Avra Xepapadakou & Alexandros Charkiolakis
Erich Türk & Emese sófalvi
Editor: Nicolae Gheorghi Music copyist: Andreea Mitu (for studies 1, 3 & 4) Proofreader: Benedicta Pavel DTP: Marius Iorgulescu & Andreea Mitu Cover: Une soirée chez le Prince régnant, à Bucarest, en 1843. Gravure dur bois d’après Ch. Doussault (published in L’Illustration. Journal universel, XI, no. 287, August 26, 1848, p. 393). Cover design: Stavropoleos Monastery
Descrierea CIP a Bibliotecii Naionale a României 19th-Century Salon Music from the Balkans / ed. by Nicolae Gheorghi. – Bucureti: Editura Universitii Naionale de Muzic Bucureti, 2020 Conine bibliografie ISMN 979-0-707661-18-5 ISBN 978-606-659-124-9
I. Gheorghi, Nicolae (ed.)
Drepturile pentru prezenta ediie aparin Editurii Universitii Naionale de Muzic Bucureti. All rights for the present edition reserved by National University of Music Publishing House, Bucharest.
FONDUL DE DEZVOLTARE INSTITUIONAL: CNFIS-FDI-2020-0067 UNIVERSITATEA NAIONAL DE MUZIC DIN BUCURETI Domeniul vizat: 6. Susinerea cercetrii de excelen din universiti TITLU PROIECT: Centre for Nineteenth-Century Music Studies Perioada de desfurare a proiectului: 15 mai – 15 decembrie 2020
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Contents
Foreword ....................................................................................................................................................... 7
I. A Selection of Greek Salon Music Pieces by Avra Xepapadakou & Alexandros Charkiolakis ....................................................................................................................... 9
1. Alexander Katakuzenos [Αλξανδρος Κατακουζηνς], νθυμο [Remember] .............. 16
2. Gerasimos D. Vothrondos [Γερσιμος Δ. Βοθρωντς], Gardenia Mazurka [Γαρδνια Μαζορκα] ............................................................................. 20
3. Pavlos Carrer [Παλος Καρρρης], Χορο Κρυφομιλματα, Polka Mazurka [Whispered Chats at the Dance, Πλκα-μαζορκα] ............................................................. 23
4. Timotheos Xanthopoulos [Τιμθεος Ξανθπουλος], Ες Λεκωμα Σμυρναας [For a Smyrnean Lady’s Album] .............................................................................................. 25
5. Adamantios Remandas [δαμντιος Ρεμαντς], Mazurka [Μαζορκα] .......................... 27
6. Raffaele Parisini [Ραφαλ Παριζνης], Γαλαξεδιον, Polka-mazurka [Galaxeidion, Πλκα-μαζορκα] ............................................................................................. 30
7. Kimon Bellas [Κμων Μπλλας], λληνικς τετρχορος, Quadrilles Helleniques ............ 33
8. Platon G. Phaedros [Π. Γ. Φαδρος], Τ πρτον ρωτικν βλμμα τς Σμυρναδος [The First Love Gaze of a Smyrnean Lady] ............................................................................ 36
II. Serbian Salon Music by Marijana Kokanovi Markovi  ........................................................ 39
1. Kornelije Stankovi, Što se bore misli moje [So Restlessly, Why Do I Dwell] .................... 45
2. Kornelije Stankovi, Sremsko kolo [Kolo from Srem] ........................................................... 54
3. Jovan Pau, Rapsodija [Rhapsody] No. 7 from the collection Srpski zvuci [Serbian Sounds] ....................................................................................................................... 60
4. Isidor Baji, Sanje, Le rêve ........................................................................................................ 69
5. Isidor Bajic, Valse mignonne..................................................................................................... 71
III. Salon Music from Wallachia: A Short History in Six Tableaux by Haiganu Preda-Schimek ...................................................................................................................... 75
1. Iosif Ivanovici, Donau-Wellen. Walzer .................................................................................... 86
2. Anton Kratochwil II, Peleul. Vals [The Pele Castle, Walz] ................................................ 95
3. Grigore Ventura, Doi ochi [Two Eyes] .................................................................................... 104
4. Andrei Ferlendis, Hora Bucuresceanca [Bucharest Hora, Ronde] ...................................... 110
5. Ludwig Wiest, Doina, Sârba i Brâu Clopoel [Doina, Sârba and Girdle Dance with Bells] ......................................................................... 112
6. Alexandru Flechtenmacher, Milo-Quadrillu [Milo-Quadrille] ........................................... 117
7. Gheorghe Dinicu, Gavotte de la princesse .............................................................................. 125
8. George Stephnescu, Rêverie ................................................................................................... 135
IV. Salon Music in 19th-Century Iai by Dalia Simona Rusu-Persic ........................................ 139
1. Gheorghe Burada, Aglae Polka ................................................................................................ 148
2. Gheorghe Burada, Polka Mazurka .......................................................................................... 149
3. Pietro Mezzetti, Doina .............................................................................................................. 151
4. Enrico Mezzetti, Serenad [Serenade] .................................................................................... 154
5. Enrico Mezzetti, Un desiderio .................................................................................................. 157
6. Enrico Mezzetti, Gavota stile antico per Violoncello e Piano ................................................ 160
7. Enrico Mezzetti, Mélancolie. Rêverie pour Violoncelle acomp. de Piano ............................. 163
8. Eduard Caudella, Ironiele vieei [Life’s Ironies] ..................................................................... 166
9. Eduard Caudella, O lacrim [A Tear] .......................................................................................... 177
V. Philipp Caudella and Georg Ruzitska Bringing Viennese Music Culture into Transylvanian Salons by Erich Türk .................................................................................................. 185
1. Philippe Caudella, Thema con variatione ............................................................................. 187
2. Gyorgy Ruzitska, A Mademoiselle Luise Schell. Plainte, Invocation et Contentement ....... 198
Biographies ................................................................................................................................................... 219
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Foreword
In the past years, the Doctoral School and the Research, Innovation and Information De- partment of the National University of Music Bucharest (UNMB) ran, in partnership with universities, research institutes and specialized professional bodies in Romania and ab-
road several major interdisciplinary projects of interest in local and international musicolo- gical research.1
One such project aimed to study the remarkable socio-cultural institution which deeply marked the long 19th century, the salon, not only considered for its musical contribution, but also seen as an essential tool in the affirmation of modernity, an instrument of transfer, one to construct the social and cultural identity of European elites and in particular of those develop- ing in the Balkans in their intense wish to synchronize with Western taste.2
Despite the Covid-19-generated avatars, the successful dedicated academic collabora- tions determined the UNMB to continue its projects, so that in 2020 it created the Centre for 19th-Century Music Studies (CNCMS),3 an institutional platform to promote leading research in the field of music and music-related studies with a focus on the 19th century by means of scientific and educational cooperation with partners at home and abroad. The project was fi- nanced by the Institutional Development Fund (FDI) with the support of Ministry of National Education, facilitating the collaboration between 16 local and foreign institutions which re- sulted in the inaugural conference of the CNCMS,4 the publication of the respective papers in
1 The Musics of Power. Music and Musicians in Totalitarian Regimes in 20th Century Europe, International Musi- cological Conference, 18-19 October, 2018 (https://www.unmb.ro/muzicile-puterii-muzica-si-muzicieni-in-regi- murile-totalitare-din-europa-secolului-al-xx-lea/); Musical and Cultural Osmoses in the Balkans, International Mu- sicological Conference, 2-6 September, 2019 (https://ims2019bucharest.ro/). 2 Elites and Their Musics. Music and Music-Making in the 19th-Century South-Eastern Europe Salons, Inter national Conference, 21-23 November, 2019 (https://unmb.ro/cncms/en/research/2019-2/elites-and-their- musics/). 3 https://unmb.ro/cncms/en/. 4 Music, Multiculturality and Sociability in the 19th-Century Central and South-Eastern European Salons, International Musicological Conference, 10-11 December 2020 (https://unmb.ro/cncms/en/inaugural-conference-of-the-cen- tre-for-nineteenth-century-music-studies-cncms/).
19th-Century Salon Music from the Balkans
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three issues of Musicology Today5 and of George Enescu’s Symphony no. 4 completed by Pascal Bentoiu with an introductory study by Dan Dediu.6
An exceptional outcome of both these collaborations and the project itself is the anthol- ogy 19th-Century Salon Music from the Balkans, the first of its kind. The seven researchers who ventured to investigate archives in order to identify, and to carry out the critical editing of, the thirty-two miniatures are renowned musicologists from Austria, Cyprus, Greece, Serbia and Romania: Haiganu Preda-Schimek (Vienna), Avra Xepapadakou (University of Nicosia), Alexandros Charkiolakis (The Friends of Music Society, Athens), Marijana Kokanovi Mark- ovi (University of Novi Sad), Dalia Simona Rusu-Persic (George Enescu National University of Arts, Iai), Emese Sófalvi (Babe-Bolyai University, Cluj-Napoca), Erich Türk (Gheorghe Dima National Academy of Music, Cluj-Napoca).
The featured miniatures have a certain diversity of timbral combinations: if most of them are for solo piano, there are also some duets for voice and piano or even pieces for voice with cello and piano accompaniment. They are introduced by remarkable studies with comprehen- sive analyses, comments and annotations on each group of works, their origin, authors, so- cio-cultural context and targeted audience etc., the musicologists thus offering an illustrative synthesis of the genre which had a profound effect on the construction of musical ambiances of 19th-century Balkans elites, in this case Greece, Serbia and the Romanian principalities of Wallachia, Moldavia, and Transylvania.
I would like to express my warmest thanks to the scholars that, with their effort, com- petence, and dedication, made possible this first 19th-century Balkans salon music antholo- gy: Alexandros Charkiolakis, Marijana Kokanovi Markovi, Haiganu Preda-Schimek, Erich Türk, Dalia Simona Rusu-Persic, Emese Sófalvi and Avra Xepapadakou.
This is also an expression of thanks to the nuns of the Stavropoleos Monastery, for the publication’s design, as well as to Research, Innovation and Information Department team, Andreea Mitu and Benedicta Pavel, for the constant effort in structuring the anthology and preparing it for print.
Nicolae Gheorghi English version: Maria Monica Bojin
5 http://www.musicologytoday.ro/39/studies.php, http://www.musicologytoday.ro/40/studies.php, http://www.mu- sicologytoday.ro/41/studies.php. 6 https://unmb.ro/cncms/publicatii/simfonia-nr-4-g-enescu/.
Introduction
Ranging from amateurism to virtuosity salon music was the most popular entertainment for private evening gatherings in 19th century European salons. In the Greek speaking world, the genre was in fashion from the late 18th century until the outbreak of World
War II. This text provides an overview of its course and fate in and out of the gradually expan- ding Greek borders throughout the 19th century.
Musical salons were a typical feature of the overall Westernizing and Europeanizing trend of Greek culture after the foundation of the Greek state in 1830 – a trend that reflected Greece’s desire to leave behind its identity from the previous Ottoman rule. Making up for lost time and falling into line with European ways was felt as an imperative need, with all eyes turning towards the West. A new, bourgeois lifestyle was thus adopted, and most Greek salons of the 19th centu- ry followed the fashion of the European salons of the same period. This included Italian opera excerpts and light dance music as the key repertoire; the piano as a bourgeois status symbol and the relative prominence of women. Musical literacy and the ability to play a musical instrument was considered a high social privilege and, therefore, the possession of a piano was an indication of wealth, prestige and, for the unmarried daughters of the upper class, an important addition to their dowry.
The collection at hand includes a variety of pieces. The majority of them was published in 19th century literary and cultural periodicals, such as Τ στυ (roughly translated as “The City”, 1885-1890), Ποικλη Στο (“Stoa Poikile”, 1881-1914) Χρυσαλλς (“Chrysalis”, 1863-1866) and the θνικν μερολγιον 1890 (“National Almanac of the year 1890”), a popular annual publication edited by the scholar Konstantinos Skokos. Featured in the pages of the above publications were articles of general knowledge, philosophical texts (of a rather simplistic nature), satirical and anec- dotal notes, as well as musical pieces that the readers could perform at home, on their own pianos.
1 Paper presented on December 10, 2020 at the Inaugural Conference of the Centre for Nineteenth-Century Music Studies (CNCMS), Music, Multiculturality and Sociability in the 19th-Century Central and South-Eastern European Salons, International Musicological Conference, 10-11 December 2020, organized by the National University of Music Bucharest.
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Moreover, it also includes two pieces from the Sakkoulidis Collection, now kept at the Sismanoglion Megaron in Istanbul. These works represent the Greek circles of Constantinople (Istanbul) and Smyrna (Izmir).2
The pieces
1. νθυμο [Remember] by Alexandros Katakouzenos Alexandros Katakouzenos (Trieste, 1824 – Athens, 1892) was a composer and ecclesiastic mu- sic scholar. He studied music in Paris and Vienna, where he became acquainted with both the European and the Byzantine music systems. In Vienna he founded a four-part choir that served as the choir of the local Greek Orthodox Church. After conducting his choir for 17 years, he moved to Odessa in 1861, to form a similar choir at the Greek Orthodox Church of the Holy Trinity. Finally, he reached his final destination in life, moving to Athens in 1870 after an invita- tion by Queen Olga to come and conduct the palace chapel choir of the church of Saint George.
Here, we include one of his works for voice and piano, titled νθυμο [Remember]. Its main theme is an unfulfilled friendship or, in a more loose sense, a loving relationship that has reached an unexpected end. The song is divided in two sets of verses sung with the same melodic material. The piece is based on D major with some interesting modulatory material appearing in various spots, adding a more varied sense to the melodic line. Alexandros Katakouzenos com- posed both the verses and the music (Attikos 1886: 8). This first composition of the compilation gives us a fairly good idea of the style of the time. It is a moderately easy piece approaching the central European tradition of vocal music.
2. Gardenia Mazurka by Gerasimos D. Vothrondos The composer Gerasimos D. Vothrondos was a well-known figure in his heyday, but his work has not reached the present day. For these reasons, we decided to include one of his pieces, published in T στυ (1887: 7). The few data that we managed to collect about him indicate mainly his ability to compose European-style dances, such as this one, which is referred to as a Mazurka. Vothrondos was among those who put their names down for the establishment of the Athens Philharmonic Society in 1889, and one of the members of the board of directors of the Cephalonia Philharmonic School.
The included piece is a mazurka, one of the most popular European dances with a long presence both in ballroom salons but also as a genre introduced in art music. Musically, the piece is quite straightforward; one could hardly say that the polka idiom has been enriched by Vothrondos. However, one should bear in mind what a mazurka represented in those times within the framework of the Greek bourgeois society: in a sense it means one more step towards European assimilation for a still evolving society.
3. Χορο Κρυφομιλματα [Whispered Chats at the Dance] by Pavlos Carrer Pavlos Carrer (or Karreris, as he is inscribed at the score under discussion) is one of those com- posers of the 19th century era that paved his own way and became one of the major and most
2 For a detailed presentation, see Xepapadakou and Charkiolakis 2017.
19th-Century Salon Music from the Balkans
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Kornelije Stankovi (1831-1865)
With his multiple activities as composer, pianist, melographer, conductor and music teacher, Kornelije Stankovi “represents a turning point in the modern history of Serbian music” (D. Petrovi 2004: 9). Kornelije Stankovi was born in a bourgeois
Serbian family in Buda. He encountered the piano for the first time in Arad in the house of his sister, who took over the care of her younger brother after the death of their parents. Stankovi studied music as a secondary school pupil in Pest and from 1850, with the help of his father’s friend, Pavle Riiki von Skribeše, continued his music studies in Vienna. He studied harmony and counterpoint with a well-known professor of the Viennese Conservatory, Simon Sechter, who treated his student with parental kindness. Stankovi was most probably Sechter’s private student, as his name is not on the list of the students of the Conservatory (Flotzinger 1985: 42-51).
Stankovi’s first musical works were written in Vienna, and they included, beside the lost songs to Goethe’s and Schiller’s words, a waltz for the piano. The vibrant life of the city, with numerous concerts by the leading pianists of that time, undoubtedly left a strong impression on the young artist. At that time the capital of the Habsburg Empire was the cradle of pan-Slavic ideas and an important centre of Serbian culture. Thanks to the work of Vuk Stefanovi Karadi and the practical advice of the Russian priest Mikhail Fedorovich Raevsky and other Slav intel- lectuals, young Kornelije Stankovi could dedicate all his talents and knowledge to collecting folk songs, both secular and church, in order to “lay foundation of the musical art among the Serbian people”.1 He published in Vienna ten books of arrangements of folk and urban songs and dances as well as three books of Traditional Serbian Church Chant. Stankovi usually arranged folk and urban songs for voice and piano, piano solo or four-part choirs. All Stankovi’s piano composi- tions were published in Vienna over the period of ten years, from 1853 to 1863.2
1 From one of the letters Kornelije Stankovi wrote to Father Raevsky in 1852. See N. Petrovi 1985: 77. 2 Piano compositions by Kornelije Stankovi were published in the first volume of his complete works, which was edited by Danica Petrovi and Marijana Kokanovi. Variations Što se bore misli moje [So Restlessly, Why Do I Dwell] Op. 6 and Sremsko kolo [Kolo from Srem] Op. 7 are picked from this collection. See Stankovi 2004: 70-75, 126-134.
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Stankovi’s ability as a pianist was highly valued by the Serbian press. Besides his own compositions, his repertoire included some works of Franz Liszt and Sigismond Thalberg, as well as then popular and now forgotten salon composers-pianists: Jacob Blumenthal, Louis Lacombe, Rudolf Willmers and Eduard M. Pirkhert (see Kokanovi Markovi 2018: 103-117).
After Stankovi’s death his transcriptions of folk melodies were used by musicians who prepared and published collections of South Slavonic melodies (Kuha 1878, 1879, 1880, 1881, 1941; see Matovi 1985: 251-257), and both national and foreign composers used them in their works.3 In the period of the brilliant development of piano technique and piano music in Europe, Kornelije Stankovi marked the beginning of the birth of Serbian piano music. Almost all of his piano compositions, mostly salon music, were based on the melodies of the folk and urban songs and dances. They reflected the needs of young Serbian bourgeoisie of that time and were a means of affirming national ideas in art. Therefore, they were accepted by audiences, and especially by the Serbian youth, with real exaltation and approval.
1. Što se bore misli moje [So Restlessly, Why Do I Dwell], Op. 6 Stankovi’s variations on Serbian folk and urban songs were written in a brilliantly virtuoso style, imitating the works of the most popular pianists and composers of the period. From vari- ation to variation the basic harmonisation and form remain the same, while piano parts slowly become more and more complex, and make ever greater demand on the pianist. The variations on the theme Što se bore misli moje [So Restlessly, Why Do I Dwell] Op. 6, are Stankovi’s best known piano work. They were published in Vienna in 1856 under the title Srbska narodna pesma [Serbian Folk Song] and dedicated to the Municipality of Panevo. The work contains an introduction, a theme and six variations which are not marked in the scores. That this com- position was the most popular even in Kornelije Stankovi’s time is clearly seen in this journal article: “(...) the best of all was ‘Što se bore misli moje’ in which Stankovi develops his great skills and pure national taste” (“Beograd, 18. Apr.” 1856: 244).
2. Sremsko kolo [Kolo from Srem], Op. 7 Different folk and ballroom dances were published by Stankovi separately and in two collec- tions of Serbian folk songs. Sremsko kolo4 [Kolo from Srem] Op. 7 was published for the first time in Vienna in 1857, and was dedicated to Mr. Stefan M. orevi from Sremska Mitrovica. Two years later, this Kolo, as the only composition for solo piano, was published in the col- lection of Srbske narodne pesme [Serbian Folk Songs] (1859), which otherwise contains only music arranged for voice and piano. Sremsko kolo was written in a three-part form A B (Trio) A, a form common to the most of the 19th century kolos. The piano accompaniment used by the composer imitates the characteristic sounds of folk instruments. The typical movement in crotchets in the bass imitates bagpipes.
3 Thanks to the collections of Kornelije Stankovi, Serbian folk melodies have found their way into the works of European composers, such as Ferdinand Bayer, Johann Strauss II, Nikolai Rimsky-Korsakov, Peter Ilich Tchaikovsky and others. See Peri 1985: 303-307. 4 Kolo is the most common form of Serbian folk dances.
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75
sAlon MusiC FroM wAllAChiA: A short history in six tAbleAux1
This essay sheds light on parlour music from Romania’s southern region, Wallachia. The river Olt, which runs across the province, divides it into two parts: Muntenia or Greater Wallachia on the east and Oltenia or Lesser Wallachia on the west. Following
the union with Moldavia, its capital Bucharest became the capital of the new state called Ro- mania (1862), which Carol I of Hohenzollern-Sigmaringen proclaimed a kingdom (1881).2 After 1878, the north part of Dobrogea, between the Danube and the Black Sea, was added to Southern Romania.3
The eight selected pieces in the anthology exemplify some typical genres of Wallachia’s music:4 society dances and sentimental ballads, pieces inspired (or not) by the music of lu- tari, melancholic and languid, specific to south-eastern sensibilities as transitional spaces between “East” and “West”; and arranged arias with satirical overtones, derived from suc- cessfully staged comedies. All examples date from the second half of the 19th century, when “salon music” crystallised in Europe as a genre (Ballstaedt 1998: 862). In addition to short piano pieces of medium difficulty (bagatelles, nocturnes, ballads, barcarolles, waltzes, po- lonaises, etc.), the repertoire also covered the promenade concert and the light-music café genre, engendering the notion of “salon orchestra” (Ballstaedt 1998: 865-866). As I will show, salon repertoire was of importance in Walachia not only quantity-wise, but occasionally also quality-wise. By its representativity, the anthology allows a glimpse into local history, com- pressed in six “period tableaux”.
1 Paper presented on December 10, 2020 at the Inaugural Conference of the Centre for Nineteenth-Century Music Studies (CNCMS), Music, Multiculturality and Sociability in the 19th-Century Central and South-Eastern European Salons, International Musicological Conference, 10-11 December 2020, organized by the National University of Music Bucharest. 2 Prince Karl of Hohenzollern-Sigmaringen (1839-1914) became Carol I, ruler (1866-1881) and king (1881-1914) of Romania. 3 After the 1877-1878 Russo-Turkish War, by which Romania gained independence from the Ottoman Empire, and the 1878 Treaty of Berlin. 4 I am thinking particularly of the cities in the south of Romania, where the public was interested in a “classical- light” repertoire.
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1. From military bands to amateur music
At the beginning of the century, fanfares of the Western European type replaced the Turkish mehterhané in the courts of Wallachian princes. Conductors busy with putting together a new repertoire (often with a national imprint and folk-inspired), would present such fanfares on both festive military and civil occasions (balls, for example); protagonists of musical evenings at court, they would also perform in public concerts or theatre shows where vaudeville and op- eretta prevailed. Capellmeisters would write orchestral music which they would then “recycle” as arrangements for piano, guitar, flute or other instruments, mostly destined for amateur use. Local salon music was thus born, and we are acquainted with its early period (the first half of the 19th century) through manuscripts and printed notes for amateur pianists.5
If European music carved out a way for itself in Bucharest society at first via private teach- ers and opera companies, with private salons acting as the privileged concert environment, after 1860 it became a leisure pursuit accessible to a wider public. Music shops appeared, music pub- lishers proliferated; like in many European cities, salon pieces were reproduced in brochures with attractive, sometimes polychrome covers, and sold at accessible prices, often in partner- ship with foreign publishers.6 Of course, “salon” repertoire (on which publishers focused) must be understood as subjacent and by no means as a substitute for the symphonic and chamber concerts concurrently proposed by the Philharmonic Society. Efforts in the field of “high-brow music” peaked with the building of the Romanian Athenaeum, magnificent concert hall and symbol of the modern state’s capital.
2. Salons, balls and out-of-town holidays: music lovers enjoy themselves
Compared with the previous period, Bucharest musical life was now more intense, and theatres would tour larger cities such as Craiova (Oltenia’s most important urban centre) or Constana (Dobrogea’s cosmopolitan seaport).7 The flourishing bourgeoisie had made the piano a fre- quent accessory not only in the capital’s more elegant neighbourhoods but in the smaller towns
5 During the transition decades (1820-1850), salon music showed a great stylistic variety. Reminiscences from the “phanariot century” (lutreasc music, cântece de lume [worldly songs] – see note 15 for the definition – from the urban musical folklore, vocal, and instrumental pieces propagated among Greek aristocracy in Constantinople) coexisted with European genres (opera arias, social dances, medleys, etc.). Albums in Byzantine (for example Romanian manuscript 370, Library of the Romanian Academy Bucharest, or Romanian manuscript 792, Breazul Collection, Union of Romanian Composers and Musicologists) or staff musical notation (for example Romanian manuscript 2575, Library of the Romanian Academy Bucharest) reached us. As regards printed notebooks, piano arrangements of urban musical folklore play a particular role, as do, for example, the four notebooks published by Johann Andreas Wachmann at H. F. Müller and Wessely & Büsing in Vienna between 1846 and 1858 and by Heinrich Ehrlich, Airs Nationaux Roumains pour le Piano [Romanian National Arias for Piano] at Pietro Mechetti qdum Carlo, Vienna [1850]. 6 The covers of the pieces in this anthology give the name of the partner publisher in small print, under the name of the Romanian publisher; for example, “Oscar Brandstetter”, “Lit. F.M. Geidel” and “Inst. Lith. C. G. Roder”, all from Leipzig. 7 For instance, the company led by Matei Millo performed in Craiova in 1870, 1873 (?), 1884, 1893, 1894, in Constana in 1895 (Florea 1966: 272). Constana’s first theatre, Elpis, was built in 1898 and saw concerts by George Enescu, opera and choral-instrumental performances (Puleanu 2003: 179).
Salon Music from Wallachia: A Short History in Six Tableaux
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as well, where a music-loving public would learn modern dances and romances and would take pleasure in attending revues and comedies, open air concerts, and musical picnics. On the oth- er hand, spas and holiday resorts attracted not only aristocrats (Romanian boyars, part of the Royal Court suite after the institution of the monarchy,) but also the growing middle class and petty bourgeoisie. Urban dwellers would flock to spas during the summer, others would travel to exclusive resorts such as Karlovy Vary, Nice, Biarritz or the Croatian seaport of Fiume (today Rijeka), on their way to Italy. Society columnists updated their readers on the lives of notables, as did, for instance, “Echos Mondains” in L’Indépendence Roumaine, on June 10/22, 1882:
Prince Bibescu will leave Bucharest at the beginning of the following week to join his wife and children at the baths of Marienbad. The prince and princess will remain there for the entire summer holiday season (...). After which they will go to the baths of Ems, then in the Netherlands, and then they will return to Breaza, where they will stay for the fall. (Sturdza 2004: 482)
At home or on holiday, light classical music was a must. For example, in the salon of the above-mentioned Prince George Bibescu (1834-1902) and his wife, Countess Marie-Valentine de Caraman-Chimay (1839-1914):
Balls were organized there each season. During the winter of 1880-81 for in- stance there were three dancing soirees (...). It happened again in 1881, and again year after year, for a long time. (Sturdza 2004: 482-483)
The events were hosted by one of Prince Gheorghe Bibescu’s sons,8 brother-in-law of pianist Elena Bibescu, at the time a well-known musician.9 Contemporary sources (newspapers, mem- oires, letters) often mention such Wallachian blue-blooded aristocrats, and many others from the intellectual and political bourgeoisie, as hosts of musical-social events.
There were famous salon hostesses in Bucharest as early as the first half of the century: Cleopatra Trubekoi (née Ghica), in whose house Franz Liszt performed in the winter of 1846- 47, or Alexandrina Ghica (née Mavros), a pianist herself, to whom Johann Andreas Wachmann10 dedicated two of his piano cahiers of Wallachian melodies published in Vienna.11 But the num-
8 Gheorghe Bibescu was ruler of Wallachia between 1842 and 1848. 9 A descendant of the boyar families Costaki-Epureanu and Negri, Elena (1855-1902) was the wife of Alexandru Bibescu (another son of Prince Bibescu). Receiving a thorough musical education in Moldavia and Vienna (as Anton Rubinstein’s private pupil), Elena was known both as a concert pianist, performing at the Romanian Athenaeum, and for her cultural work with the Royal Court. The artistic salon she ran in Paris was visited by famous musicians (Camille Saint-Saëns, Ambroise Thomas, Vincent d’Indy and others). 10 Johann Andreas Wachmann (1807-1863), Austrian musician, piano teacher of the Bibescus and well-known vaudeville and operetta composer who moved to Bucharest in 1833. 11 The second of the four published notebooks is Bouquet de Mélodies Valaques originales (H. F. Müller, 1847), dedicated to Cleopatra Trubekoi née Ghica (1801?-1880), grand-daughter of ruler Grigore Alexandru Ghica and cousin of Prince Gheorghe Bibescu, who married Russian prince Serghei Trubekoi in 1828. The third volume, L’Echo de la Valachie. Chansons populaires Roumains (H. F. Müller, published at the end of 1849 at the earliest) was written for Alexandrina Ghica née Mavros (1830-1926). In the 1890s, the wife of writer and diplomat Ion Ghica (1816-1897) received such musicians as Carl Flesch and George Enescu at the Ghergani manor (Zeletin 2007: 412-417).
Salon Music from Wallachia: A Short History in Six Tableaux
95
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sAlon MusiC in 19th-Century iAi1
In tune with the social and cultural life of Europe’s greatest cities, especially of Paris and Vien- na, Iai saw, from the 1840s onwards, a period of intense regeneration of the forms of artistic expression also as regards the field of music. The large number of aristocrat boyars were es-
sential in the development of salon culture, a stimulating environment for the rehabilitation of Western chamber music and its adaptation for the Romanian addressee. The consulted musicolo- gical sources and manuscripts attest the great number of salon pieces composed by the precursors active in Iai in the 19th century: Alexandru Flechtenmacher, Gheorghe Burada, Pietro Mezzetti, Enrico Mezzetti, Eduard Caudella and others. The genres in this compositional category can be associated with those practiced in European salon music: dances (polkas, waltzes, minuets, gavo- ttes etc.), medleys (dance and song suites), vocal miniatures (songs, romances, patriotic hymns).
The works in this anthology are selected from the repertoire performed in Iai boyar sa- lons at the end of the 19th century and the beginning of the 20th century, a proof that the cli- mate these sonorities created was indeed comparable to that of Europe’s great capitals.
1. Horizons open to Western models
Historical sources show that Iai elite showed an early interest in the values of Western civiliza- tion and culture. By the last decades of the 18th century, the modernization of Romanian society had already started, introducing a long transition from the Phanariot, patriarchal world to the European one, dynamic and positivist.
The decisive influence came from the successive periods of Russian administration,2 with the 1769-1774 Russo-Turkish War bringing the first forms of Western life as assimilated by Sankt-
1 Paper published in a slightly different form as Rusu-Persic 2019: 309-327 and presented on December 10, 2020 at the Inaugural Conference of the Centre for Nineteenth-Century Music Studies (CNCMS), Music, Multiculturality and Sociability in the 19th-Century Central and South-Eastern European Salons, International Musicological Conference, 10-11 December 2020, organized by the National University of Music Bucharest. 2 Russian European culture propagates in Iai also because of several periods of military Russian occupation: September 1769 – January 1775; October 1788 – March 1792; November 1806 – May 1812; April 1828 – April 1834 (see https://ro.wikipedia.org/wiki/Lista_domnilor_Moldovei#Secolul_al_XVIII-lea).
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Petersburg. Under the next Russian occupation (1806-1812), the upper spheres of Romanian soci- ety turn fashionable and start to organise and participate in “social events” while the Royal Court and great nobility adopted the Western ways and forms of living. Part of the ceremonies offered by the Russian generals, balls and dancing soirees transform the taste of the high society both with regard to dress and manners and to the reception of different type of dance music or ambience.
As historian A. D. Xenopol writes, at the balls in the first decades of the 19th century:
one no longer heard those horas or gigantic brâuri [girdle dances], led by a vornic [nobleman, member of the King’s Council, in charge with supervising the Court’s affairs] or postelnic [nobleman, member of the King’s Council, in charge with organising audiences with the King], danced by boyars and ladies in the gardens of the royal palace. National dances were now performed only as means to gratify the curiosity of the Russian officers. (Xenopol 1986: 151)
The cultural mutation at the middle of the 19th century can only be explained by considering some coexisting phenomena which endured for long in the background. First, there was the con- stant influence of Polish Catholicism3 and the insertion of German Protestantism (the 1563 Cot- nari Schola Latina). Then, the neighbouring Russian culture becomes, at beginning of the 18th century (Tsar Peter the Great visited Iai in 1711, during the second reign of Prince and scholar Dimitrie Cantemir in Moldova [1710-1711]), the entry point of European art music. And just as important were the French and Italian immigrants who settled in Iai after 1800 (also in the wake of the French Revolution), educated musicians among them, and some of whom would become private music teachers of the high nobility. It was thus that in 1835, when “at the Royal Court of Mihai Sturza everybody spoke French”, according to the mentioned source, the first higher education institution, Academia Mihilean [the Mihilean Academy], was founded. The im- portance of Iai’s geographical position is widely recognized, as is its historical evolution in this spectacular assimilation of European culture. The place where roads from West to East meet, Iai was visited by countless musicians, theatre and opera companies, and the fact that it was a capital for three centuries (1564-1862) favoured both its economic and cultural growth, and the rise of an enlightened class of boyars. And so it was that, in the first half of the 19th century, Iai boasted an educated society that valued music and was already developing a concert life.
2. Iai’s musical salons
During the reign of Mihail Sturdza (1834-1849) Iai enjoyed an effervescent social life. To the king’s residence in the Rosetti-Roznovanu palace, the host of sumptuous balls, are added the artistic salons opened by the great contemporary boyars: Cantacuzino, Mavrocordat, Rosetti, Ghika, Catargi, Moruzzi, Mavrogheni, Callimachi, Bal, Conache, Pogor and others.
In his detailed research of Iai social life, Professor Dan Dumitru Iacob highlights the multitude, luxury, and variety of events related to entertainment and socializing:
3 “Polish Catholic influence, through the Jesuit school, was beneficial for us, preparing the emergence of the great chroniclers Grigore Ureche, Miron Costin, Ion Neculce, and with the emphasis on education it shaped in Iai a very cultivated elite” (Boocan and Pascu 1997: 16).
Salon Music in 19th-Century Iai
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PhiliPP CAudellA And GeorG ruzitskA brinGinG
Viennese MusiC Culture into trAnsylVAniAn sAlons1
In Transylvania’s music history, the beginning of the 19th century represents a time of pros- perity, during which the emerging middle class is joining the noblemen’s cultural ambitions. Music-making witnesses an unprecedented broad effect, while conservatories, orchestras
and theatres are increasingly being established. Homemade chamber music was also still com- mon, and due to the nobility’s intense contacts with the imperial capital, the brilliance of Vien- nese music culture irradiates the empire’s Eastern boundary, Transylvania: works by Haydn, Mozart, Beethoven, Cramer, Clementi, Salieri, Gluck, Dussek, etc. are being performed, and we- ll-trained Viennese musicians are being hired as tutors by noble families (Wesselényi, Kemény, Bethlen, Gyulai, etc.). This is also how Georg Ruzitska and Philipp Caudella moved to Transyl- vania (László 1997: 135).
Philipp Caudella (1771-1826) lived in Cluj between 1814-1817 as tutor at Baron Farkas Wesselényi’s residence. Being Clementi’s and Albrechtsberger’s pupil, Caudella had received a solid musical education in Vienna, finding his way towards the Eastern province due to the gen- erous wage offered by the noble family. From Cluj he moved to Sibiu, where he became regens chori of the Roman-Catholic Parish as well as music teacher of the Lutheran Secondary School. As a composer, he had already printed some works in his early years in Vienna, and in Sibiu he composed also sacred music. In Cluj, we know about home concerts featuring works by „Gluck, the two Bach, Haydn, Mozart, Pleyel, Salieri, Rossini” (László 1999: 50). He participated at soi- rees, where the newest Viennese music was played, and together with his friend Georg Ruzitska he belonged to the Anti-Beethovenians (as opposed to Beethoven’s fans Baron Wesselényi and composer Anton Polz). The herewith published piece,2 Variations on the theme Wenn mir dein Auge strahlt [When Your Eye Shines to Me], from the opera The Interrupted Sacrifice by Peter von Winter (1754-1825), is actually based on a very similar piece by Josef Gelinek (1758-1825).
1 Paper presented in a slightly different form on December 10, 2020 at the Inaugural Conference of the Centre for Nineteenth-Century Music Studies (CNCMS), Music, Multiculturality and Sociability in the 19th-Century Central and South-Eastern European Salons, International Musicological Conference, 10-11 December 2020, organized by the National University of Music Bucharest. 2 We thank Dr. Emese Sófalvi for editing the two pieces and for taking the legal steps to publish them in this anthology.
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Caudella and Ruzitska Bringing Viennese Music Culture into Transylvanian Salons
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bioGrAPhies
Alexandros CHARKIOLAKIS studied music at the Hellenic Conservatoire and at the Univer- sity of Sheffield. He has worked as a musicologist and coordinator for educational projects in the Music Library of Greece Lilian Voudouri of the Friends of Music Society; in 2013 became Head of the Erol Uçer Music Library and adjunct Lecturer in Historical Musicology at MIAM (Center for Advanced Studies in Music) of the Istanbul Technical University. In May 2017, he returned to Athens in order to take up the position of Director of the Friends of Music Society. He edited the following books: Manolis Kalomiris – 50 Years Afte’ (Athens, 2013, with Nikos Maliaras), Autobiography and Archive of Alekos Xenos (Athens, 2013), Music Information Re- sources and Informational Education (Athens, 2015, with Charis Lavranos). He co-authored the book Interspersed with musical entertainment: Music in Greek salons of the 19th century with Avra Xepapadakou (Athens, 2017). He is currently preparing a book on Spiros Samaras’ operetta, The Princess of Sazan (Η Πριγκπισσα της Σσσωνος).
Marijana KOKANOVI MARKOVI is associate professor in the Department of Musicology and Ethnomusicology at The Academy of Arts in Novi Sad. She graduated (Music pedagogy; Musicology), as well as received her MA and PhD (Musicology) at the Academy of Arts in Novi Sad. She took part in conferences, in the country and abroad, and has published many papers in Serbian, German, English and Czech language, as well as lexicography articles for The Ser- bian Biographical Dictionary, The Serbian Encyclopedia and Grove Music Online. She co-edited Kornelije Stankovi – Piano Music, Vol. 1 (edited by Danica Petrovi, Institute of Musicology SASA, Institute for Culture of Vojvodina, Belgrade, Novi Sad, 2004), and the album of salon dances for piano, From Salons of Novi Sad (Matica Srpska, 2004). She published a monograph: The Social Role of Salon Music in the lives and system of values of the Serbian Citizens in the 19th century (Institute of Musicology SASA, Belgrade, 2014). Her current research focuses on the history of music of the 19th century in Serbian, Balkan and the European context and in partic- ular the impact of Central European music culture in the Balkans in the 19th century. She reg- ularly participates in projects carried out by Matica Srpska (Novi Sad), Institute of Musicology
19th-Century Salon Music from the Balkans
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SASA (Belgrade), and has collaborated on international projects, too (University of Music and Performing Arts in Vienna, Serbian Academy of Sciences and Arts – Institute of Musicology, University of Leipzig). She completed specialization courses in Vienna and in Leipzig.
Haiganu PREDA-SCHIMEK was born in Bucharest and has been living since 1997 as a free musicologist in Vienna (Austria). She completed her PhD in musicology at the National Music University Bucharest, in 2002. As a researcher, she has been working at projects funded by the Austrian Scientific Community (2004, 2005-2006, 2011), the City of Vienna (2007) and the Ministry of Science and Research, Austria (2007-2010); in 2008, she was visiting fellow at the Centre Interdisciplinaire de Recherche Centre-Européene (Paris, Université IV, Sorbonne). Her work was published in Muzica magazine (Bucharest), Musicology Papers (Cluj-Napoca, Romania), Musurgia (Paris, Ed. ESKA), Cultures d’Europe Centrale (Paris, Université IV, Sor- bonne), Österreichische Musikzeitschrift (Vienna), Musicologica Austriaca (Vienna), Spiege- lungen (München), Musikgeschichte in Mittel- und Osteuropa (Leipzig), etc. She is the guest editor and co-author of the Special Issue 3, Music in Nineteenth-Century Romania, of the Nine- teenth-Century Music Review, Volume 14 (Cambridge University Press, December 2017).
Dalia Simona RUSU-PERSIC is the Director of the Library of the George Enescu National Uni- versity of Arts Iasi and Doctor of Music with the thesis Compozitori ieeni din a doua jumtate a secolului al XIX-lea în fonduri de bibliotec i în presa vremii [Iai Composers from the Second Half of the 19th Century in Library Collections and the Press of the Time]. She graduated with a bachelor’s and master’s degree in the Faculty of Composition, Musicology, Music Pedago- gy and Theatre, specializing in Music Pedagogy and Musicology, respectively. She published the volume Ghid Bibliografic al Revistei Muzica (anii 2000-2012) [Bibliographic Guide of the Muzica Magazine (2000-2012)], Artes Publishing House, Iai, 2013. She was also part of the editorial team for the 155 de ani de învmânt artistic modern la Iai [155 Years of Modern Art Education in Iai], two volumes, coordinator Atena Elena Simionescu, Iai, Artes Publishing House, 2015, chapter Musical Arts – in collaboration with Laura Vasiliu and Carmen Chelaru. She has published articles on music criticism in different Romanian cultural magazines, as well as specialized studies indexed on the De Gruyter platform, such as “Critical reception of late 19th century Iai-based music. Alexandru Flechtenmacher” in Artes Magazine, Journal of Mu- sicology, vols. 17-18, 2018. The double specialty of a musicologist librarian has made her from 2016 a member of the Board of Directors of the Association of Universities, Research and De- velopment Institutes and Central University Libraries of Romania – Anelis Plus, in the field of Art and Architecture.
Emese SOFALVI is currently assistant professor in the Musical Pedagogy Department of the Babe-Bolyai University in Cluj. Her main field of research is the Biedermeier and Romantic musical culture in Transylvania. Her publications include papers presenting the history of the first Musical Society in Cluj and its Conservatoire, the development of the musical stage of the
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city, prominent figures of the local musical life (count Georg Bánffy, countess Jozefa Palm, the composer Georg Ruzitska, the singer Rosalia Schodel), reception of the Viennese Triad’s compositions by contemporary Kleinmeisters and thus the emerge of the national school in Transylvania at the beginning of the long 19th century.
Erich TURK studied organ in Cluj with Ursula Philippi and in Vienna with Michael Radulescu. He also studied the harpsichord with Ilton Wjuniski (Paris) and Gordon Murray (Vienna). He participated at several master-classes for organ, harpsichord and basso continuo across Europe. He is teaching organ, harpsichord, organology and chamber music at the Gheorghe Dima Mu- sic Academy of Cluj. As a soloist and as a member of the Baroque Ensemble Transylvania and other chamber music ensembles he performed in most of the European countries, Israel and the USA, making also radio, TV and CD recordings. He is involved in early music revival and period instrument research and he founded the TransylvANTIQs- label dedicated to local mu- sic culture. He also premiered several contemporary music pieces by Romanian composers. At the international J. S. Bach Organ Contest in Bruges 2000, he has been awarded the 2nd prize and the public’s prize.