O amintire relatată de, Mărioara Porumbescu, sora poetului, compozitorului și teologului român Ciprian Porumbescu: “Cu vreo două zile înaintea morții, a venit fratele Ștefan. Sărmanul Ciprian s-a bucurat mult văzându-ne pe toți în juru-i. Luni seara am cinat împreună, iar Ciprian a glumit cu Ștefan, apoi a adormit. Eu stăteam, ca întotdeauna, lângă el. Pe la 12 noaptea se trezește și zice: «Măriorică, mi-e foarte rău. Să vină toți la mine. Să știți că la două ceasuri sunt mort». Apoi și-a luat rămas bun de la toți, cu vocea limpede și cu privirea clară și frumoasă. Ultimele sale cuvinte au fost: «Tătuță, Măriorică, vegheați să nu mi se piardă cântecele. Ele trebuie să trăiască căci eu, iată, mă sting. Le las în dar neamului meu». Picioarele i se răciseră, dar el era încă conștient. Însă, încet a adormit ca un sfânt.” Și astfel, pe 6 iunie 1883, se stingea din viață, la doar 29 de ani, Ciprian Porumbescu…
************************************************************* Ion Voicu (October 8, 1923–February 24, 1997) was a Romanian violinist and orchestral conductor.
Hundreds of excellent concerts all over the world have brought out in bold relief Ion Voicu’s brilliancy as a Romanian violinist of international reputation, one of the greatest masters of our time.
He was born in Bucharest where he started his musical training when only six years old, with 200 years of musical tradition in his background. A child prodigy, he was admitted at the Bucharest Royal Academy of music and completed its seven years course in only two years as a pupil of the renowned Romanian professor George Enacovitch. Later on Ion Voicu polished his art under the guidance of such celebrated violin masters namely George Enesco and David Oistrakh.Ph.D. at the Tchaikovski Conservatory.
Ion Voicu have given in a fifty five years period of his career, thousands of concerts all over the world: Paris, New York, London, Rome, Vienna, Tokyo, Berlin, Stockholm, a.s.o. His annual tours have gained him enthusiastic acclaims everywhere, as respected critics attest … “Ion Voicu has magic in his fingers and his bow”, “He has poet’s mind and skill of a hand that makes one think of a conjurer”, “Zauberer auf Saiten”, “Beifallstürme für Ion Voicu”, “Ein Teufelsgeiger”, “Sa technique est éblouissante et sa sonorité charmeuse”, “Il est parmi les élus”, “Ion Voicu se situe sur le plan des plus grands maîtres du violon”, “He is one of the greatest violinists”, “A lesson of violinistic art”, “Un grand soir avec Ion Voicu”, “Voicu kann man zweifellos zu den besten Geigern zählen”, “A star of international musical life”, “Ion Voicu gehört neben Zino Francescatti zu den grössten”, “Il se place aux premiers rangs des violonistes du monde entier”, “Le concert inoubliable de Ion Voicou”, “Voicu ist in der Reihe der hervorragendsten Künstler”, “He was triumphal!”.
More than 100 records LP and CD he has produced, including those by DECCA House and Deutsche Gramophone, have aided in his world fame. His repertoire rang from forgotten masterpieces of the past to new works written for him by Romanian and foreign contemporary composers.
Ion Voicu has played with such prestigious orchestras as BERLINER PHILHARMONIKER, LONDON SYMPHONY ORCHESTRA, he played under the baton of great conductors such as Sir Barbirolli, Paul Kleski, Antal Dorati, André Cluytens, Sir John Pritchard, van Oterloo … concerts broadcasted and telecasted by BBC-London, ABS-New York, NHK-Tokyo, RTV-Belge, Moscow, Ankara, Stockholm, a.s.o. He played concerts with Yehudi Menuhin, David Oistrakh, Henryk Szeryng, Leonid Kogan, Igor Oistrakh and others, played sonatas with Cristoph Eschenbach, Hepzibach Menuhin, Monique Haas, a.s.o.
His teaching activities goes from private instructor to “Master Classes” taught at the “International Mozarteum Academy” in Salzburg, Conservatoires de Paris, Nice, Genéve, Lausanne, Vienna, International Menuhin Academy, to name some of them. Quite often prof.dr.Ion Voicu is appointed for Vice-President at the Tchaikovsky International Competition and a jury member of Bach International Contest, Carl Flesch Competition in London, Sibelius International Competition, Folkstone Menuhin Competition, to name a few.
Ion Voicu has contributed to the musical world in many ways. His contribution to raise the prestige and quality of “George Enescu Philharmony” in Bucharest, where he has been General Director for ten years, is attested. He created the “Bucharest Chamber Orchestra” since 1969, which is well known in all Europe and was present at important international festivals. Now his son Madalin Voicu conducts it.
The structure of the sonata is unconventional in that the piece opens with a relatively slow movement in the format of theme and variations. In contrast, the remaining movements of the sonata proceed according to classical principles in fast-slow-fast alternation. The third movement incorporates a funeral march, clearly anticipating the watershed of the Eroica Symphony that Beethoven wrote in 1803-1804. This is the only movement from his sonatas that Beethoven arranged for orchestra, and was played during Beethoven’s own funeral procession in 1827.
This sonata is also unusual in that none of its four movements is in sonata-allegro form.
In most of Beethoven’s four-movement sonatas, the third movement is in 3/4 and in ternary form, while the second movement is slow and in a different key from the other movements. In this sonata, the second and third movements have switched roles, where the second movement is the ternary scherzo and trio, while the third movement is the slow movement in the tonic minor.
The main theme of Schubert‘s Impromptu in A-flat major, Op. 142 No. 2 is strikingly similar to the theme in the first movement of Beethoven’s sonata. The four-bar phrases that open these pieces are almost identical in most musical aspects: key, harmony, voicing, register, and basic as well as harmonic rhythm. Another less immediate connection exists with the main theme, also in A-flat major, of the Adagio movement in Schubert’s piano sonata in C minor, D. 958. Indeed, Schubert may have borrowed these themes from Beethoven, as he often did in his compositions.
This sonata was greatly admired by Chopin, who repeated its basic sequence of scherzo, funeral march with trio, and perpetuum mobile finale in his own Piano Sonata in B-flat minor. His first movement, however, is also animated and in sonata form, unlike Beethoven’s Andante con variazioni.