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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.

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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.