“MELZIe ROMANESTI / cs a —< ghcicbanu ~~ \ MUZICA INSTRUMENTALA. | VOCALA Sl PSALTICA DIN SECOLELE XVI~KIXINTRODUCERE area | Th Solumul de f tiumile presarate prin diferite scrieri veehit, @escaperit doeumente musicale si e-au Ine de ansamblu 4 muricii ver fi) dar o Inmiinunchicre a intregulii material feal cunosout nu avem pink in prezent. Ine noi s¥ facem acest Iucrn tn volumul de fay, includem urmitoarcle categorii de melodii: ‘A. Musica instrumental, cuprinzind melodii Antre secolele XVI — NIX (a. 1834), |. Muzic voeall «) aclamatii ; b) ereatii de all profesiant®, calvind si. catolicd ; 0) cintece igine sau de enti oriental; 0) folelor urban. Adaugim ai Kyrie dleison — cor mixt — de pe la ince- secolului al XVIIT-lea. | Muzied pealticd din prima jumitate a seco ‘XW%Clea. Includem aceasta ultim& sate- completa, cit de elt, peisajul muzical e din prima jumatate a cecolului trecut. gerea acestor piese s-a avut In vedere varie- | slifistics gi existenja unor forme vechi ale r jepite din ux im prezent in finuturile dar pe care le glsim In practica eat INTRODUCTION Tn the first une that has been made up. out a of ther arden pc 1) the follore; 1) the chiurcl ms and town (ie the so-catled " Until nowad lost ones are rica de mentioned in Ma =i dev is true: at p. 13 point led to the town and court, musi, 1920 on d especially: Suce 1850 on — several. data and mentions Jpread Sn ver ld wntngs hats heen gate a lot of musical docums have been found , and attempts have been wade -to.-achiee ‘heses concerning this ancient Roma- 0 However, nobody has yet sveceeded in gathering up the ‘whole musical material that has come down to us, That ie why we have em- Iharked on it in the present volume, which there: fore includes the following classes of tunes: A. Instrumental Musie fcomprising melodies dating from the 47th, the 18th and the 19th cen~ turies (up to 1834). B.. Yoral Musie: a)Acelamations; 'b) creations influenced. by. Protestantiom (Lutheranism, Calet, nism) and by Roman Catholicism ; c) “spiritual” and “ethical” ‘songs; d) songs coming from the Orienta music or created under its influences ¢) town folklore. Hore we have added also a Kyrt tteison for tmixed chorus trom the beginning, of the 18th century. , Psaltie Music from the. first half of the ‘practice in the regions musical entity, of all Ube Romanians oth century, This Ist class Bes been included in the volume because of its big: im cane ants tobe ‘of # rather complete Knowledge of the Romanian masieal “Iandssape from the firet half of the {9th cemtury: ‘Whee ‘electi . Both their stylistic variety and the way these tunes the author hos Hed in ioe of the have Kept up in them some old: forms She mein ene in the Boxe out ‘ans, but still in use side the Carpathians, but still in use ‘ ilk This is aloo a proof in the Webel! of i uy whole medieacval period.sh ae sure apie Bade IEA ile, asic ae pane eed |, far avi eee ee vane eum one : oe seit rdnene tere ewe dome Aa cr are we ceri A mite vordi deckt ean aypleat ormele, centeo Pot" Jn apa ‘Bue daca ‘din “i fu In nro as 1 ecmomice cultural Hh = ategnne @ maint le curt: ce iit, 32. paar, yorb) Inc formutit. fradaie romiacsti, Pui if feudal, nai de ist pentr 8 imypee F populares dar gi de diverticment Fifioiar neste atstets ines din Fei eefptord, romani, iae mai wpot fai etn #8 lie, faatul de Ia curtea In enlolalte curtis lar ecient, Charles Diehl linn’, de Simeon oct Mare al Bulgariei ‘sa fou tueatin 1a Coustan us le. cost #8 itl d) curfit Imperiale in aga fel pagal impiratului bizantin" + Tomiini nu detinem stemenea allt on fin cit si un nopot ee Balin (1285-1418) gi-an facut Pe Aeeasta dovedesie' ca sxistan Titre doronitorut Yarii Roma. Birontului, putut eoremoniilului si a fastului “thai vorbim de posibilitatea A prin intermediul curfii bul- Eerettionial la curtile domni« angul secolelor, ne vste con I Groniti, de sevicribe Iai D, Can- Mth $i dy Condicn Ini Gt leoratche| AI ceremonial, un oc impor Beh psalticn, L ea} pt rmmranidns. ete pas Hiteratara rinidansies de Hs 3782. Tctagth tog at od iu por The 1 thi rt Bells uv ben bet wa eer attnal hes fuly bagi reas oding cont. ot which ea nally tga NK poe tee ie courts, bul he fait rcalturalcenteos Of the’ pagel Twein montly monasteries, Howovens flea peusihily think about any ow oll ls ak ay fur political, eanomin and ea au least’ in secule venue ‘ourt mrsin, steed both fe Rebuy iterlainments has sisted even, ange feo. TOth contury, when the first feudal Rom fs the big foudats Tater an, re, fongeous displays highly imprestive la the gant tiled, but also various. entertainment. been acclaimed even in the ey per i. — practice fal hy the Jows, the Egyptians, the Gres, the mans and later on hy the’ Byzantines. As | well known, the pomp displayed at the Bs Emperors’ courts, has been adopted Tater of the other princes? courts, al First only fq) Kee tow Alor nsups slat tent Xin Frets ( oals-af the East but afterwards in the Ocsidenty tage instance, Charles Diehl asseverates that Siminn the Great of Bulgaria (894—99%), hhad been educated at Constantinople, énteodg at his own court “the titles, the dresses and iy ceremonial in use al the Byzantine Emp court, 80 that he could almost appear as the ter’s equal". No such piece of information ji come down to us concerning the Romanian. get but we know that both # son and a neph prince Mircea the Old (1386—1418) hid: heen educated at; Byzantium ® This is 8 Bro the strong honds of friendship extant then | ‘ween the ‘Tara Roménease: Prince and the Emperor of Byzantium, a that ‘aceounis, too, for the former's -1dQpi the ceremonial and the gorgeous displays i at the latter's court, to. say nothing of th that those elements: could have been adoptel i ugh the agency of the Bulgacidn couple nce of such a ceremonial, maintained Pe Jang tn Titra ura Bhool the centuries nt the Resmanian Pigust isantina, 1 Hg kr tof 8 "Hl, Thueuee gt, 499nm ce privegte misicn diktenetivk — dane Ini tari gi cin — este la fel dy veebe, dact TU Fi rial weche dactt con legal de chreniontalul propriv-ris de curve. Clement Alex: (amij- Poll secolului 11 — prima jumatate'asecolutul 111) al seeolutea al, 11-8 san inc do dlragorte fh, pan pein slab siti In eupr Hl melodies le i hefurilor nesthuite si Pentru peteccnri Ts Ghrisostornul (345 —407), prvilicele sales Cine dintre in alm sau alt eink Hi died on 9 2D lin seriptura sfin 28 ar ¥rea i Intrebe de cinteceie amoraase mulfi care a le-gtie ane placere™ continua tmpottivn unde rezultst. Din nume- oscel= doveri ale existentei acestora, ne vom opri @oar asupra citorva. La curtra regelui maghiar “int menjionati, in secolul al XTV-lea, de pilda, un Pegs (chanteur de geste) si un combibator (eompagnon d'orgie)* Daci primul va. fi cintat Peintece decente, al doilea— mai ales co rolul Tui ers s8-nveseleases pe rege tormai la petreceri — In mod cert va fi cintat i cintecs pe care cot dot ‘(parin{i biserieesti le condamnau. La romani, croniearal Grigore Ureche spune Aron Voda (cu intermitento: 1454—1457) fu Se satura ,.de-giucatu, de cimpoiagi, pre-care finea de miscarii* ?. lar loan Neculee serie, in casa, despre Grigore Vodi Ghiea (1726— 1739): ... Siin vieaga lui era tot cu mese mari, IReemenca ereatit, dar eeremonial la: Biaant (p. 11-28); bulgari (21-22); bi (28-25); poloni (25—27); rug (27—28): romani 74). Pontra roméni, descricrea ceremonialurilor este irl in: literatuen parenetich (80—B4); Gronict si cwgrafe (Bi); opere cu earacter informativ, G20 fic gi intoric (86—60); opere propriu-tise. de geremonia) 75) : Clement Aloxandrinul, Pedagegul, ‘Tenducora, de Nicolae 1. $lefinescu. Bucarepti, 1989, p. 175: 5 Mexi G, Breazul, Pagina alin deloria musieil rod 4, Bd. ingrijit de V. Tormescu, Bucuresti, dit. mauzi- A986, p. 168, au eae 6, Banile Maranati, Jos mmaaigue a. Paris, ri Laurens, 1922. (Lam musieions colebren), p18 1%. Wnts bythe. cto ors due citinet Digdte Castensey ane those of other poopie, and also by the Condiet uk Ghesegeché. (Chreorgachi's Regier Tol. Gases woninls)), written. im 4762" Ac important tole yom assign during the ceremoniow Uo Uh panic ae wi pt the sami (hs Te of the 2nd century at i cr The bag of hs ht aro wift aid hector tore throvgh Uhr ging al ns the musi for entertainment dances and. som need with rl. Clemant’ of ct ot hall of the: Sed, “utterly discarded” ag “the songs which of merry deserve lo be sung only durin or wien somebody reeds sori lon when he es @ banquet. fora Si John Ghrssostom aad in one. of his Homilies: “Who among you it able to sing 8 psalm or some other chant in the Moly Serip- ‘ure Howerar it only someone were to ask you abou lvilish songs, the love songs =0 wrth debauchery, moat Of you would: imipeta: tely show him you know. them in full and sing them with the greatest pleasure” ° The Church: went on attacking bard, bub vainly, these works. Here are a few pronfy of their permanence during ‘the whole Middle Ages, For instance, in the 14th century one could find at the court of Hungary's King, a regde (chanteur de geste) and a combibator feompasnon Corgie)*. ‘The former could have sung decent cones, but the atier — whose duly consisted chiefly in diver ting the King just during the feasts — hed there- fore most surely sung such “devilish songs" as those condemned by the two above quoted Chirk stian writers. Dan Simonezou, Literatura _romdnesset de cei Ne cre = aot Doce 1900, Between p. L1—74 the anther depicts caiautely Oe ceremonial literature of: Byxantium. {p. t1= ee Bulgarians (21—22); ‘the Serbians (23-25); ee O eee e Resinne (22-28); The Rosasans 24-20) For Romanians the descriplion of the ceremonials 18 Feared inte song i. hepsur of the peas, MORN: Bio a a png 8 cred (ne rane) works ‘dealing with “cer m otill proper (66-74). a rc “Alexandrienth, ome RN Glettnen. Haunt, Ba mes din intoria musiett tah, p17, oh Pan i eee 1 ie apis a Tomes. i (194) in oo Fo Brea / 7. Veri G. Bronzul, 1 Carman, Conkrlinatl a rorminest, aw 1965, P. 156- a signe pais, ck tate, amet et aa