Joi, 15 ianuarie, se vor împlini 165 de ani de la naşterea poetului şi gazetarului Mihai Eminescu.
Profesorul făgărăşean Ion Funariu a făcut cercetări pe vremea când era dascăl la ,,Radu Negru” şi a scris o carte în care publică informaţii uluitoare despre poet. Se pare că strămoşii lui Mihai Eminescu sunt ardeleni get-beget proveniţi din inima Ţării Făgăraşului, mai exact satul Vad, comuna Şercaia.
Romanian romance for voice and guitar with Maria Raducanu & Maxim Belciug. Music by Guilelm Sorban, words by Mihai Eminescu. Live recording, march 2010. More videos at http://www.maximbelciug.ro
Here’s an English translation of the lyrics, made by Corneliu M. Popescu:
___________________ Down where the lonely poplars grow How often have I erred; My steps that all the neighbors know You only have not heard.
Towards your window lighted through How oft my gaze has flown; A world entire my secret knew You only have not known.
A word, a murmur of reply How often did I pray! What matters then if I should die, Enough to live that day;
To know one hour of tenderness, One hour of lovers’ night; To hear you whisper’s soft caress One hour, then come what might!
Had you but granted me a glance That was not filled with scorn, Out of its shinning radiance A new star has been born.
You would have lived through lives untold Beyond the ends of time; O deity with arms so cold, O marble form sublime!
An idol of some pagan lore As now no more is seen, Come down to us from times yore, From times that long have been.
My worship was of ages gone, Sad eyes by faith beguiled, Each generation handed on From father unto child.
But now I very little care To walk along that lane, Nor heed the face I found so fair Looks out for me in vain;
For you are like them today In bearing and in guise, And I but look on your display With cold and lifeless eyes.
You should have known to value right With wondering intent, And lit your candela at night To Love that God had sent. ______________________
Corneliu M. Popescu ( 1958 -1977) is considered to be the best English translator of Eminescu’s poems. He set a standard in poetry translation that continues to be valid even today, therefore the Prize for Poetry in Translation (awarded by the Poetry Society UK) carries his name. Unfortunately, Corneliu M. Popescu died at the age of 19, in the earthquake that took place in March 1977, in Romania
În decursul carierei sale artistice a jucat în peste 2.000 de spectacole de operă, interpretând peste 40 de roluri și primind numeroase premii și distincții. A cântat pe marile scene ale lumii, alături de alți mari interpreți ca Luciano Pavarotti, Montserrat Caballe, Placido Domingo, Leontyne Price sau Birgit Nilsson. A rămas memorabilă interpretarea sa în rolul Oedip, din opera cu același nume de George Enescu, care i-a adus renumele de cel mai apreciat Oedip al secolului al XX-lea.
FromWikipedia, the free encyclopedia
DavidOhanesian(bornJanuary 6, 1927, Bucharest – diedSeptember 30, 2007, Bucharest) was a Romanianbaritonewho alongsideOctavEnigărescuand NicholasHerlea, was part of thegoldentriadof the greatestbaritonesof Romania. DavidOhanesian, Photo: MihaiCosma
Duringhis artistic careerhe playedinmore than 2,000opera,playingover 40roles andreceivednumerous awardsand accolades. He playedon the great stagesof the world, along with other greatartistslikeLucianoPavarotti, MontserratCaballe, PlacidoDomingo, LeontynePriceandBirgitNilsson. He remainedin the role ofOedipusmemorableinterpretationofthe work ofthe same name byGeorgeEnescu, whoearnedthereputationofOedipusappreciatedthetwentiethcentury.
[youtube.com/watch?v=4TDCMoou2Uc] Georges Enesco: Roumanian Rhapsody #1 in A Op 11 George Enescu – Rapsodia Romana nr.1 Sergiu Celibidache conducting This is THE perfect one ! No other conductor/orchestra makes me feel it and live it like this.
The first Romanian Rhapsody composed at 19 years (together with a second one, both bearing the opus number 11) gained a worldwide fame for its lovely folk tunes (in fact, all Enescu’s works are imbued with such folk lightmotifs) and vivid Romanian rhythms, becoming definitely the best known of all his compositions. Here the Rhapsody No.2 is performed with an infectious empathy by the Romanian conductor Paul Staïcu along with his outstanding musicians of MontbéliardPhilharmonic Orchestra. The performance reveals a mighty symphonist with a keen sense of colours and orchestral textures, a rigorous and honest one devoted to principles and truth, extracting the sap of his composition from folk melodies of his people. The reputed conductor Paul Staïcu has signed a series of recordings devoted to the complete orchestral oeuvres of his fellow compatriot. The celebrated Romanian Rhapsody in D major op.11 , more reflexive than its pair no.1, the second Romanian Rhapsody is also a youthful work (written in 1900, when the composer was 19) with persistent folk aromas and picturesque suggestions, aiming at fructifying the popular Romanian musical treasure and meditative side of its sentimentality. The rhapsodic character compounds its appeal and favours its reception by audiences. It is a composition putting grave questions and depicting outrageous realities, filtered through a sensitive conscience. It conveys the sufferance of a moral man facing the immorality of a corrupt and pointless world, reflecting on duties and faiths, on life’s sense and destiny. The torturing mood is magisterially recreated by the inspired baton of Paul Staïcu, the main themes flow unceasingly with a desolating vigour and reach finally a concluding climax affirming an undefeated hope in the majesty of mankind.
The Romanian Athenaeum, at about the time of the Rhapsodies’ premiere there in 1903
The two Romanian Rhapsodies, Op. 11, for orchestra, are George Enescu‘s best-known compositions. They were both written in 1901, and first performed together in 1903. The two rhapsodies, and particularly the first, have long held a permanent place in the repertory of every major orchestra. They employ elements of lăutărească music, vivid Romanian rhythms, and an air of spontaneity. They exhibit exotic modal coloring, with some scales having ‘mobile’ thirds, sixths or sevenths, creating a shifting major/minor atmosphere, one of the characteristics of Romanian lăutărească music.[1][not in citation given] They also incorporate some material found in the later drafts of his Poème roumaine, Op. 1.[2]
The stage of the Athenaeum in Bucharest
The two Romanian Rhapsodies were composed in Paris, and premiered together in a concert at the Romanian Athenaeumin Bucharest which also included the world premiere of Enescu’s First Suite for Orchestra, Op. 9 (1903). The composer conducted all three of his own works, which were preceded on the programme by Berlioz’s Overture to Les francs-jugesand Schumann’sSymphony No. 1, both conducted by Eduard Wachmann. The concert took place on 23 February 1903[3](according to the Julian calendar in use in Romania at that time; 8 March 1903 Gregorian).[4] The Second Rhapsody was played first, and Enescu maintained this order of performance throughout his life.[5]
Rhapsody No. 2 in D major
The Second Rhapsody, like the first, was completed in 1901,[14][7] but is more inward and reflective. Its essential character is not dance, but song.[15][5] It is based on the popular 19th-century ballad “Pe o stîncă neagră, într-un vechi castel” (“On a dark rock, in an old castle”) which, like the opening melody of the First Rhapsody Enescu may have learned from the lăutar Chioru,[1] though again there is some doubt whether Enescu actually remembered it from Chioru.[10] After a development culminating in a canonic presentation, this theme is joined by a dance tune, “Sîrba lui Pompieru” (“Sîrba of the Fireman”), followed shortly afterward by the second half of a folksong, “Văleu, lupu mă mănîncă” (“Aiee, I’m being devoured by a wolf!”), which is treated in canon.[16] Toward the end there is a brief moment of animation, bringing to mind the spirit of country lăutari, but the work ends quietly.[17]
Unlike the First Rhapsody, there is no controversy at all about the scoring of the Second, which is given in the published score as: 3 flutes, 2 oboes, cor anglais, 2 clarinets in A, 2 bassoons, 4 horns, 2 trumpets in C, 3 trombones, 2 timpani, cymbal, 2 harps, first violins, second violins, violas, cellos, and double basses.[18]
Musique du monde: Roumanie. Pot-pourri de mélodies de Grigoras Dinicu (compositeur et violoniste roumain 1889-1949) et de George Enescu (compositeur de nombeuses oeuvres d’inspiration folkloriques dont Rapsodia Romana, 1881-1955) interprétés avec brio et grandes virtuosités par l’ensemble Lautarii de Chisinau (République de Moldavie), dirigé par Nicolae Botgros.
A High Definition video which will make you see how Bucharest really is! You will feel the real Romanian passion for art, culture and life itself! Bring closer a glass of red wine, turn the sound volume just a bit higher than normal.. now relax and enjoy the following 10 minutes..
The author of this beautiful video has chosen a ever so truthful account of the country and the people of Romania, now and throughout the ages old history, for which am very thankful:
“Pentru mine, Enescu va rămâne una din veritabilele minuni ale lumii. (…) Rădăcinile puternice şi nobleţea sufletului său sunt provenite din propria lui ţară, o ţară de inegalată frumuseţe.” Yehudi Menuhin
Just a thought: “Yehudi Menuhin’s quotation refers to the best known, and loved Romanian poet Mihai Eminescu: Nevertheless, I believe that George Enescu achieved in his Romanian Rhapsodies a portrayal of the people of Romania that no one else ever was able to describe with so much humanity, in the language of music what Eminescu did by employing the romantic poetry of the Romanian language.” George-B
Budapest Philharmonic Orchestra Jules Massenet 1842 – 1912 …….. Massenet took a break from his composing to serve as a soldier in the Franco-Prussian War, but returned to his art following the end of the conflict in 1871. From 1878 he worked as professor of composition at the Paris Conservatory where his pupils included André Bloch, Gustave Charpentier, Ernest Chausson, Reynaldo Hahn, Georges Enesco, and Charles Koechlin. His greatest successes were Manon in 1884, Werther in 1892, and Thaïs in 1894. Notable later operas were Le jongleur de Notre-Dame, produced in 1902, and Don Quichotte, produced in Monte Carlo 1910, with the legendary Russian bass Feodor Chaliapin in the title-role.
Corul Filarmonicii “George Enescu” Ceaikovski – Liturghia Sfantului Ioan Gura de Aur (Tchaikovsky liturgy of st john chrysostom op 41) Dirijor Iosif Ion Prunner
O cugetare: “Un adevar neimpartasit traieste precum o minciuna: in ascuns si apasa ca o povara pe umerii constintei si clipa de clipa greutatea ei devine mai mare si mai greu de carat)
Fotografii cu obiective turistice din Romania (cetati, pesteri, biserici, manastiri, etc.). Toate imaginile sunt preluate de pehttp://www.fotoromania.net. In film apar:
– Cimitirul vesel din Sapanta, judetul Maramures – Coloanele de bazalt de la Racos, judetul Brasov – Pestera Ursilor, judetul Bihor – Memorialul victimelor comunismului de la Sighet, judetul Maramures – Biserica Domneasca din Curtea de Arges, judetul Arges – Poiana Narciselor de la Vad, judetul Brasov – Transalpina (DN67C), Muntii Parang – Piata Sfatului din Brasov, judetul Brasov – Pestera Muierilor, judetul Gorj – Manastirea Barsana, judetul Maramures – Cetatea taraneasca din Jimbor, judetul Brasov – Muntii Piatra Craiului – Turnul Alb din Brasov, judetul Brasov – Schitul Ostrov din Calimanesti, judetul Valcea – Biserica fortificata din Cisnadioara, judetul Sibiu – Fortificatiile Brasovului, judetul Brasov – Manastirea Cozia, judetul Valcea – Biserica Neagra din Brasov, judetul Brasov – Manastirea Horezu, judetul Valcea – Cetatea Taraneasca din Rasnov, judetul Brasov – Biserica domneasca si Turnul Chindiei din Targoviste, judetul Dambovita – Vulcanii noroiosi din Berca, judetul Buzau
With the music of George Enescu: The Rumanian Rhapsody Op. 11/1
Lipatti was born in Bucharest into a musical family: his father was a violinist who had studied with Pablo de Sarasate and Carl Flesch,[1] his mother a pianist. For his baptism, which occurred not shortly after birth as is usual, but when he was old enough to play the piano, the violinist and composer George Enescu agreed to be his godfather. Lipatti played a minuet by Mozart at his own baptism.[1] He studied at the Gheorghe Lazăr High School, while undergoing piano and composition studies with Mihail Jora for three years. He then attended the Bucharest Conservatoire, studying under Florica Musicescu, who also taught him privately.[1] In June 1930, the best pupils at the Conservatoire gave a concert at the Bucharest Opera, and the 13-year old Lipatti received a huge ovation for his performance of the GriegPiano Concerto in A minor.[1] In 1932 he won prizes for his compositions: a Piano Sonatina, and a Sonatina for Violin and Piano. That year he also won a Grand Prize for his symphonic suite Les Tziganes.[1] More
Excerpts from Wikipedia Article in translation: “Symphonic miniatures are based on folklore (mainly urban) and type present a medley of songs grouping with sequences developer. Their exotic nature, dynamic, melodic beauty, spectacular orchestration have made these songs come quickly repertory orchestras and be interpreted in concert or in records discrografice by most major conductors of the world.”
The Second Rhapsody, like the first, was completed in 1901,[16][8] but is more inward and reflective. Its essential character is not dance, but song.[17][5] It is based on the popular 19th-century
Image by sylvaregina via Flickr
ballad “Pe o stîncă neagră, într-un vechi castel” (“On a dark rock, in an old castle”) which, like the opening melody of the First Rhapsody Enescu may have learned from the lăutar Chioru,[1], though again there is some doubt whether Enescu actually remembered it from Chioru,[12] and is about certain heroic episodes recounted in ancient Moldavian chronicles and characterized by a spirit of poetic rumination.[citation needed] After a development culminating in a canonic presentation, this theme is joined by a dance tune, “Sîrba lui Pompieru” (“Sîrba of the Fireman”), followed shortly afterward by the second half of a folksong, “Văleu, lupu mă mănîncă” (“Aiee, I’m being devoured by a wolf!”), which is treated in canon.[18] Toward the end there is a brief moment of animation, bringing to mind the spirit of country lăutari, but the work ends quietly.[9]
Unlike the First Rhapsody, there is no controversy at all about the scoring of the Second, which is given in the published score as: 3 flutes, 2 oboes, cor anglais, 2 clarinets in A, 2 bassoons, 4 horns, 2 trumpets in C, 3 trombones, 2 timpani, cymbal, 2 harps, first violins, second violins, violas, cellos, and double basses.
( Source: http://en.wikipedia.org/wiki/Romanian_Rhapsodies_(Enescu)
George Enescu was born in the village of Liveni, Romania (Dorohoi County at the time, today Botoşani County), and showed musical talent from early in his childhood. A child prodigy, Enescu created his first musical composition at the age of five. Shortly thereafter, his father presented him to the professor and composer Eduard Caudella. At the age of seven, entered the Vienna Conservatory, where he studied with Joseph Hellmesberger, Jr., Robert Fuchs, and Sigismond Bachrich, and graduated before his 13th birthday, earning the silver medal. In his Viennese concerts young Enescu played works by Brahms, Sarasate and Mendelssohn. In 1895 he went to Paris to continue his studies. He studied violin with Martin Pierre Marsick, harmony with André Gédalge, and composition with Jules Massenet and Gabriel Fauré.
Many of Enescu’s works were influenced by Romanian folk music, his most popular compositions being the two Romanian Rhapsodies (1901–2), the opera Oedipe (1936), and the suites for orchestra. He also wrote five symphonies (two of them unfinished), a symphonic poem Vox maris, and much chamber music (three sonatas for violin and piano, two for cello and piano, a piano trio, quartets with and without piano, a wind decet (French, “dixtuor”), an octet for strings, a piano quintet, a chamber symphony for twelve solo instruments). In 1923 he made his debut as a conductor in a concert given by the Philadelphia Orchestra in New York City. In 1935, he conducted the Orchestre Symphonique de Paris and Yehudi Menuhin in Mozart’s Violin Concerto No.3 in G major. He also conducted the New York Philharmonic between 1937 and 1938. In 1939 he married Maria Rosetti (known as the Princess Cantacuzino through her first husband Mihail Cantacuzino), a good friend of the future Queen Marie of Romania. While staying in Bucharest, Enescu lived in the Cantacuzino Palace on Calea Victoriei (now the Muzeu Naţional George Enescu, dedicated to his work).
He lived in Paris and in Romania, but after World War II and the Soviet occupation of Romania, he remained in Paris.
He was also a noted violin teacher. Yehudi Menuhin, Christian Ferras, Ivry Gitlis, Arthur Grumiaux, and Ida Haendel were among his pupils. He promoted contemporary Romanian music, playing works of Constantin Silvestri, Mihail Jora, Ionel Perlea and Marţian Negrea.
On his death in 1955, George Enescu was interred in the Père Lachaise Cemetery in Paris.
MUMA LUI STEFAN CEL MARE de Dimitrie Bolintineanu
I Pe o stanca neagra, intr-un vechi castel, Unde cura-n poale un rau mititel, Plange si suspina tanara domnita, Dulce si suava ca o garofita; Caci in batalie sotul ei dorit A plecat cu oastea si n-a mai venit. Ochii sai albastri ard in lacrimele Cum lucesc in roua doua viorele; Buclele-i de aur cad pe albu-i san, Rozele si crinii pe fata-i se-ngan. insa doamna soacra langa ea vegheaza Si cu dulci cuvinte o imbarbateaza. II Un orologiu suna noaptea jumatate, in castel in poarta oare cine bate? — “Eu sunt, buna maica, fiul tau dorit; Eu, si de la oaste ma intorc ranit. Soarta noastra fuse cruda asta data: Mica mea ostire fuge sfaramata. Dar deschideti poarta… Turcii ma-nconjor… Vantul sufla rece… Ranile ma dor!” Tanara domnita la fereastra sare. — “Ce faci tu, copila?” zice doamna mare. Apoi ea la poarta atunci a iesit Si-n tacerea noptii astfel i-a vorbit: — “Ce spui tu, straine? Stefan e departe; Bratul sau prin taberi mii de morti imparte. Eu sunt a sa muma; el e fiul meu; De esti tu acela, nu-ti sunt muma eu! insa daca cerul, vrand sa-ngreuieze Anii vietii mele si sa ma-ntristeze, Nobilul tau suflet astfel l-a schimbat; Daca tu esti Stefan cu adevarat, Apoi tu aice fara biruinta Nu poti ca sa intri cu a mea vointa. Du-te la ostire! Pentru tara mori! Si-ti va fi mormantul coronat cu flori!” III Stefan se intoarce si din cornu-i suna; Oastea lui zdrobita de prin vai aduna. Lupta iar incepe… Dusmanii zdrobiti Cad ca niste spice, de securi loviti.
Autor: Dimitrie Bolintineanu Poezia MUMA LUI STEFAN CEL MARE de Dimitrie Bolintineanu
[caption id="attachment_99163" align="alignnone" width="300"] CIDSE – TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)[/caption]
CIDSE - TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)
