DOCSLIB.ORG

My Name Is Cucu Alexandru-Nicu, but You Can Call Me Alex. I'm Almost 17

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
My Name Is Cucu Alexandru-Nicu, but You Can Call Me Alex. I'm Almost 17 Introducing myself Hello ! My name is Cucu Alexandru-Nicu, but you can call me Alex. I’m almost 17 and I live in Bacau, a beautiful town with beautiful people. I live with my family in a house situated in a neighborhood called Serbanesti. I study at National College ―Vasile Alecsandri‖ which, in my opinion, is the best highschool in town. As you can see I love sports, all kind of sports. But mainly motor- sports, hunting, fishing and boxing are my favorite. Once a year my father and I take part in a Enduro European Championship. If you want to know the best place to fish or hunt you can ask me and I’ll say that Danube Delta is the perfect place. As my uncle owns a pension, I spend almost 4 months per year there. My family consists of my father (Nicu), my mother (Mihaela) and my brother (Radu). I can say that we are very close and my father is one of my best friends. Bacău Bacău is the main city in Bacău County, Romania. It covers a land surface of 43 km², and, as of January 1, 2009, has an estimated population of 177,087. The city is situated in the historical region of Moldavia, at the foothills of the Carpathian Mountains, and on the Bistriţa River (which meets the Siret River about 8 km (5.0 mi) to the south of Bacău). The Ghimeş Pass links Bacău to Transylvania. It has a public university and several colleges. Two major Romanian poets, George Bacovia and Vasile Alecsandri were born here. The "Mihail Jora" Athenaeum and a Philharmonic Orchestra are located here, as well as the "G. Bacovia" Dramatic Theater and a Puppet Theater. Around Christmas every year, a Festival of Moldavian Winter Traditions takes place, reuniting folk artists from all the surrounding regions. The exhibition "Saloanele Moldovei" and the International Painting Camp at Tescani, near Bacău, reunite important plastic artists from Romania and from abroad. The local History Museum, part of the Museum Complex "Iulian Antonescu" has an important collection of antique objects from ancient Dacia. Personalities Aaron Aaronsohn, agronomist, botanist and Zionist activist Vasile Alecsandri, poet Angela Alupei, rower George Apostu (1934–1986), sculptor George Bacovia, poet Ovidiu Balan, conductor Ilie Boca, painter Petru Cimpoeşu (1952, born in Vaslui), writer Radu Cosaşu, writer and activist Nicu Enea, painter Mariana Zavati Gardner, poet Narcisa Lecuşanu, handball player Solomon Marcus, mathematician Doina Melinte, athlete, Olympic gold medalist Mihaela Melinte, athlete Teodor Negoiţă, polar explorer Costel Pantilimon, footballer Lucreţiu Pătrăşcanu, Marxist intellectual and politician Gabriela Potorac, gymnast Andrei Pricope, cellist Monica Roşu, gymnast Alexandru Şafran, Rabbi Nicolae Vermont, painter Gheorghe Vranceanu (1900–1979), mathematician en.wikipedia.com George Enescu George Enescu was a Romanian composer, violinist, pianist, conductor and teacher. Enescu was born in the village of Livieni (later renamed "George Enescu" in his honor), Dorohoy County at the time, today Bitosany County. He 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, he entered the Vienna Conservatory, where he studied with Joseph Hellmesberger, Jr., Robert Fuchs, and Sigismund Bachrich. He 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 Gedalge, 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 Œdipe (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, two string quartets and two piano quartets, a wind decet (French, "dixtuor"), an octet for strings, a piano quintet, and a chamber symphony for twelve solo instruments). A young Ravi Shankar recalled in the 1960s how Enescu, who had developed a deep interest in Oriental music, rehearsed with Shankar's brother Uday Shankar and his musicians. Around the same time, Enescu took the young Yehudi Menuhin to the Colonial Exhibition in Paris, where he introduced him to the Gamelan Orchestra from Indonesia. On 8 January 1923 he made his American debut as a conductor in a concert given by the Philadelphia Orchestra at Carnegie Hall in New York City, and he subsequently made frequent returns to the United States. It was in America, in the 1920s, that Enescu was first persuaded to make recordings as a violinist. He also appeared as a conductor with many American orchestras, and in 1936 he was one of the candidates considered to replace Arturo Toscanini as permanent conductor of the New York Philharmonic.[3] In 1935, he conducted the Orchestre Symphonique de Paris and Yehudi Menuhin (who had been his pupil for several years starting in 1927) 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 George Enescu Museum, 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, Ida Haendel and Joan Field were among his pupils. He promoted contemporary Romanian music, playing works of Constantin Silvestri, Mihail Jora, Ionel Perlea and Marţian Negrea. He was a National Patron of Delta Omicron, an international professional music fraternity. On his death in 1955, George Enescu was interred in the Père Lachaise Cemetery in Paris. Today, Bucharest houses a museum in his memory; likewise, the Symphony Orchestra of Bucharest and the George Enescu Festival— founded by his friend, musical advocate, and sometime collaborator, the conductor George Georgescu—are named and held in his honor. Recently, Bacau International Airport was named George Enescu International Airport. Eugène Ysaÿe's Solo Violin Sonata No. 3 "Ballade" was dedicated to Enescu. Tescani Tescani is a town in the county of Bacau, Moldova, Romania. Tescani City is located in Tazlău-Casin depression, at the confluence of Tazlaul Sarat and Tazlăul Mare. In terms of river, the region has, in addition to the two rivers, numerous streams and the aquifer is low and at great depths. To the east, the village is bordered by Tazlaul Sarat and hills west of a ridge with a maximum altitude of about 423 m and oriented NW, hill called Apples. Geological substratum of the region consists of the Carpathian flysch, composed mainly of Cretaceous and Paleocene formations arranged in canvas that goes from west to east. For the most part, the valley is recent: Pleistocene-Quaternary, consisting of alluvial deposits. Soils of Sub-Carpathian hills are predominantly podzolic brown soils and alluvial soils podzolico-clay-. Podzolic soils formed under forest fitoclimatice of oak or oak forest and beech in the mixture. In Tescani there is also a memorial house-Tescanu Rosetti family owned, and Maruca Cantacuzino and composer George Enescu, who lived and wrote several works here, among them some of the opera Oedipus. Today is known as "Center-Tescanu Rosetti culture." This takes place annually and a classical music festival ("Moldavian Orpheus") with Mihail Jora Philharmonic of Bacau. Annually, the Tescani summer school takes place, with painters in the country and abroad, especially in France and Belgium. They are attracted by the beauty of places (places that he himself loved George Enescu, the latter expressing his desire to be buried with his wife here). Source : http://en.wikipedia.com Merry Christmas ! Winter is my favorite season. Not just because we have a big holiday but because Christmas is coming. I just love it it. I behave like a child in Christmas Eve and I have the same feeling since I was one. Every Christmas Eve my grandmother is coming to our house and bakes cookies and cooks delicious meal. My favorite dish is ―sarmale‖ or ―beaouf sald‖. We usually decorate the Christmas tree on Christmas Eve but sometimes we decorate it sooner. The sparkling globes, the tinsel and flashy lights are always beautifully placed and to finish decorating and make the tree look even better we put a shiny star on top of it. The best feeling you can get in the Christmas Eve is when children come caroling. There are a lot of Romanian carols like: ―Am plecat sa colindam‖ ( We went caroling ) ,‖ Domn, domn, sa-naltam‖ ( Lord, Lord to tall ) , ―Clopotei, clopotei‖ ( Gingle bells ). Also we have many traditions like : going with the goat or with the bear. But mainly, the Christmas symbolize the day when Jesus was born and every year we go to the church. In conclusion Christmas is a magic and beloved holiday that makes everyone feel good and have mercy for everyone. Dictionary: Romanian / English Salut / Hello Eu ma numesc / My name is Ce faci? / How are you? De unde esti? / Where are you from? Prieten / Friend Familie
Load more

Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • From the Violin Studio of Sergiu Schwartz
    CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor
    [Show full text]
  • 37<F Aisid M . HZ-Li CADENTIAL SYNTAX and MODE in THE
    37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 Hamrick, David Russell, Cadential syntax and mode in the sixteenth-century motet: a theory of compositional process and structure from Gallus Dressier's Praecepta musicae poeticae. Doctor of Philosophy (Musicology), May, 1996, 282 pp., 101 tables, references, 127 titles. Though cadences have long been recognized as an aspect of modality, Gallus Dressier's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressier's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier.
    [Show full text]
  • Performing Michael Haydn's Requiem in C Minor, MH155
    HAYDN: The Online Journal of the Haydn Society of North America Volume 9 Number 2 Fall 2019 Article 4 November 2019 Performing Michael Haydn's Requiem in C minor, MH155 Michael E. Ruhling Rochester Institute of Technology; Music Director, Ensemble Perihipsous Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ruhling, Michael E. (2019) "Performing Michael Haydn's Requiem in C minor, MH155," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 9 : No. 2 , Article 4. Available at: https://remix.berklee.edu/haydn-journal/vol9/iss2/4 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ruhling, Michael E.. “Performing Michael Haydn’s Requiem in C minor, MH155.” HAYDN: Online Journal of the Haydn Society of North America 9.2 (Fall 2019), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2019. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Performing Michael Haydn’s Requiem in C minor, MH155 by Michael E. Ruhling Rochester Institute of Technology Music Director, Ensemble Perihipsous I. Introduction: Historical Background and Acknowledgements. Sigismund Graf Schrattenbach, Prince-Archbishop of Salzburg, died 16 December 1771, at the age of 73. Johann Michael Haydn, who had been in the service of the Prince-Archbishop since 1763, serving mainly as concertmaster, received the charge to write a Requiem Mass for the Prince-Archbishop’s funeral service.
    [Show full text]
  • Faure Requiem Program V2
    FAURÉ REQUIEM Conceived and directed by Barbara Pickhardt, Artistic Director Produced by Barbara Scharf Schamest Premiered: June 13, 2021 Ars Choralis Barbara Pickhardt, artistic director REQUIEM, Op. 48 (1893) Gabriel Fauré (1845-1924) Introit Brussels Choral Society Eric Delson, conductor Kyrie Ars Choralis Chamber Orchestra Barbara Pickhardt, conductor Offertory Ars Choralis Chuck Snyder, baritone Eribeth Chamber Players Barbara Pickhardt, conductor Sanctus The Dessoff Choirs Malcolm J. Merriweather, conductor Pie Jesu (Remembrances) Magna Graecia Flute Choir Carlo Verio Sirignano, guest conductor Sebastiano Valentino, music director Agnus Dei Ars Choralis Magna Graecia Flute Choir Carlo Verio Sirignano, guest conductor Chamber Orchestra Barbara Pickhardt, conductor Libera Me Ars Choralis Harvey Boyer, tenor Douglas Kostner, organ Barbara Pickhardt, conductor Memorial Prayers Tatjana Myoko Evan Pritchard Rabbi Jonathan Kligler Elizabeth Lesser Pastor Sonja Tillberg Maclary In Paradisum Brussels Choral Society Eric Delson, conductor 1 Encore Performances Pie Jesu Ars Choralis Amy Martin, soprano Eribeth Chamber Playersr Barbara Pickhardt, conductor In Paradisum The Dessoff Choirs Malcolm J. Merriweather, conductor About This Virtual Concert By Barbara Pickhardt The Fauré Requiem Reimagined for a Pandemic This virtual performance of the Fauré Requiem grew out of the need to prepare a concert while maintaining social distancing. We would surely have preferred to blend our voices as we always have, in a live performance. But the pandemic opened the door to a new and different opportunity. As we saw the coronavirus wreak havoc around the world, it seemed natural to reach out to our friends in other locales and include them in this program. In our reimagined version of the Fauré Requiem, Ars Choralis is joined, from Belgium, by the Brussels Choral Society, the Magna Graecia Flute Choir of Calabria, Italy, the Dessoff Choirs from New York City, and, from New York, instrumentalists from the Albany area, New York City and the Hudson Valley.
    [Show full text]
  • Chamberfest Cleveland Announces 2016 Season by Daniel Hathaway
    ChamberFest Cleveland announces 2016 season by Daniel Hathaway ChamberFest Cleveland has announced its fifth season under the joint artistic direction of its founders, Cleveland Orchestra principal clarinet emeritus Franklin Cohen and his daughter, Diana Cohen, concertmaster of Canada’s Calgary Symphony. Eleven concerts over fourteen days will be held at venues throughout metropolitan Cleveland from June 16 through July 2. The theme for 2016 is “Tales and Legends.” Concerts will center around stories ranging from the profane to the divine, including the fantastical, mystical, and obsessive. Performers who will join Franklin and Diana Cohen include (to name just a few) pianists Orion Weiss and Roman Rabinovich, violinist/violist Yura Lee, violinist Noah Bendix­Balgley, and accordionist Merima Ključo, who is composing a piece to be premiered at the festival. The complete schedule is as follows (performers for each event will be announced later). For subscriptions and ticket information, visit the ChamberFest website. ​ ​ ​ Wednesday, June 15 — Nosh at Noon at WCLV’s Smith Studio in Playhouse Square, ​ featuring ChamberFest Cleveland’s 2016 Young Artists (free event). Thursday, June 16 at 8:00 pm — Schumann Fantasies at CIM’s Mixon Hall, 11021 ​ East Blvd. (Opening­night party follows the performance at Crop Kitchen, 11460 Uptown Ave.) Robert Schumann’s Fantasiestucke, Movement from the “F.A.E” Sonata and ​ ​ ​ ​ Piano Quintet, Gyorgy Kurtág’s Hommage à Schumann, and Stephen Coxe’s A ​ ​ ​ ​ Book of Dreams. ​ Friday, June 17 at 8:00 pm — To My Distant Beloved in Reinberger Chamber Hall at ​ Severance Hall (sponsored by The Cleveland Orchestra). Frank Bridge’s Three Songs for Mezzo­Soprano, Antonín Dvořák’s Cypresses, ​ ​ ​ ​ Gyorgy Kurtág’s One More Voice from Far Away, Ludwig van Beethoven’s To ​ ​ ​ My Distant Beloved, and Johannes Brahms’s Piano Quartet in c.
    [Show full text]
  • The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017
    Music@Menlo CHAMBER MUSIC FESTIVAL AND INSTITUTE The Fifteenth Season: The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017 REPERTOIRE LIST (* = Carte Blanche Concert) Joseph Achron (1886–1943) Hebrew Dance, op. 35, no. 1 (1913) Johann Sebastian Bach (1685–1750) Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720)* Prelude from Partita no. 3 in E Major, BWV 1006 (arr. Kreisler) (1720)* Double Violin Concerto in d minor, BWV 1043 (1730–1731) Ludwig van Beethoven (1770–1827) String Quintet in C Major, op. 29 (1801) Violin Sonata no. 10 in G Major, op. 96 (1812) Heinrich Franz von Biber (1644–1704) Passacaglia in g minor for Solo Violin, The Guardian Angel, from The Mystery Sonatas (ca. 1674–1676)* Ernest Bloch (1880–1959) Violin Sonata no. 2, Poème mystique (1924)* Avodah (1929)* Bluegrass Fiddling (To be announced from the stage)* Alexander Borodin (1833–1887) String Quartet no. 2 in D Major (1881) Johannes Brahms (1833–1897) Horn Trio in E-flat Major, op. 40 (1865) String Quartet no. 3 in B-flat Major, op. 67 (1875)* Arcangelo Corelli (1653–1713) Concerto Grosso in g minor, op. 6, no. 8, Christmas Concerto (1714) Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700)* John Corigliano (Born 1938) Red Violin Caprices (1999) Ferdinand David (1810–1873) Caprice in c minor from Six Caprices for Solo Violin, op. 9, no. 3 (1839) Claude Debussy (1862–1918) Petite suite for Piano, Four Hands (1886–1889) Ernő Dohnányi (1877–1960) Andante rubato, alla zingaresca (Gypsy Andante) from Ruralia hungarica, op.
    [Show full text]
  • September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
    September 2019 Catalogue Issue 41 Prices valid until Friday 25 October 2019 unless stated otherwise ‘The lover with the rose in his hand’ from Le Roman de la 0115 982 7500 Rose (French School, c.1480), used as the cover for The Orlando Consort’s new recording of music by Machaut, entitled ‘The single rose’ (Hyperion CDA 68277). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, As summer gives way to autumn (for those of us in the northern hemisphere at least), the record labels start rolling out their big guns in the run-up to the festive season. This year is no exception, with some notable high-profile issues: the complete Tchaikovsky Project from the Czech Philharmonic under Semyon Bychkov, and Richard Strauss tone poems from Chailly in Lucerne (both on Decca); the Beethoven Piano Concertos from Jan Lisiecki, and Mozart Piano Trios from Barenboim (both on DG). The independent labels, too, have some particularly strong releases this month, with Chandos discs including Bartók's Bluebeard’s Castle from Edward Gardner in Bergen, and the keenly awaited second volume of British tone poems under Rumon Gamba. Meanwhile Hyperion bring out another volume (no.79!) of their Romantic Piano Concerto series, more Machaut from the wonderful Orlando Consort (see our cover picture), and Brahms songs from soprano Harriet Burns. Another Hyperion Brahms release features as our 'Disc of the Month': the Violin Sonatas in a superb new recording from star team Alina Ibragimova and Cédric Tiberghien (see below).
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Constantin Silvestri Conducts the Bournemouth Symphony Orchestra Hiviz Ltd
    CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. 20 - 1 The RMA (Romanian Musical Adventure) With special thanks to: was formed to record outstanding works The Bournemouth Symphony Orchestra by Romanian composers, new and and the Musicians Union CONSTANTIN SILVESTRI David Lee, Wessex Film & Sound Archive lesser-known repertoire and well-known Raymond Carpenter and Kenneth Smith repertoire interpreted in a new light. Glen Gould, Audio restoration ABOURNEMOUTHLOVEAFFAIR 72 Warwick Gardens, London W14 8PP Georgina Rhodes and Richard Proctor, Design. Email: [email protected] Photograph of the sea, Richard Proctor The legendary Constantin Silvestri conducts the Bournemouth Symphony Orchestra www.romanianmusicaladventure.org HiViz Ltd. Media Solutions, CD Production and print BBC The George Enescu Museum, Bucharest Constantin Silvestri’s BBC recordings are also available on BBC Legends www.mediciarts.co.uk © 2009 RMA, London. The BBC word mark and logo is a trade mark of the British Broadcasting Corporation and is used under license from BBC Worldwide. BBC logo © BBC 1996 2CD DIGITALLY RE-MASTERED CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. 2 - 19 Constantin Silvestri conducts the Bournemouth Symphony Orchestra Disc 1 69.93 Disc 2 75.73 George Enescu (1881–1955) George Enescu (1881–1955) Symphony No. 1 First Orchestral Suite 1 Assez vif et rythmé 11.17 1 Prélude à l’unisson 6.40 2 Lent 12.42 2 Menuet lent 11.13 3 Vif et vigoureux 8.53 3 Intermède 3.40 4 Vif 6.05 Wolfgang Amadeus Mozart (1756–1791) Second Orchestral Suite 4 The Magic Flute Overture 6.52 5 Ouverture 3.43 6 Sarabande 4.12 Wolfgang Amadeus Mozart 7 Gigue 2.29 Symphony No.
    [Show full text]
  • Artes 21-22.Docx
    DOI: 10.2478/ajm-2020-0004 Artes. Journal of Musicology Constantin Silvestri, the problematic musician. New press documents ALEX VASILIU, PhD “George Enescu” National University of Arts ROMANIA∗ Abstract: Constantin Silvestri was a man, an artist who reached the peaks of glory as well as the depths of despair. He was a composer whose modern visions were too complex for his peers to undestand and accept, but which nevertheless stood the test of time. He was an improvisational pianist with amazing technique and inventive skills, and was obsessed with the score in the best sense of the word. He was a musician well liked and supported by George Enescu and Mihail Jora. He was a conductor whose interpretations of any opus, particularly Romantic, captivate from the very first notes; the movements of the baton, the expression of his face, even one single look successfully brought to life the oeuvres of various composers, endowing them with expressiveness, suppleness and a modern character that few other composers have ever managed to achieve. Regarded as a very promising conductor, a favourite with the audiences, wanted by the orchestras in Bucharest in the hope of creating new repertoires, Constantin Silvestri was nevertheless quite the problematic musician for the Romanian press. Newly researched documents reveal fragments from this musician’s life as well as the features of a particular time period in the modern history of Romanian music. Keywords: Romanian press; the years 1950; socialist realism. 1. Introduction The present study is not necessarily occasioned by the 50th anniversary of Constantin Silvestri’s death (23rd February 1969).
    [Show full text]
  • Romanian Folkloric Influences on George Enescu’S Artistic and Musical
    The Treatise Committee for Maria Zlateva Zlateva certifies that this is the approved version of the following treatise: Romanian Folkloric Influences on George Enescu’s Artistic and Musical Development as Exemplified by His Third Violin Sonata. Committee: ____________________________________ James Buhler, Supervisor ____________________________________ Eugene Gratovich, Co-Supervisor ____________________________________ Andrew Dell’Antonio ____________________________________ Phyllis Young ____________________________________ David Neubert ____________________________________ Martha Mason Romanian Folkloric Influences on George Enescu’s Artstic and Musical Development as Exemplified by His Third Violin Sonata. by Maria Zlateva Zlateva, BMus, M.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May, 2003 UMI Number: 3119655 ________________________________________________________ UMI Microform 3119655 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ____________________________________________________________ ProQuest Information and Learning Company 300 North Zeeb Road PO Box 1346 Ann Arbor, MI 48106-1346 Table of Contents Chapter 1: Introduction…………………………………………………………1 Chapter 2: Life and Works……………………………………………………...8 Chapter 3: Formal and Stylistic
    [Show full text]