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.
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
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