George Baldovin, G. Marcovici Teodor Stavri, Giuseppe Bonotti, Leon Brill, Filip Iancu, Sofia Musicescu Athanasie Teodorin, Gheorghe Filip Vasile Borteanu, etc..

Eduard Caudell consists twenty-two lyrical works whose operas Faust (1885), Petru Rareş (1889) and Antigona (1920) by Sophocles. Apart from a Concerto for Violin and Orchestra in G minor dedicated to George Enescu (1915) and Concertino (1918) for the same squad, his symphonic music does no great shape and is represented by various partitions modest extent (fantasies, opening Moldova 1913, etc..), while as his chamber music, focusing on short pieces for piano ( Doina , Sirba. ..) or instrumental duo ( Memories Carpathian , fantasy on Romanian folk songs for violin and piano, 1915). He writes however Quartet with piano (1914), a Quintet for piano, two violins, viola and cello (1912) and a rural idyll Sexuor (O idil cămpenească ) for piano, flute, clarinet, horn, bassoon and bass. His collections of choral singing ( Poporul Nostru , 1915) readily exalt the patriotism while his numerous songs (Mam ă, on verses of Carmen Sylva, 1905; Autumn Song from Paul Verlaine, 1915) similar to the music room.

Sources

• Viorel Cosma, Muzicieni din România, vol. 1, Editura Muzical, Bucureşti, 1989 - ISBN 973-42-0015-1
  

Examples Of Letters To New Church Members

Căianu John (1629?, Leagues - 1687, Lazarus)

Composer, organist, folklorist, instrument builder, theologian, philosopher and typographer. It is sometimes called
Caioni, Caian, Kájoni Joannes, Kajoni-Valahus (or Valachus).

He studied music in Cluj-Mănăştur monasteries, Alba-Iulia and Şumuleul Ciuc (1637-1648), with Fenessy Mihály, Bálint Tasnadi (music theory) and Oswaldus (organ). In 1655 he perfected his game-Slovacia organist Tarnovo.

It is a music teacher and organist at the School of the Monastery of Şumuleul Ciuc (1650-1655) and provides various religious responsibilities. He founded a workshop in typography Şumuleul Ciuc. Ioan Căianu restores and builds organs in Transylvania and Moldova, which it collects written folklore and transcribed for organ and virginal.
He participates as a performer, arts events the court of Vasile Lupu, lord of Moldova (1654). It also occurs across the country and abroad. Ioan
Căianu is the author, for didactic purposes, worms, parts and mysteries to content inspired by the Bible.

Humanist encyclopedist avant la lettre, Ioan Căianu is the first to collect folk music of Transylvania and Moldavia. His signature Valahus or Valachus means "Vlach". His codex represents a unique testimony to the musical life in the seventeenth century in this part of Europe.

Sources

• Viorel Cosma, Muzicieni din România, vol. 1, Editura Muzical, Bucureşti 1989 - ISBN 973-42-0015-1
  

No Prior Installation Of Rome:

Constantin Silvestri (1913, Bucarest - 1969, Londres)

composer, conductor, pianist and teacher.
His first teachers at the Conservatory of Tirgu Mures called Maximilian Costin for music theory, Rudolf Zsizsmann for harmony, Zeno Vancea for composition, harmony and music history, Piroska-Metz for the piano. He studied six years from 1922. He resumed his musical studies in Bucharest from 1931 to 1936. Faust Nicolescu his master is in music theory while Mihail Jora completed his training in harmony, counterpoint and musical form. His other teachers are Dimitrie Cuclin, for the composition; Brailoiu Constantine, for music history and folklore; Mihail Andricu for chamber music; Florica Musicescu, for piano. It follows outside the Conservatory piano lessons Aurelia Margulier and for two years studying at the Faculty of Law and Philosophy.
His debut as a pianist (1922) followed in 1928 by its first appearances on the podium of an orchestra. The latter activity takes over: in 1946 he abandoned his career as a pianist to devote himself to management. It is closely associated with the Romanian Opera in Bucharest, as head coach, titular head (1939-1949) and director (1953-1957). He leads the orchestra of the Christian Youth Association (TCA) in Bucharest from 1941 to 1946. In 1945 he became head of the Bucharest Philharmonic Orchestra and was appointed director two years later. In 1953, he left the Philharmonic in favor of George Georgescu . Constantin Silvestri became the first head of the Radio Orchestra from 1958 to 1960. In 1958, production of Oedipus unique opera Georges Enesco under his leadership, crown the first festival dedicated to the composer. In 1960, he chose exile and sought refuge in France and England. He was appointed Principal Conductor Bournemouth Symphony Orchestra en1961, a position he held until his death.
His many tours have taken him across five continents. Among his students found Brediceanu Mihai Mircea Cristescu, Anatol Vieru , Eugen Pricope.

His work as a composer, relatively small, has earned him recognition from his peers: he has four times won the competition George Enescu (second heading 1932, second prize, 1934 and 1936, first prize, 1937). His orchestral music is represented by Folk Dances (1932), Three Pieces for String (1933, revised in 1950), Three whims (1934), a ballet suite Triptic (1936), a Concerto Grosso (1941) and Prelude and Fugue (1955). He spends at the piano three Suites, a Sonata, a Sonatina a Rhapsody and a few songs. C. Silvestri repeatedly illustrates the kind of duo Sonata involving a cello piano (on two occasions: 1937 and 1941), oboe (1939), clarinet (1942) or a flute (1942). Two Quartets (for winds, 1935; for Strings, 1947) supplement the instrumental music. Mention finally two cycles songs and a mixed choir.

Sources

• Viorel Cosma, Muzicieni din România, vol. VIII, Editura Muzical, Bucureşti, 2005 - ISBN 973-42-0404-1
  

Tvcenterpara Windows 7

Mihail Jora (1891, Roman - 1971, Bucarest)

Composer, teacher, conductor and pianist. At age 10 he began learning the piano with Eduard Meissner Iaşi (1901-1909) and Helena André (1909-1912). Enrolled at the Conservatory of the city from 1909 to 1911 he studied theory and music theory with Sofia Teodoreanu and harmony with Alexandru Zirra. He perfected the Leipzig Conservatory with Robert Teichmüller (Piano), Stephan Krell (harmony, counterpoint, composition), Hoffmann (orchestration), Hans Sitt (conducting) and Max Reger for composition. In 1919 and 1920 he traveled to Paris and studied composition with Florent Schmitt. Mihail Jora

is honored the first prize for composition in 1915 George Enescu. In 1920 he was a founding member of the League of Composers Romanians in Bucharest, where he is vice-president from 1940 to 1948. He was appointed head of the Romanian Radio Broadcasting Corporation Bucharest from 1928 to 1933 and is granted a professorship in composition at the Conservatory of Paris (1930-1948, 1954-1961), who assured from 1941 to 1947 the management of the institution. From 1961 until his death he was consulting professor.

He is an active musical life as the artistic adviser of the Philharmonic (1931-1945) and Opera (1931-1944), Bucharest, by giving several recitals throughout the country, both as a pianist a conductor. Author of several publications on his fellow composers (George Enescu , Martian Negrea ...), he is a member of prestigious institutions (Institute of Bonn Max Reger, 1948; Romanian Academy, 1955; the Gesellschaft der Freunde Musik International Brief Archive, Vienna, 1962). Among the many honors he receives, there is the Gold Medal of the Exposition Universelle de Paris 1937. Mihail Jora

strives to give its credentials in the Romanian ballet. It comprises six whose Curtea veche (1948) and Hanul Dulcinea (1966). A Symphony in C major (1937), a symphonic poem with tenor solo by Mihai Eminescu ( Poveste index , 1920), three orchestral suites (1915, 1924, 1932), a Burlesque (1949) and two cantatas complement its contribution to symphonic literature. His chamber music is represented by a few duos (violin or viola, piano) and two quartets String (1926, 1966). He devotes two piano sonatas (1913, 1942), the Variations on a Theme by Schumann (1943) and several collections of character pieces. The bulk of its catalog consists of the songs and melodies he wrote throughout his life, from Fünf Lieder für eine Mittelstimme op. 1, 1914 until Cinci cantece Versuri pe Mariana Dumitrescu op. 54, 1968. Mihail Jora finally leaves two collections of mixed chorus a cappella and restoration of the comic opera Flondor noapte Tudor Gheorghe ( The night of St. George , revised and orchestrated in 1937).

Romanians put Mihail Jora's influence on their music scholarship at the same level as that of a Enesco. He has invented an imaginary folklore, without borrowing from popular themes, a great personality. His ballets are the quintessence of his work, rendering full justice to his talent as an orchestrator. His sarcastic attitude he willingly posed some difficulties, however, even justify putting away (fortunately temporary) of the artistic life.

Sources

• Viorel Cosma, Muzicieni din România, vol. 4, Editura Muzical, Bucureşti, 2001 - ISBN 973-42-0249-9
  

24/7 Clinics In Toronto

Dinu Lipatti (1917, Bucarest - 1950, Genève)

His first piano teachers are Florica Musicescu and Mihail Jora it also teaches music theory. The latter becomes his teacher at the Conservatory of Bucharest from 1928 to 1932, for harmony, counterpoint and composition. Dinu Lipatti institution follows in this class chamber music (professors and Mihail Dimitri Dinicu Andricu). After graduating in 1932 he chose to develop two years later at the Ecole Normale de Musique de Paris. For five years he studied with pianists Alfred Cortot and Yvonne Lefebure, composers Paul Dukas and Nadia Boulanger, and Charles Münch and Diran Alexanian for conducting.

His career as a virtuoso pianist began in 1922 and does not stop until his death. It carries within this range of tour in fifteen European countries. He plays with George Enescu , Herbert von Karajan, Eduard van Beinum, Paul Sacher, George Georgescu , Otto Ackermann, Hans von Benda, Alceo Galliera, Ernest Ansermet, Willem Mengelberg, Perlea Ionel Dan Simonescu, etc..

He joined the Society of Composers Romanians in 1933. As a composer he is honored three times the price George Enescu (First mention, 1932; second prize 1933, first prize, 1934). The French Republic in 1937 awarded him a silver medal for his work. In 1949 he received the Grand Prix de l'Académie Charles Cros.

From 1944 to 1949 he taught piano at the Conservatory of Geneva. Author of numerous papers and lectures on music, Dinu Lipatti is also an artist and photographer of great sensitivity. Missing

very young (33 years), Dinu Lipatti leaves a catalog of compositions of an unexpected magnitude. His symphonic suite Şătrarii op. 2 ( Gypsies, 1934) is one of his orchestral scores the least known. It is also the author of a Concertino in the Classical style piano and chamber orchestra op. 4, a Suite in the classical string (1936), a Symphonie Concertante for two pianos and strings (1938). The three scenes symphony (1941), a Concertino in the French style for piano and orchestra (1941), a Prelude, Chorale and Fugue in ancient fashion for bows (1941?), A Chorale for Strings (1944) are written during the war. His Romanian Dances for Piano and Orchestra of 1945 are his last completed orchestral work. D. Lipatti did not complete partitions in a Toccata for chamber orchestra (1936), a Symphony (1944) and a Chamber Symphony (1949). He writes

duets ( Sonatina for violin and piano , 1933; Allegro for clarinet and bassoon , 1936; Concert for organ and piano , 1939), two trios for violin, cello and piano (Fantaisie , 1936; First improvisation 1939), a quartet for flute, oboe, clarinet and bassoon ( Aubade 1949), two unfinished quintets (string, 1935?; for Winds, 1938). Apart from a

Introduction and Allegro for flute solo (1939), his scores are for solo instrument for that piano. Its catalog includes a dozen works (dances, night) with a Sonata (1932) and Sonatine for the left hand (1941). He also leaves three collections of songs ( Evenings Park Jianu for baritone and piano, 1940, unfinished; Five songs on poems of Paul Verlaine , 1914-1945; Four melodies , 1945). He has not completed his only attempt to address the choral music ( Motet, 1937?).

Sources

• Viorel Cosma, Muzicieni din România, vol. V, Editura Muzical, Bucureşti, 2002 - ISBN 973-42-0317-7
  

Projector Battery Pack

John Perl (1900 yard - 1970 New York)

His musical studies began in Munich with Professor Mittag (piano, theory and music theory) and then at the Conservatory of that city after 1918. He received teaching of Professor Katana (piano) and Beer Walbrunn (harmony, composition, counterpoint). From 1920 to 1923 he was enrolled at the Leipzig Conservatory. Paul Graener instructed him in the field of musical form and perfect composition, Otto Lohse teaches him the art of conducting and Dag Martinsen deepens his piano playing. Ionel Perlea strenna his career as Symphony October 17, 1919 with the Bucharest Philharmonic. He was appointed head coach of the Leipzig Opera (1922-1922), Rostock (1923-1925), head of the opera of Cluj (1927-1928) and the Opera of Bucharest (1928-1932, 1936 -1944) which he also assumes the leadership in 1929 and 1930. During the 1935-1936 season he is tenured at the senior manager of the Opera. From 1936 to 1944, he led the Radio Orchestra of Bucharest and teaches conducting at the Conservatoire (1941-1944). He was also appointed a time (1940) Leader of the Orchestra of the Christian Youth Association in the Romanian capital. After
War, he was appointed to head the St. Cecilia Academy in Rome (1945-1947) and the Bamberg Symphony Orchestra until 1949.
As opera conductor, we find his name at La Scala in Milan (1946, 1950-1952), the San Francisco Opera (1950), the Festival of San Antonio, Texas (1951). From 1952 to 1957 Ionel Perlea is head of the Connecticut Symphony Orchestra. Multiple rounds
do know in Europe, North America and Argentina. He participated in many festivals. The firm assigned by the RCA Victor record full operas by Puccini, and Verdi, Wagner, Donizetti, etc.. For labels and Vox Remington is an abundant serious symphonic repertoire. A stroke leaves
paralyzed the right side of his body. From 1967 until his death he no longer runs with the left hand. In May 1969, and it reappears in the Romanian capital, to console the George Enescu Philharmonic.

In 1926, he received the first prize composition George Enescu. His catalog is however restricted in size: a Symphony in C major, Op. 17 (1951), a Sinfonia Concertante for violin and orchestra op. 14 (1968) and four others are his legacy symphonic opus dedicated to the orchestra. His chamber music, written entirely by 1924, is represented as a piano piece, Sonata for Violin and Piano, String Quartet (A cvartet Vesel op.10, "a joyful quartet", 1923) and a Piano Quintet (1919). It does that with his melody Trei lieduri 1919. This eminent scholar of opera, knowing by heart the partition of Meistersinger or Rosenkavalier , did not write an opera.

Sources

• Viorel Cosma, Muzicieni din România, vol. VII, Editura Muzical, Bucureşti, 2004 - ISBN 973-42-0366-5