Enesciana Vol. 2-3 : Georges Enesco, musicien complexe
| Editura | Academia Republicii Socialiste România chat |
| Loc publicare | Bucureşti |
| An | 1981 |
| Subiect | Muzică simfonică chat |
| Enescu, George (opera) chat | |
| Enescu, George (viaţa) chat | |
| Note | Antetitlu: Academie des Sciences Sociales et Politiques de la Republique Socialiste de Roumanie |
| Enesciana II-III contient des travaux, etudes et communications presentees dans les sessions scientifiques de 1974-1980 du Centre d'etudes ''Georges Enesco'' |
| Titlu | |
| Titlu | Enesciana Vol. 2-3 : Georges Enesco, musicien complexe |
| [nedefinit] | 1 |
| Titlu / Menţiuni de responsabilitate | |
| Titlu | Enesciana |
| Prima menţ. de resp. | [coautori: Romeo Ghircoiașiu, George Pascu, Viorel Cosma...] |
| Urm. menţ. de responsabilitate | [editor: Mircea Voicana] |
| Desemnarea gen. a materialului | Carte tipărită |
| Numărul părţii | Vol. 2-3 |
| Numele părţii | Georges Enesco, musicien complexe |
| Nume de persoană / resp. intelectuală alternativă | |
| Autor alternativ | Ghircoiașiu, Romeo |
| Pascu, George | |
| Cosma, Viorel | |
| Nume de persoană / resp. intelectuală secundară | |
| Parte a numelui | Voicana, Mircea |
| Cod de legătură | editor |
| Alt sistem de control al numerelor | |
| Cotă | 78(498)E55 |
| Număr (indice) CZU | |
| Număr (indice) CZU | 78(498)Enescu G.(063) |
| 78.071.1(498)Enescu, G. | |
| 929 Enescu G. | |
| Alte clasificări | |
| Alte clasificări - Numărul clasei | 78/79 |
| Vedetă de subiect ca subiect | |
| Subiect | Muzică simfonică |
| Enescu, George (opera) | |
| Enescu, George (viaţa) | |
| Limba resursei | |
| Limba textului | fre |
| eng | |
| ger | |
| Publicare, distribuţie | |
| Loc publicare | Bucureşti |
| Editura | Academia Republicii Socialiste România |
| Data publicării | 1981 |
| Descriere fizică | |
| Desemnarea specifica a mat. | 247 p., 1 f. pl. |
| Alte detalii fizice | facs., n. muz. |
| Notă generală | |
| Textul notei | Antetitlu: Academie des Sciences Sociales et Politiques de la Republique Socialiste de Roumanie |
| Enesciana II-III contient des travaux, etudes et communications presentees dans les sessions scientifiques de 1974-1980 du Centre d'etudes ''Georges Enesco'' | |
| Notă de rezumat/abstract | |
| Abstract/Sumar | Table des matieres ROMEO GHIRCOIAŞIUEnescu’s First Steps and the Musical Back¬ground 9 GEORGE PASCUEnescu and Caudella17 VIOREL COSMAGeorge Enescu und der Grundbegriff nationaler Einheit23 CONSTANŢA-IANCA STAICOVICIThe Enescian Personality Reflected in the Pages of the Magazine "Familia” in Oradea ....29 CLEMANSA-LILIANA FIRCALe processus de creation chez Georges Enesco â la lumiere de quelques esquisscs et projets de composition precoces37 GEORGE MANOLIUL’art du violon d’Enesco dans la premiere moiti6 de ndtre siecle47 OCTAVIAN-LAZĂR COSMAThe Permanence of George Enescu’s Creation51 CLEMANSA-LIL IANA FIRCA etCaraetcristiques et functions de l’unisson chez GHEORGHE FIRCAGeorges Enesco57 GHEORGHE FIRCAGibt es bei Enescu eine spezifische C-Dur Tonart ?63 SPERANŢA RĂDULESCUCaractere sp^cifique roumain dans le langage harmoniquc de la «IIIe Sonate pour piano et violon» de Georges Enesco75 SPEPANŢA RĂDULESCULa connotation «populaire» dans la «IIIe Sonate pour piano et violon »de Georges Enesco95 VIOREL COSMAPatriotische Bedeutungen einer absoluten Urauffiihrung. Warum lieB Enescu die Sonate „in rumănischem Volkscharakter" erstmals in Oradea ertiinen?105 CONSTANTIN CATRINALe jubil6 d’Enesco â Braşov en 1931 ....115 ENEA BORZAGeorge Enescu’s Humanism119 ADRIANA ŞIRLIModale Strukturen in Annăherung zur orienta- lischen Kirchenmusik im „Oedip" von George Enescu 125 TITUS MOISESCUGeorge Enescu’s String Quartet in G Major Op. 22 No. 2 133 MIRCEA VOICANAThe Unity and Continuity of Enescu’s "Work161 GABRIELA OCNEANUImpressionism and Enescu’s Work167 CONSTANTIN STIHI-BOOSA Few Specifications about the One-Movement Poem, Taken both as a Genre and as a Form, with Reference to Alfonso Castaldi and George Enescu173 ION N POTOPINThematic Interferences between Enescu and Emincscu179 CONSTANTIN STIHI-BOOSSome Analytical Specifications Concerning the Symphonic Poem "Vox Maris” in G Major Op. 31 by George Enescu187 6 FERENC LÂSZLO„.. .und Bela Bart6k“ 193 GEORGE MANOLIUGeorges Enesco, interprete de Bach ....199 CONSTANŢA-IANCA STAICOVICI George Enesco, Professor at the Manncs School of Music. Liniinary Notions 211 DRAGOŞ TĂNĂSESCUUne prestigieuse collaboration artistique : Geor¬ges Enesco — Dinu Lipatti 223 LUCIA-MONICA ALEXANDRESCU Constantin Silvestri, an Interpreter of Enescu’s Music 229 CONSTANŢA-IANCA STAICOVICI George Enesco’s Death as Reflected in the American Press 233 MIRCEA VOICANALes perspectives de la recherche 6nescienne239 |
78(498)E55
Enesciana / [coautori: Romeo Ghircoiașiu, George Pascu, Viorel Cosma...] ; [editor: Mircea Voicana].- Bucureşti : Academia Republicii Socialiste România , 1981.
247 p., 1 f. pl. : facs., n. muz..
Antetitlu: Academie des Sciences Sociales et Politiques de la Republique Socialiste de Roumanie
Enesciana II-III contient des travaux, etudes et communications presentees dans les sessions scientifiques de 1974-1980 du Centre d'etudes ''Georges Enesco''
Table des matieres ROMEO GHIRCOIAŞIUEnescu’s First Steps and the Musical Back¬ground 9 GEORGE PASCUEnescu and Caudella17 VIOREL COSMAGeorge Enescu und der Grundbegriff nationaler Einheit23 CONSTANŢA-IANCA STAICOVICIThe Enescian Personality Reflected in the Pages of the Magazine "Familia” in Oradea ....29 CLEMANSA-LILIANA FIRCALe processus de creation chez Georges Enesco â la lumiere de quelques esquisscs et projets de composition precoces37 GEORGE MANOLIUL’art du violon d’Enesco dans la premiere moiti6 de ndtre siecle47 OCTAVIAN-LAZĂR COSMAThe Permanence of George Enescu’s Creation51 CLEMANSA-LIL IANA FIRCA etCaraetcristiques et functions de l’unisson chez GHEORGHE FIRCAGeorges Enesco57 GHEORGHE FIRCAGibt es bei Enescu eine spezifische C-Dur Tonart ?63 SPERANŢA RĂDULESCUCaractere sp^cifique roumain dans le langage harmoniquc de la «IIIe Sonate pour piano et violon» de Georges Enesco75 SPEPANŢA RĂDULESCULa connotation «populaire» dans la «IIIe Sonate pour piano et violon »de Georges Enesco95 VIOREL COSMAPatriotische Bedeutungen einer absoluten Urauffiihrung. Warum lieB Enescu die Sonate „in rumănischem Volkscharakter" erstmals in Oradea ertiinen?105 CONSTANTIN CATRINALe jubil6 d’Enesco â Braşov en 1931 ....115 ENEA BORZAGeorge Enescu’s Humanism119 ADRIANA ŞIRLIModale Strukturen in Annăherung zur orienta- lischen Kirchenmusik im „Oedip" von George Enescu 125 TITUS MOISESCUGeorge Enescu’s String Quartet in G Major Op. 22 No. 2 133 MIRCEA VOICANAThe Unity and Continuity of Enescu’s "Work161 GABRIELA OCNEANUImpressionism and Enescu’s Work167 CONSTANTIN STIHI-BOOSA Few Specifications about the One-Movement Poem, Taken both as a Genre and as a Form, with Reference to Alfonso Castaldi and George Enescu173 ION N POTOPINThematic Interferences between Enescu and Emincscu179 CONSTANTIN STIHI-BOOSSome Analytical Specifications Concerning the Symphonic Poem "Vox Maris” in G Major Op. 31 by George Enescu187 6 FERENC LÂSZLO„.. .und Bela Bart6k“ 193 GEORGE MANOLIUGeorges Enesco, interprete de Bach ....199 CONSTANŢA-IANCA STAICOVICI George Enesco, Professor at the Manncs School of Music. Liniinary Notions 211 DRAGOŞ TĂNĂSESCUUne prestigieuse collaboration artistique : Geor¬ges Enesco — Dinu Lipatti 223 LUCIA-MONICA ALEXANDRESCU Constantin Silvestri, an Interpreter of Enescu’s Music 229 CONSTANŢA-IANCA STAICOVICI George Enesco’s Death as Reflected in the American Press 233 MIRCEA VOICANALes perspectives de la recherche 6nescienne239.
I Ghircoiașiu, Romeo
II Pascu, George
III Cosma, Viorel
1. Muzică simfonică
2. Enescu, George (opera)
3. Enescu, George (viaţa)
78(498)Enescu G.(063)
78.071.1(498)Enescu, G.
929 Enescu G.
299
__
$aEnesciana Vol. 2-3 : Georges Enesco, musicien complexe
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215 __ $a247 p., 1 f. pl. $cfacs., n. muz.
300 __ $aAntetitlu: Academie des Sciences Sociales et Politiques de la Republique Socialiste de Roumanie
300 __ $aEnesciana II-III contient des travaux, etudes et communications presentees dans les sessions scientifiques de 1974-1980 du Centre d'etudes ''Georges Enesco''
330 __ $aTable des matieres ROMEO GHIRCOIAŞIUEnescu’s First Steps and the Musical Back¬ground 9 GEORGE PASCUEnescu and Caudella17 VIOREL COSMAGeorge Enescu und der Grundbegriff nationaler Einheit23 CONSTANŢA-IANCA STAICOVICIThe Enescian Personality Reflected in the Pages of the Magazine "Familia” in Oradea ....29 CLEMANSA-LILIANA FIRCALe processus de creation chez Georges Enesco â la lumiere de quelques esquisscs et projets de composition precoces37 GEORGE MANOLIUL’art du violon d’Enesco dans la premiere moiti6 de ndtre siecle47 OCTAVIAN-LAZĂR COSMAThe Permanence of George Enescu’s Creation51 CLEMANSA-LIL IANA FIRCA etCaraetcristiques et functions de l’unisson chez GHEORGHE FIRCAGeorges Enesco57 GHEORGHE FIRCAGibt es bei Enescu eine spezifische C-Dur Tonart ?63 SPERANŢA RĂDULESCUCaractere sp^cifique roumain dans le langage harmoniquc de la «IIIe Sonate pour piano et violon» de Georges Enesco75 SPEPANŢA RĂDULESCULa connotation «populaire» dans la «IIIe Sonate pour piano et violon »de Georges Enesco95 VIOREL COSMAPatriotische Bedeutungen einer absoluten Urauffiihrung. Warum lieB Enescu die Sonate „in rumănischem Volkscharakter" erstmals in Oradea ertiinen?105 CONSTANTIN CATRINALe jubil6 d’Enesco â Braşov en 1931 ....115 ENEA BORZAGeorge Enescu’s Humanism119 ADRIANA ŞIRLIModale Strukturen in Annăherung zur orienta- lischen Kirchenmusik im „Oedip" von George Enescu 125 TITUS MOISESCUGeorge Enescu’s String Quartet in G Major Op. 22 No. 2 133 MIRCEA VOICANAThe Unity and Continuity of Enescu’s "Work161 GABRIELA OCNEANUImpressionism and Enescu’s Work167 CONSTANTIN STIHI-BOOSA Few Specifications about the One-Movement Poem, Taken both as a Genre and as a Form, with Reference to Alfonso Castaldi and George Enescu173 ION N POTOPINThematic Interferences between Enescu and Emincscu179 CONSTANTIN STIHI-BOOSSome Analytical Specifications Concerning the Symphonic Poem "Vox Maris” in G Major Op. 31 by George Enescu187 6 FERENC LÂSZLO„.. .und Bela Bart6k“ 193 GEORGE MANOLIUGeorges Enesco, interprete de Bach ....199 CONSTANŢA-IANCA STAICOVICI George Enesco, Professor at the Manncs School of Music. Liniinary Notions 211 DRAGOŞ TĂNĂSESCUUne prestigieuse collaboration artistique : Geor¬ges Enesco — Dinu Lipatti 223 LUCIA-MONICA ALEXANDRESCU Constantin Silvestri, an Interpreter of Enescu’s Music 229 CONSTANŢA-IANCA STAICOVICI George Enesco’s Death as Reflected in the American Press 233 MIRCEA VOICANALes perspectives de la recherche 6nescienne239
955 __ $a1
200 __ $aEnesciana $f[coautori: Romeo Ghircoiașiu, George Pascu, Viorel Cosma...] $g[editor: Mircea Voicana] $bCarte tipărită $hVol. 2-3 $iGeorges Enesco, musicien complexe
701 __ $aGhircoiașiu, Romeo
701 __ $aPascu, George
701 __ $aCosma, Viorel
702 __ $bVoicana, Mircea $4editor
035 __ $a78(498)E55
675 __ $a78(498)Enescu G.(063)
675 __ $a78.071.1(498)Enescu, G.
675 __ $a929 Enescu G.
686 __ $a78/79
606 __ $aMuzică simfonică
606 __ $aEnescu, George (opera)
606 __ $aEnescu, George (viaţa)
101 __ $afre $aeng $ager
210 __ $aBucureşti $cAcademia Republicii Socialiste România $d1981
215 __ $a247 p., 1 f. pl. $cfacs., n. muz.
300 __ $aAntetitlu: Academie des Sciences Sociales et Politiques de la Republique Socialiste de Roumanie
300 __ $aEnesciana II-III contient des travaux, etudes et communications presentees dans les sessions scientifiques de 1974-1980 du Centre d'etudes ''Georges Enesco''
330 __ $aTable des matieres ROMEO GHIRCOIAŞIUEnescu’s First Steps and the Musical Back¬ground 9 GEORGE PASCUEnescu and Caudella17 VIOREL COSMAGeorge Enescu und der Grundbegriff nationaler Einheit23 CONSTANŢA-IANCA STAICOVICIThe Enescian Personality Reflected in the Pages of the Magazine "Familia” in Oradea ....29 CLEMANSA-LILIANA FIRCALe processus de creation chez Georges Enesco â la lumiere de quelques esquisscs et projets de composition precoces37 GEORGE MANOLIUL’art du violon d’Enesco dans la premiere moiti6 de ndtre siecle47 OCTAVIAN-LAZĂR COSMAThe Permanence of George Enescu’s Creation51 CLEMANSA-LIL IANA FIRCA etCaraetcristiques et functions de l’unisson chez GHEORGHE FIRCAGeorges Enesco57 GHEORGHE FIRCAGibt es bei Enescu eine spezifische C-Dur Tonart ?63 SPERANŢA RĂDULESCUCaractere sp^cifique roumain dans le langage harmoniquc de la «IIIe Sonate pour piano et violon» de Georges Enesco75 SPEPANŢA RĂDULESCULa connotation «populaire» dans la «IIIe Sonate pour piano et violon »de Georges Enesco95 VIOREL COSMAPatriotische Bedeutungen einer absoluten Urauffiihrung. Warum lieB Enescu die Sonate „in rumănischem Volkscharakter" erstmals in Oradea ertiinen?105 CONSTANTIN CATRINALe jubil6 d’Enesco â Braşov en 1931 ....115 ENEA BORZAGeorge Enescu’s Humanism119 ADRIANA ŞIRLIModale Strukturen in Annăherung zur orienta- lischen Kirchenmusik im „Oedip" von George Enescu 125 TITUS MOISESCUGeorge Enescu’s String Quartet in G Major Op. 22 No. 2 133 MIRCEA VOICANAThe Unity and Continuity of Enescu’s "Work161 GABRIELA OCNEANUImpressionism and Enescu’s Work167 CONSTANTIN STIHI-BOOSA Few Specifications about the One-Movement Poem, Taken both as a Genre and as a Form, with Reference to Alfonso Castaldi and George Enescu173 ION N POTOPINThematic Interferences between Enescu and Emincscu179 CONSTANTIN STIHI-BOOSSome Analytical Specifications Concerning the Symphonic Poem "Vox Maris” in G Major Op. 31 by George Enescu187 6 FERENC LÂSZLO„.. .und Bela Bart6k“ 193 GEORGE MANOLIUGeorges Enesco, interprete de Bach ....199 CONSTANŢA-IANCA STAICOVICI George Enesco, Professor at the Manncs School of Music. Liniinary Notions 211 DRAGOŞ TĂNĂSESCUUne prestigieuse collaboration artistique : Geor¬ges Enesco — Dinu Lipatti 223 LUCIA-MONICA ALEXANDRESCU Constantin Silvestri, an Interpreter of Enescu’s Music 229 CONSTANŢA-IANCA STAICOVICI George Enesco’s Death as Reflected in the American Press 233 MIRCEA VOICANALes perspectives de la recherche 6nescienne239
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