EDE TERÉNYI: “TRIBUTE FOR MOZART” (2004) - CONCERT FOR VIOLIN AND ORCHESTRA (CHORD – PERCUSSION)

The genesis of the piece of art is therefore connected to the appeal of the Radio Broadcasting from Bucharest addressed to master Ede Terényi from Cluj-Napoca, to compose a violin concert entitled Tribute for Mozart, with the occasion of celebrating the 250th year from the birth of the composer. The concert ought to be recorded during the last days of December 2004 with a rendition of high standard: the violinist Alexandru Tomescu accom­panied by the Radio orchestra and led by the Master Horia Andreescu. At first sight, the title Tribute for Mozart might seem a little surprising for a composer of our days, yet the generous personality of the composer Eduárd Terényi has received this call as a challenge, a gesture to render homage to the genius of Mozart by a brother distanced a quarter millennium time far from him. The bonds between Mozart and Terényi are connected to the esoteric; there is a spiritual duality materialized by this concert. During his composing career there have been several artists from different ages that the master felt close to, like Vivaldi, Händel or Bakfark, affinities materialized by works as the Vivaldiana, Händeliana or the Bakfark Symphony; yet towards Mozart, Terényi nourished admiration and fear. Now, the duty to create a concert in Mozart’s spirit has felt back upon the composer from the beginning of the 21st century: it is not Terényi’s intention to add a new concert to those, which Mozart has composed, but one that Mozart would have composed if he had lived in our space and time

ESSAYS ZU GEORGE ENESCU

The names of Enescu, Bartók and Strawinsky are frequently associated, and some points of view concerning the consideration of the traditional national music seam to be similar. Nevertheless is their evolution quite different. Enescu will be soon relatively isolated from international musical avant-garde, and he has spent much more time and energy as interpret and cultural organizator of the musical life of his homeland. His tendency to an European synthesis with some elements of Romanian lautari-folclore seams to ground to him on a most conservative conception. He is less successful as composer and his deep originality is difficult to analyze and accept. Carl Gustav Jung defines about 1912-1919 the notion of the archetypes of collective unconsciousness (like Animus-Anima, Persona-Ombra) as an universal a priori element, which may constantly change his form. An application to the music suggests the use of some “musical archetypes” (like Initium-Centrum-Finis, Crescere-Planum-Descrescere, Culmen-Vallis, Maximum-Minimum) and may reveal some common gestures of all composers, but also some specific details. Six works of the late period by Enescu are experimentally analyzed in this respect. An attempt to precisely define the "musical time" by Enescu, frequently evoqued in recent studies, would also contribute to understand one of the most specific and intimates zones of his creation. The first problem in this approach is the formulation of some analytical criteria and an adequate terminology, as the domain is usually quite fuzzy defined. The answer to such question cannot be simple - as in the most cases of the attempts to describe the Ineffable of Enescu

PARADIGMS OF THE TEXT–MUSIC CORRELATION IN HENRY PURCELL’S OPERA “DIDO AND AENEAS”

The present analysis proposes an insight into the celebrated world of Henry Purcell by approaching an important work among the baroque operas, remembered as one of the composer’s foremost stage works. We intend to demonstrate the strong co-dependent relationship between the text and the music of Purcell’s opera by illustrating the way the compositional elements come together to accurately depict a music that remains true to the text. The fragments chosen to prove the aforementioned premise will be solo parts, as well as duet or choral parts meant to be analyzed from the point of view of the compositional process. Consequently, we plan to present a small part of the genius of Henry Purcell, a composer who recognized the powerful impact that words have and doubled them with an equally eloquent music

LIGETI’S “STRING QUARTET No.1”; STYLISTIC INCONGRUENCE?

Compared to Ligeti’s String Quartet no.2, Métamorphoses nocturnes is a piece that has been less explored, although it towers over the author’s early creations. Using a sole melodic motif extracted from Bartók’s piano piece Klänge der Nacht, the Quartet develops a set of syntactic and language characteristics that confer this Budapest period work a reverential gesture to Ligeti’s outstanding predecessor. The arch form structure, the continuous variation technique, the fusion between chromaticism and diatonicism, they all highlight a compelling interconnection with Bartók’s universe. Our emphasis on the stylistic incongruence concept emerges from the contrast between the five constitutive sections of the arch form and the coda segment. Whilst the constant transformation technique of the generative motif in all five sections polarizes titles such as Musica Ricercata, Sechs Bagatellen für Bläserquintett, the coda conceals a stylistic border zone and prefaces an irreversible evolution process towards significant works of the next decade – Glissandi, Apparitions, Athmosphères. It leads directly to the meta-language of sonorous fields and static blocks projected beyond any gravitational space, where musical parameters dissolve in a unique one: the timbre colour. In the coda segment, Ligeti operates a complete suspension of the temporal dimension and induces a sonorous entropy. These new elements will trigger in future works the structural collapse and the disintegration of the articulated form, which will become noteworthy stilemas of his later creation. The title’s declared metamorphosis required a multi-level semantic decoding, but the analysis finally provided all the arguments in order to consider String Quartet no.1 synonymous with Ligeti’s definitive stylistic conversion

TUNES OF THE TRADITIONAL CHRISTMAS CAROLS IN THE NORTHERN PART OF MEZŐSÉG (CÂMPIA TRANSILVANIEI)

The paper hereby briefly presents the most beautiful Christmas carols of the northern part of Mezőség (Câmpia Transilvaniei) and also the most popular ones. Part of the material I have presented in this paper has been collected by myself (tunes of the carols from Magyarborzás and vice), the rest I have taken from folklore literature on the area. Tunes are presented and analyzed in a chronological order, starting with the oldest ones. My motivation to write on this topic was to present the area of Mezőség (Câmpia Transilvaniei) and the invaluable treasures of its folklore to a larger group of people. On the other hand, I think it is our duty to help these valuable pieces of folklore survives

DIE BEDEUTUNG DER ORGEL IN SIEBENBÜRGEN UND IN ALPENLÄNDERN IM 13.-17. JAHRHUNDERT

The present article has the purpose to present the development of the organ building, parallel with the musical progress in Transylvania and in the Europe between 13th -17th centuries. The first entry about organists is made in 13th century; the record is founded in the archive of the catholic archbishopric in Alba Iulia / Gyulafehérvár. We know also a record from 1429 about the existence of an organ instrument in the “Marien church” (today evangelical church) in Sibiu / Hermannstadt. During this length of time many Transylvanian musicians enraptured with delight towards art spending a while in various sovereigns of Europe. For example: Valentin Bakfark (1507-1576) the famous lutanist; or Daniel Croner (1656-1740) the organist and composer. In fact, the first organ-textbook of the world -“Il Transilvano” by Girolamo Diruta (1561-1610) lis on Transylvanian background. However, many untouched materials about significant characters -which rather are important for the Transylvanian Music History as for the international scene- is waiting for discovering in the archives of churches and communities to the curiosity of scholars

SIMON BOCCANEGRA

Simon Boccanegra is one of Verdi’s most interesting operas. Its unusual mix between old and new elements makes it both innovative and loyal to the traditions of the 18th century. The new approach of the characters creates a completely new world, in which the person – with its psychological and emotional experiences dominates the stage. Simon Boccanegra was the inspiration behind the opera, this authentic historic figure acted as the backbone of a story, which has shocked so many people at its first premiere. In the next few pages, we will present the opera’s path from start to finish, mixing in some personal elements that will give the tale a human perspective, from the view of someone who attempts to take on such a challenging role to find herself immersed in a wonderful, historical age as well as the composing genius of Verdi

EDE TERÉNYI – THE MONO-OPERA “LA DIVINA COMMEDIA” – CONTENTS AND FORMS (I. PART – “INFERNO”)

Ede Terényi had come across the poetical work La Divina Commedia for the first time at the beginning of the 1970’s. As it was a turning point in his life as well, the work of Dante had a very sensitive influence in his own life as along thirty years of his life, the composer came back thorough his creations to this subject. His impressions were transposed both in a colour visual form – by creating a series of twenty-five pictures that were entitled Dantesca, and also in a musical sonorous form by composing the mono-opera La Divina Commedia. Not only this musical work but also many other musical works from the 1971-2004 have the print of the work of Dante. This study has the short and the analytical presentation of the mono-opera La Divina Commedia by the mirroring of the pictures in the series Dantesca that were signed by the composer