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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 .

How Much Is The Haircut In Bench Salon?

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