Sonata pentru vioară şi pian în creatţia românească interbelică: 2 vol. 2 Reconsiderări ale formei
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Braşov
Ed. Univ. "Transilvania"
2007
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| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: The sonata for violin and piano in the Romanian interwar creation |
| Beschreibung: | 106 S. |
| ISBN: | 9789736359057 |
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Datensatz im Suchindex
| _version_ | 1804139233980448768 |
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| adam_text | CUPRINS
1.
Arhetipul clasic în Sonatina pentru vioară şi pian de Paul
Constantinescu
................................................................... 5
2.
Filonul neoclasic în Sonatina pentru pian şi vioară de
Dinu Lipatti
....................................................................... 22
3.
Caracterul rapsodic în Sonata pentru vioară şi pian de
Tudor Ciortea
.................................................................... 39
4.
Fuziunea sonată-suită în Sonata pentru vioară şi pian de
Sabin Drăgoi
...................................................................... 64
Concluzii
.......................................................................................... 87
Bibliografie
.......................................................................................... 91
Rezumat
(Summary)
.......................................................................................... 100
THE SONATA FOR VIOLIN AND PIANO IN THE ROMANIAN
INTERWAR CREATION
INTRODUCTION
The sonata, as a form and genre playing an important part in the
evolution of the universal composition, suffered a very long process of
crystallization, extended over four centuries. When trying to place the
Romanian sonata in space and time, especially the violin and piano sonata
-
the
object of the present paper
-
we need to review the elements which are essential
for the musical heritage of our nation and which stay under the sign of the
trinomial rustic folklore, urban folklore, Byzantine music .
PART I
-
HISTORICAL AND STYLISTIC PREMISES
In the Romanian interwar creation, the form of the sonata, situated
relatively close to the classical pattern, is revived by implementing the valences
of the native folklore. This period is still characterized by the stage of the
theme, be it symmetrical or asymmetrical. Our compositions focus on the
superior synthesis between the raw folklore and the new directions. The
stylistic directions we have adopted solve the problem of the reconciliation
between the universal and the national, tradition and modernity, tonal and
modal, the vertical-harmonic conception and the horizontal-melodic one,
finding genuine solutions for the instrumental creation of the period under
discussion.
The Romanian musical neo-classicism may be defined as the first great
stylistic moment to set the premises of the integration into the universality and
the basis of our national school of creation. It is the moment when the two
distinct realities
-
the national and the universal
-
become two interdependent
realities. Having overtaken the limits of the forerunners
-
oriented towards the
romantic trend
-
we can therefore discuss about the integration of our
compositions into the European level, together with the neo-classical option.
97
Seen as an entrance gate towards the universality and modernity, the
Romanian musical neo-classicism distinguishes itself exactly in the interwar
period.
It is considered that the first representative of the Romanian neo-
classicism is G. Enescu, who equally chooses this way to realize the so-called
synthesis between the East and the West . European-famous musical
personalities, such as
Filip
Lazăr,
Dinu
Lipatti,
Sabin
Drägoi,
Paul
Constantinescu, Zeno Vancea
etc., follow the line of Enescu s stylistics in a
varied range of genres with a neo-classical touch. For many of the
representatives of our interwar composition, the neo-classical formula
represents an advanced stage of the synthesis between the Western tradition and
the native folklore, approached from various perspectives. If the influences of
the romanticism were little compatible with the characteristic features of our
popular
melos,
responsible for having taken the European major-minor system
over, then the influences of the neo-classical
-
neobaroque style were much
stronger, due to the fact that they have a modal origin, obviously more fitted to
the structure of the popular music.
The processing in which the popular melody constitutes the theme of an
ample piece of work, such as a sonata, will have an important place in the
interwar period. Such pieces of work were signed by the representative
composers of the period under discussion
(Drăgoi, Negrea,
Silvestri,
Vancea,
Constantinescu,
Ciortea, Toduţă
etc.).
The more and more evolved stages of handling the popular language are
subordinated to the stages that our music from the first half of the twentieth
century went through in its process of consolidation.
Ai
it is ascertained that
the end of the interwar stage in music will only happen in
1949,
together with
the stylistic turn placed under the sign of the new social and historical changes,
and not in the years following the end of the war we consider that the period
dealt with covers, under a relatively unitary aspect, almost
30
years of
Romanian music. This period is
dominatei
by two main directions of
determination: the classical (or neo-classicpO way of thinking in the interwar
Romanian composition and the crucial influence of Enescu s many-sided
98
personality in the constitution of the nation style, acquainted with the latest
„acquisitions in the universal musical technique.
The first direction is materialized in the correspondence between the cult
creation and those popular values we can call classic: a theme of the popular
ballad dominated by a clear, rigid and well-balanced expressiveness (diatonic
preponderance, major
-
minor parallelism, fractional rhythmic dominant or
giusto,
architectural symmetry, elementary contrast of movement and
character). This direction coincides with the tradition.
The second direction is the one who marks the new ways by means of
which an Eastern European national school can accede to the heritage of the
universal music, considering that neo-classicism of the form, correlated with
the ways of bringing the popular implications of the theme up-to-date. This
direction coincides with the innovative spirit of that period.
In the context of the modern music, full of contradictory hesitations, the
absolutely singular stylistic consistency and the universality of the language
certainly belonging to the Romanian culture, specified in aspects like the
thematic profile, the treatment of the theme, the principles of the evolution, the
cyclic principle present not only in one piece of work, but also as a correlation
among distinct opuses, make this great creator, G. Enescu, remain the central,
innovative and genuine pattern, perfectly integrated into the great universal
culture that any professional composer aims at. Against this background, the
crystallization of the sonata, as a form, in the composer s thinking is prepared
by the first two violin sonatas, which are situated outside the perimeter of the
period under discussion
(1897-1899).
In the Sonata for Violin and Piano No.
1,
op.
2,
in
D
major
(1897),
Enescu evolves on the pattern of the late French and
German romanticists, with Brahmsian and Franckian influences, blended and
assimilated into a profoundly personal music. It is the beginning of a road in
which we can detect a scholastic aspect, as a result of the assimilation of the
classical music principles.
99
PART II
-
REFERENCE MARKS OF THE SONATA FOR PIANO AND
VIOLIN
IN ENESCU S CREATION
1.
The organic structure of the form in G. Enescu s Sonata for Piano and Violin
No.
2.
op.
6
The cyclic thinking is essential for Sonata II, which represents a crucial
moment situated at the end of the years when the composer has formed his
style.
In a sonata, the circulation of the cyclic ideas is realized within the
traditional form, along the three parts, conceived after the classical patterns (p.
I
-
sonata, p. II
-
lied, p. Ill
-
rondo-sonata). Among other things, we consider
that this is able to report to the term and signification of the neo-classicism.
Taking over the melodic of the main theme in part I into the other two parts,
which are modified by only a few rhythmic adjustments, leads to the so-called
thematic cycling. It is the same moment when the cyclic principle is extended
by ostentatiously returning to some specific modal utterances
-
formed from
some combinations between semitones and small tierces
-
which will give birth
to that intervallic cycling, characteristic to the Enescian work. The structure of
the sonata based on the cyclic idea has probably determined Pascal Bentoiu to
consider that this piece of work has an organic perfection. By organic he
understood a type of musical form tributary to emotion and intuition which thus
moves away from the phraseological, rhythmical and harmonic symmetry, being
opposed to the architectural, where the wish to create the object based on some
symmetries and easily detectable proportions is obvious. The importance of
Enescu s cyclic thinking is materialized in the fact that he created genuine
descendants in the Romanian composition: an application of the thematic
cyclism with S.
Drăgoi,
P. Constantiescu, T. Ciortea and an application of the
intervallic cyclism with S.
Toduţă.
This Enescian sonata anticipates the
evolution of this form in the thinking of the Romanian composition, finalized in
the interwar period by means of the following elements: surety and easiness in
100
the structure of the cyclic form, leading role of the melody compared to which
the frequent evolutions in unison and octave represent some ways of
emphasizing this melodic autonomy; raids on the harmonic ground; polyphonic
artistry of thematic joining in imitations, or overlapping; orchestration of the
work, piano
-
violin joining; compact
-
airy density of the sonorities.
2.
The improvising aspect in G. Enescu s Sonata for Piano and Violin No. i.
op.
25
The Sonata for Piano and Violin No.
3,
op.
25,
„in a Romanian popular
character , composed in
1926,
belongs to the series of works in which Enescu
valorizes the popular inspiration in an explicit, manifest way. The inclusion of
the melodic and rhythmic principles from the area of the
rubato
system into the
creative circuit (the ballad, the melancholy Romanian folk song
-
the
doina)
asked for a new and personal organization of the language. Hence, the
apparently rhapsodic character, the improvising
-
melismatic aspect of the
sonata, fact which has perpetuated the mistaken theory that this piece of work
would not be based on a clear musical form. Nevertheless, a thorough study of
the Enescian creation demonstrates that it is based on classical principles only.
The reconciliation of two contradictory principles
-
the sternness of the form
and the free, improvising aspect of the content
-
constitute the composer s great
accomplishment in this work.
The language focuses on a specific modal universe dominated by the
double-chromatic system of the increased second, as well as by the natural
diatonic variants
-
frigie,
doric,
lidie
-
regarded from a tonal perspective, as far
as the harmonic sense is concerned, not in the usual understanding, but with a
permanent dynamics of the reference centers. The melodic and the harmonic
dimensions are particularized by a temporal organization subjected to the
rubato
principle. A continuous variation on the rhythmic level is added to all
this. In this way, the melodic variation is doubled, which excludes the need to
apply the principle of the identical repetition and surpasses the stage of the
coagulation of the rhythmic and melodic
microstructures
in symmetrical
101
periods. By all that he brings new in this sonata, Enescu reaches to solutions
comparable with those of his contemporaries, or he even anticipates those of the
younger musicians
(Bartók,
Berg, Messiaen, Jolivet).
PART III
-
FORM REASSESSMENTS IN THE SONATA FOR VIOLIN AND
PIANO FROM THE ROMANIAN INTER WAR CREATION
1.
The classical archetype in P. Constantinescu s Sonatina for
Violin and Piano
Together with Enescu
s
great sonatas, Paul Constantinescu s Sonatina
opens the way of this genre for us. The Eastern coloratura of the melodies is
also present in this piece of work. It illustrates the „fashionable neo-Greek
culture (the increased or decreased intervals, the aspects of the melody etc.)
which emerges from Constantinescu s entire style, influencing the popular or
the comic creation and registering it in the aesthetics of the Balkan.
At the level of the sonata-form, the miniature aspect is outlined in the
almost schematized contours of the stanzas (a perfect exposition and
development and an abbreviated re-entry, followed by a codetta). Part II is a
monostrophic, monothematic form. The end of the sonatina evokes the rondo-
sonata form, by its elements which fructify the potentialities of the couplet-
refrain themes and by the two themes touch of vivacity, deprived of profound
tensions. In fact, the entire part does not become easy; it is reduced to
maintaining a tonic, decorative, easily understandable atmosphere. What
represents the origin of this character is keeping the emotional valences of the
popular melody intact. This is a feature of its classical spirit.
Being a pathfinder for both P. Constantinescu s creation and the entire
Romanian creation of this type, the Sonatina for Violin and Piano brings the
same problems of the popular substance included into the classical forms, that
Enescu, or, not a very long time before,
Bartok
(with his two violin and piano
sonatas
- 1921-1922)
had initiated. The Sonatina takes a series of proceedings
from the creation of the two leaders of the universal music: the Enescian cyclic
principle, the modal mobility which also gears some chromatic aspects with an
102
increased second, the principle of the tetracordal transposition, the
scordature,
the tone
-
semitone mode, emphasizing a similitude with scales based on the
numeric reports from the
Bartókian
creation. Being in restrained forms for now,
the Sonatina is the expression of a musical personality s evolution who,
starting from the inspiration spring
-
Anton
Pann
-
marks the directions of the
popular, comic, Byzantine and neo-classical creation, in the interior of which
the composer s personal modal thinking will be finalized.
2.
The neo-classical vein in D. Lipatti s Sonatina for Piano and Violin
Dinu
Lipatti s Sonatina for Piano and Violin emphasizes the same
concentration of the language, maximum contraction of the form, precision and
clarity in the thematic and architectural contours we can also encounter in its
Constantinescian equivalent, chronologically superposed with
(1933).
Treating
the form is miniature patterns had already been experimented a decade before in
M.
Negrea
s
Piano Sonatina
(1922).
In this case, two extreme terms are put
together: a popular stylized touch of the recreated theme and its treatment in the
sternness of the neobaroque polyphonic spirit, but in a polytonal
counterpointing vision.
Thé
form of the sonata includes some sections which send us to other
patterns: the first part includes, within the form of the sonata, a treatment in the
immitative-polyphonic spirit of an
invenzione
and the other two parts are
connected in a theme with variations. A thematic quasi-cyclism connects the
theme through the entire work.
As far as
Dinu
Lipatti s modal language is concerned, one can notice a
relative demarcation among two pairs of levels belonging to modernity: the
tonal-harmonic level and the modal one and the diatonic level and the
chromatic one; what results from the national heritage is reflected into the
source of inspiration of the melodies (diatonic, chromatic modes, mobile steps),
the specific aspects of the harmonization (specific cadences, simultaneous, or
successive harmonic
polyvalences)
and the neobaroque polyphonization.
103
Together with Enescu s Sonata II, D. Lipatti s Sonatina is the least
subjected to the popular models of all the sonatas analyzed until now; it could
be rather attached to contemporaneous universal trends and to the neo-classical
-
neobaroque one in particular.
3.
The rhapsodic character in T. Ciortea s Sonata for Violin and Piano
The Sonata for Violin and Piano, written in
1946,
opens the series of the
instrumental sonatas in the composer s creation. It tries to reconcile the two
apparently opposed tendencies: a content inspired from the folklore and the
classical form. Hence the necessary enrichments or adjustments: the rhapsodic,
improvised appearance, the
parlando
rhythm, combined with
giusto
and that
special „fairy atmosphere, which transfers an Enescian feature to the sonata in
the most adequate manner. In general, one can notice that the formal reference
marks have been kept in the limits of the traditional patterns.
The fact that, in a considerable extent, the author resorts to Enescu s
thematic cyclism proves the relationship
-
obtained by means of derivation
-
between the two contrasting themes (theme I and theme II) from the first part of
the sonata. The predominance of the progressive advancing in the conception of
T. Ciortea s theme reveals the modal theme-scale identity (a peculiarity
introduced in the universal language by Olivier Messiaen). By adapting the
form of the sonata to the new attempts to use the modal language of the first
half of the twentieth century, T. Ciortea anticipates the synthetic modalism of
the second half of the century
-
by means of the chromatic aspect of the
melodic
-
and realizes contact surfaces with the popular, traditional modalism
-
which consists in the presence of specific intervals here and there: the
subtone, the
frigie
second, the
lidie
fourth etc.
Here too, we encounter one of the untraditional states of the mixed form,
as we could see in Enescu s Sonata for Piano and Violin No.
3 -
which includes
a form of variation into the rondo
-
or in Lipatti s Sonatina for Piano and
Violin where part II (slow) and part III (quick) are connected in a theme with
104
variations.
In this way, not only the parameters of the form, but also the sonata
cycle are actioned against.
4.
The suite
-
sonata fusion in
S. Drägoi s
Sonata for Violin and Piano
When reconsidering the pattern of the sonata, due to its adjustment to the
Romanian essential feature,
Drăgoi
proceeds in the following way: he takes the
archetype of the classical exposition, reconsiders the tonal level of the re-entry
and replaces the evolution with a formal sector of a different nature
(passacaglia)
based on a personal constant theme. Thus, the form of the sonata
enriches its number of contrasting themes, borrowing one of the principles of
the suite. In the second part, the principles of the strophic forms, rondo forms
and the variations and invenziones become interdependent. The composer s
preference for the baroque treatment techniques connected in classical forms
reveals his traditional feature, with the help of which he becomes attached to
the neo-classical
-
neobaroque trend. The form of part III is complex, too. The
composer connects a series of small tristrophic forms on the classical pattern of
a rondo-sonata form typed A-B-C-A-B. Therefore, both the refrain and the
couplets are real, coagulated dependent forms. The character of this ending is
vivid, conceived on the rhythmic and melodic pattern of some popular games
originated in the North
-
East of the country, which are particularized by the
emphasis of the increased quarter and the subtone. The richness of melodies
that this ending brings along imprints a rhapsodic aspect to this part too, which
thus has a touch with the form of the suite, so that certain rhythmic and
intonational constants may be established in all this bundle of melodies. In this
way, we can speak about the circulation of some variants derived from a
common corpus. A permanent oscillation between the orientation towards the
classical-romantic tonal tradition and the new tendency to adequately turn the
modalism into a good account can be noticed in the theme of
Drägoi s
Sonata
for Violin and Piano. Thus, the modal feature appears under the form of
imposing typically modal intervals (specific pentatonic intervals,
lidie
fourth,
mixolidic seventh,
doric
sixth,
frigie
second), in the form of the melodic
105
chromatism (step IV is increased) or in the interior and final cadences (the
subtone). The tono-modal contrast mainly resides in the harmonic dress
subordinated to the tonal functionalism of the melodies built in a modal
manner, quotations preferably. The symmetric structure of the periodic and
phraseological construction, conceived on a multiple of four (square character),
is worth to be mentioned as a stylistic feature which is constantly kept. The
rhythms follow the
giusto
type, as a consequence to the area of inspiration
found in the species of carols.
106
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| publisher | Ed. Univ. "Transilvania" |
| record_format | marc |
| spelling | Pepelea, Dan Verfasser aut Sonata pentru vioară şi pian în creatţia românească interbelică 2 vol. 2 Reconsiderări ale formei Dan Pepelea Braşov Ed. Univ. "Transilvania" 2007 106 S. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: The sonata for violin and piano in the Romanian interwar creation (DE-604)BV035577596 2 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017633068&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017633068&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Pepelea, Dan Sonata pentru vioară şi pian în creatţia românească interbelică 2 vol. |
| title | Sonata pentru vioară şi pian în creatţia românească interbelică 2 vol. |
| title_auth | Sonata pentru vioară şi pian în creatţia românească interbelică 2 vol. |
| title_exact_search | Sonata pentru vioară şi pian în creatţia românească interbelică 2 vol. |
| title_full | Sonata pentru vioară şi pian în creatţia românească interbelică 2 vol. 2 Reconsiderări ale formei Dan Pepelea |
| title_fullStr | Sonata pentru vioară şi pian în creatţia românească interbelică 2 vol. 2 Reconsiderări ale formei Dan Pepelea |
| title_full_unstemmed | Sonata pentru vioară şi pian în creatţia românească interbelică 2 vol. 2 Reconsiderări ale formei Dan Pepelea |
| title_short | Sonata pentru vioară şi pian în creatţia românească interbelică |
| title_sort | sonata pentru vioara si pian in creattia romaneasca interbelica 2 vol reconsiderari ale formei |
| title_sub | 2 vol. |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017633068&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017633068&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV035577596 |
| work_keys_str_mv | AT pepeleadan sonatapentruvioarasipianincreattiaromaneascainterbelica2vol2 |