UNIVERSITY OF ARTS “GEORGE ENESCU” IAŞI FACULTY OF PERFORMING, COMPOSITION AND THEORETICAL MUSIC STUDIES RESEARCH CENTRE “ŞTIINŢA MUZICII” ARTES vol. 11 ARTES PUBLISHING HOUSE 2011 RESEARCH CENTRE “ŞTIINŢA MUZICII" Editor in Chief: Professor PhD Laura Otilia Vasiliu Editorial Board: Professor PhD Gheorghe Duţică, University of Arts “George Enescu” Iaşi Associate Professor PhD Victoria Melnic, Academy of Music, Theatre and Fine Arts, Chişinău (Republic of Moldova) Professor PhD hab. Vladimir Axionov, Academy of Music, Theatre and Fine Arts, Chişinău (Republic of Moldova) Professor PhD Valentina Sandu Dediu, National University of Music Bucharest Editorial Team: Professor Liliana Gherman Lecturer PhD Gabriela Vlahopol Lecturer PhD Diana-Beatrice Andron Cover design: Bogdan Popa ISSN 2344-3871 ISSN-L 2344-3871 © 2011 Artes Publishing House Str. Horia nr. 7-9, Iaşi, România Tel.: 0040-232.212.549 Fax: 0040-232.212.551 e-mail: [email protected] The rights on the present issue belong to Artes Publishing House. Any partial or whole reproduction of the text or the examples will punished according to the legislation in force. C O N T E N T S 1) Structural and stylistic analyses THE OPERA OEDIPUS BY GEORGE ENESCU AND THE OPERA- ORATORIO MEŞTERUL MANOLE / STONEMASON MANOLE BY SIGISMUND TODUŢĂ – TWO FACETS OF ROMANIAN SPIRITUALITY Professor Liliana Gherman, University of Arts “George Enescu”, Iasi, Romania………………………………………………………………………….…..7 EXPRESSIONIST TENDENCIES IN THE ROMANIAN OPERA OF THE FIRST DECADES OF THE 20H CENTURY PhD. Lecturer Loredana Iaţeşen, University of Arts “George Enescu”, Iasi, Romania……………………………………………………………………………15 DMITRI ŞOSTAKOVICI – A REPRESENTATIVE OF RUSSIAN NATIONAL MUSIC IN THE 20TH CENTURY - THE OPERA LADY MACBETH FROM MŢENSK, BETWEEN TRADITION AND MODERNITY PhD. Lecturer Cristina Maria Bostan, The Transylvania University of Braşov, Romania………………………………………………………………………….....23 LIVIU GLODEANU’S ZAMOLXIS, AT THE CONFLUENCE OF MUSIC, MATHEMATICS AND THEOLOGY PhD. student Claudia Nezelschi, University of Arts “George Enescu”, Iasi, Romania…………………………………………………………………………….29 CONSTANTIN GEORGESCU - FINDING A DESTINY AND A SONOROUS UNIVERSE PhD. Lecturer Ciprian Ion, University of Arts “George Enescu”, Iasi, Romania……………………………………………………………………………35 SYNTACTIC AND TIMBRAL STRUCTURES IN ANTON ZEMAN’S SYMPHONY NO. 2 “ALIAJE” Junior lecturer, PhD. Student Anca Leahu, University of Arts “George Enescu”, Iasi, Romania……………………………………………………………………….47 THE ADAPTATION OF BYZANTINE AND POST-BYZANTINE MONODY AND OF PSALTIC CHRISTMAS CAROLS IN VIOREL MUNTEANU’S CREATION PhD. Lecturer Irina Zamfira Dănilă, University of Arts “George Enescu”, Iasi, Romania…………………………………………………………………………….57 FIBONACCI PERENNIS - FROM W.A. MOZART TO L. BERNSTEIN Junior lecturer, PhD. Student Andrei Hrubaru-Roată, University of Arts “George Enescu”, Iasi, Romania……………………………………………………………..89 2) Stylistic and performance analyses SITUATION-RELATED FACTORS OF MUSIC PERFORMANCE ASSESSMENT PhD. Lecturer Dorina Iuşcă, Professor Viorel Munteanu, University of Arts “George Enescu”, Iasi, Romania…………………………………………….……101 BEETHOVEN’S PIANO SONATAS – EDITORIAL GUIDELINES PhD. Piano teacher Andrei Enoiu-Pânzariu, “Octav Băncilă” National Highschool, Iasi, Romania……………………………………………………..……………….113 STYLISTIC AND PERFORMANCE ASPECTS OF PIANO MUSIC REFLECTED IN THE CREATION OF THE COMPOSER ISAAC ALBÉNIZ (1860 – 1909) PhD. Piano teacher Raluca Pânzariu, “Octav Băncilă” National Highschool, Iasi, Romania……………………………………………………………...……………129 DISSONANCE OP. 34 NO. 13 BY S. RACHMANINOFF. STYLISTIC - INTERPRETIVE ANALYSIS PhD. Lecturer Ionela Butu, University of Arts “George Enescu”, Iasi, Romania………………………………………………………………………..….137 3) Aesthetic and sociologic analyses MODERNISM OR MODERNITY? Associate Professor PhD. Elena Pârvu, University of Arts “George Enescu”, Iasi, Romania……………………………………………………………………….…..143 BENEFICIAL SUBLIMINAL MUSIC PhD. Student, Lecturer Rosina Caterina Filimon, University of Arts “George Enescu”, Iasi, Romania………………………………………………………....…153 ART AND MASS COMMUNICATION PhD. Lecturer Adrian Leonard Mociulschi, University of Arts “George Enescu”, Iasi, Romania……………………………………………………………………...165 This volume includes works accomplished both after the publication of ARTES 9-10 (2010) and before that date, mostly in the framework of doctoral and post-doctoral studies. The fairly diverse body of themes covering a wide range of interests was grouped in three major chapters: 1) structural and stylistic analyses, 2) Stylistic and performance analyses and 3) Aesthetic and sociologic analyses. Most of the authors are based in Iaşi (University of Arts “George Enescu” or National College “Octav Băncilă”), but the contents also feature collaborators from Bucureşti (National University of Music) and Braşov (Universitatea Transilvania – Faculty of music). Starting with this issue, the magazine will be published in a bilingual Romanian-English edition, with translations provided through the care of the article authors. In the case of footnotes and bibliographic notes, in order to render the volume unitary, we have continued to apply – as in the previous volumes – the indications supplied by TEHNICA SCRIERII ACADEMICE (The Technique of Academic Writing, rom.) by Şerban C. Andronescu (Foundation ”România de Mâine” publishing house, Bucureşti, 1997). The Opera Oedipus by George Enescu and the opera-oratorio Meşterul Manole / Stonemason Manole by Sigismund Toduţă – two facets of Romanian spirituality Professor Liliana Gherman (University of Arts “George Enescu”, Iasi) “The poet or the artist sometime manages to encapsulate the aspiration for beauty of a people or an age. In their works, they manage to reflect perfectly the representative types that people or age wishes to imitate”. Franz Liszt After its Paris premiere of 1936, but especially after its Bucharest premiere of 1958, for many decades, George Enescu’s opera Oedipus dominated Romanian musical culture with the stature of a “spiritual Parthenon”; it has been a centre irradiating culture and also concentrating multiple energies outside musicological exegesis; and, at various levels, it has fecundated creation over a broad time span and a wide area. At the same time, Oedipus has been a focal point for our belief in the musical genius of the Romanian people, a representative landmark, a symbol, similar to Constantin Brâncuşi’s Endless Colum1. Without minimizing any of the undeniable achievements and successes of the Romanian school of composition, it was only the absolute first night at Cluj on October 1st 1985 of the opera-oratorio Meşterul Manole / Stonemason Manole by Sigismund Toduţă (with the interpretive ebullience it stimulated and the enthusiastic reception from the audience and critics) that allowed an insight into the profile of a vocal symphonic creation of artistic elevation similar to Enescu’s polar creation. Here are some verbal expressions of this collective intuition: “In our opinion, after Oedipus, Meşterul Manole by Sigismund Toduţă represents the momentuous point of our musical culture”. (Cornel Ţăranu)2 “A praise of creative sacrifice, the opera Meşterul Manole stands beside Enescu’s 1 A few opinions along this line can be revealing: “The performance of Geoge Enescu’s Oedipus at the Grande Opera of Paris is one of those events through which the people whom the great composer belongs to writes a glorious page in the record book of civilization”. George Enescu, INTERVIURI I. (Bucureşti: Ed. Muzicală, 1988), p. 255. “Cette œvre ne constitue pas seulement le sommet de la création du compositeur ou de l'opéra roumain, mais le passage de notre musique nationale vers la musique universelle“. Carmen Petra-Basacopol, L'ORIGINALITÉ DE LA MUSIQUE ROUMAINE (Bucureşti: Ed. Muzicală, 1979), p. 162. “...qu'il me soit permis de planter comme un frontispice au jeune temple de la Musique Roumaine cet OEDIPE“. id. ibid. p. 163. 2 Cornel Ţăranu, “Meşterul Manole de Sigismund Toduţă“ in Muzica, 6/1986, p. 9. 7 Oedipus, which it complements”. (Vasile Herman)3 “The premiere of the opera Meşterul Manole by Sigismund Toduţă has meant to me /…/ the first audition of a monumental compositional work; this creation can be rightly placed beside another great masterpiece, Enescu’s Oedipus”. (Emil Simon)4 “Manole’s moving phrases challenging the destiny with questions or dominating the terrible acceptance of the truth about sacrifice /…/ evokes Oedipus’ declamation from the same altitude” (Ada Brumaru)5. Two later commentaries of more general nature, yet similarly intended, could be added: “With each creation, and especially with his most recent ones, Sigismund Toduţă soars imperturbably to be near our great Enescu” (Alexandru Paşcanu)6. “Meşterul Manole – a landmark of national vocal symphonic creation” (Alfred Hoffman)7. On the other hand, Sigismund Toduţă himself declared to a reporter in his highly personal manner: “While I created the musical piece Meşterul Manole, Enescu’s adage haunted my mind ‘Bach is my daily bread’ in the adapted form ‘the scores of Oedipus are my daily bread’”8. We have to believe him, since a study of elevated musicological standards, proving knowledge of a wide bibliography, dates from the same period when the opera-oratorio was completed; this study with the title “An innovative aspect of the vocal structure in the lyrical tragedy Oedipus” was presented at the International Symposium held in 1981 on the occasion of the centennial anniversary of Enescu’s birth9. We can assume he may also have had in mind another adage