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LINK http://ucmr.org.ro/SIM-GE-2017-Program.pdf/SIM-GE-2017-Program.pdf
Programul
Simpozionului Internațional de Muzicologie “George Enescu”
din cadrul Festivalului Internațional “George Enescu” 2017
Ziua 1 – 3 septembrie 2017, ora 10.30, Palatul Cantacuzino
SECȚIUNEA 1. SINTEZE CULTURALE.
John Allison
At the crossroads: Covent Garden’s Oedipe and the growing international recognition of Enescu’s opera
Ștefan Angi
Aphorismen von Enescu über die künstlerische Interpretation in Musik
Alexandru Bădulescu
George Enescu – the conductor of the world premiere of Paul Constantinescu’s Easter oratorio “Passion and resurrection”
Alina Bottez
The Fall of Moira: Fleg and Enescu’s Twentieth Century Reinterpretation of Oedipus’s Destiny
Victor Bocharov
Contemporary Russian lieder – a performer’s approach: Elena Obraztsova
Lavinia Coman
George Enescu and Dinu Lipatti, A Model Of Spiritual Communion
Petruța‐Maria Coroiu (Măniuț)
Iconic Images of Enescu’s Chamber Music
Octavian Lazăr Cosma
Paradigms of Enescu’s synthesis
Viorel Cosma
Enescu’s fabulous whistling abilities
Cristina‐Elena Lascu
OEDIPUS’ MYTH: FROM THE ANCIENT TRAGEDIES TO GEORGE ENESCU’S MASTERPIECE
Ira Levin
Reflections on performing Enescu
Florinela Popa
1946‐1955: Enescu, as Seen on Both Sides of the Iron Curtain
Marcel Spinei
Georges Enesco «violoncelliste» et créateur de musique pour violoncelle
Constantin‐Tufan STAN
George Enescu and the Multi‐Ethnic Cultural Space of Timișoara
Cornel Țăranu
Enescu, nouvelles restitutions
Vasile Vasile
George Enescu as a Member of the Romanian Academy
Ziua 2, 4 septembrie 2017, Palatul Cantacuzino – 10:30
SECȚIUNEA 2. STUDII ANALITICE.
Despina Petecel‐Theodoru
L ́Opéra Œdipe à la lumière de la “logique dynamique du contradictoire”.
Ana Popescu von Bülow
George Enescu, Kadenzen zum Violinkonzert in D‐Dur op. 77 von Johannes Brahms. Manuskripte aus dem George Enescu Archiv, Bukarest, Inv. Nr. 2390/3980
Olguța Lupu
Musical Narratology, a Possible Tool for the Analysis of Enescu’s Music? Case Study: Symphony No. 3, Op. 21
James Savage‐Hanford
Intuiting Form: Memory and (Dis)continuity in Enescu’s Piano Quintet, Op. 29
Maria Hara
Caprice roumaine. Vision d’un interprète.
LINK: http://ucmr.org.ro/SIM-GE-2017-Program-EN.pdf
Program
Day 1 ‐ September 3, 2017, Cantacuzene Palace – George Enescu Museum, 10:30
SECTION 1. CULTURAL SYNTHESIS.
John Allison
At the crossroads: Covent Garden’s Oedipe and the growing international recognition of Enescu’s opera
Ștefan Angi
Aphorismen von Enescu über die künstlerische Interpretation in Musik
Alexandru Bădulescu
George Enescu – the conductor of the world premiere of Paul Constantinescu’s Easter oratorio “Passion and resurrection”
Victor Bocharov
Contemporary Russian lieder – a performer’s approach: Elena Obraztsova
Alina Bottez
The Fall of Moira: Fleg and Enescu’s Twentieth Century Reinterpretation of Oedipus’s Destiny
Lavinia Coman
George Enescu and Dinu Lipatti, A Model Of Spiritual Communion
Petruța‐Maria Coroiu (Măniuț)
ICONIC IMAGES OF ENESCU’S CHAMBER MUSIC
Octavian Lazăr Cosma
Paradigms of Enescu’s synthesis
Viorel Cosma
Enescu’s fabulous whistling abilities
Cristina‐Elena Lascu
OEDIPUS’ MYTH: FROM THE ANCIENT TRAGEDIES TO GEORGE ENESCU’S MASTERPIECE
Ira Levin
Reflections on performing Enescu
1946‐1955: Enescu, as Seen on Both Sides of the Iron Curtain
Marcel Spinei
Georges Enesco «violoncelliste» et créateur de musique pour violoncelle
Constantin‐Tufan STAN
George Enescu and the Multi‐Ethnic Cultural Space of Timișoara
Cornel Țăranu
Enescu, nouvelles restitutions
Vasile Vasile
George Enescu as a Member of the Romanian Academy
Day 2, September 4, 2017, Cantacuzene Palace – George Enescu Museum, 10:30
SECTION 2. ANALYTICAL STUDIES.
Despina Petecel‐Theodoru
L ́Opéra Œdipe à la lumière de la “logique dynamique du contradictoire”.
Ana Popescu von Bülow
George Enescu, Kadenzen zum Violinkonzert in D‐Dur op. 77 von Johannes Brahms. Manuskripte aus dem George Enescu Archiv, Bukarest, Inv. Nr. 2390/3980
Olguța Lupu
Musical Narratology, a Possible Tool for the Analysis of Enescu’s Music? Case Study: Symphony No.3, Op. 21
James Savage‐Hanford
Intuiting Form: Memory and (Dis)continuity in Enescu’s Piano Quintet, Op. 29
Maria Hara
Caprice roumaine. Vision d’un interprète.