Le compositeur Dinu Lipatti – à la croisée du langage moderne européen et de l’orientation roumaine

In Lipatti’s works we can detect a neo-romantic tendency (present in some of his piano pieces), a more distinct Romanian-oriented approach (adopted while under the guidance of his teacher Mihail Jora), a neoclassical line (as influenced by Bach’s music and by the pieces he comes in contact with thro...

Full description

Saved in:
Bibliographic Details
Published in:Musicology Today: Journal of the National University of Music Bucharest 2017, Vol.8 (30), p.101-110
Main Author: Isăcescu, Monica
Format: Article
Language:eng ; fre
Subjects:
Music
Online Access:Get full text
Tags: Add Tag
No Tags, Be the first to tag this record!
cited_by
cites
container_end_page 110
container_issue 30
container_start_page 101
container_title Musicology Today: Journal of the National University of Music Bucharest
container_volume 8
creator Isăcescu, Monica
description In Lipatti’s works we can detect a neo-romantic tendency (present in some of his piano pieces), a more distinct Romanian-oriented approach (adopted while under the guidance of his teacher Mihail Jora), a neoclassical line (as influenced by Bach’s music and by the pieces he comes in contact with through his Parisian experience) and a modern, European attitude, in keeping with his contemporaries Stravinsky and Bartók among others. The works I focused on are representative of a first, Romanian-oriented period in Dinu Lipatti’s oeuvre, and of a certain creative maturity, subsequent to his studies in Paris. I drew a parallel between the Sonatina for violin and piano and the Concerto for organ and piano in the light of the relationship Lipatti had with the distinguished musicians he dedicated these works to, Mihail Jora and Nadia Boulanger.
format article
fullrecord <record><control><sourceid>ceeol</sourceid><recordid>TN_cdi_ceeol_journals_983151</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><ceeol_id>983151</ceeol_id><sourcerecordid>983151</sourcerecordid><originalsourceid>FETCH-ceeol_journals_9831513</originalsourceid><addsrcrecordid>eNqFTD1uwjAUtqpWKqLcoMM7AJEcDEmYS6sOjN0jy36gFzl-kX927tCpGyvn4CacpB4YK3X6_r8HMVvJpq02qlk_Fr7qmmrd1u2zWMQ4SClV3bVbJWdi2CMYHieOlDAH2JHPsKdJp0RwO33D9QxOgwlM8XpBsLlIf9RHhJEtBo9QZjyVzAMmsAjudvrhQOiTTsQeAudRk8cX8XTQLuLijnPx-vH-9fZZGUR2_cA5-OL3207Vm1rNxfLPWIdExmFv2dyr_WQP6p-3X2svWUM</addsrcrecordid><sourcetype>Enrichment Source</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype></control><display><type>article</type><title>Le compositeur Dinu Lipatti – à la croisée du langage moderne européen et de l’orientation roumaine</title><source>Alma/SFX Local Collection</source><creator>Isăcescu, Monica</creator><creatorcontrib>Isăcescu, Monica</creatorcontrib><description>In Lipatti’s works we can detect a neo-romantic tendency (present in some of his piano pieces), a more distinct Romanian-oriented approach (adopted while under the guidance of his teacher Mihail Jora), a neoclassical line (as influenced by Bach’s music and by the pieces he comes in contact with through his Parisian experience) and a modern, European attitude, in keeping with his contemporaries Stravinsky and Bartók among others. The works I focused on are representative of a first, Romanian-oriented period in Dinu Lipatti’s oeuvre, and of a certain creative maturity, subsequent to his studies in Paris. I drew a parallel between the Sonatina for violin and piano and the Concerto for organ and piano in the light of the relationship Lipatti had with the distinguished musicians he dedicated these works to, Mihail Jora and Nadia Boulanger.</description><identifier>ISSN: 2286-4717</identifier><identifier>EISSN: 2067-5364</identifier><language>eng ; fre</language><publisher>Editura Universității Naționale de Muzică din București</publisher><subject>Music</subject><ispartof>Musicology Today: Journal of the National University of Music Bucharest, 2017, Vol.8 (30), p.101-110</ispartof><oa>free_for_read</oa><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Uhttps://www.ceeol.com//api/image/getissuecoverimage?id=picture_2017_63274.jpg</thumbnail><link.rule.ids>314,776,780,4010</link.rule.ids></links><search><creatorcontrib>Isăcescu, Monica</creatorcontrib><title>Le compositeur Dinu Lipatti – à la croisée du langage moderne européen et de l’orientation roumaine</title><title>Musicology Today: Journal of the National University of Music Bucharest</title><addtitle>Musicology Today: Journal of the National University of Music Bucharest</addtitle><description>In Lipatti’s works we can detect a neo-romantic tendency (present in some of his piano pieces), a more distinct Romanian-oriented approach (adopted while under the guidance of his teacher Mihail Jora), a neoclassical line (as influenced by Bach’s music and by the pieces he comes in contact with through his Parisian experience) and a modern, European attitude, in keeping with his contemporaries Stravinsky and Bartók among others. The works I focused on are representative of a first, Romanian-oriented period in Dinu Lipatti’s oeuvre, and of a certain creative maturity, subsequent to his studies in Paris. I drew a parallel between the Sonatina for violin and piano and the Concerto for organ and piano in the light of the relationship Lipatti had with the distinguished musicians he dedicated these works to, Mihail Jora and Nadia Boulanger.</description><subject>Music</subject><issn>2286-4717</issn><issn>2067-5364</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2017</creationdate><recordtype>article</recordtype><recordid>eNqFTD1uwjAUtqpWKqLcoMM7AJEcDEmYS6sOjN0jy36gFzl-kX927tCpGyvn4CacpB4YK3X6_r8HMVvJpq02qlk_Fr7qmmrd1u2zWMQ4SClV3bVbJWdi2CMYHieOlDAH2JHPsKdJp0RwO33D9QxOgwlM8XpBsLlIf9RHhJEtBo9QZjyVzAMmsAjudvrhQOiTTsQeAudRk8cX8XTQLuLijnPx-vH-9fZZGUR2_cA5-OL3207Vm1rNxfLPWIdExmFv2dyr_WQP6p-3X2svWUM</recordid><startdate>2017</startdate><enddate>2017</enddate><creator>Isăcescu, Monica</creator><general>Editura Universității Naționale de Muzică din București</general><general>The National University of Music Bucharest Publishing House</general><scope>AE2</scope><scope>BIXPP</scope><scope>REL</scope></search><sort><creationdate>2017</creationdate><title>Le compositeur Dinu Lipatti – à la croisée du langage moderne européen et de l’orientation roumaine</title><author>Isăcescu, Monica</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-ceeol_journals_9831513</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng ; fre</language><creationdate>2017</creationdate><topic>Music</topic><toplevel>online_resources</toplevel><creatorcontrib>Isăcescu, Monica</creatorcontrib><collection>Central and Eastern European Online Library (C.E.E.O.L.) (DFG Nationallizenzen)</collection><collection>CEEOL: Open Access</collection><collection>Central and Eastern European Online Library - CEEOL Journals</collection><jtitle>Musicology Today: Journal of the National University of Music Bucharest</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Isăcescu, Monica</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>Le compositeur Dinu Lipatti – à la croisée du langage moderne européen et de l’orientation roumaine</atitle><jtitle>Musicology Today: Journal of the National University of Music Bucharest</jtitle><addtitle>Musicology Today: Journal of the National University of Music Bucharest</addtitle><date>2017</date><risdate>2017</risdate><volume>8</volume><issue>30</issue><spage>101</spage><epage>110</epage><pages>101-110</pages><issn>2286-4717</issn><eissn>2067-5364</eissn><abstract>In Lipatti’s works we can detect a neo-romantic tendency (present in some of his piano pieces), a more distinct Romanian-oriented approach (adopted while under the guidance of his teacher Mihail Jora), a neoclassical line (as influenced by Bach’s music and by the pieces he comes in contact with through his Parisian experience) and a modern, European attitude, in keeping with his contemporaries Stravinsky and Bartók among others. The works I focused on are representative of a first, Romanian-oriented period in Dinu Lipatti’s oeuvre, and of a certain creative maturity, subsequent to his studies in Paris. I drew a parallel between the Sonatina for violin and piano and the Concerto for organ and piano in the light of the relationship Lipatti had with the distinguished musicians he dedicated these works to, Mihail Jora and Nadia Boulanger.</abstract><pub>Editura Universității Naționale de Muzică din București</pub><tpages>11</tpages><oa>free_for_read</oa></addata></record>
fulltext fulltext
identifier ISSN: 2286-4717
ispartof Musicology Today: Journal of the National University of Music Bucharest, 2017, Vol.8 (30), p.101-110
issn 2286-4717
2067-5364
language eng ; fre
recordid cdi_ceeol_journals_983151
source Alma/SFX Local Collection
subjects Music
title Le compositeur Dinu Lipatti – à la croisée du langage moderne européen et de l’orientation roumaine
url http://sfxeu10.hosted.exlibrisgroup.com/loughborough?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2025-02-04T14%3A47%3A51IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-ceeol&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=Le%20compositeur%20Dinu%20Lipatti%20%E2%80%93%20%C3%A0%20la%20crois%C3%A9e%20du%20langage%20moderne%20europ%C3%A9en%20et%20de%20l%E2%80%99orientation%20roumaine&rft.jtitle=Musicology%20Today:%20Journal%20of%20the%20National%20University%20of%20Music%20Bucharest&rft.au=Is%C4%83cescu,%20Monica&rft.date=2017&rft.volume=8&rft.issue=30&rft.spage=101&rft.epage=110&rft.pages=101-110&rft.issn=2286-4717&rft.eissn=2067-5364&rft_id=info:doi/&rft_dat=%3Cceeol%3E983151%3C/ceeol%3E%3Cgrp_id%3Ecdi_FETCH-ceeol_journals_9831513%3C/grp_id%3E%3Coa%3E%3C/oa%3E%3Curl%3E%3C/url%3E&rft_id=info:oai/&rft_id=info:pmid/&rft_ceeol_id=983151&rfr_iscdi=true