AUREL STROE - LE CONCERT POUR ACCORDÉON ET ENSAMBLE DE SOLISTES: CONSIDÉRATIONS SÉMANTIQUES

An avant-garde composer, a great thinker on the musical and musicological phenomenon, the possessor of interior images that give birth to music of a particular beauty, Aurel Stroe was also a teacher of the Bucharest Conservatory until he left the country, settling in Germany. His music has a great complexity, bordering on different artistic and conceptual routes, characterized by multidisciplinarity and multiculturalism. The concert for accordion and ensemble of soloists is his last major work and concentrates the synthesis of his compositional and semantic resources (especially the third part, Accord-matrice). The matrix accord coagulates the tensions that have occurred in the concert and succeeds with a unique ability to reduce the expressive field of the preceding elements into a single structure

THE THEME OF THE PRODIGAL SON’S RETURN IN CLASSICAL MUSIC II: SERGEI PROKOFIEV

The 34th Sunday after the Pentecost is one of the most important in the liturgical cycle of the Christian Orthodox Church, because it is the second Sunday of the Triodion. In connection to this topic, so profound and rich in theological, moral, musical, and human implications, we investigated areas of interest in the history of the modern music in the last century in search for guiding points to approach this topic. In this second part of the study, we analize the work signed by Sergei Prokofiev

Book Review: "LES ÂGES DU SON - CONCEPTS ETHNOMUSICOLOGIQUES" DE NICOLAE TEODOREANU

Trois ans après le passage au monde d’au-delà de l'Homme qui porte le nom de la modestie et du professionnalisme, Nicolae Teodoreanu, nous reconfigurons de manière commémorative son univers de pensée musicologique en surprenant quelques coordonnées de sa création ethnomusicologique

THE THEME OF THE PRODIGAL SON’S RETURN IN CLASSICAL MUSIC I: CLAUDE DEBUSSY

The 34th Sunday after the Pentecost is one of the most important in the liturgical cycle of the Christian Orthodox Church, because it is the second Sunday of the Triodion. In connection to this topic, so profound and rich in theological, moral, musical, and human implications, we investigated areas of interest in the history of the classical music of the past three centuries in search for guiding points to approach this topic. The work signed by Claude Debussy is the best known and most valuable of those presented, which is why we think it is necessary to focus on it from an analytical point of view

JOHANN SEBASTIAN BACH - THE ONLY FUNERALCANTATA IN HIS WORKS: „GOTTES ZEIT IST DIE ALLERBESTE ZEIT”, BWV 106

The funeral repertory represents a privileged field in the history of music, which reflects the deepest expression of each composer or era. Funeral music was generally approached at the end of the works or at mature moments in composing art. We generally find in this type of repertory the most obvious spiritual and compositional refinement, a climax of stylistic values in the art of each composer; a synthesis of the creativity of great artists. Bach has entered the field of funeral music only in a very small vocal portion of his vocal-symphonic repertory, small in size and means of composition: cantata Gottes Zeit ist die allerbeste Zeit, BWV 106. The work is part of his religious cantatas, being composed during his early years, in 1707-1708

THE EVOLUTION OF ITALIAN MELODRAMA: FROM DONIZETTI TO VERDI

This study presents the evolution of the Italian melodrama of the nineteenth century, having as a major composer exponents such as Gaetano Donizetti and Giuseppe Verdi. The rich culture of the Italian Romantic space, as well as the socio-political events of the 19th century, influenced the mentality and style of opera composers. Thus, titles such as “La donna del lago” (1819), “Wilhelm Tell” (1829) – G. Rossini, “I Capuleti e i Montecchi” (1830) – V. Bellini, foreshadow the new directions of Italian romantic opera. The maturation process of Italian romantic opera is crowned by Gaetano Donizetti and Giuseppe Verdi, who, through melodrama, achieve important stylistic synthesis. Rezumat. PARCURSUL MELODRAMEI ITALIENE: DE LA DONIZETTI LA VERDI. Prezentul studiu prezintă evoluția melodramei italiene din secolul al XIX-lea, având ca principali exponenți compozitori precum: Gaetano Donizetti și Giuseppe Verdi. Cultura bogată a spațiului romantic italian, precum și evenimentele socio-politice ale secolului al XIX-lea influențează mentalitatea și stilul compozitorilor de operă. Astfel, titluri precum ”La donna del lago” (1819), ”Wilhelm Tell” (1829) – G. Rossini, ”I Capuleti e i Montecchi” (1830) – V. Bellini, prefigurează noile direcții ale operei romantice italiene. Procesul de maturizare al operei romantice italiene este încununat de Gaetano Donizetti și Giuseppe Verdi, care, prin intermediul melodramei, realizează importante sinteze stilistice. Cuvinte cheie: Donizetti, Verdi, melodramă, evoluție, stil

THE BEGINNING OF MODERNISM IN THE MUSIC OF SERBIAN COMPOSERS

Significantly penetrating the years between the two world wars, this situation testifies to the long process of uneven development of Serbian music. Despite the founding of the Belgrade Opera (1920), the gradual growth of performing qualities, the expansion of the repertoire, the premiere of the first Serbian musical and dramatic achievements of modern expression, the influence of popular music remains an almost exclusive privilege of traditional national forms of music. In order to establish internal continuity, they modernized and expanded the existing tradition with new genres, appreciating that sudden new leaps in language can be accepted primarily in those genres that have already gained some continuity in national music. REZUMAT. ÎNCEPUTURILE MODERNISMULUI ÎN MUZICA COMPOZITORILOR SÂRBI. Pătrunzând semnificativ în anii dintre cele două războaie mondiale, această situație atestă lungul proces de dezvoltare inegală a muzicii sârbești. În pofida înființării Operei din Belgrad (1920), a creșterii treptate a calităților interpretative, a extinderii repertoriului, a premierei primelor realizări muzicale și dramatice sârbești de expresie modernă, influența muzicii populare rămâne un privilegiu aproape exclusiv al formelor naționale tradiționale de muzică. Pentru a stabili o continuitate internă, acestea au modernizat și au extins tradiția existentă cu noi genuri, apreciind că salturile noi și bruște în limbaj pot fi acceptate în primul rând în acele genuri care au dobândit deja o anumită continuitate în muzica națională. Cuvinte cheie: modernism, sârbă, tradiție, naționalism, genuri

Stylistic Correlations Between Serbian and European Music in the 20th Century

The Serbian musical culture was put late into connection with the European one. The fact that the first piano was introduced in Serbia in 1824 indicates that cultivating Serbian music was not possible under the Turkish domination. The spread of Serbian music in Europe made it possible to publish compositions by foreign authors and Serbian composers, which drew attention to the themes of Serbian music. The compositions were printed and published in Leipzig, Vienna, Prague, Paris, Budapest, London. The tours abroad performed by Serbian choirs and soloists popularized Serbian songs all over Europe. In the first half of the 20th century, almost 80 European composers wrote works with Serbian influences. Most of the foreign composers, especially those who lived and created among Serbians, embraced the mentality and cultural and musical needs of a people whose melodic essence they tapped into, using Serbian musical themes in their compositions

THE STYLISTIC FEATURES OF VASILIJE MOKRANJAC’S PIANO COMPOSITIONS

Vasilije Mokranjac can be seen as a paradigm for an entire generation of Serbian composers who started creating at an unfavourable historical moment. In time, he moved away from his initial stylistic ideas, and, by constant transformation of his practically neoclassical style, he created a heterogeneous work. He dealt most intensely with piano music and, as a result, he contributed the most, both quantitatively and qualitatively, to this area

THE CHARACTER “LUCREZIA BORGIA” OF DONIZETTI’S HOMONYMOUS OPERA. AN ANALYSIS OF CHARACTER AND VOCAL FEATURES

Donizetti’s opera “Lucrezia Borgia” presents one of the most complex female characters in the history of Italian lyrical theatre – a notable portrait of “femme fatale”. Based on Victor Hugo’s play, Gaetano Donizetti’s creation offers generous interpretation contexts, both from a vocal and a dramaturgic point of view. This article will deal with the particularities of Lucrezia Borgia’s role, underlining the importance of the relationship between vocality and dramaturgy, focusing on the analysis of the main soloist moments. REZUMAT. PERSONAJUL "LUCREZIA BORGIA" DIN OPERA OMONIMĂ A LUI DONIZETTI. O ANALIZĂ A CARACTERULUI ȘI A TRĂSĂTURILOR VOCALE. Opera "Lucrezia Borgia" de Donizetti prezintă unul dintre cele mai complexe personaje feminine din istoria teatrului liric italian - un remarcabil portret de "femme fatale". Bazată pe piesa lui Victor Hugo, creația lui Gaetano Donizetti oferă contexte interpretative generoase, atât din punct de vedere vocal, cât și dramaturgic. Acest articol abordează particularitățile rolului Lucreției Borgia, subliniind importanța relației dintre vocalitate și dramaturgie, concentrându-se pe analiza principalelor momente solistice. Cuvinte cheie: Lucrezia Borgia, Donizetti, personaj, tipologie, vocalitate