Traditional recipes

Symphony of colors

Symphony of colors

Separate the eggs (the egg white from the yolk). I divided the amount of sugar, I put 5 tablespoons of egg whites that I whipped. The yolks, together with the remaining 5 tablespoons of sugar were also whipped, together with the baking powder and the 5 tablespoons of mineral water. Over this mixture, I gradually added one tablespoon of egg white foam + 1 tablespoon. of flour, until I have incorporated all the ingredients.

I divided this mixture in two, left one part yellow and added grated peel of 1 lemon; the other part I mixed it with pudding powder + the 5 tablespoons of mineral water + coconut.

I placed the top in a greased tray lined with flour, alternating colors, see attached images.

The preheated oven took care of my tray for about 20 minutes, so that the cake browned nicely at 180 degrees.

After it cooled down, I decorated it to my imagination with white and pink glaze.

Good appetite!




How the Russians burned the Romanian take

I am talking to the Bessarabian Dumitru Muruzuc. Carver of a lifetime. And from father to son with the craft & icircn heart. Talking to a Bessarabian is both pleasant and difficult. Warmer people than they have never seen. But often behind every story is a tragedy. I learned a lot from their stories. But still not enough. Dumitru & icircmi brings & icircn to the front a new tab. What the crafts beyond the Prut & icircn Soviet years went through.

Dynamite furnaces

There was to be nothing left in the houses and under the sheds. As they entered Bessarabia, the Russians set their sights on the ovens where the pots and pans were burning. The high-value occupation of clay had been during the time of the Great Roman Empire. And what did the Russians do? They blasted the ovens. Is that so? & bdquoYes, they put dynamite & icircn them and smashed them & rdquo.

Burning folk costumes

Then they took the folk costumes from the people's houses, where they had entered with the rifle, and set them on fire. Later, the villagers themselves came to burn their own jewels of the land, many of them inherited from their grandparents and great-grandparents. They melted their dowry boxes. If they were found with such a thing, they risked being deported to Siberia. & bdquoThat was it then! & rdquo, & icircmi says Dumitru, a man at 55 years old. He knows some facts personally. He heard others from his parents.

Tragic numbers

Pull air & icircn chest. I feel like I'm suffocating. I had written down everything my interlocutor told me and I was tired. Evil has drained me. That evil from which Bessarabia still pulls the strings. During the Kingdom & icircn this part of the country there were 120 crafts. Today there are 20. The rest have been wiped off the face of the earth. & Icircn the time of & bdquohomo sovieticus & rdquo.

The unforgettable hero

I hear another story, from 1962. A craftsman, a carpenter of his kind, his name was Gheorghe Muruziuc, from the village of Fălești, he could not bear the lie and the misfortunes. He took a Roman flag, it is not known where and how he got it, maybe he had it hidden somewhere, and he climbed with it on the chimney of the sugar factory from Alexandreni.

He sat there for hours. He had hoisted the flag at the top of the tower. For all to see, far and wide, whose land is the land. He had taken with him the bard with which he carved the wood. Defend the tricolor with his work tool. The craft, remarks the one I am talking to today, was no longer just a simple job from which you know what you are doing. It was a form of resistance.

There was a lot of noise. People had gone out into the street to see what was happening. The carpenter was eventually arrested. Gheorghe collapsed five years ago. There, in his village, Fălești, all his breath led him to the grave. The coffin had been dressed in the Roman tricolor. They were a real hero on the last road. He, the carpenter, the carver, Gheorghe Muruziuc.

& bdquoWe always got together & rdquo

Dumitru sits with his eyes bent over his carvings. I feel that I approached him, that I evoked memories in him. His large, rough fingers, thick fingers, completely cover the small object which, slowly and slowly, takes shape. & bdquoOur nation has gone through a lot. We fell, and knelt down. We always gathered & rdquo, the words come out as if out of the blue.

The last 600

The popular craftsmen of Bessarabia gathered in their Union, immediately after the Republic of Moldova proclaimed its independence. The waters had receded, and they had not dried up. People count each other and see that there are 600 in all.

Since then, they have become smaller. The union had been built mostly in the old quarters. Young people are no longer interested in crafts. The new generations have gone to the West, to a better life, if they saw that in the new Republic life is getting worse. And no prospects.

The carved swing

The carver in the story stops again. I breathe again. And I keep asking myself. His wife, Veronica, is also a folk craftsman. He knows how to weave rushes. She's also a teacher. Dumitru's father was a wood carver. So is Grandpa. He has a brother. He with the same passion. & bdquoI grew up among the tools that give wood its voice. My mother rocked me in the tree carved by my grandfather.

New sufferings, after 1990

The village where he was born, where he still lives today, is called Reuțel. & Icircn near the town of Balti. He recalls that in 1990, during the national renaissance of Bessarabia, he put on a folk costume and went to the city. He was going to be beaten by Russophones. He is involved in the appearance of a club of craftsmen, in Bălți.

The truth told & icircn schools

He goes to school in his village, talking to the children about traditions and crafts. He has been to many other schools and high schools in the Republic for years. He opened a door for the little ones that they hadn't even seen before. Describing their folk costume, chimera, peasant hat, opincile, bundița.

& bdquo & Icircn For 25 years I have been promoting popular art in the youth field. I have educated generations of children. I described our treasure to them. Part of the Roma & acircnești culture & rdquo.

I notice the iureș of the soul from the Bessarabian's chest. & Icircn especially c & acircnd speaks about Rom & acircnia. "During the time of the Soviets we were taught that the Romans are our enemies." He sighs.

The symphony of the night

Other memories emerge from his childhood. He climbed the hill at night, which guards the village, hearing a symphony in the sea of ​​peace. They were carpenters. Each beat with his bard in his own style. He, the child of that time, had taught them style, harmony, rhythm. There were 30 craftsmen. From the sound of the bard & icircşi he realized who he was. People were working after dark. C & acircnd the authorities should have slept. Only on the night of the carpentry did they put on their true clothes, of the trade they did not want to give up, getting rid of the dogmas of the day. They would get a few more hours of sleep and at five in the morning they would wake up to go to work in the kolkhoz.

Today there is more talk about carpentry than in the past. The same is true of the art of weaving. Only in a few villages in the Republic of Moldova are its secrets known. The Rotarians have also disappeared. And the craftsmen who made harnesses for horses.

Corn carpets

Many towns and villages in the Republic organize craft fairs. & bdquoAnd I go everywhere with the fruits of my labor & rdquo. That's what he lives on.

He falls on his knees again. He knows from his parents how during the famine in Bessarabia, after the war, the peasant carpets, of a splendid vividness of colors, had become a kind of currency for the people who gave them in exchange for corn and wheat.

The forest of sculptures

It goes back to the present day. Six years ago he founded a reservation for works in the art of wood. In the middle of the Ungheni Woods appears the forest of sculptures. & bdquoPlaiul Fagului & rdquo, that's what the area is called. Whoever arrives here is surrounded by characters who are the state of a man, embodying the immortal stories. White Harap, Bird, Guerrilla. And many others. Many of the carvers were trained by the company I am honored to be with now.

Vocational school

In his village, with the help of the City Hall, he inaugurated this year the Center of Traditional Crafts. In fact, a school in which new generations will be formed in various genres of the expression of tradition.

& bdquoWe need further help. & Icircn especially equipment for wood and ceramics & rdquo, is a signal that the man & icircl pulls. I carry on this message. Maybe, who knows, & icircn Rom & acircnia will also be heard, whence a possible support will come. Dumitru Muruzuc is already appreciated in the Motherland, being a member of the Academy of Arts and Traditions in Sibiu. His gestures continue to rumble. They did not stop for a moment, for more than an hour, as I followed his destiny. & bdquoAnd they don't even have g & acircnd to stop & rdquo, it's like a promise to himself. Addressed to the future.


Magic.Rituals.Spells.

  • Magic Articles (21)
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  • Kitchen of spells (6)
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Music therapy

What is music therapy

Over time, the beneficial effect of music with pleasant sounds and more than that has been observed in some gifted people, fantastic experiences similar to those in the fairy tale world, extraterrestrial, paranormal expressed in a current language.
The legends speak of the god PAN who, when he sang to the panpipes, enchanted the animals, the goats danced.
Orpheus tamed the wild beasts with the pound, and the Bible tells how David took the harp and sang to Saul, and it was easier and better for him, and the evil spirit departed from him.
The students of Pythagoras (Pythagoreans) practiced music, songs, rhythms and dances selected for parties or for the public religious ceremony knowing its effects.
Today we see directly or in movies how some animals sing, they emit melodious sounds through training. Many have a behavior of music lovers, they gather around the radios, giving signs of gratitude when listening.
The action of sound waves is known both on the plants that germinate and grow better, as well as on the milk productivity, in the cows in whose stables they sing, the music is listened to.
This is how the multiple virtues of music are rediscovered - it has not only a role, a cultural aesthetic function, as some believe at first sight, but also a philosophical, magical, therapeutic function.
We mention in passing that the spells (white magic) practiced in antiquity, but also today are whispered, emphasizing certain keywords through incantations, which emit a certain frequency that resonates with the patient.
Has music lost its penetrating force in the human psyche, producing real transformations?
Not! Only people's ignorance has increased, but by not knowing it they can fall prey to connoisseurs who use destructive sounds in certain senses, usually very loud, which are close to the frequency of noises, unpleasant to the ear.
Not to mention the text messages, when the music is accompanied by words!
The music was dishonored. In the pursuit of originality, following the fashion of the century, it reached expansion, real stylistic mutations.
The Manifesto of Futuristic Musicians says: it gives us infinitely more pleasure to ideally combine the noises of trams, trucks, features and the noisy crowd, than to listen for example to Heroic or Pastoral, and at Easter - a cocktail of locomotives.
How did this situation come about?
The modern man being extremely busy does not reserve time for himself. The process of enchantment no longer occurs when the flute or harp is heard. Gone is the child, which must exist in everyone - the childhood of man, the ability to marvel at the beauty, the original, which gives freshness and vigor.
Instead, there is a danger that music will become a force again, to induce mentally violent disorders unimaginable, especially for young followers of new currents (jazz, rock, havy-metal, etc.).
All the more it seems to us extremely important both to denounce the harmful effects, and to bring to the knowledge of the general public, people of all ages and especially young people the truth about music and its virtues, its beneficial, healing effects.
Melotherapy is the method of healing or alleviating symptoms by listening to music.
The questions that come immediately are the following:
What is the music that has the virtue of healing?
What pace does it have?
In what environment is it listened to? What are the listening conditions?
What should be the sound level? (how loud or slow should it be?)
Music that has the ability to induce energy balance through the phenomenon of bioresonance induced by sound vibrations is generally instrumental music. In fact, the wordless meaning of music is what gives power and value. It is said that there would be no music and there would be no need for it if one could verbally express what is communicated through music: the whole range of human feelings, natural phenomena, the suggestion of seasons, moments of day and night with inexpressible fascination, landscapes miracles, the mobilization of forces, energies or, on the contrary, their dissipation, scattering in the galactic ocean.
Rhythm is the essential element that confers comfort or discomfort and that connects the audience (listener) to the feeling of time.
It is known that during intrauterine life the fetus listens to his mother's heartbeat. He gets used to this rhythm. In a context of maximum protection at body temperature. The rhythm of the drums of primitive peoples is precisely this rhythm.
In medieval and classical music we find the well-known rhythm of our life beyond memory, treasured in the subconscious.
Below is a list (according to an American researcher) of composers and works generally used:
Bach:
Largo, The Concert in La
Symphony in B flat
Suite for orchestra
Brandenburg concert no. 4
Beethoven:
Heroic
Sonata of the month
7th Symphony (Allegretto)
Brahms:
intermezzo sites
Chopin:
Concert no. 1 for piano (p.II)
The waltz in the minor
Debussy:
Moonlight
Greek:
Piano Concerto in A minor (p.II)
Haydn:
Symphony no. 99 (p.II)
Mail:
Invocation
Mendelssohn:
Italian Symphony (p.II)
Mozart:
Symphony no. 40 (p.II)
Provost:
Intermezzo
Rahmaninov:
Concert no. 2 (p.II)
Saint-Saens:
L'Aquarium (from the Animal Carnival)
Schumann:
Arabesque. Reverie
Schubert:
8th Symphony (p.II)
Tchaikovsky:
6th Symphony
Wagner:
Prelude to Parsifal
Evening Star (Trannhauser)

Listening conditions:
it is recommended to be alone in the room, as much as possible in a room where you will not be disturbed during listening
sound source (radio, cassette player, speaker) to be at a distance of 2-3 meters from the chair or armchair in which you sit
to remove from the visual field objects or photographs that evoke memories
the chair or armchair should be neither too high nor too short, so as not to hinder the circulation of blood
the hands will be placed next to the body, and the legs will be parallel, not crossed, in order to facilitate the energetic circulation in the meridians of the body.
(We use the cross position when we defend ourselves from an unpleasant interlocutor or who communicates unpleasant things to us or has a certain tone, a verbal violence).
The sound level, the intensity is difficult for us to determine. You are the one who is able to appreciate each one according to temperament and auditory acuity, but keep in mind that a level that is too weak can eliminate certain impressions, especially when it comes to playing an orchestra, and a level that is too high (loud) is tiring. changes the emotional power of hearing.
Hearing aids can be used at home so as not to disturb other family members.
The lighting of the room or room where a melotherapy session is held can be:
natural (daylight)
artificial, especially when combined with chromotherapy, practicing the choice of color depending on the diagnosis.
Also, when it is a rainy or foggy, gray day outside, we also use artificial light, either at home or during the organized group audition.
Ambient temperature: 20-22 degrees (18-24 degrees).
During the audition we recommend that you remember the wonderful things in nature: mountains, forests, crystal clear waters, flowers, color harmony, etc., and if you are tired, do not think about anything, let yourself be stolen, showered, rocked by music.
We recommend listening to at least three pieces of music. Their choice is made according to the cultural level, the musical culture, the emotional state and the diagnosis when the person is ill.
So melotherapy as other natural methods is used for prophylactic and curative purposes.
The doctor, the therapist is the one who selects the musical fragments in the second case.
Because music acts subtly, on vibration and bioresonance system, even a music of classical, cultured composers, in internal medicine departments or in dental offices, regardless of the patient's degree of culture will have a beneficial effect.


John 8, 51-59

“The Lord said to the Jews who had come to Him: Verily, verily, I say unto you, If a man keep my saying, he shall never see death. But the Jews said unto him, Now I know that thou art a devil. Abraham also died, the prophets, and you say, If a man keep my saying, shall he not taste of death for ever? Aren't you greater than our father Abraham, who died? And the prophets died. Who do you make yourself to be? Jesus answered, If I glorify myself, my glory is nothing: it is my Father who glorifies me, of whom you say that he is your God. And you did not know Him, but I know Him, and if I said I did not know Him, I would be a liar like you. But I know Him and keep His word. Abraham, your father, was glad to see My day and saw it and rejoiced. Then said the Jews unto him, Thou art not yet fifty years old, and hast thou seen Abraham? Jesus saith unto them, Verily, verily, I say unto you, I am before Abraham. So they took up stones to cast at him: but Jesus hid himself, and went out of the temple, going through the midst of them, and so passed by.


Content

The word symphony derives from the Greek syn (together) and phōnē (to call). In the seventeenth century, the term was used for orchestral introductions of works (symphony), cantatas, oratorios, for the orchestral introductions of the arias, but also for the ensemble works that could be classified as sonatas or concerts. The common factor in the varied use of the term was to treat the symphony or symphony as part of a larger fragment of a composition.

In order to understand the development of the classical symphony style, it is necessary to follow its evolution in the 18th century. First of all, the symphony has been exploited with great intensity throughout the century: the catalog of eighteenth-century symphonies contains over 13,000 such distinct works. At that time, in Europe there was no sumptuous, church, or even private style containing a series (stock) of symphonies. Valuable collections have been discovered in Finland, Sicily, Kiev or Salem. The leading center in the production of symphonies was undoubtedly Vienna, followed by Germany, Italy, France and England, but an important activity also took place in Scandinavia, Spain, Poland and Russia. Secondly, an important aspect is the continuous development of the symphony, starting from the end of the 17th century with the technical needs of the instruments, the content and the contrast of tempo, and finally leading to a balanced series of procedures that summarize the classical style. Finally, characterizing on a larger scale, the public character of the symphony, together with the fact that it does not depend on a certain virtuosity to achieve such an effect, gave it a weight and meaning that required the skills of a composer. The increasingly prominent position given to the symphony in the eighteenth century, appears tangibly in the double importance it occupies in published catalogs and the remarkable role it plays in the writings of the time. [1]

Recording the term in early sources Change

In Greek Antiquity, the term Συμφωνια indicates consonants, in particular the perfect consonance (octave), but was used by Aristotle (in "About Heaven") and to indicate the public performance of several musicians. [requires citation] In Romans, in classical Latin, the choirs in which the octave was sung were called symphonic. In the Middle Ages, the term symphonia he opposes diaphonia: the first indicating the consonance, while the second corresponds to the dissonance. Isidore of Seville (560-636) uses the Latin word symphonia to name a two-headed percussion instrument. In developed and late medieval France (12th-14th centuries, symphony was the name of a flask (organistrum). In Germany, the spine will later be called Symphony.

Renaissance and Baroque era Change

The first use of the term to indicate an instrumental musical composition is found in a 15th-century manuscript discovered in Leipzig, which also contains a symphony "for tuba and other harmonious instruments ”(not to confuse Latin tuba with the modern instrument the Renaissance tuba is also a kind of brass wind instrument, but of a completely different construction). Starting with the next century, the word "symphony" is used more and more frequently, with different meanings. Thus, in 1585, in Antwerp, a collection of madrigals is named Angelic symphony by several excellent musicians. In Italy, in 1589, Luca Marenzio gathered under the name of Symphoniae a series of intermezzi instrumental, and in Venice, in 1597, Giovanni Gabrieli composed a series of vocal and instrumental pieces on several voices, which he entitled Cantus sacrae symphoniae. In 1603 a collection of pieces under the name of appeared in Nuremberg Sacrae symphoniae diversorum excellentissimorum auctorum.

The musical composition that, since the seventeenth century, is increasingly called "symphony" (in Italian: symphony) is the instrumental prelude to a lyrical work, a species developed at that time in Italy, especially in Florence - starting with Jacopo Peri (Eurydice), Giulio Caccini and others, within the cultural circle Camerata de 'Bardi, with Vincenzo Galilei as his musical mentor. [requires citation] An example is the "symphony" that opens the famous opera The Orpheus of Claudio Monteverdi (1607).

Later, a clear distinction is made between the French and the Italian "symphony". Unlike the orchestral introduction of French works - opening (following the scheme proposed by Jean-Baptiste Lully, namely slow-fast, sometimes with the resumption of the first movement), symphony Italian (popularized especially by the music school in Naples by Alessandro Scarlatti, then spreading throughout the country) was characterized by fast-slow-fast movements.

Late Baroque and "gallant style" Change

The term symphony is still used in various senses. Johann Sebastian Bach calls "Symphonie" the cycle of inventions for harpsichord (1723), as well as the prelude Match in C minor for harpsichord.

Near the middle of the eighteenth century, the generation (self-proclaimed author of the "gallant style") that will determine the transition to a radically changed style (known today as "classicism") includes a number of strong reactions to the aesthetics of baroque music. Carl Philipp Emanuel Bach (1714-1788, son of Johann Sebastian), Johann Gottlieb Graun (1702-1771) and Georg Christoph Wagenseil (1715-1777) apply the term symphony for a stand-alone orchestral piece, divided - usually - into three contrasting movements (resuming the older model offered by the Italians). An important role in the development of this new kind of symphony was played by the Mannheim School of Music, outlined around the composer and conductor Johann Stamitz (1717-1757).

The earliest concert symphonies are orchestrated for string orchestra, with harpsichord and often bassoon as part of the continuo group. Although the norm contains four instruments (two violins, a viola and a bass) the trio symphonies for two violins and bass are quite common in the early stages of the symphony. Symphonies formed below the 4th standard continue to be cultivated until the end of the century, especially by composers working in smaller centers in the province, but also in special circumstances, by well-known figures such as Carl P.E. Bach, whose symphonies for string orchestra from 1773 were written for Gottfried van Swieten. [1]

The new species is spreading to the rest of Europe. The number of components is increased to four, by the introduction by Johann Stamitz before the final movement of another, in tempo of minuet. [requires citation] Symphony composers include Matthias Georg Monn (1717-1750), Wenzel Raimund Birck (1718-1763, Vienna), Leopold Mozart (1719-1787, Salzburg), François-Joseph Gossec (1734-1829, Paris). ). In England, the symphonic genre became known through the works of German composers Johann Christian Bach (1735-1782) and Karl Friedrich Abel (1723-1787), based in London. [requires citation] In Italy Giovanni Battista Sammartini (1701-1775), Andrea Luchesi (1741-1801) and Antonio Brioschi (1725-1750) stand out.

The classical symphony developed in Vienna in the last decades of the eighteenth century and is mainly related to the names of composers Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven.

The contribution of the most important composers of the Modification period

Joseph Haydn Edit

Haydn introduces a strong emotional climate through his affiliation with the artistic movement of the time, called Sturm und Drang his symphonies establish the coordinates of the classical format of the species. He wrote 104 such compositions, many known today by titles with programmatic allusion that, in fact, belong to a much more recent time. Haydn develops a model for the structure of the symphony, the established canon thus counting four parts. His symphonies usually begin with a allegro in the form of a sonata, continue in a slow motion (andante or adagio), followed by a minuet and an ending (fINAL) in tempo tempo, often in the form of a rondo. The culmination of Haydn's creation is the last twelve symphonies, [requires citation] called "London Symphonies”, Composed between 1790 and 1795 for the London impresario Salomon.

With almost 40 years in which he composed the symphonies, Haydn surpasses most of the composers of that period due to his experience. It is difficult to group the huge symphonic creation into periods because the similarities between the adjacent chronological symphonies often seem less noticeable than their differences and individualities. In his youth, Haydn worked for small institutions, with modest orchestral forces at his disposal. This is reflected in his early symphonies. During this period and in the years following his appointment to the Esterhazy court in 1761, Haydn composed in various ways symphonic styles more than at any other time, including works with ample concert elements, canons, endings of fugues. These different styles should not be seen as experiments but as responses to changing requirements that probably included interpretation in the church. In recent years Haydn has responded to special challenges with unexpected imaginative solutions, as in the comic "Il distratto" (no. 60 - 1774) whose six parts were written as a musical accessory for a comedy, or in "Hornsignal" (no. 31 - 1765) a brilliant example of concerted treatment in which he includes various horn demands. Haydn's early symphonies show a preponderance of the three-part cycle, although from the beginning he gave much more interest to the endings of his symphonies than to the overtures of typical operas. During this period Haydn began to use more and more the plan which contained four movements already found in many Austrian symphonies: fast - minuet / trio - slow - fast (symphonies no. 32, 37 and later no. 44 and 68 No. 15 with a structure slow - fast - slow instead of the first fast movement) slow - fast - minuet / trio - fast (symphonies No. 5, 11, 21, 22, 34 and 49 No. 18 with the structure slow - fast -tempo di minuetto) and the final standard cycle, fast - slow - minuet / trio - fast (starting with symphonies no. 3 - 6,7,8 - trilogy "Le matin", "Le midi" and "Le soir" - and Nos. 14, 20, 33 and 36). Numbers 6-7 are among the first symphonies to include a slow beginning, that of no. 6 ("Le matin") more of an "abbreviated" sunrise. However, Haydn did not use this model until the 1770s and became a standard model for it only after 1785. Later in Haydn's career came various refinements and innovations that were important to later composers. These include the introduction of thematic elements between slow introduction, fast movement and subsequent fast movements (symphonies no. 90, 98, 102-3) the development and exploitation of a wide range of various forms in slow movements, including alternating or double variations (starting with symphonies no. 53, 63 and 70) and effective combinations of variations connecting the minuet and the trio by means of a transition (Symphonies Nos. 50, 99 and 104) as well as the widespread use of the last part in the form of a sonata-rondo ( the best known examples being in symphonies No. 88, 94, 99, 101, 102 and 103). Haydn's position at Prince Esterhazy's court required constant production for their immediate execution, thus providing a unique opportunity for composition but also for self-criticism. Thus, benefiting from such a prolific framework, Haydn begins an internal expansion, increasing his thematic ideas, developing new means of development, executing more distant modulations. The resulting remarkable number of refined symphonies shows many characteristic procedures, including the construction of an exhibition starting from a single thematic idea, with a contrast that is often postponed for the final section. . The culmination of Haydn's achievements as a symphonist came in 1785-1795. A commission from Paris gave birth to six new symphonies (no. 82 - 87) for the concert at the "Loge Olympique" followed by symphonies no. 88 and 89 („Tost” - 1787) and no. 90-92 (from 1788).In these works Haydn reaches new heights of ingenuity, humor and accessibility. Later, trips to London in 1791-1792 and 1794-1795 generated two series of six symphonies: no. 93-98 and 99-104, which equalize the other groups of symphonies in qualities and surpass them in the scope of conception, the melodic appeal, the masterful orchestral brilliance. Haydn was an innovator in all directions. Almost every symphony contains a variety of ideas that defy classification. Two recurring but ever-changing procedures offer little introspection to his methods. First, by treating the phrase less as an end in itself than in some more rhythmically developed groups it generates an unusually wide rhythmic control. Secondly, by expanding the development process comprising both the exhibition and the half. [1]

Among Haydn's innovations in the structure of the symphony are:

  • a short dramatic introduction in slow tempo with which the first part opens, then continued in a lively movement
  • the second part, slow, organized in the form of a theme with variations
  • the minuet (the third part) has two trios the ternary meter (in three strokes) suggests the character of the dance from which it comes, with the same name
  • the finish has a fast tempo and a symmetrical rondo shape, devoid of the irregularities of the baroque rondo. [requires citation]

Wolfgang Amadeus Mozart Edit

The 41 symphonies of W.A. Mozart is the highest level of its kind reached in the second half of the eighteenth century. [requires citation] At first enthusiastic about the style of Johann Christian Bach (son of Johann Sebastian, settled in London), Mozart would later take over the symphonic construction developed by J. Haydn. His contributions favor the melody (developed above an essentialized harmonic plot compared to previous creations, Mozart's melody is described superlatively in terms of ingenuity, fantasy) [requires citation] and orchestration. His best known symphonies are: "Parisian" KV 297 (1778), "Haffner" KV 385 (1782), "Linz" KV 425 (1783), as well as the last four, "Prague" KV 504 (1786), Symphony in Mi ♭ < displaystyle flat> major, no. 39 KV 543, Symphony in G minor, no. 40 KV 550 and the “Jupiter” Symphony, no. 41 KV 551 (all in 1788).

Mozart began writing symphonies in 1764 in England at the age of only eight. Due to its early beginnings, Mozart's composition of symphonies spans 25 years. Due to the friendly contact he had in England with J.C. Bach and Abel, Mozart approach an "Italian" compositional style, with graceful rhythmic movements over which his Austro-German background added harmonic depth, phrasing subtlety and orchestral virtuosity. Mozart's early symphonies face many problems of authenticity and chronology. The early works written in London and the Netherlands between 1764-1766 consist of three parts, the latter being in 3/8. Each first part is in a binary form of sonata, in which only the second half of the exposition is repeated. The gifts that Mozart was endowed with, especially his sense of color and balance, established a number of specific differences between his symphonies and Haydn's. His sensitivity to color produced more commitment to wind instruments but also a compositional style rich in expressions. This concern for color also appears in the development sections. The use of modulation, most often without significant thematic alterations, has led some critics to consider Mozart's developments to be less substantial and "serious" than Haydn's. Two final features of the mature Mozartian symphonic style are noteworthy. First, some aspects of his rhythmic control, although much less visible than Haydn's motivational leads, which contribute significantly to the movement's rationale. And a second point generally overlooked refers to how Mozart develops the endings of the parts, including both serenity and brilliance. [1]

Ludwig van Beethoven Edit

Through L. van Beethoven, the symphony acquires new dimensions in content and form, which would surprise the audience. He composed nine symphonies, some with a programmatic content marked by high ideal and ethical conceptions. [requires citation] Beethoven's symphony, like his entire creation, directs the interest in the song aroused by the creation of W.A. Mozart towards harmony (chord), polyphony and form - in a word, musical construction instead, his melody is a "poor" one (Liviu Dănceanu). [2] The comparison of the two authors goes further, discussing a typology of "melodists" and one of "composers" - the first is based on the effect created by songs with a lot of personality, while the second is distinguished by the development trivial musical themes (when they are taken out of context). Beethoven is considered for his time as the most creative "composer", testimonies of his art being the developments in the first part of the Fifth Symphony and the second part of the Seventh Symphony, built on a theme almost devoid of melody (the end of the movement resumes the theme in a fragmented way, “crossing” several instrumental parts of the orchestra during the utterance, in a procedure similar to Klangfarbenmelodie, imposed in the twentieth century).

The musical language adopted by Beethoven in his symphonies is acclaimed at the time for its mobility and unpredictability. The structure of the first part is amplified, containing a much more consistent development, a differentiated part of the exhibition, while the code becomes a stand-alone section containing the epilogue of the musical discourse. Beethoven enlarges the orchestral apparatus, especially in the direction of the wind instruments, which in addition share the "melodic" position with the string family.

The Third Symphony, "The Heroic" (1803), which represents "the beginning of the great creative ages" (Romain Rolland), [requires citation] proposes a first slow, dramatic movement, in the form of a funeral march in the third part the minuet is replaced with scherzo (it. "joke"), faster, for the first time. [requires citation] Other symphonies referred to more frequently: Symphony V in C minor ("of Destiny", 1808), Symphony VI in F major ("Pastoral", 1808) - shows elements of programmaticism and introduces a fifth part, but an unrelated experiment in the following genre creations, Symphony VII in A major ("Dance Apotheosis", 1811) and Symphony IX in D minor (1824) - the end of the latter introduces vocal soloists and choir ( "Ode to Joy") on lyrics by JC Friedrich von Schiller.

Structure of the classical symphony Modification

The classical symphony generally has four parts:

  • First part in fast tempo (e.g. allegro), structured in the form of a bitematic sonata and distributed according to the “exhibition-development-half” scheme. It is sometimes preceded by a short slow introduction.
  • The second movement is slow (andante, adagio etc.) and allows more formal approaches to the most used form of romance quantity, theme with variations and rondo. W.A. Mozart also introduces the sonata form in this part (eg in Symphony KV 551). [requires citation]
  • The third movement, in minuet tempo (hence the name - moderate pulsation), is usually the shortest part of the symphony. Starting with Ludwig van Beethoven, the minuet is replaced by joke, in a faster and dancing tempo.
  • The end has a fast tempo (allegro, lively, soon etc.) and is most often constructed as a rondo, but also in the form of a sonata or as a theme with variations.

The first and last parts are almost always written in the same key, whose name falls within the title of the symphony itself, while the central parts have a variable key: if the basic key is minority, slow motion is often majority, while if the symphony is composed in a key majority, the central parts take over the tone dominant or subdominant. Especially in Romanticism there are more and more exceptions to this scheme, however, it remains broadly a term of reference until the middle of the twentieth century, as evidenced by the symphonies written by Gustav Mahler, Sergei Prokofiev or Dimitri Shostakovich.

The Beginnings of the Romantic Symphony

The 19th century symphony has a remarkable coherence in genre, from Beethoven's early symphonies to the middle period of Mahler's symphonies. The identity of the genre is largely based on external criteria of structure and size: the composers designated the symphony as an orchestral work for an orchestra of medium or large proportions, usually consisting of three, four or five parts (usually four). In part I the sonata form is usually used, preceded by a slow introduction in the second part we often have a slow lyrical moment, usually in the form of a sonata or ABA type, or theme with variations the third part is usually a dance - joke and the fourth part a quick end. The order of the two middle parts is sometimes changed, and there were of course other exceptions to this standard form, but they remain exceptions. [1] By these external criteria, the symphony could be defined as an "orchestra sonata", even if in fact the differences between these two genres are complex. Towards the end of the 18th and the beginning of the 19th century, critical comments on the symphony repeatedly emphasized distinctive qualities: an essentially polyphonic texture and a "public" nuance. The symphony has been constantly appreciated for its unique ability to unite such a wide range of instruments in such a way that no voice is predominant, all contributing to a whole. [1]

Due to the aesthetic prestige of the symphony, and due to the purely technical compositional requirements, this genre was universally known, at the beginning of the 19th century, as a touchstone, of compositional skill. It was a widespread feeling that a composer could not (or at least should not) compose a work of this kind without mastering the smaller genres. The symphony was seen as a means of achieving fame and not a financial income, because despite its prestige as a genre, it remained economically unprofitable for both composers and publishers. The symphonies were difficult to compose, requiring both ingenuity and financial support for publication. [1]

The symphonies, together with the oratorios, were the central repertoire of many music festivals that appeared in Germany in the first half of the nineteenth century. The appearance of a new repertoire centered on the last symphonies of Haydn and Mozart and Beethoven's Ninth Symphony, helped to expand the symphony orchestra. At the same time, the same canonical repertoire made accepting new works much more difficult. [1]

Beethoven's Symphony

Beethoven's first symphony appeared on the music scene in 1801, when instrumental music in general, especially symphony, began to enjoy an unprecedented increase in aesthetic status. In the last ten years of the eighteenth century the symphony was established as one of the most prestigious instrumental genres, but because it had no perceptible object of representation, it was seen as a means of entertainment rather than a way of transmitting social, moral ideas. or intellectual. In his "Critique of the Faculty of Judgment" (1790), Kant repeated the general concept of the time in rejecting the idea that instrumental music would denote "more pleasure than culture" on the grounds that it could not incorporate concepts and therefore must be judged in depending on the pleasure derived from its simple form. According to Kant, any content associated with thinking in the listener's mind was purely accidental. Instrumental works that tried to “represent” an event, or a specific object were despised and considered naive and inferior from an aesthetic point of view.

Beginning with Symphony III, Heroic, Beethoven explored a variety of ways in which instrumental music could evoke images and ideas that transcend the world of sound. The notation of a "poetic idea" was a central constant in the reception of Beethoven's instrumental music, and the best example is found in the Fifth Symphony.

From a more technical perspective, Beethoven's symphonies explore a wide range of compositional approaches. Indeed, Beethoven's innovations from a formal point of view are extraordinary, both at the level of the part itself and of the parts as a cycle. The integration of the choir at the end of the Ninth Symphony is one of the most obvious ways in which we can observe the exploration of new approaches of this kind. The Third Symphony, with its evocation of ethical and political ideals but also of death (Funeral March), substantially extended the previous limits of the “standard” symphony and explicitly opened the genre in the social sphere. The Sixth Symphony, Pastoral, deals with man's relationship with nature and explores the exponential potential of instrumental music in a way that varies from vague to specific. The 7th Symphony avoids programmatic positions but explores orchestral sounds and rhythms with unprecedented intensity. It was Beethoven's Ninth Symphony that redefined this genre. Following these works, the symphony was no longer considered just a matter of entertainment but a vehicle of moral, philosophical and even social ideas. And by introducing text and voice into what had been a traditional instrumental genre, Beethoven implicitly brought into question the aesthetic superiority of instrumental music. In this sense, Beethoven's Ninth Symphony was the catalyst for what can be called a "crisis" about the very nature of the genre. In the 1830s an intense debate about the future of music was in full swing, and the symphony, as the most ambitious of all musical genres, was at the center of this debate. Schumann in his famous review of Berlioz's Fantastic Symphony pointed out in 1835 that after Beethoven's Ninth Symphony "the dimensions and objectives of the symphony" had been exhausted. After summarizing several such works, Schumann declared Mendelssohn the winner of the "crown and scepter over all other composers of the time," but noted that he came to one conclusion: there was nothing left to gain. Many composers continued to write symphonies between 1820 and 1830, but there was a growing feeling even at that time that these works were aesthetically far inferior to Beethoven's last symphony.

Beethoven's legacy was, of course, one of the factors that influenced the symphonic performance of 1820-1830, and it would be simplistic to attribute any change in the genre to this single factor. Obviously, the symphony continued to be a challenge for the other composers. The real question was not whether other symphonies could have been composed but whether it was possible for this genre to develop as it has in the last fifty years in the hands of Haydn, Mozart and Beethoven in this regard, there were many skeptical views, but practically no real optimism.

The only composer able to cope with Beethoven's legacy in the 1830s was Berlioz. He was recognized during his lifetime, especially in Germany, as a true heir to Beethoven's symphony.In each of the three concert symphonies, Berlioz addresses generic challenges set by Beethoven. The Fantastic Symphony of 1830, which gained considerable notoriety due to Liszt's piano arrangement, is an almost mirrored image of Beethoven's Ninth Symphony. The brilliance and originality of Berlioz's orchestration, the "cosmic" approach to the genre and his ability to mix music and narration served as inspiration for the following composers, to expand Beethoven's spirit and originality within the symphonic genre, without directly imitating him. Liszt and Mahler's symphonies are deeply linked to Berlioz's legacy. [1]

The generation that followed L. van Beethoven did not directly continue the formal complexity and expressive density of his music. In Franz Schubert's nine symphonies, with a more linear structure and a pathetic singing character, [requires citation] there is more emphasis on the varied repetition of melodic details than on thematic development. The best known are the Eighth Symphony in B minor - called "Unfinished" (1822) for the unusual structure of only two movements (Schubert himself gave up writing a third, finding the formal balance necessary for the work very well expressed in only two parts Even so, a number of composers proposed their own "completions" of the symphony, but none were imposed.) - and the Ninth Symphony in C major (1828).

The symphonies of Felix Mendelsohn Bartholdy and Robert Schumann are characterized by the richness of the harmonic configuration and poetic content, typical of Romanticism, often inspired by Protestant religiosity. [requires citation] Mendelsohn's best-known symphonies, the Third "Scottish" Symphony (1832), the Fourth "Italian" Symphony (1833) and the Fifth "Reformation" (1842), contain programmatic elements, but this is not represented by the subtitles. (which do not belong to the composer). Robert Schumann's symphonies, including Symphony I's "Spring" (1841) and Symphony III's "Rhine" (1850), are formally, for the most part, devoid of structural density, with more emphasis on melodic construction. [requires citation]

Outside of Germany, the evolution of the symphony incorporates hybrid elements, as demonstrated in France by Hector Berlioz in "Fantastic Symphony" (1830), one of the first works of programmatic music, whose structure (order and number of movements) is altered compared to classical canons for to better represent the chosen “subject” (which, however, has no other materialization than the suggestion of the narrative through musical allusions). Both the orchestration and the polyphony in Berlioz's compositions are deeply original and will exert strong influences on the French composers who will follow him.

Late Romantic Period Change

Johannes Brahms and Anton Bruckner have the credit for consolidating their symphonic language and giving it a strong architectural force. Brahms's four symphonies claim a permanent moral commitment to the romantic configuration, with a special austerity of language and purity of form, compared to the complicated and dense Wagnerian harmonic universe.

Anton Bruckner fits into the architectural rigor of Brahms, but uses a harmonic language in which the influence of Richard Wagner is felt. The size of Bruckner's symphonies amplifies in length and complexity of orchestration. The main themes in the first movements of his symphonies are often three in number, and in general each movement is enriched with other secondary melodic ideas. The group of brass blowers often intervenes, interrupting the dynamic momentum, adagioul is often shaped he roared, and the ending is constructed, like the first movement, in the form of a sonata and uses themes already appeared in the previous movements.

A special place is occupied by Gustav Mahler, who further amplifies the formal and instrumental apparatus of Bruckner's symphonies. Vocal soloists and choirs appear in many of his symphonies: The 2nd Symphony contains an ending that is a monumental anthem of "Resurrection", in the third, in six parts, a soloist intervenes contralto and a female choir, in the 8th the religious theme is sung "Come Creator Spiritus", the 9th ends with a adagio which lasts half an hour, and the 10th - remaining unfinished - contains only one adagio in which atonal elements are already recognized.

Symphony composers in the second half of the 19th century include: Piotr Ilyich Tchaikovsky and Alecsandr Borodin (Russia), Camille Saint-Saëns, Georges Bizet and César Franck (France), Czech composers Bedřich Smetana and Antonin Dvořàk ( 9th Symphony "From the New World"), Jean Sibelius, Finnish composer.

At the beginning of the twentieth century, there is a tendency in all fields of art to give up traditional forms, looking for new possibilities of artistic expression. In the field of symphony, various artistic currents (eg: Expressionism, Neoclassicism) and compositional procedures (eg: dodecaphonic technique) are confronted. While many composers, such as Charles Ives, George Enescu, Carl Nielsen, Ralph Vaughan Williams, Sergei Prokofiev and Dmitri Shostakovich are still closely linked to the traditional form, in the symphonies of Albert Roussel or Arthur Honegger there are impressionistic motifs, some resort to forms tablets, like Max Reger, Darius Milhaud, Paul Hindemith, Anton Webern, others adopt the polyphonic linear style, like Arnold Schönberg, Karl Amadeus Hartmann.

After 1950, there was a decline in interest in composing symphonies. However, a number of composers have also undertaken fruitful attempts in this genre:

Romanian symphony composers

  • Pascal Bentoiu (8 symphonies)
  • Nicolae Brânzeu (3 symphonies, and a concert symphony)
  • Mihai Brediceanu (1 symphony)
  • Sergiu Celibidache (4 symphonies)
  • Paul Constantinescu (Ploiești Symphony)
  • Dimitrie Cuclin (20 symphonies)
  • George Enescu (5 symphonies, the last two orchestrated by Pascal Bentoiu, and a chamber symphony)
  • Dinu Lipatti (1 concert symphony for two pianos and string orchestra)
  • Ștefan Niculescu (5 symphonies)
  • Tiberius Olah (1 Symphony)

The orchestra, as it is found at the end of the transition to classicism, consists of stringed and bowed instruments (violin, viola, cello, possibly double bass or equivalent), woodwinds (flute, oboe, bassoon), horns and timpani. Since the last symphonies by J. Haydn, the orchestra requires trumpets and clarinet (which is not used in a large number of symphonies by W.A. Mozart). [requires citation] Under the influence of the lyrical work, the English horn, the contrabassoon, the brass blowers with a more ambitious scope than the French horn (trombone, tuba) and the harp are added later. To these is added the human voice, as it was first recorded in the Ninth Symphony by L. van Beethoven. For comparison, follow the instrumentation of some symphonies and symphony cycles:

  • J. Haydn's last symphonies (1790-1795): strings, 1 flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets and timpani
  • 7th Symphony by L. van Beethoven (1812): string instruments, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets and timpani
  • J. Brahms's First Symphony (1876): string instruments, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 1 contrabassoon, 4 horns, 2 trumpets, 3 trombones and timpani
  • 6th Symphony by G. Mahler (1906): string instruments, 4 flutes, 4 oboes, 3 clarinets, 1 clarinet in E ♭ < displaystyle flat>, 1 bass clarinet, 3 bassoons, 1 contrabassoon, 8 horns , 4 trumpets, 3 trombones, 1 tuba, timpani, harp, celestial, xylophone, other percussions.

In addition to the variety of timbre, the number of elements of a symphony orchestra also increased significantly in the Romantic era, from a few dozen in Haydn and Mozart's symphonies to over a hundred elements in Beethoven's last symphonies, to large-scale orchestras. provided for the creations of the late Romantic period.


Symphony of colors - Recipes

Which way is more appropriate to celebrate the colors of autumn, if not through music? ParkLake, together with Radio Romania Musical, but also with the Orchestras and Choirs of Radio Romania, invites the people of Bucharest on Saturday, September 8, starting with 19:00, to participate in a special concert. It will be supported by the Radio Chamber Orchestra, together with the conductor Constantin Adrian Grigore and the soloist Irina Sârbu. The artists will appear on the stage specially installed in the ParkLake Garden and will delight the spectators with famous pieces from classical and jazz music.

The concert, presented by the morning directors of Radio Romania Muzical, Andreea Chiselev and Liviu Pețu, will combine the two musical styles: classical music and jazz-style processing of some famous Romanian songs will be intertwined in a program accessible to all. From Mozart to Johann Strauss-son and Dmitri Shostakovich, musical works that we all hummed once will be performed with passion by the artists on stage.

,,It is important to make time for culture, as culture inspires us and brings a splash of color to our daily lives. We want to offer as many people as possible the opportunity to discover the magic of classical musicSaid ParkLake Shopping Center representatives.

The event is the first of its kind and of such magnitude that involves a symphony orchestra, organized in a mall in Bucharest. For this, ParkLake Shopping Center will arrange a real open-air concert hall, with hundreds of chairs, but also with prosecco for spectators. Admission to the concert is free.

A perfect evening, spent by the people of Bucharest in music chords, in the middle of the green decoration of the ParkLake garden.


Experience the Symphony of Autumn Colors in ParkLake Garden - Radio Chamber Orchestra Concert

On September 8, Radio Romania Muzical, ParkLake from Bucharest, Radio Orchestras and Choirs organize a concert-event, the first symphonic music concert of such magnitude in a mall in Bucharest

Event display

On September 8, Radio Romania Muzical, ParkLake from Bucharest, Radio Orchestras and Choirs organize a concert-event, the first symphonic music concert of such magnitude in a mall in Bucharest: Radio Chamber Orchestra, conductor Constantin Adrian Grigore, soloist Irina Serbian.

ParkLake, Radio Romania Musical, Radio Romania Orchestras and Choirs invites you to a special concert: Radio Chamber Orchestra, conductor Constantin Adrian Grigore and Irina Sârbu - soloist, will appear on the stage specially installed in the ParkLake Garden on Saturday, September 8, from 19.00 (str. Liviu Rebreanu no. 4, sector 3, Bucharest).

Classical music and jazz-style processing of some famous Romanian pieces are intertwined in a program accessible to all - from Mozart to Johann Strauss-son and Dmitri Shostakovich, those musical works that we all once hummed or that we have chosen to accompany us daily, like the ringing tones of mobile phones. The producers of the morning Radio Romania Musical, Andreea Chiselev and Liviu Pețu, will be the presenters of the concert.

It is the first event of such magnitude involving a symphony orchestra, in a mall in Bucharest ParkLake is preparing a real open-air concert hall, with hundreds of chairs and prosecco for spectators, an event meant to show that classical music is for everyone and it can make us all better. Public entry is free.

,, It is important to make time for culture, because culture inspires us and brings us a splash of color in everyday life. We want to offer as many people as possible the opportunity to discover the magic of classical music ", said the representatives of ParkLake Shopping Center.


Concert by the Radio Chamber Orchestra, in the mall! Long live the symphony of autumn colors!

Which way is more appropriate to celebrate the colors of autumn, if not through music? ParkLake, together with Radio Romania Muzical, but also with the Orchestras and Choirs of Radio Romania, invites the people of Bucharest on Saturday, September 8, starting with 19:00 to participate in a special concert. It will be supported by the Radio Chamber Orchestra, together with the conductor Constantin Adrian Grigore and the soloist Irina Sarbu. The artists will appear on the stage specially installed in the ParkLake Garden and will delight the spectators with famous pieces from classical and jazz music.

The concert, presented by the morning directors of Radio Romania Muzical, Andreea Chiselev and Liviu Petu, will combine the two musical styles: classical music and jazz-style processing of some famous Romanian songs will intertwine in a program accessible to all. From Mozart to Johann Strauss-son and Dmitri sostakovici, musical works that we all once hummed will be performed with passion by artists on stage.

,, It is important to make time for culture, because culture inspires us and brings us a touch of color in everyday life. We want to offer the opportunity to as many people as possible to discover the magic of classical music ", said the representatives of ParkLake Shopping Center.

The event is the first of its kind and of such magnitude that involves a symphony orchestra, organized in a mall in Bucharest. For this, ParkLake Shopping Center will arrange a real outdoor concert hall, with hundreds of chairs, but also with prosecco for spectators. Admission to the concert is free.

A perfect evening, spent by the people of Bucharest in music chords, in the middle of the green decoration of the ParkLake garden.

More details about ParkLake events, but also the program can be found on www.parklake.ro and on the ParkLake Shopping Center Facebook page.

Radio Camera Orchestra

The Studio Orchestra, the forerunner of the current Radio Chamber Orchestra, was founded in 1947.

In over 30 seasons, this ensemble has combined the activity of making special recordings for radio broadcasts in the studio, with its presence on the concert podium. Through the variety of the approached repertoire (baroque, classicism, 20th century music, etc.) and through the co-optation of instrumental or vocal soloists, the Studio Orchestra of the Romanian Broadcasting has evolved qualitatively, offering numerous titles to musical shows. Of course, the credit also belongs to the masters at the conducting desk: Constantin Silvestri, Mendi Rodan, Constantin Bobescu, Carol Litvin, Ludovic Bács.

Since 1990, the Studio Orchestra has been transformed into the Radio Chamber Orchestra.

With a permanent season of concerts and recordings, this ensemble is an active and attractive presence in Romanian musical life. The concerts held at the Radio Hall, traveling in the country or touring abroad were real musical events. The success of the Bach-250, Haydn, Schubertiada, Mozart - 250, Händel & Haydn festivals, the five editions of the International Guitar Festival, the International Bandoneon and Accordion Festival, the Evening Organ Festival at the Radio Hall, would not have been possible without the special contribution. of the Radio Chamber Orchestra.

The numerous recorded works, many in the first absolute audition, some of which are fixed on CDs, complete the image of the activity of this musical ensemble. The name of the Radio Chamber Orchestra is related to the monumental realization of the Integral Concerts for Piano and W.A. Orchestra. Mozart, in the interpretive version of the pianist Dana Borsan, a discographic event for the first time in the history of Romanian music.

The specific repertoire of the band focused on the promotion of less known works, in the first Romanian audition, the diverse and interesting offer being one of the points of attraction for the music-loving public. To this is added a rich representation of Romanian music.

Throughout its history of over half a century, almost all important Romanian conductors have contributed to the fame of the ensemble, as well as the masters who are part of the elite of international musical life: Horia Andreescu, Enrique Garcia Asensio, Marco Balderi, Gabriel Bebeselea, Jean Pierre Berlingen, Francois Xavier Bilger, Robert Bokor, Amaury du Closel, Iosif Conta, Peter Csaba, Lawrence Foster, Christopher Wareen Green, Leonid Grin, Tetsuji Honna, I.Ionescu-Galati, Cristian Mandeal, Camil Marinescu, Paul Meyer, Milen Nachev , Thomas Rösner, Roberto Salvalaio, Deja Savic, Gerd Schaller, Tiberiu Soare, Ralf Sochaczewsky, Neil Thomson, Gian Luigi Zampieri, Jin Wang sa

The presence of some prestigious Romanian soloists from the country and abroad was noticed: Cristina Anghelescu, Dana Borsan, Dana Ciocarlie, Viorica Cortez, Ileana Cotrubas, George Crasnaru, Ruxandra Donose, Teodora Gheorghiu, Valentin Gheorghiu, Daniel Goiti, Dan Grigore, Nicolae Herlea, Dan Iordachescu, Silvia Marcovici, Mihaela Martin, Horia Mihail, Eugenia Moldoveanu, Mariana Nicolesco, Adina Nitescu, Aurelian Octav Popa, Liviu Prunaru, Ion Ivan Roncea, Eugen Sarbu, Georgeta Stoleriu, Razvan Suma, Eduard Tumagian, Alexandru Tomescu, Mihaela Ursuleasa Lory Wallfsch, Bogdan Zvoristeanu, sa

The names of important foreign guests should also be mentioned: Emanuel Abbühl, Dmitri Alexeev, Yossi Arnheim, Claudi Arimany, Pierre-Yves Artaud, Brigitte Balley, Igor Bezrodnii, Gabriel Bianco, Daniel Blumenthal, Vladimir Bunin, Grace Bumbry, Marc Coppey, Costas Cotsiolis , Christopher Czaya-Sager, Aniello Desiderio, Richard Galliano, Lorenzo Gatto, Elina Garanča, David Grimal, Rivka Golani, Natalia Gutman, Monique Haas, Barbara Hendricks, Patricia Kopatchinskaja, Elisabeth Leonskaja, Misha Maisky, Carlo Marchione, Dominique Merlet, Alexis Mouzourakis , Vasso Papandoniou, Michel Portal, Susana Prieto, Hiroko Sakagami, Peter Soave, Pavel Steidl, Gerhard Reichenbach, Katia Ricciarelli, Michael Roll, Laura Vukobratovic, Andreas von Wagenheim, Sonia Wieder Atherton

The promotion of young Romanian conductors and performers is part of the management strategy of this orchestra, which, in turn, consists mainly of valuable young musicians.

Overseas tours in Russia, Ukraine, Austria, Spain, France, Italy, Japan, Greece, Cyprus, Germany, South Korea, recordings, television films, participation in the editions of the George Enescu International Festival, the International Music Week Festival We were appreciated by the public and the specialized press.

Irina Sarbu

Depending on the repertoire she approaches, Irina Sarbu models her voice with a special timbre, easily recognizable, and leads her improvisational imagination in many directions, each spectacular in its own way. Jazz dominates and leaves its mark on every song from "Route 66" to "C'est si bon", from "One note samba" to "Ciocirlia" and & quotHora staccato & quot, from the ample and intensely sustained melody of creation interwar Romanian songs like "Zaraza" on vocal percussion that explodes unpredictably, bright and colorful like a fireworks display on the soloist's latest album - "seven Stairs" - with ETHNOTIC Project. Through what she does with her well-worked talent in many years of specialized studies, Irina Sarbu imposes herself strongly in front of the public and remains permanently fixed in the memory. Due to the originality and the way of processing the songs that have become classics or of singing vocals in an original and unique way instrumental instruments from the Romanian folklore, the value of the vocalist is unanimously recognized. He has performed both in the country and abroad - New York, Washington, Paris, Athens, Madrid, Vienna, Venice, Brussels, Prague, Lisbon, Stockholm, Jerusalem, Milan - in club recitals or at national and international jazz festivals. Curious, in a permanent search for something new (although irremediably in love with classical jazz), Irina Sarbu always offers the public interesting and original programs.

Constantin Adrian Grigore

During his studies in the country, then in Poland at the "Karol Lipinski" Academy of Music, conductor Constantin Grigore benefited from the guidance of renowned conductors: Horia Andreescu, Petru Andriesei, Ilarion Ionescu-Galati and Polish conductor Marek Pijarowski.

Constantin Grigore perfected an internship at the Rundfunk Sinfonieorchester Berlin (2011) under the guidance of maestro Marek Janowski and later (2012) at the Bayerische Rundfunk and Munchner Philharmoniker, where he participated in rehearsals and concerts by Mariss Jansons, Bernard Haitink, Alain Gilbert, Paavo Jarvi, Lawrence Foster or Vasily Petrenko, in parallel participating in the phenomenology courses taught by Konrad von Abel.

Constantin Adrian Grigore gave concerts at the desk of some important orchestras, both from the country (George Enescu Philharmonic Symphony Orchestra, Radio Chamber Orchestra, National Radio Orchestra, State Philharmonic "Moldova" from Iasi, "Ion Dumitrescu" Philharmonic - Rm Valcea, “Paul Constantinescu” Philharmonic from Ploiesti, State Philharmonic from Pitesti, State Philharmonic from Sibiu, State Philharmonic from Oradea, “Nae Leonard” Theater Orchestra from Galati, “Oleg Danovski” Opera and Ballet Theater Orchestra, Orchestra National Operetta and Musical Theater in Bucharest) as well as abroad (Poland - "R-20" Chamber Orchestra from Wroclaw, Kielce Philharmonic, National Chamber Orchestra of the Republic of Moldova or "Serghei Lunchevici" Philharmonic from Chisinau).

He is also one of the founding members and conductor of the chamber orchestra "Camerata Regala", with which he has given numerous concerts in Romania, but also in Albania, Moldova or Poland, and in January 2016 he was invited by the Romanian Cultural Institute, to give a concert at the desk of the Royal Chamber, in the MozartSaal of the Konzerthaus Vienna.

In 2017 he was invited to the desk of the Royal Philharmonic in Liege, where he gave a series of 7 concerts in Liege (Philharmonic Hall), Brussels (Bozar), Ath, Ottignes and Namur.

Constantin Adrian Grigore has collaborated with famous soloists of the music scene such as Florin Croitoru, Rebekka Hartmann, Nicolae Licaret, Daniel Podlovschi, Gabriel Croitoru, Florin Ionescu Galati, Ilian Garnet, Aura Twarowska, Teodor Ilincai, Cristian Mogosan, Irina Iordachescu, Sergi Gimenez Carreras , Sorina Munteanu, Iulia Merca, Katarzyna Dondalska, Stefan Ignat, Ana Maria Donose, Cristina Anghelescu, Ioana Cristina Goicea, Raluca Ouatu, Tina Munteanu, Horea Haplea, Ingmar Anthony Lazar, Cristian Sandrin, Ioana Ilie, Laura Nicorescu, Anna Mirescu, Natalia Konik, Wictor Kociuban, Piotr Banasic, Alessandro Safina or the Madrigal National Chamber Choir.

Constantin Grigore has received numerous awards and distinctions - as head of promotion of UNMB, the prize of the "Fratii Bucovineni" foundation (2006), the first prize at the interpretation contest "Garabet Avachian", semifinalist at the Direction Contest "Jeunesses Musicales Bucharest" - 2010 edition , as well as various diplomas awarded by the Romanian Government for the collaboration and coordination of numerous cultural projects. He has collaborated with prestigious institutions such as the Romanian Ministry of Culture and Cults, Artexim or ICR Warsaw.

Currently, Constantin Grigore is the principal conductor of the Royal Chamber Orchestra.


Time and space in the symphony of colors @ Iași

We have the special honor to invite you to the opening of the painting exhibition "Time and space in the symphony of colors" signed by Mihai Coțovanu, which will take place on Monday, February 22, 2021, 1700 at Theodor Pallady Gallery, Lăpușneanu Street, Iași.

Presented by art critic Petru Bejan

Visiting hours 10:00 & # 8211 18:00, 22 February & # 8211 10 March 2021

In the art of painting, the plastic artist has to go through many stages to become a perfect conductor, a virtuoso of colors on canvas. Acquiring virtuosity in the art of painting and transforming the canvas into a symphony of colors is a broad and complex journey, a deep science, a continuous training of analysis and observation. In order to perceive and distinguish fine shades of color, the eye must be formed in such a way as to become a perfect tool in handling colors on the palette and canvas, to reach the ability to convey emotion through color in the painted motif. The artist must reach the inner experience, so that he can feel the color flowing from the soul through the veins. The brush transforms into a wand that directs the colors on the palette, in the harmony of chromatic sounds transposed not only in space and during becoming, but also on the space of the canvas, as a form and expression of reason, as a symphonic score of colors in the seen world. unseen in the expressive becoming of the inner being. The surrounding reality in its diversity becomes a source of inspiration in the art of painting, in which the artist learns to look in order to understand the mysteries behind the curtain of reality, mysteries that excite us and put us in front of big questions. I point out that the compositional organization of the plastic surface and the need to create a painting with a center of interest is a reflection on self-discovery (in the form of social telluric, the individual, personal need to be the center of interest). Through the picture thus made, the viewer is led to cultural-spiritual satisfaction, through harmonious sounds, modulated by fine tones of shades, shades, colors, carrying the purest chromatic energy of colors, like instruments that clearly render the harmonious flow of notes, to it penetrates the soul. The creation itself is a symphony of the Grand Conductor, which reflects the rules of creation in musical musical intervals. From this point of view, the creative inspiration of the musician is from the music of the spheres. Listening to the symphonies given by the great composers, we are penetrated by music, detaching ourselves from the telluric aspects of life.


Exhibition | Rodica Vinca: "Symphony of colors"

"The symphony of colors”, Rodica Vinca's third solo exhibition, will be hosted by the Sylvain-Garneau Library in Laval (187 Boulevard Sainte-Rose, H7L 1L5). 35 works on canvas (acrylic and mixed media) and 17 on glass (stained glass and crystals) make up this new exhibition, in which the technique and chromatics used by the artist are again noted.

"Symphony of colors" continues and completes the two previous exhibitions of Rodica Vinca, from 2016 and 2017, "Color memory ” and respectively "The song of the water ” (both took place at the Château Napoléon boutique restaurant in Rosemère). "Color memory" showed that the artist makes full and courageous use of colors. His painting is texture, color, contrast, but also harmony, these elements being reflected in the totality of his works, which alternate between pure abstract and a chain of suggestive, emotional elements. Into the "The Song of the Water", where, as the title suggests, water was the central motif, the artist experimented for the first time with painting on glass (vases), which she fully explores in this year's exhibition.

Here is what the artist told us about the evolution of her style, the relationship with painting and the refuge in color: “I want a continuous evolution, but at the same time I do not want to lose connection with the past, with the beginning years (25 years ago) , when I wanted and managed to restore innocence, clarity, power and sincerity by swirling colors. The end result is complex, but at the same time simple. It is my relationship with shape, lines and color. Painting is an intuitive, sentimental process, with a certain meaning of each rendering on canvas. It is a permanent motivation of deep feelings and feelings, reflected in the harmony of colors. They use various media, mainly acrylics generously combined. The consistency of the color is given by the diversity of shades, without successive dilutions, but in harmoniously combined mixtures ”.

In recent years, his work has been noted both in Canada and abroad. In 2017 he was awarded the bronze medal for originality, technique and aesthetic value at the International Gala of Visual Arts Son et Lumière, an annual competition organized by the Cercle des Artistes Peintres et Sculpteurs du Québec (CAPSQ), of which he is a member.

In the spring of this year, Rodica Vinca was awarded another bronze medal, "La Victoire de Samothrace", for originality, aesthetic and technical value and for her contribution to the promotion of the art of the country of adoption, Canada. The medal was awarded at the 48th edition of the CAPSQ international exhibition in Charente-Maritime, France, which took place at the Abbaye de Fontdouce, a Benedictine abbey founded in 1111 and a UNESCO World Heritage Site.


Video: A Colour Symphony Philip Sparke (December 2021).