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Nasturica

[My paper Taraf Vasile Nasturica was accepted by the main Romanian newspaper, Jurnalul National. VOICE version publiée dans l'edition du 11 octobre 2009. On a été réalisée par Translation journal them.]
http://www.jurnalul.ro/stire-lada-de-zestre/seara-pariziana-pe-acorduri- fiddler-523481.html

Basil Buttons Taraf was received with great joy from the audience at the Theatre de la Ville in Paris, at the end of September.

five musicians, clothed in sober black and white, knew how to capture the attention of thousands of people for more than an hour. Romanian musicians have played in front an enthusiastic public. Thus, Basil Buttons, violinist and leader of Taraf, tried to regain the spirit of old fiddlers, whose music is increasingly forgotten.

Quintet, consisting of violin, accordion, guitar, dulcimer and bass, was joined by the voice now and then even instrumentalists. I could not help but compare them with the Romanian artists musicians of the most important ensembles have arisen in recent years, artists have succumbed to fashion and lined up so-called "world music" ensembles supported by promotions aggressive marketing.

Well, the music of Basil Buttons and his colleagues, sound genuine artisans who live intensely every moment spent on stage, has a beauty which imposes itself. On stage at the Theatre de la Ville, between two solos, violinist at the core group behind the public back, a gesture that makes him just to better companion and guide, to give them soul and breath.

on stage while singing, the musicians are not reluctant to talk in whispers among themselves or to appreciate a smile by a colleague who managed to snatch Applause room. How to imagine music more full of life when every moment of the show gives you a sense of unique creations, unique, offered a privileged public? Dissatisfaction

Enescu
important place dedicated to music fiddler in the show program (fascinating as the violin solo in the score "Serbian fiddler" as an echo of the suite for violin and piano "Impressions from Childhood" by George Enescu), the paved the way Romanian folk songs (suite of games) and some songs of glass, so good vocal performances and accompanied Ion Cino accordion.

be said that the French do not make a clear distinction between these musical influences. Confusion maintained by influences from the generically named "Eastern Europe" which includes the Balkans, Hungary, the Slavic nations to the north and Baltic countries. How to understand, starting from such generalities, the subtle influences Romanian fiddlers music, rooted deep in the heart of Romania, but the artistic challenge presented with such skill and passion on stage at Theatre de la Ville?

George Enescu, Romanian and Paris to the bone occasionally deplored the systematic confusion that most French do it in Romanian folk and gypsy music. This is because both styles of music exist independently for a long time, each with its own characteristics and well established. The golden age of Gypsy music, which has its roots in time immemorial, as you might think, influenced a whole generation of famous artists. And this prestigious heritage is even claimed's folk music artists Basil buttons.

crowd was certainly pleased to hear "this handful of stubborn traditionalists", as he humorously called ethnomusicology Hope Radulescu, artistic director of the group. Working perfectly true, because you need to defend doggedly with a passion as contrary to trends in modern music repertoire, without making concessions, no rush easy results obtained sometimes with music of our time on how loud and annoying as it is tasteless.

BETS WITH TRADITION
ovaţionând public was not wrong and the game music scene or virtuosity of George Petrache ţambalistului George Răducanu, resembling, in a manner somewhat different interpretations of the most beautiful Toni Iordache (No - not known and god cymbals). But praise is justly deserved by the whole folk, whose program ended with two encores, supported by an exuberant energy.

would have been enough to be witnessing the enthusiasm with which both French and Romanian spectators flocked around the end of the performance artists pentru a Autograf has obtained it, his realizaţi ca şi în Singur this Masur încununat of success fost asa-numitul "pariu tradiţionalist.

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Anatol Vieru Basil (1926, Iasi - 1998) Stephen

Forte and early musical personality, A. Vieru received in 1946 the price of membership for the George Enescu Suite in the Old Style , written for string ensemble. Yet it is then, from 1946 to 1951, he is a disciple at the Bucharest Conservatory of Leon Kleper, Paul Constantinescu and Theodor Rogalski. A. Vieru is also a student of conductor and composer Constantin Silvestri . He then joined Aram Khachaturian Conservatory Moscow, where he stayed for 5 seasons. His oratorio Miorita (1957) and especially his Cello Concerto (1962), first prize for composition of Queen Maria José of Geneva, confirmed his stature as a composer of the first order, crowned by the U.S. price Serge Koussevitsky in 1966 and numerous other awards in Romania and abroad (Herder Prize, University of Vienna).

He holds a scholarship Deutscher Akademischer Austauschdienst (DAAD) in West Berlin, as his countrymen Tiberiu Olah Ştefan Niculescu and also representatives of the innovative vitality of the musical art Romanian. Like them, A. Vieru was able to circumvent limits sterile ideological agreements to develop a catalog of amazing wealth, both classic and visionary. One note to his credit several operas, cantatas, five symphonies, eight concertos, five string quartets, sonatas, numerous pieces instrumental and choral music and electronic music for film.

Sources

• Creaţii Simfonice Româneşte, CD 1, UCMR-ADA Oa 10326, instructions for Olte Şerban-Parau. Chamber Orchestra of the Romanian Radio, dir. Ludovic bins Memorial.

• Symphony No. 2, Psalm, Symphony No. 4, CD Olympia OCD 449, manual Luminiţa Vartolomei.
  

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Alexandru Niculescu (Moreni, 1927 - 2008)

Along Learning Music Ş. Niculescu at the Conservatory of Bucharest (1941-1946 and 1951-1957) allows him to rub shoulders with eminent musical personalities. Muza-Ghermani Ciomac, Foric Musicescu and Grete Miletineanu taught him piano, George D. and Ion Breazul Chirescu theory and music theory, Mihail Jora and Martian Negrea harmony, composition Andricu Mihail Nicolae Buicliu counterpoint, musical forms Tudor Ciortea Theodor Rogalski orchestration, Nicolae Parocescu Emilia Comişel and folklore. Between these two periods of art studies is enrolled at the Institute of Civil and Industrial Construction of the Romanian capital. In 1966, he participated in the electronic music lab Siemens in Munich and the International Ferienkurse für Neue Musik in Darmstadt . This experience was repeated the next three years. First
piano teacher in Bucharest (1958-1960), he became a researcher at the Institute for Art History of the Romanian Academy until 1963 before joining the University of Music where he was successively assistant, reader, lecturer and professor of professor of composition. Ş. Niculescu is a member of the Romanian Academy in 1996.
His illustrious career, split between Romania and Germany, earned him numerous awards, from the Union of Composers (1975, 1977, 1981, 1983, 1985, 1986, 1988, 1998 and 1994 for the Grand price), the Romanian Academy (1962) and French (1972), Festival of Montreux-Vevey (1985), founding the Vienna Herder (1994), etc..
Much of his work is devoted to chamber music, occasionally mixing traditional instruments, percussion and synthesizer, and orchestral music (five symphonies, written from 1975 to 1996, various rooms including a tribute to Enesco, and Bartók, 1980). Ş. Niculescu is also the author of music and scenes of an opera for children ( Cartea cu Apolodor , 1975), cantatas, choruses, melodies, music for film.

Ş. Niculescu embodies the quintessence of the Romanian avant-garde music. He is both heir and successor of Enesco, Bartok, Stravinsky, Webern and Messiaen as well as. Harry Halbreich compares favorably with his contemporaries, yet much better known as the Pole Witold Lutosławski or the Hungarian György Ligeti, suggesting the universal The son legs. Sources

• Viorel Cosma Musicians in Romania, vol VII , Music Publishing, Bucharest, 2004 - ISBN 973-42-0366-5

• Romanian Symphonic creations, CD 1, UCMR- ADA Oa 10 326, notice d'Oltea Serban-stream. Orchestre Symphonique Autrichienne's Radio (ORF), dir. Arthuro Tamayo pour Deisis .
  

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Tiberiu Olah (1927 Arpăsel - 2002, Targu Mures)

have Conservatoire de Cluj, Olah T. 1949 à l'étude 1946 Harmon et la composition contrepoint them auprès Max Eisikovits in Theorie dans la classe et le solmizate Mureşianu of Julius et piano with Gheorghe Halmos. He continued his studies at the Conservatory Piotr Illich Tchaikovsky Russian capital. He stayed five years, during which he perfected the practice of composition (Professor Evgeni O. Messner) and orchestration (Prof. Dimitri Rogal-Levitzky). He learned the art of counterpoint with Evgeni R. Galubev. In 1966, he studied electronic music in Munich, on the premises of Siemens . T. Olah is similar to the Darmstadt School in the next five occasions International Ferienkurse für Neue Musik (1967, 1968, 1970, 1974). Prices are provided by György Ligeti (musical aesthetics), Erhard Karkoschka (Shape analysis), Günter Becker (instrumentation), Christoph Caskel (practice drums in the compositions), Saschko Gavriloff, Siegfried Palm, Aloys Kontarsky (interpretation).

His career is closely linked to the Conservatory of Bucharest where he was employed continuously from 1954 to 2001, first as assistant and player from 1958 and then Associate Professor in 1974. T. Olah is particularly popular in West Germany where he was invited in Residence (West Berlin, 1969-70) and then honored with a Fellowship (1978-79, Deutscher Akademischer Austauschdienst). It provides several conferences in the country and publications. France and the United States receive it well. He holds numerous awards (Bucharest, 1953 and 1965, Moscow, 1957; United States of America, with the price Koussewitzky Disc, 1967). Among this long list there is still the price of the Romanian Composers Union (1974-1981) and the prestigious Grand Prize of the same union in 1993.

His work as composer is vast. It includes incidental music, cantatas and oratorios, symphonies and orchestral works, chamber music, choirs. T. Olah was also a regular composer for film (his original score for the film Pelicanul Alb is winning in 1966). His art singular makes him a major figure in the Romanian music of the second half of the century. Native of the region relatively spared from the point of view and cultural identity, Maramures, in northern Transylvania, Tiberiu Olah (in Hungarian Tibor Olah) was able to transcend the archaic art to find a language is intensely personal and attractive, without pastiche or imitation folk modernist. His writing attracted controlled by the abundance of his ideas. His

Fourth Symphony, subtitled "Giocosa" , although written in the last decade of the twentieth century, refuses easy pseudo-modern while remaining easy listening. The score captive by its theatricality constantly wavering between tragic and comic. This oscillation creates a grotesque little complacent and tinged with anxiety. The third and final movement is a beautiful desk in percussion, creating a chaos from which rises a Ode to Joy shy and soon drowned in a sea of glas. This coda funeral is it saved by a rope ultimate prank? At each decision.

Sources

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

• Creaţii Simfonice Româneşte, CD 1, UCMR-ADA Oa 10326, instructions for Olte Şerban-Parau. National Radio Orchestra dir. Horia Andreescu for Symphony No. 4.
  

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Le Taraf de Basil Nasturica chaleureusement accueilli

Friday, September 25, 2009 evening, the City Theatre has booked a brilliant reception at Taraf de Vasile Nasturica. The five musicians, soberly dressed in black pants and a white shirt, was able to captivate have more than one hour during the several thousand spectators from the audience.

is facing a room very reactive than taraf Bucharest presented his program. Vasile Nasturica, violinist and leader of the training, working to recapture the spirit sets lautari ago half a century and fell into relative oblivion since. This is a simple quintet - violin, accordion, guitar, dulcimer and bass - sometimes accompanied by songs, sung by the musicians themselves. We measure the distance with larger ensembles, outrageously virtuosic and sacrificing to the fashion world music, emerged in recent years and supported by flashy marketing operations. Listening to Nasturica Vasile and his cronies, his true craftsmen, living every moment intensely on the scene, the obvious beauty of this music is needed for itself. The violinist, moving between two solos in the middle of the group, even turning back to the audience to better manage a gesture of his companions, encourage a mere mimicry. Musicians do not hesitate to converse in whispers and comments with a smile as clever line managed by one of them. Can you imagine music more vivid, the sense of the word? Each piece of the show gives the impression of being a unique creation, offered to a privileged audience.

The important place dedicated to music lautaresque (fascinating violin part of "Sirba lautaresaca" initial Echoing naturalistic imitations of "Impressions d'Enfance" Enesco) leaves a space beneficial to Romanian folk melodies ( "Continued jocuri") or even a few drinking songs (cantece of pahar) so well defended by the voice and accordion of Ion Cinoi. The distinction between these various musical influences, it must be said, is difficult for French ears. The mistake is permanent among nations who are nationals of that is called here, very arbitrarily, the "Eastern Europe", confusing phrase encompassing both the Balkans, Hungary, the Slavic nations to the north and Baltic countries. How, from such generalities, understand the subtle influences even within Romania, and the artistic challenge defended by the guests tonight? Georges Enesco, Romanian to the bone marrow and occasionally Paris, lamented during his lifetime the systematic confusion between the French gypsy music and Romanian folk music. However, both have long existed, each with its own character and firmly established. The golden age of music of the Gypsies, however, does not go back to time immemorial, since it is located in the post-war during the 1950s and '60s, a century after their emancipation inspired by democratic ideals of the Enlightenment. This development then embodied in a generation of famous performers. This prestigious affiliation is specifically claimed by the artists tonight. It is definitely very happy to hear this "handful of obstinate conservatives," as said with humor their artistic director, Speranta Radulescu, in his notes together. Yes, it takes the determination to defend as a directory of flame against the current trend of modern, uncompromising ease, mothering so often, alas! slurry also booming qu'insipide.

The public does not deceived, in song and cheer the game scene is so prominent George Petrache, cimbalom virtuoso Gheorghe Răducanu of recalling, in a slightly different kind - instrument size forces - more Toni Iordache heyday. But the praise addressed themselves naturally to the whole in its integrity fusional and passion, culminating in two encores kneaded energy invigorating. It was enough to contemplate the enthusiasm of the spectators, the French and Romanians alike, crowding with artists exhausted to a dedication to realize how the "bet Conservative" had been successful.


Musicians:

Nasturica Vasile, violin
George Petrache, voice, guitar
Ion Cinoi, voice, accordion
Răducanu Gheorghe, Gheorghe Petrescu
small cimbalom, bass

Speranta Radulescu, artistic director

[This article was translated into Romanian by Jurnalul National, the leading newspaper in Romania, which was published October 11, 2009. See here: http://souvenirsdescarpates.blogspot.com/2009/10/vasile-nasturica-roumain.html and here: http://www.jurnalul.ro/stire-lada-de-zestre/seara- pariziana-pe-acorduri-lautaresti-523481.html .]

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à Paris Musique en Bucarest

From Romania to Serbia there is only one step. Yet the Serbian music is even more misunderstood than its Latin neighbors - that's how! My forays into the former Yugoslavia gave me the opportunity to brief immersion in the musical art of the South Slavs.

Only a river separates Romania from Serbia. But suffice it to cross the Danube by road via the Iron Gates dam to noticed that the distance between the two countries is far greater than the width of a watercourse. Here the former Yugoslavia, villages surrounded by beautiful quiets and large villas. The emigration policy of controlled Tito brought wholesome domestic currency and this is still noticeable, especially coming back from Romania where the only buildings that have retained some charm - I do not mean the homes of the nouveau riche - predate the iron grip of totalitarianism. Romanians maintain a sincere admiration for their Slavic neighbors. Such a feeling is all the more remarkable because it is deliberately absent other considerations border, north, east and south. Difficult to understand the Romanians that Yugoslavia was not a land of plenty and represented an altogether less grotesque avatar of communist despotism. But Tito's propaganda, visibly touched his right target, and continues to operate, thirty years after the death of the tyrant.

Sometimes when moving the locks, Romanians and Serbs exchanged a few words.

- Whoa! What will become of you when Tito died tomorrow? said the Romanians.
- And you, what will become of you if Ceausescu did not die? giggling the Yugoslavs.

Little traffic allowed citizens of both countries to cross the border, cars laden with vegetables, bread or chocolate. The minor concession to capitalism so despised yet offered a semblance of well-being to border, and has not been without effect on the feeling of Romanians still alive on their neighbors.

Serbian cities are alien to this mix of rehabilitation and unfinished dirty makes them so boring Romania. I visited Kladovo, Negotin, Belgrade, and I traveled up the Danube valley and crossed from one side Vojvodina. Throughout this effort to provide a space walk, shaded terraces, rich windows away from the din. Not much, no doubt, but this little one has not touched the spirit of the Romanians, for which the exhaust gases can not indulge the luxury of being on the terrace, and over persist in the market that gets your eardrums with silly songs interspersed with advertisements appalling, with lots of cabinets cleverly arranged.

Belgrade resembles Bucharest, but also the cities of central Europe, with its lively restaurants, winding streets to Belle Epoque charm, and his very wide pedestrian avenue, Ulica Knez Mihailova, connecting downtown to the fortress Kamelegdan, from which we contemplate the confluence of the Danube and the Sava. I've been thinking that the capital would become a destination of choice when Serbia has rejoined the community of nations. Yet he will he confirm the guardianship of extreme nationalism, fueled most recently by the superstition and denial of reality.

there classical music Serb? I find in some stores scattered CDs. Here is an album of 75 years anniversary of the national radio and TV, with works by Petar Konjovic . First choirs with piano accompaniment: Oj, za Gorom, Orošen đerdan , Vragolan . Is it an imitation of Chants of Moravian Dvořák ? Probably, but without the coolness enchanting model. P. Konjovic (1883-1970) who studied at the Prague Conservatory, the descent is not surprising.
Kestenova gora is an orchestral score of the same author. A slight pounding percussion, a sad melody on bass clarinet and orchestra awakens increments. Indeed East; irresistible crescendo, but without haste. Climax at 4'30. Curiously, the language of Konjovic joins that of Prokofiev (Alexander Nevsky ) and Novak ( Continued from South Bohemia ). Return to calm, brief epilogue. Kestenova gora is the name of a Croatian town. Was it the site of a battle with the Ottomans? Mystery. It would be misleading to make this partition a masterpiece unknown, but the arch neo-Romantic writing successful merit its place in the concert.

change of atmosphere with the extroverted Čočečka igra introduced by the tambourine and the cackling of the woods, quickly swelled the violins. From the 2'30 barrier of Oriental music, before the clarinet offers an adagio poetic hardly troubled by the counterpoint of other woods. At the fifth minute, the strings return to the original melody, fictionalized and pushed to its climax lyric. Vortices carnival cracking of whips, syncopated rhythms, alternating with the dances more placid and always revived from the material already exposed. The scrappy side of this coin keeper unfortunately the pleasure of listening.

From these few scores, the image of Petar Konjovic itself as that of a talented musician, attached to the masters of the past, but this particular genius that would be ranked among the artists scandalously overlooked.

Other dances, a capella choir from Svetislav Božić : Homoljska igra . This heavy duty wreath expressionist evokes, by its archaism, Carmina Burana, but we also think of the Bulgarian Voices and certain evocations of Orthodox worship. Energy perfect setting ranges: to discover.

What about the dramatic opening , Dramatična uvertira of Vasilije Mokranjac ? Actually, not much, a honest partition of the 1880s, this is what transpires from a first listen. Then we rub our eyes, we torch ears V. Mokranjac lived from 1923 to 1984. His score would be the last contemporary Bartók, maturity Stravinskian, and he himself was born the same year that the late György Ligeti? So, we replay the opening, where we find with good will accents Mahler, but also a string of cliches served with pompous emphasis decidedly unpleasant. A leak!

Another Mokranjac, Stevan Stojanović its name. He lived from 1856 to 1914, so it's not the father of the former, and I know even if a relationship between them. S. St. Mokranjac is a celebrity. It was a bust in the center of Negotin, his hometown, and his face adorns the 50 bills dinars. This glory seems justified. His men's chorus unaccompanied Prva rukovet changing colors leads to a discovery of a composer whose people like to imagine art fertile.

CD (Item 431692 SOKOJ) also includes the Ave verum Mozart (written "Mocart") and the Hallelujah Handel Messiah . Serbian choirs RT, eds. Mladen Jagušt (Konjovic, S. St. Mokranjac) and Vladimir Kranj č evic ( Božić ). RTS Symphony Orchestra, dir. Bojan Su đ ć i .
Show: www.pgp-rts.co.yu/katalog/izdanja/431692RadioHor.htm .

Pianist Nada Kolundžija is a follower of Glenn Gould, which specializes in the music of our time. His only CD, sponsored by Societe Generale, was captured in the synagogue of Novi Sad in October 2004. The Virdžinal ( Virginal ) of Vuk Kulenovic (b. 1946) began the recital. The game hammered this page wants to imitate the timbre of the harpsichord. Dreamlike atmosphere: low and slow nimble arpeggios until the seventh minute. Here the piano impose his power and left in ruins, commented in the last epilogue by modal scales of the keyboard - once more virginal.
This piece rather successful contrast with that of Miloš Raickovic (b. 1956) entitled BAGHDAD, composed in 2002: "Music on a six-note theme in defense of Iraq." "Defence" against the armed intervention of the coalition, I suppose, and not against the despot who kept his people in an iron fist ... Musically, this piece based on letters of the Iraqi capital (if - the - ground - D - A - D according to enumeration BAGHDAD), improvisation sterile without any inspiration, more reminiscent of the work of a hack for any set Z a work worthy of a concert. Curious

page titled TiSiN i Nist (and nothing Silence), for "voice sighing" and piano, composed in 2004 by Irena Popović age of just 20 years. A female voice whispering a few enigmatic words. Atonal piano responds. Intriguing, esoteric, not unpleasant, the keys would be welcome.
Note: Both performers do that is by Nada Kolundžija person who whispers.

CD (ref. ISBN 86-904693-1-1) also includes pages of L. Andriessen and Mr. Klagel. Site of the interpreter : www.nadakolundzija.info .

Is it a score of forgotten Vieuxtemps expensive? The first measurements of C oncerto for violin and orchestra of Stanojlo Rajičić while address and melody, could deceive many. Then the second theme of the Allegro moderato on a stunning range modal says the personality of this page neoromantic we would date, without more information from the late nineteenth century. One guesses a partition grueling for the soloist (challenging pace for two minutes), although the concern make music never be stifled by the contingencies techniques. The Andante moderato central ambitus crosses the violin and is languishing in a long monotone retractions. The wistful second subject, given to the lowest register of the instrument, but no real melodic beauty, drives the final Presto to dance a bit too effusive agreed. This partition
energetic, highly technically demanding, made by someone who masters the art of course, should appeal to violinists looking for new directories. It would also be misleading to make it pass for a summit failed, especially since it turns out well later that his play would suggest, the author Stanojlo Rajičić was born in 1910. He passed away in 2000.

benefit of the young Belle (1978) Tijana Milošević , discreetly supported by the Belgrade Philharmonic and its conductor Angel Šurev. The same CD PGP RTS 430589 can hear the soloist in a music that is supposed to have been composed for her, Muzika za Tijanu of Aleksandra Djokic (born 1969), impressionistic ballad with piano accompaniment , softly acclaimed by the public - what we can understand. The third piece

Slavic CD suggests Hameum Svita , following stylized folk plays by clarinetists Božidar "Boki" Ante Milošević and Grgin here flawlessly defended by the mastery of the violin. It would be a shame not to mention the piano Pečvari Istra. Other works
CD: Chausson Poème, Sonata by Debussy. See its description on www.pgp-rts.co.yu/katalog/izdanja/430589.html .
Artist website: tijanamandworldcontakt.com .

" Заnucaно ςγслама "is the title of an album highly recommended by a friend of Serbia. On the cover, a bird, overlaid with a stylized lyre. I return the object. The nine titles are written in Cyrillic. I understand that these are national songs, "ballads of the time of the Ottoman wars," I said the seller, delighted to promote its skinny window to a foreign visitor. It is very likely epics: the basso continuo of the harp is used to support a very precise declamation. It feels every second the desire to share a speech, probably poetic. So we remembers that the heirs of Homer had been identified, not so long ago, among the storytellers of the Croatian coast, able to recite for very long periods of epic stories and cruel - the memory of a people. But without understanding the speech, music, based on Byzantine ways, is too monotonous to be sufficient unto itself. One thinks of some oriental songs based on the same utility, unbearable to the uninitiated. It therefore set aside this CD for Serbian-speaking. CD 406621 SOKOJ.

Another album that presented in Cyrillic, the result of same harvest: TEOДУΛИЈA , Teodulia. Mixture of folk and modern arrangements (drums, piano ...), very "world music" and, in the genre, successfully. It tastes here and there a sweet languor East, some violin solos, almost flamenco accents. Overall, some groups of Breton music at home, do nothing. The band members explain how they like their roots, contemporary music and God: here is the explanation of the name they chose, Theodulia meaning "servant of God." Include the participation of a certain "Mrs. piano that seems to have some notoriety among the Southern Slavs. CD 10261 SOKOJ. The official website (http://www.teodulija.co.yu) meeting absent, information can be found here: www.myspace.com / teodulia .

must have the sharp eye to distinguish this CD, Memorial three quarters of a century of Radio Belgrade, the previous comments above. Same colors sadly military, even number 75 in large print. But here it is popular music. The Narodni Orkestar ( National Orchestra) invites you to dance. His music is delightful, happy, well polished. It differs from the Romanian by the presence of less systematic regional instruments ( caval , nai, etc..) and perhaps a more smoother, Vienna (listen to the incipit Svilen Konaci , lane 8 ), the role of the clarinet solo (not the taragot ) and harmonica.

The second part of the disc invites the ansambl Narodni (National Ensemble ), closer tarafs Romanian. We even hear klezmer inflections in the demonstrative Splett iz Srbije (lane 14), and the beginning of the declaimed Šopska igra (Lane 16) conjures up the way Bregović.

The third and final band of the CD is called Eksterni ansambl Boron Dugic , named Boron Dugic , flutist and leader of the group. The first piece, Tren , offers a stark contrast to the effervescent dances Narodni ansambl . Is it pop, or a piece for New Age relaxation frames? Seen in this light, why not, otherwise you may skip without regret languor of four minutes and thirty-three seconds. Follows Badinerie by Johann Sebastian Bach, beautifully whistled by Dugic. Too bad the next track finds a New Age tone and uninteresting. The last part calls, strangely enough, the symphony orchestra and chorus of women of radio, all for a while and done well trussed and leaping, seduction certain. CD "75 GODINA Radio Beograd" 406348, described here:
www.pgp-rts.co.yu/katalog/izdanja/406348RadioNarodni.htm .

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Serbia

A City holes. Not just in the streets, in the middle of the streets or in the covers, I speak of metaphorical holes. Imagine a dreary suburb of grime-covered walls, huge boulevards lined with ugly buildings. There, people with no passion move along walls, an elderly veiled head round the hat, dirty kids continue yelling screaming gypsies. Some dogs hungry and fearful swipe their nose in bins gutted. The sour smell of the waste does not even require a detour for pedestrians. Here it is. Misery and fatalism.

A burst: the eye-catching facade of a church. You can not see that from a certain angle. A little farther down the sidewalk, and only the immense and pervasive grayness strikes the eye. But from there, turning his eyes, here is a marvel of Orthodox Church. She is tiny, squeezed between two giants of concrete. But she radiates beauty. Orthodox churches are never very large, which only adds to their charm. Their walls are built of rough but steady way, as the bark of conifers. And above their twin cupolas, crosses are recessed signal to the faithful.

In ten years I have seen the city change. Previously, carts, draft animals competing for the bitumen Moskvitch flimsy thatched, downtown seemed gutted by bombing and dozens of dogs were following my every travel through the neighborhood Lipscani. Today, finished horses and even dogs are scarce, exterminated by a safety policy of the former mayor. Casinos appeared at every corner, illuminating their front of a light and cheerful fake. But the Romanian capital is still a construction site, dotted with innumerable crevices, rock piles and excavation wild. The question: is it an ugly city in slow reconstruction, or an ancient city buried under a pleasant wild modernity, heir to communist massacres? The town is between two states. To which she looks? A street

dusty. It does not distinguish between the pavement of the road: the border between the two is nonexistent, or rather has been destroyed by time and neglect. It progresses carefully, ducking between cars parked on the wall menu and minor obstructions. Without assumptions, a Belle Epoque palace rises behind a gray wall, surrounded by an elegant park and an abundance of greenery. Romanians say with a touch of emphasis: perioada interbelica . The interwar period, a time today when the country reunified mythical had his voice to the chorus of nations, without foreign tutelage, trying to grow and build a future sovereign. The efforts of the dictatorship did not kill the memory of that age too short, death under the pressure of ideological red-brown.

In 2001 I was invited by Radio Romania International Enescu Festival in . Romanians maintain strange relationship with their greatest composer. This is the man of two works: the Rhapsodies . The rest is neither known nor appreciated by the general public. But the image of Enesco is everywhere, adorning the banners made over the streets, huge administrative fronts, deploys huge banners throughout the Athenaeum. I repeat: the image of Enesco, singular. For there is only one image, always the same, reproduced each year to infinity in all media: the master side, absorbed the head gently bowed and backed by the right hand fingers ajar. No illusions: no musical fervor is at the origin of this cult. Enesco is an excuse, a scapegoat. Romania awareness, invite interpreters prestigious and wealthy visitors in a word : To flatter the people by making him think, within a few concerts, it occupies the center of international attention, the sole justification of the Festival.

Musically, it is rather successful. The opera Oedipus , ritually given to each edition, was honored with a rare fervor. After the final measurements, the chief Christian Mandeal invited with the perfect appropriateness of the Philharmonic musicians on stage. Each, equipped with his instrument, was equally applauded the vocal soloists. I also remember, in the vast hall of the palace, crammed to bursting despite its 6000 seats the recital of the Vienna Philharmonic conducted by Seiji Ozawa. The symphonies of Mozart and Brahms were greeted in a very relative silence, the loving Romanians enjoy talking in low voices in full concert and even switch the phone calls in whispers. Because the crowd was there for something else: the first rhapsody of Enesco. No more discussions whispered: the work began in total silence. During the dialogue of wind, I watched my neighbors. There were executives in suits and ties, but also - the organizers have decided to leave open the palace gates once installed the ticketed spectators - retirees, teenagers tee-shirt with holes, workers right out of their yards. All stared with rapt attention the Viennese orchestra playing their music emblematic. I have rarely seen such an application in listening. Not one moved, the only sound came from the podium flanked by two endless images of Enesco. The Philharmonic was trying to smooth the rhapsody as if he acts in a Viennese waltz, violins shiny, polished brass. Ozawa was polishing his orchestra as a gorgeous music box with laughter Moire, polite but with no fever yet so vital to this music. This clinical approach scares not the public, following the recent agreement tutti , fiercely ovation musicians as they had rarely been, with waves of raucous wildness unconnected with the traditional demands of a - "a Another, another! "- Which we complete in all recitals invariably, even the most mediocre.

Nothing for our nation is comparable to the popular enthusiasm of Romanians to their rhapsody. Music that everyone knows, regardless of social class or age. But then, is it not also the case in France with some tunes Carmen or the Bolero? No. In Carmen, Bizet mimics Spain. His tunes have'm popular, they do not symbolize France. Not talking about Bolero, drawing in the words of Ravel's style plaintive and monotonous in the Arab-English melodies. Berlioz, Gounod, Saint-Saëns and many others have written beautiful music eloquent and famous, none of them is French for spontaneous mind the man in the street. But this feat, Enesco has performed its own nation.

I had my habits in Bucharest. Close to the University, I was in a tiny shop, all in length. My explorations had taught me that deep down along the right wall, piled high with books and musical scores by the dozen that we could examine and decipher patiently under the watchful eye of staff. The days I was able to acquire some unfortunate lei biographies found, some drivers (scores of orchestras) and other rare relics of the People out of who knows what blind liquidation. But it's over. This summer, instead of the bookseller, flashed a toy store in plastic, with its front the effigy of screaming last heroes of Walt Disney.

I had lived such disappointments. In 2003 or 4, I noticed that the Boema had been replaced by one of those soulless modern shops where people go for a coffee or eat American sushi, I do not know too much. Not that I was an assiduous Boema, old-fashioned restaurant, with its painted plates and heads of game dingy walls, and above-market culinary qualities very questionable, but the place was carrying an true story, a testimony to the legendary perioada interbelica . There's more: here (if we are to believe the writer Mircea Cărtărescu) was attended by the communist secret services in order to make those famous jokes that Romanians liked to exchange during the dark years. Yes, the stories are also Bula girls ... the Securitate

Later in Lipscani historic downtown we roamed like a wasteland wasteland, it was the best of Placinta capital, pies made crispy pastry edges with a cooking pot. The tiny tea room was covered by a mural of Mickey. No, not the wan and insipid character we know today, but the friendly Mickey origins with big eyes, a touch of Mortimer and not yet corrupted by sentimentality, then I liked to imagine the young Bucharest of the 30 rushing small counter to order lemonades and share Placinta , when the city came alive with long shiny cars to the sound of fox trots and tangos Jean Moscopol . Is lost. Today, a layer of satin paint renovated the tearoom. The last time I asked the waitress why the painting of Mickey was gone. She just shrugged les épaules: "Ainsi c'est plus modern."

Home Made Boat Rod Holder Clamp

Capoianu Dumitru (1929, Bucarest) by Jean anticommunistes

D. Capoianu étude have Conservatoire de Bucarest (1941 - 1953) avec Victor Gheorghiu (Theorie, sol-fa), Mihail Jora (Harmon), Martian Negrea (contrepoint) Michael Andricu (composition ), George Enacovici (Violon), Theodor Rogalski (Orchestration), Tiberius Alexander (folklore), Vasile Popovici et Zeno Vance (Histoire de la Musique). Ses études à
it
Parallèlement East sein de l'orchestra violinist du Théâtre National (1945 - 1947) puppy of the Confédération de l'Ensemble General Labour ( Ansamblului Confederaţiei Generale Muncii ) in Bucharest. He became musical director of the studios Romfilm (1950 - 1951) and Alexandru Sahi (1951 - 1952), then the national broadcast where he is also musical director (1952 - 1954).

From 1969 to 1973 he conducted the George Enescu Philharmonic Bucharest. As chief, he has mainly his own works throughout the country.

D. Capoianu has written numerous articles on art and looked over several trips, both sides of the Iron Curtain (Bulgaria, where he went five times, Austria, USSR, France, United States of America, West Germany, Belgium, Luxembourg, Czechoslovakia, England, Hungary, Poland, Yugoslavia, etc..) additions to his studies. It provides numerous conferences and radio and television.

Capoianu is distinguished on many occasions, especially in the East (2nd prize of the World Festival for Youth, 1957, Romanian State Prize, 1962 Order of Cultural Merit, Class V, 1968, and Third Class, 1973 ; Award of the Union of Composers (1970, 1974, 1977, 1980, 1981, 1983); Award of the Romanian Academy (1977). The Cannes Film Festival honors of the Palme d'Or in 1957 for the music of the cartoon Scurti istorie Ion Popescu-Gopo.

lyric books, music scene, entertainment

• Gâlcevile Din Chiogga , music scene after Goldoni (1951)
• Ursuleţii Veseli Polivanov M. (1959)
• -Broadway Melodie (1960)
• Cosmos '60, ballet (1960)
• Doctorul the au , incidental music by Vadim Korestiliov (1961)
• Ruy Blas , incidental music for Victor Hugo (1963)
• Eu şi materia moartă , variety show (1964)
• Aulularia , incidental music from Plato (1965)
• şi incendiatorii Biedermann (Mr. Men and Little incendiary) , music scene According to Max Frisch (1966)
• Drumul oteţului ballet on original argument (1965)
• oameni în frac ballet libretto by Oleg Danovschi (1969)
• Curtea Domneasca , sound show and light (1969)
• Regina de Navarra, incidental music by Alexander Dumas (1970)
• Cabaretissimo , variety show (1971)
• Vlad Tepes, music scene after Remus Mihai Nasta and Vasiliu (1972)
• Richard III al-ea , music scene after William Shakespeare (1979)
• Dragostea prinţesei , musical in two acts with a libretto based on a clean piece of Sacha Lichy (1982)
• Cenusereasa , musical in two acts for a piece of Ion Lucian and Virgil Puic after Charles Perrault (1984)
• Pistruiatul , musical in two acts with libretto by Francisc Munteanu (1987)

Music for voice and orchestra

• Cinci din cantece Ardeal for female choir, oboe and string ensemble (1961)
• Ca s ă easily portretul ÚÑÈí pasar , cantata for children's choir, piano, flute and percussion, a poem by Jacques Prevert ( To paint the portrait of a bird ), translated by Gelu Naum (1969)
• His spart o conduite ă în cer aims of a poem for mixed chorus and percussion, worms Bucuroiu Valeriu (1979)
• P ă Mantula , cantata for mixed chorus, narrator and orchestra, words by Mihu Dragomir (1979)
• Echinoc Tiu, oratorio for mixed choir, narrator, organ and orchestra, with words by Jebeleanu Eugen (1984)
• Solstis Tiu , oratorio for mixed choir, narrator, organ and orchestra with lyrics by Eugen Jebeleanu (1984)
• Waltzes despicable and not sentimental , suite for mezzo- soprano and string orchestra, with words by George Topârceanu (1986)

Symphonic

• Suite I for orchestra Ă, 1953
• OUVERTURE Capriccio, 1954
• Suite II for orchestra Ă, 1955
• Entertainment Ă orchestra of string and two of the clarinet [Cordes et Divertissement pour deux clarinettes orchestras], 1955 Concerto for violin
• Ă and orchestra Ă [Concerto pour Violon], 1957
• Varia Þ Iuni Cinematografica, 1965
• Motto perpetuo for violin or violin and orchestra together, 1971
• An August în fl ac Ari , orchestral suite, 1974
• No Phoenix Area , suite from the music of the movie namesake , 1975
• Chem ări'77 , symphonic poem, 1977
• Duelul , novelty jazz, 1977
• Muzic to ambient ţ ă , 1980
• small concert for 2 pianos, violins 6 and orchestra Ă [Petit Concerto pour deux pianos, six violons et orchestras], 1980
• hore Hora, d'après des Motifs from Hora Staccato, 1984
• Do Tete, jazz suite symphonique, 1984
• Concerto for guitar and Ă orchestra Ă [cithare et Concerto pour orchestra] , 1985
• song would f of words, for violin, string quartet and orchestra, 1986

[the catalog will be completed later].



Sources

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

Portable Windowblinds 7

chansons Les Deux Moscopol

a visit to Bucharest I made my turn ritual of the few stores. At the store Muzic Street Calea Victoriei, disappointed by the meager collection classical radius, I chose to wander at the whim of popular collections. A curious album has so caught my eye, with its clumsy design gramophone of the post-war period. "Cantec of Dragoste", "Love Songs", the title says. Not my cup of tea. But immediately below: "Walk şi cuplete anticomuniste. Romanian anti-communist songs? I had never heard of. The author is one John Moscopol. Unknown.

I questioned the seller. I was told that these were songs from the interwar period. Obviously, the shopkeeper did not know his product, so it was obvious that the title of ballads concerned the early years of Romanian communism, around the year 1950: Guvernul Comunist , Gheorghiu-Dej şi Hrusciov , Radio Bucureşti minte ... Person being able to tell me more, I bought the double album and went to the discovery of a forgotten music.

But who is John Moscopol? The site moscopol.blogspot.com , devoted to him, offers interesting information, from which I draw the following biographical elements.

Born in Braila in 1903 to a family of Greek origin, J. Moscopol held various occupations before choosing a career as an artist in 1929. He joined an operetta troupe Bucharest then travels the country on tour with actor Ion Manolescu. He records for the His Master's Voice about 300 songs, went to Berlin where he performed with local orchestras and took classical singing lessons.
After the war, he chose exile, with the help of actress Elvira Popesco. He settled briefly in Greece, Germany and France to finally choose the United States of America.
New York, John Moscopol does not regain its pre-war celebrity. It invests in the life of the Romanian Diaspora and directs the church community Sfântu Dumitru. He returns to the song that during the 1970s, encouraged by the editor of the daily Universul Buhoiu Aristide. He died in 1980.

The Communist regime tried to erase the existence of Moscopol Romanian collective memory. His experience as a singer of combat, as will be appreciated with the extracts below, could not naturally excite the fury of totalitarian censorship.

The double CD is published by Star Media Music, ref. SMM 008 "Jean Moscopol - Cantec of Dragoste / Walk şi cuplete anticomuniste. This label has its own website ( www.starmediamusic.com ) but when I write these lines, it does not (the gossips say, as often in Romania).

Ţara Comunista ( communist country) is a canning dictatorial practices, far from the egalitarian ideals and philanthropists posted by propaganda. Fierce? Not really when you think that the reality was no less despicable than the situation here mocked on air already been entitled Morăriţei . To listen, click here (new window) .

affixed thereto condemn

Ţara Comunista	Communist Country
intr-o Tara Comunista When you fire thruster And you and a sinister character You can get faster Minister After Proceeds from raw And thou partaker of the crimes you put in prison And then sentenced treason	En pays Communist Quand Tu es a que Et fieffé arriviste you as a sinister Caractère Tu peux devenir ministre cattle. toucher des primes affixed thereto Qui rendent you complicit du crime Tu es Jete en prison pour trahison
Roata Lumiya to-nvarteşte, tzac, tzac, tzac. Si Orice crime is plateşte, tzanc, tzanc, tzanc. Comunismu Ntai-te-ajută, tock, tock, tock if ApoI, you execute, pac, pac, pac	The wheel of the world turns, tzac, tzac, tzac And every crime will pay, tzanc, tzanc, tzanc. First, communism helps you, hush, hush, hush t'exécute And then, bang, bang, bang.
Soviet-Cand Iti Comitetul This self-portrait ask them to sign cards no longer c-self-critical and have to do. Once you find them boil Next autoduba. And then the whole history of the autopsy Ending	comité them soviétique Quand ton Demande autoportrait Cela signifie que you by us Palais Et plus que faire tone you Dois autocritique. trouvé après t'avoir a Defa Arrive Salad à panier them. Et enfin toute Cette histoire en autopsy is finished.
wheel world se-nvarteşte, tzac, tzac, tzac. Si Orice crime is plateşte, tzanc, tzanc, tzanc. Comunismu Ntai-te-ajută, tock, tock, tock if ApoI, you execute, pac, pac, pac. (shot)	The wheel of the world turns, tzac, tzac, tzac And every crime will pay, tzanc, tzanc, tzanc. First, communism helps you, hush, hush, hush t'exécute And then, bang, bang, bang.

Moscopol John uses popular tunes known to be very stick his diatribes. Another example is in Guvernul Comunist in which the artist settles accounts with the writer Mihail Sadoveanu (1880 - 1961), a follower of the collaboration, and with some Balaceanu I have not accurately identified.

The song is available here:
www.trilulilu.ro/lauvoi/3fb5754bcb7501

Guvernul Comunist	Communist Government
This Frumoasa Este Viata e Cand esti chior ca şi prost Tata if ajungi Din potcovar În guvern subsecretar	Que Cette Vie est belle Quand , borgne et comme a plouc sticks, You quittes du Maréchal-Ferrant L'Atelier Pour devenir sous-secretaire du gouvernement
What's nice when they come Russians and say the two solutions How to speak how to shut apostolu And do	East Qu'il drink quand viennent les Russes, posent you Et qu'ils leurs deux options Comment comment is Taira et Parler Et comment sacerdoce exercer ton.
How beautiful is life when you say thread That keeps you knock comes a fault on the east light	Que Cette Vie est belle Quand on Facebook dire Force Que (pourquoi them Taira) Du Levant vient worlds
How nice is to have neck and the Soviets salary Being brother Enemy And I'll say Sadoveanu Qu'il	d'avoir une drink east nuque And a salary of Soviets Be brother with the enemy and to call Sadoveanu
This Frumoasa Este Viata e Cand nu te CUFA Greata Sa-i pe tot PERii intruder if its i-pe tamâiezi Rusi	That this life is beautiful When nausea thee foreign What you caress intruders and praising the Russians
Balaceanu you numeşti Fiindca Ţara în RPR-ista Cu nesatz you bălăceşti În mocirla Comunista	Balaceanu your name In the People's Socialist Republic And with delight you wade in the mire Communist

We will probably find it difficult to appear that this writer was in his youth, the Romanian equivalent of the crooners of the interwar period, as Maurice Chevalier and Tino Rossi. His desire to transcend his art by his fight for freedom is to his credit. Sources

• Reference site moscopol.blogspot.com


• An article in the daily Jurnalul (http://colectie.jurnalul.ro/stire-jean-moscopol/urmasul-lui-tanase-318783.html )


• Some excerpts in http://www.trilulilu.ro/JuliaAgripina/ff543ac0484a5f

Unless otherwise noted, translations are made by the author of the article.

Emily Breast Expansion

en CD

The label has finally Romanian Intercont Music CDs devoted to the promising violinist Alexandru Tomescu. Two duet albums with pianist Horia Mihail.

Stradivarius Still (IMCD 1323) offers sixteen small pieces shaped bis. Agreed program? Not really. If Kreisler, Sarasate and Massenet's Meditation from Thais imperishable are in the program, there also Walk of Porumbescu, famous in Romania but unknown elsewhere. Tomescu illustrates this with infinite tenderness and occasionally virtuosic meditative piece, taking care to ring at the appropriate Stradivarius Elder-Voicu on which he is the custodian and it was a shame to let him sleep in a museum. The same qualities are found in the Meditation from Thais . Note the game with finesse Horia Mihail pianist, a partner in a directory so precious few rewards for the accompanist.

I always found and Liebeslied Kreisler Liebesfreud unbearable, and the art of the violinist, as clean as it is, fails to make me swerve; small annoyance fortunately tempered by the superb Dvořák Slavonic Dance, transcribed by the same Kreisler. Feelings identical with the famous Zapateado de Sarasate, where ever the pleasure of playing and listening is marred by technical constraints.

rarer: a Habanera of Capoianu , removed with a grace worthy of Stephane Grappelli and a transcript of the Adagio the Piano Suite in the Old Style of Enesco, Ark. dreamy and intense in this passionate vision.

This poster is complemented by Sibelius ( Humoresque No. 5 , very Belle Epoque) and four Russians. The

Gopak Mussorgsky is served with the savagery that suits his temperament, as opposed to the so conventional Vocalise by Rachmaninov that it may be preferable, all things considered, in a version with soprano. But the surprise comes mainly from the four Preludes of Shostakovich, the bittersweet and grimacing, close to that of the Power of Three Oranges by Prokofiev which closed the recital, while features sly rhythms and relentless.

Despite a presentation indigent - not the slightest notice, the CD back in the Romanian language only - one hopes that this card serves Tomescu's reputation beyond his country.

The second album is, quite demagogic, entitled Virtuoso Stradivarius (IMCD 1346). It is better designed than the first because with a manual. Alas, it is only Romanian. Thank you for the music lovers strangers!

These are pieces of larger (7 to 13 minutes for most). One may regret the choice of two pieces of syrupy Tchaikovsky (the waltz-scherzo op . 34 and third Sound of opus 42), composer also endearing, in contrast to enjoy the benefit of artists in the Introduction and Rondo Capriccioso by Camille Saint- Saens. The piece is not only played with bonhomie communicative, but with a thorough understanding of this work springs humorous, too often taken in a cavalier and beautifully rendered here. Thing obviously made possible by the impeccable technical mastery of the score, which is saying something.

Paganini is on the agenda, with Le Streghe (The Witches' Dance ) and Variations on one string on themes from Rossini's opera Moses . Should I confess to a profound lack of interest in this music dedicated solely to the virtuosity? I also limit myself to underline the dexterity of Tomescu, breathtaking, serving very little indeed. Much ado about nothing! In contrast, beneficial Pablo de Sarasate with his Gypsy Melody (Zigeunerweisen) op. 20, heartfelt tribute to laoutars Central Europe, but with no depth fake verve assumed. Full delivery of chic violinist, a little too quiet perhaps pianist struggling to be heard in her imitations of cimbalom the exuberant finale.

The two works complement Fortunately the Wieniawski Polish program. The beautiful Legend op. 17 mysterious accent develops noble cantilenas while Variations on an Original Theme, Op. 15 , playful and pyrotechnics, offer a pleasant conclusion to a recital welcome.

Welcome, certainly, but with an aftertaste somewhat mixed, Alexandru Tomescu is a violinist of great talent, it seems certain, but competition is now so high that we can not say if these few pieces of uneven interest will suffice for its recognition. It can only encourage talent agents to propose a directory to the last measure of his art: the sonatas, the great concertos, not only classical and romantic but a century away too. And since we are talking about an artist Carpathians when Tomescu in Caprice Romanian George Enescu ?

Responsible Investing Questionnaire

récitals of Horatio Radulescu Tomescu (1942 - 2008) Constantin Silvestri

At the Conservatory of Bucharest (1960-61, 1964-69), H. Rădulescu following courses Tiberiu Olah (composition), Ştefan Niculescu (musical form) and Aurel Stroe (orchestration). In 1969 he moved to Paris where he specialized in the field of spectral music. He then became a French citizen. In Germany, it focuses on developments in contemporary music (Cologne, Darmstadt).

He is a professor at the Institute Notre Dame des Champs Elysees in the French capital , taught analysis and composition at the University of Ottawa, Canada (1973). In 1983 he founded the ensemble European Lucero . It will give the same name Lucero that it shows at the festival in Paris in 1991.

As a composer, H. Rădulescu joined the DAAD residency in Berlin (1988-89), gets the scholarships next season in San Francisco, Venice and Rome, then in 1992 the French government (fellowship the year off). That same year he was honored with the first prize for composition.

Installed in Clarens in Switzerland, he finds his homeland in 2004 to give master classes at the University of Brasov.

H. Rădulescu was also a talented pianist, painter and poet said.

Music Symphony

Music for Taaroa (Prayer, Revelation, Ritual) op. 7 (1972), for 59 soloists
Fountains of Sky , op. 16 (1973) Infinite
To Be Can not Be Infinite, infinite not to Be Can Be Infinite , op. 33 (1982), or 128 for 8 string quartets, each being given a unique
Concerto for Piano and Orchestra "The Quest"

Chamber Music

Introito, ricercare, sonare op. 4 (1969) for string quartet
Cradle to Abys , op. 5 (1972), for piano
Lives for heaven interrupted , op. 6 (1972) for string quartet and two pianos prepared electronically
Flood for the Eternal Origins, op. 11 (1972), music for all plasma
Everlasting Longings , op. 13a (1972), for 24 strings
Shall be Lifted, nevermore! , op. 17b (1973), for harmonium and saxophone quartet
Intricacy Twilight, op. 21 (1973), for 13 performers and 97 basses
Thirteen Dreams Ago , op. 23 (1974), for soprano, composer, 5 and 6 winds percussion
The Outer Time; Thesis Occult Oceans; Beydon's Aura, The Inner Time for 5 clarinets Christe Eleison
, organ
Beyond Where , op. 55 (1984) for flute
Lux Animae (1999), Cello Sonata spectral
dupa Lao Tze , four piano sonatas
Hong Dr. Kau's Diamond Mountain VI, op. 77 (2000), for 61 gongs and spectral violin solo (in the manner provided spectral).

Vocal

Do emerge ultimate silence, op. 30 (1999), for 34 voices of children
Sonetto di Dante (1973) for bass and cello

Sources

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

Best Bang For The Buck Hd Camcorder

Forgotten Records, which we have already spoken, exploits the fertile vein recordings of Prague after the war. A recent publication suggests Edouard Lalo edited by Constantin Silvestri. The CD is complemented by works of Cesar Franck by the top two teams from Bohemia, headed by local chiefs.

The few great cello concertos of the Romantic count among them the dramatic D minor Edward Lalo. Halfway time highs signed Robert Schumann and Antonín Dvořák, the score by Lalo, less accomplished, remains firmly anchored to the directory. The weakness of the literature to explain this shape this success, as the work of the French knows fascinated by its dramatic effect (the famous onslaught of the orchestra's Prelude, responding to the tragic melody of the soloist) tempered by the impulsive charm of the intermezzo median. Too bad the finale and coda, too agreed undermine the initial impression and leave a mixed taste in the ear.

Redoutable part for the soloist. His play, detached from the orchestral mass, is exposed to all risks. But André Navarra is an outstanding musician, broke the challenge. That day in 1953, along with a Czech Philharmonic Orchestra conducted by Constantin Silvestri soberly, he can light up a partition that is dear to him. His technique is impeccable melodic biased constant. The Romanian leader refuses to use the power of the orchestra to its maximum, as are wont to do so many directors of second order in the minutes of the concerto. And we know how brave it is for a leader to accept the erasure behind a soloist promised all the honors.

Great work Forgotten Records, which manages to obscure the original LP of the original source. It should be noted however that the official CD Supraphon knew avoid the unpleasant sound of many historic recordings from this label. Thanks be made to the simple mono!

In this same CD Supraphon, supplements are important: the two Enesco Rhapsodies, superlative, even more magnified than Dorati; orchestra Talich Ančerl and then gives its full extent. A beautiful English Rhapsody Maurice Ravel closes the recital. It is regrettable that Silvestri still holds until the end of the year 1953 the Bucharest Philharmonic, chose not to honor his nation by offering music in Navarra the infrequent (and demanding, whatever is said) Symphony Concertante of Enesco.

The two works by Cesar Franck CDs that complement the Forgotten Records are rarer. Singular Symphonic Variations for piano and orchestra , where the pianist comes off the orchestral mass without opposition. The option Concertante is irrelevant here: not much to do with the strong variations of a Liszt or Rachmaninoff. The gentle poetry of Frank announcement Rather Symphony on a mountain his pupil and successor Vincent d'Indy. From the incipit, the orchestra, a scansion of his leg, examines the anapests the soloist. Various episodes ethereal make full justice to the name of Frank - "Pater Seraphicus" - before culminating in a naive joy, a kind of childish round where one looks in vain for the slightest weight.

The very discreet Eva Bernátová perform without a blow of his piano part, although it is possible to find her a bit too insistent pounding in the conclusion. Václav Smetáček, historic leader of the Prague Symphony, is not particularly renowned for his familiarity with French music. This household, however, with its trade musicians whose strings sing heroic here know a flawless unison.

The Cursed Hunter offers a different aspect of Franck. This symphonic poem, we do not know enough, is a kind of Symphonie fantastique in summary, with its four linked movements but characterized (Czech music connoisseurs are sure to make the connection with Polednice , the Noon Witch, Antonín Dvořák). Caesar Franck was inspired by a ballad by Gottfried August Bürger. Each stanza is a movement of the symphonic poem. Respectively: Andantino quasi allegretto , Poco più animato , Molto lento and Allegro molto - Quasi presto. reads Bürger, as it appears in the preface to the score of Cesar Franck (available online at http://imslp.info/files/imglnks/usimg/4/43/IMSLP13678-Franck_ _Le_Chasseur_Maudit__score_.pdf-). It is so short that a summary would be, at best, a clumsy paraphrase.

It was Sunday morning and rang off the joyful sound of bells and hymns from the crowd ... Sacrilege! The grim Earl Rhine sounded his horn.

Hallo! Hallo! Hunting darts by the corn, heaths, grasslands - Stop, Count, I beg you, listen to the songs thinking. - No ... Hallo! Hallo! - Stop, Count, I beg you, take care ... No, the ride and rushed like a whirlwind.

Suddenly, count is alone no longer wants his horse forward, he blows his horn, and the horn does not resonate more ... a mournful voice, the implacable cursed Sacrilege, "she said. Be ever ran through hell.

Then the flames emanating from all shares ... The count, maddened with terror, fled, always, always faster, pursued by a pack of demons ... during the day through the depths at midnight through the air ...

vision of Michel Plasson, EMI Classics, is justly famous. French chef knows how to live every nuance of the score (including the cell rhythmic call of the horn) and the sound manages to render distant countermelodies brass. Plasson even succeed - high quality - to get musicians du Capitole de Toulouse and a healthy respect for the eloquent silence (listening, for example, measures before Molto Lento ).

Four decades earlier, in the hall of the Rudolfinum in Prague, Karel Sejna momentum imparted equally strong in the Czech Philharmonic Orchestra. Despite almost identical to the timing of Plasson, Sejna has a commitment certainly less "literary" than the latter. However, as often with him, there is a manifest care for detail. The flames of hell, which gradually emerge around the hunter cursed (driver: letter L busiest ) and binding satanic race to the bottom? A simple phrase in the violins, apparently discrete, even trivial. But in Sejna, What indeed! The reputation of Czech string is not on this example, spoofed.

We can ignore another version, much more famous, the Hunter cursed with the Czech Philharmonic. At the lectern, the French Jean Fournet. Captured in 1967, year of relative liberalization, while the prestigious Prague phalanx opened to many foreign leaders (Serge Baudo, Paul Kletsk, Lovro Von Matacic Antonio Pedrotti ...), this service is opulent, amazingly, less exciting than Sejna. Perhaps due to sound a little too much dough mat? In stereo, it will be understood, Plasson is unavoidable.

The source of the compact Forgotten LP Records unnoticed. The dynamics remains satisfactory.

References cited in this article:

Forgotten Records en 201: Edouard Lalo, Concerto for Cello and Orchestra in D minor .

André Navarra, cello. Czech Philharmonic Orchestra, Constantin Silvestri direction.

Cesar Franck Symphonic Variations for piano and orchestra .

Bernátová Eva, piano. Prague Symphony Orchestra, Václav Smetáček direction.

Cesar Franck, cursed the hunter.

Czech Philharmonic Orchestra, Karel Sejna direction.

Emi Classics 5 55385 2: Cesar Franck, The hunter cursed + other French symphonic poems.

Orchestre du Capitole de Toulouse, Michel Plasson direction.

Supraphon Crystal Collection 11 0613-2: Cesar Franck, The hunter cursed + Symphony in D minor , Les Djinns .

Czech Philharmonic Orchestra, conducted by Jean Fournet (Sir John Barbirolli in Symphony).

How Does A Djembe Make Sound

Raretés Prague d'en CD

A recent CD label Forgotten Records offers rare recordings of Bach and Beethoven by Enesco. This new release gives us an opportunity to discuss the art of master Romanian post-war with two of his favorite composers.

Bach and Enesco: far from a simple meeting of composer performer, here we must celebrate the passion that did combine, beyond age, the father of all music to one of the most talented musicians of the twentieth century. More than a passion, a merger. Bach, the music itself, in its complex clearly his inexhaustible counterpoint, his productions abyss defying spirit. And Enesco, born in a time where virtuosity was a goal and not a means, but knowing so early avoid such pitfalls to serve the music as it should be. Unpretentious, intelligent, beautiful.

While Bach has never left the desk of an enlightened elite, whatever the profiteers of kitsch to which the teacher does not owe its revival after decades of darkness. Still! Busoni must convince to romanticize, Casals himself was in favor of a very personal and so marked by the taste of the time. Later, Stokowski dare philharmoniser Bach and even accompany the images already syrupy Walt Disney.

Nothing in this Enesco. His vision of Bach is both dated and timeless. Dated? Yes. The term does not purport to be pejorative. It indicates that under his leadership, the Brandenburg Concertos resonate as a testimony of the 1950s. Dare we still play the BWV 1050 as did Jean-Pierre Rampal, Christian Ferras and Céliny Chailley-Rich? A modern flute? A non-baroque violin? Sacrilege! And what about the anachronistic piano?

Timeless. The musicians of the Association des Concerts de Chambre de Paris show how this music reflects (as a mirror of mind) the passion you put into it. Their vision, under the baton of old Enesco, breathes a seraphic joy. The slow tempo is right: a little less lively, and boredom sets. But a little faster, and harmonies telescope between them, distorting the musical message. The master Romanian remember that the instruments of Bach were less easy to manipulate, that this music was written for large vaulted rooms where the echo was his role. Then beat faster would not be desirable, though made possible by the new contemporary. Music before anything else.

pianist Charles Rosen, I believe, skilfully narrated the quality of Bach's music so remarkable for what it suggests - which explains why treatments specific to deface other composers agree without much damage to partitions of Kantor. I appreciate the utmost baroque musicians (term, however, that disgusts me), but this does not deprive me of the pleasure of tasting the art so valuable Enesco and its musicians. Should be welcomed to live in an era when the choice is imposed by either the offer or the doxa!

The Forgotten CD Decca Record contains two insertions (BWV 1044 and BWV 1050), already reported by the Canadian label Oryx (HPC 907), which offers more BWV 1057 for piano and two flutes. The postponement of the two labels is made with care. At most I've noticed on my installation, some passages of Forgotten Records where the diamond seems to "hang" groove. Forgotten

Records offers a rarity in addition to Enesco, this time it as a violinist. It should be remembered that this exceptional musician has just registered, and improperly recorded: when he was young, the art of sound capture was immature, and later he himself sinking in an age marked by the disease and joint pain. It is, alas! the situation when he agreed to entrust to Colombia's vision of the Kreutzer Sonata, with pianist Celiny Challeys-rich, his accomplice history. Approximate attacks, keeping notes failed, virtuosity in default, but also: refusal of vibrato so easy, no pathos, vitality everywhere. Even decreased, Enesco proves his ability to sing as they should, to honor the memory of the servant he has never ceased to be. We are in 1952 already. Before three years, the musician is no more. This testimony is not one that we listen to Beethoven address. That is not its purpose but is extended Romanian to admirers of the master, eager to discern despite age and illness that makes unique art so rare a violinist.

I found a local CD in Bucharest with the same record, with the 2nd sonata by Schumann, always Chailley-rich, and the Andante from Bach sonata BWV 1003. Should I tell? transfer is very much in favor of Forgotten Records. Romanian received the CD in the words of Ana-Maria Avram computer processing created by itself and used here "world first". But the "no noise" (noise cleaning) suggests the musicians to emerge as a narrow pit: spectrum confined signal too artificial, even (in my case) its inability to withstand more than ten minutes. In comparison, the postponement Forgotten Records breathes deeply, and offers a real listening comfort.

Forgotten Records (fr 171): Bach Brandenburg Concerto No. 5 in D major BWV 1050, Concerto for piano, violin and flute in A minor BWV 1044

Céliny Chailley Richez, piano

Christian Ferras,

violin Jean-Pierre Rampal, flute

Orchestra Association Concert House from Paris, George Enescu

Beethoven: Violin Sonata No. 9 in A major op. 41 "Kreutzer"

George Enescu, violin - Céliny Chailley Richez, piano

http://www.forgottenrecords.com/

Oryx (HPC 907): Bach: as above + BWV 1057, with Gaston Crunelle, second flute

http://www.baroque-music-club.com/

Enescu Edition Modern / KEAN: Beethoven, see id 171 + CD Schumann, Sonata No. 2 in D minor, Op. 121 + Bach Andante from Sonata BWV 1003

http://members.fortunecity.com/hyperionedmn/mailorder.html

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Tomescu Enesco : mieux que Joshua Bell! Faust

It remembers the experience in January 2007 by the violinist Joshua Bell in the anonymous environment of an underground corridor in Washington, the famous virtuoso plays three quarters of time without causing obvious interest. Her kitty is 32 dollars. The event, staged by the Washington Post, has prompted countless comments on the supposed inability of Americans to enjoy a concert for which tickets would sell tens of dollars - one.

Friday, April 11, 2009, Bucharest metro. The young violinist Alexandru Tomescu, attired in civilian clothes, repeats the experience of Bell. Like his illustrious colleague, he plays a Stradivarius of legend, and like him, he performs pieces by Bach and other pieces are virtuoso whose fond ca. Surprise! passersby stop, listen, challenge him a little money. 328 lei - three times more than the experience of Washington! And in half an hour only!

Then more music lovers than Americans, Romanians? Maybe. Less obsessed with schedules, without doubt. Conversely, we can assume they have less opportunity to listen to great music that people in the capital U.S., and thus more prone to marvel at the slightest manifestation of this art if overused. Sometimes just a few drops a flower that flourishes in the Sahara ... And should we emphasize the importance of the violin in the Romanian national culture?

Anyway, this action loud and abundantly annotated may only draw fire from international critics on exceptional violinist. What a beautiful card! But why the discs are so rare? We'll talk here Alexandru Tomescu.

(based România Libera )

You can find the Romanian translation of this article The world in Alexandra .