Andreea Bratu, "The XXth Century Romantic Revival Issues. Scriabin's and Glazunov's Cases." Plagiarized Passages from "Two Centuries in One: Musical Romanticism and the Twentieth Century"

7/24/2019 Andreea Bratu, "The XXth Century Romantic Revival Issues. Scriabin's and Glazunov's Cases." Plagiarized Passage

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Andreea Bratu's article The XXth Century Romantic

Revival Issues. Scriabin's and Glazunov's Cases!

An analysis and demonstration o" ho# Bratu $la%iarized

Two Centuries in One: Musical Romanticism

and the Twentieth Century by &erbert auls

by Herbert Pauls, Phd.

(Hochschule fr Musik und Theater Rostock)

My dissertation book Two Centuries in One: Musical Romanticism and the Twentieth Century(2014, 475pp) has been finding a number of interested readers around the world sine it first beame

a!ailable on the web through the "ni!ersity of #ostok $ibrary in late 2014% &nd with this positi!eattention has ome another kind of attention whih ' had not uite epeted% 't turns out that my work

has reei!ed the dubious ompliment of being plagiari*ed on a !ery etensi!e sale% 't has had large

setions ut and pasted into a substantial artile, omplete with a sholarly presentation at an

international musiologial onferene + all by an &ssistant rofessor, no less%-r% &ndreea .ratu, a pianist and sholar from /!idius "ni!ersity in onstanta, entitled her

artile and onferene presentation he 33th entury #omanti #e!i!al 'ssues% riabins and

6la*uno!s ases% he full !ersion of the artile is dated /t% 25, 2015% &n oral !ersion was presentedat the 6la*uno!riabin 'nternational ymposium held at &leander 8er*en "ni!ersity, t% etersburg,

/t% 29+:1, 2015% ;ollowing the onferene, the artile was published on the internet by the


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disuss here%

Aithin aademia, one an find numerous disussions of romanti re!i!als in literature, but suh

re!i!als are something altogether different% ;rom a purely musial ontet, one an searh =/# and

6oogle in !ain trying to find aademi disussions of the late 20th entury re!i!al of rare romantimusi% hat, of ourse, was partly why .ratus artile title immediately aught my eye in a routine

google searh% ' am not used to getting searh results suh as this% &s a rule, one has to really dig

through books and artiles to find e!en sattered referenes that diretly aknowledge the late 20thentury #omanti #e!i!al%

.earing this in mind, the proper aademi thing to do would be for -r% .ratu to redit my

pioneering disussion of the #omanti #e!i!al and build on my work% he owes the sholarlyommunity an eplanation as to how my analysis helped pro!ide her with an aademi framework for

her artile% hat is how things are supposed to be done in the world of aademi researh%

The main body.

bibliography%

&s an eample, the indi!idual phrases of the first sentene show many of the strategies she usedo!er and o!er throughout her artileC

he first phrase,rior to the early romanti generation is epanded to beome rior and ulminating to the early

romanti generation%

'n the net phrase,of hopin and humann the list of names is re!ersed and also inludes a new name, of humann,

$is*t and hopin%

he net phrase,

and during so+alled lassial times is left out%

he net phrase is eatly the sameC

musi had been onsidered the most romanti of the arts beause

he items in the net phrase, inset with dashes, are gi!en in a different orderC

+ unlike sulpture, painting or !erbal utteranes + beomes

+ unlike !erbal utteranes painting or sulpture +

he final phrase in this first sentene throws in a synonym and hanges the word orderC

it was the medium of human reati!ity that was best able to epress emotion%

beomesit was the human reati!itys best !ehile to epress


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(r. Bratu's ada$tation )y ori%inal te*t

(.ratus abstrat borrows and rewords se!eralphrases and sentenes from my abstrat as well

as the 'ntrodution)

pg 1ontro!ersial and problemati in the etreme

may seem e!en a slight onnetion of the term

E#omantiF to maDor wentieth entury new

works, reations of a predominant all +way+around musially Modernism


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up what was by then already a long tradition of

theoretial thinking, was ehoing in the !ery#omantiism literature of writers like


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@ot only for their eponentsC hoenberg (atsome point), Aebern, tra!insky and the

neolassial style disiples attempt to write in

new languages searhing espeially for no

expressive music attributes% .asially stated,

many new ompositions and arrangements whihused lassial forms, did not finished as being

part of the neolassial mo!ement for the goodreason that they did not make use of spiky and

dry sound tetures% hey did not urge to separate

the formal idea from the original emotionalontet%

.asially stated, a great many new ompositionsand arrangements whih used lassial forms did

not end up being part of the neolassial

mo!ement for the simple reason that they did not

utili*e a dry and spiky sound surfae% hey did not

attempt to di!ore the formal idea from theoriginal emotional ontet%

pg 2 end, to pg : first two paragraphs

;or a musiologial point of !iew it is not

urious for a 19:: reality that


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etended romantiism of some riabin works,

6la*uno!Is, some rokofie!Is, hostako!ih, ,@% Medtner Kladimir @% -ro*doff, 6liere,

NhahaturianIs and Nabale!skyIs in the later

o!iet "nion), 6usta! Mahler #ihard trauss

and Norngold in the &ustro+6erman territories,

6% uini, /ttorino #espighi in 'taly, KaughanAilliams in

$ooking bak, it should ha!e been no suh of

re!elation that an widely+listened twentieth+entury musi of the ersistent #omantiism

owed a diret homage to the kind of ommon

pratie harmonies that had one been pre!ailedin nineteenth entury musi% 'n reality, this was

happened beause musial language, atually in

the loose soial sense ontinued to e!ol!e and tobe transformed at a gradual rate and alongside to

the !ery slow musial tastes hanges% 'n

onlusion the Odissonant re!olution hardly

affeted the kinds of musi that the generalpubli liked, heard, sang and played on a daily

basis performaneIs preferenes%

Arongly or rightly, all along the entury,

-issonant ModernismIs o!erall prominen more

as an oasional (and perhaps irritating)inlusion to the onert repertoires%

pg 94+95

$ooking bak, it should ha!e been no real surprise

that nearly all widely+onsumed twentieth+enturymusi of the EseriousF !ariety owed a diret debt

to the kind of ommon pratie harmonies that

had one been so pre!alent in nineteenthenturymusi% 'n reality, this was beause musial

language in the wider soial sense atually

ontinued to e!ol!e and hange at a rate roughlyparallel to the !ery gradual hanges in spoken

language, as we will see more learly in hapter

si% 'n sum, the EdissonantF re!olution hardly

touhed the kinds of musi that the general publiheard, played and sang on a daily basis% #ightly or

wrongly, dissonant modernismGs o!erall

reputation among the publi was more as anoasional (and perhaps irritating) addition to the

onert menu%

pg : paragraphs > and 7

8ow did we wind up with a large, inrediblymisellaneous group of self+onsiously modern

musial languages o!er the last one hundred

pg :>1+:>2

8ow did we end up with a large and inredibly!aried group of self+onsiously modern musial

languages o!er the last one hundred years that


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years that !ery few musi adepts and lo!ers e!er

managed to Espeak?F &nd how was it that somuh musial glossary that atually subsist in the

ommon today musial pratie of the wentieth

entury finished up being entrusted to the

@ineteenth H whih in ommon ollouialism is

still and reurrently alled the E#omantientury?F

Aas there truly something nearing aon!entional musial language in 19J0, a

language (or, if you hoose, a ategory of related

languages) that handily rossed ultural and lassborderlines, as was the ase in 1JJ0 or 17J0?

hirty or forty years ago, these types of inuiry

was not seriously welomed by sholars andmusiians who were ati!ely defending and

pursuing the most appealing esoteri paths ofmodernist or Onew musi% &s di!erse historialo!er!iews of wentieth entury musi testified

o!er the last half a entury, the narrati!e progress

of musial e!olution densely influened the sortsof wentieth+entury musi that were assumed

most reliable of sholarly onsideration% he

ruling aademi assumption, long sinedebauhed into a lihP, was that the tonal

struture of


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&s he ontinued, instead of this feund nai!etP,

innoene, we reah in ultra+Modernism Eanele"antsophistication even sterile# a restless itch

$or experimentin" *$ormulasT. Music can no

lon"er &e +ust music% itmust &e atonal# or

polytonal# or polyrhythmic# or primitive# or

,mpressionistic# or Sym&olist.F

8ofmann for playing a work of his absolutely toperfetion H eatly as he wanted it H ompletely

without epression%F

Mason belie!ed that Ethe path from emotion to

epression is diret, and the reati!e at nai!eand unselfonsious%F .ut, he ontinued, Ein plaeof this innoene, this feund nai!etP, we find in ultra

modernism a sterile sophistiation, a restless ith forformulas% Musi an no longer be Dust musiL it must

be atonal, or polytonal, or polyrhythmi, or primiti!e,

or impressionisti, or symbolisti%

pg 4 aragraph >

&s two of the glorious representati!es of late#omantiism in the generation leading up to

1950,RichardStrauss and Ser"ey Rachmanino$$

were by any nondisriminatory measurementamong the musial dominions of their time% &s

two of the top ten standard repertoire omposers

of the wentieth entury, they not only had anundeniable presene in the onert life from their

earliest years onward, but were also ob!iously

superior in many basi faets of sheer musial

deterity to pioneers like hoenberg,tra!insky, '!es and KarUse% ome but few

important early wentieth+entury romantis like

#% trauss, % #ahmaninoff and '% ibelius hadne!er atually li!ed their publi popularity

reession to any disernible degree% lightly less

popular wentieth entury romantis were not soluky% &fter their deaths, omposers like

'launov, Scria&in# -ax# Medtner#orn"old# and

/ohn0nyi all ast off the future deades memory

almost ompletely, although their re!i!al ishappening at a rapid rate today% Many others

ould be ited as well%

pg 100

&s two of the most famous representati!es of lateromantiism in the generation leading up to 1950,

trauss and #ahmaninoff were by any obDeti!e

measurement among the musial powerhouses oftheir time% &s two of the top fi!e repertoire

omposers of the twentieth entury, they not only

had an unassailable presene in the daily onertlife from their earliest years onward, but were also

learly superior in many basi faets of sheer

musial ability to pioneers like hoenberg, '!es,

KarUse and tra!insky%pg 12:

& few important early twentieth+entury

romantis like #ahmaninoff, ibelius and trausshad ne!er atually seen their publi popularity

deline to any appreiable degree%%%%.ut slightly

less famous twentieth+entury romantis were notso fortunate% &fter their deaths, omposers like

Norngold, Medtner, .a and -ohnVnyi all slipped

off the musial radar almost ompletely, although

their re!i!al is ourring at a rapid rate today%Many others ould be mentioned as well

(pg 4 aragraph 7 is not from Two Centuries in

One)

pg 5 paragraph 1

he o!iets until and after Mid+entury still had

many omposers of an o!ertly tonal and e!en

outright romanti approah, inluding!l.'launov# !l. Scria&in# R. 'li1re# S.2roko$iev# N.

Metner# . N. /rodo$$#Shostakovich# !.

hachaturian and/. a&alevsky, to mention themost known%

pg ::5

he o!iets at mid+entury still had many

omposers of an o!ertly tonal and e!en outright

romanti approah, inluding 6liUre, rokofie!,Miasko!sky, Nhahaturian and hostako!ih%


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pg 5 paragraph 2

&lthough the most famous and lo!ed by

musiians and publi one, Ser"ey Rachmanino$$

was slightly the kind of a muh appreiated

romanti WiebergI in ontemporary musi, he

somehow finished being seen as a stylistiaberration in his era% he pianist+omposer who

Edrove a car $or thirty years# en+oyedspeed&oats# hada distinctly 3456s house &uilt

$or himsel$# met 7alt /isney# lived amon" movie

stars in -everley 8ills# and diedtwo years &e$ore the droppin" o$ the $irst atomic

&om supposedly did not belong to the

twentieth entury(!)

pg 102

&lthough he was merely the tip of a muh larger

romanti ieberg in ontemporary musi, he

somehow ended up being seen as a stylisti

anomaly in his era% he omposer who Edro!e a

ar for thirty years, enDoyed speedboats, had adistintly 19:0s house built for himself, met Aalt

-isney, li!ed among mo!ie stars in .e!erley8ills, and died two years before the dropping of

the first atomi bomb,F supposedly did not belong

to the twentieth entury

pg 5 paragraph :

#ahmaninoff was also uni!ersally praised (e!enby those who slandered his musi) as a literally

without peer pianist% 8is memori*ation abilitiesand sore reading measured up to the greatest in

his times, and it was partly beause of this

deterity he was able to master an impressi!e

o!ernight performing repertoire, after fleeing the1917 .olshe!ik #e!olution and embarking on an

worldwide areer as a pianist at a late age of

forty+fi!e% #ahmaninoff was now able toimpose himself as an undisputable piano master,

whih had pre!iously been a side line during his#ussian years when he had outshined the musialsene as a omposer and ondutor%

pg 101

#ahmaninoff was also uni!ersally admired (e!enby those who denigrated his musi) as a pianist

literally without peer% 8is sore reading andmemori*ation abilities measured up to the greatest

in history, and it was was partly beause of this

faility that he was able to master a large

performing repertoire seemingly o!ernight afterfleeing the 1917 .olshe!ik #e!olution and

embarking on an international areer as a pianist

at the astonishingly late age of 45% &s the awestruk ery 6rainger later remarked,

#ahmaninoff was now able to pose as a speialistin piano performane, whih had pre!iously beena side line during his #ussian years when he had

dominated the musial sene as a omposer and

opera ondutor%

he following reworded snippet is not in

uotation marks but is at least gi!en a footnote

(inorretly iting pg 5> in Two Centuries in

One)

-eliberately or not, the #omanti #e!i!al, has

managed to emphasi*e the natural stylisti,harmoni and melodi ontinuity that linked the

two enturies, despite the fat that suh ob!ious

links were sometimes downplayed by ad!anedommentators and omposers%

pg 94

'ntentionally or not, the #omanti #e!i!al, has

ser!ed to emphasi*e the natural stylisti, harmoniand melodi ontinuity that linked the two

enturies, despite the fat that suh ob!ious links

were sometimes downplayed by ad!anedommentators and omposers%

pg 5 paragraph 4 (he passage opposite is footnoted as being


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ERachmanino$$s position in the daily music&usiness has always stood in the "reatest

possi&le contrast tohis treatment &y the

academic world. ,ndeed# his case is very similar

to 2uccini in this re"ard. Considerin" histruly

immense pu&lic stature today. E

written by me but is inorretly ited as pg 14

instead of pg 101)

(he net fi!e paragraphs are not from wo

enturies in /ne)

pg > paragraph :

;rom the #ussian ontingent, there was worthyto be mentioned also the epatriate !irtuoso

pianist and omposer @iolay Medtner (1JJ0+

1951), who ame from a family of intimidatingintelletuals and was himself an eeptionally

eponent of the #ussian intelligentsia% 't was one

of the strongest anti+modernist polemis of thetime and owed its eistene to the generosity and

open+mind professional !iews of none other than

#ahmaninoff himself% 'n 19:5 published hisideologial statements in a !olume with the

title he Muse andthe ;ashion% Medtner

deplored the loss of the old epressi!e ways as

muh as any other fellow omposer of his eraCEometimes it seems that we ha!e ompletely

estranged oursel!es from the emotions and

thoughts that arealone apable of begetting andfrutifying &rt%F

pg > paragraphs 4 and 5&fter all, the EdissonantF Musial #e!olution

hardly touhed the kinds of musi that the

general publi heard, played and sang on a daily

basis% -issonant modernismIs o!erall reputationamong the publi was more as an oasional

addition to the onert menu% hat happened also

beause most of the leading performingmusiians of the entury also saw no need to

renoune for shaping their standard onerts

repertoire of musial styles of the @ineteenthentury and of tonal epressi!e one of the

wentiethIs%

'nluded in this illustrious ompany weremaDor figures like Ailhelm ;urtwXngler, $eonard

.erstein ir homas .eeham, &rturo osanini,

8erbert !on NaraDan, -a!id /istrah, =asha

pg ::9

;rom the #ussian ontingent, there was thebrilliant epatriate !irtuoso pianist and omposer

@iolas Medtner (1JJ0+1951), who ame from a

family of intimidating intelletual brilliane andwas himself an eeptionally artiulate member of

the #ussianintelligentsia% 'n 19:5 his he Muse

and the ;ashion was published% 't was one of thestrongest anti+modernist polemis of the time and

owed its eistene to the generosity and like+

mindedness of none other than the towering#ahmaninoff himself% Medtner mourned the loss

of the old epressi!e ways as muh as anyone of

his eraC Eometimes it seems that we ha!e

ompletely estranged oursel!es from the emotionsand thoughts that are alone apable of begetting

and frutifying art%F

pg 95

'n sum, the EdissonantF re!olution hardly touhedthe kinds of musi that the general publi heard,

played and sang on a daily basis% #ightly or

wrongly, dissonant modernismGs o!erall

reputation among the publi was more as anoasional (and perhaps irritating) addition to the

onert menu%

pg 9>+97

'nluded in this illustrious ompany were figures

like &rturo osanini, Ailhelm ;urtwXngler, irhomas .eeham, ablo asals, ;rit* Nreisler,

=asha 8eifet*, &ndrPs ego!ia, Kladimir

8orowit*, &rthur #ubinstein, .enDamino 6igli,and =ohn Mormak%

who did show a measure of uriosity onerning

reent modernist eperiments rarely felt the need


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8eifet*, ;rit* Nreisler, ablo asals, &ndrPs

ego!ia, &rthur #ubinstein, Kladimir 8orowit*,!iatosla! #ihter, drop of uriosity regarding reent modernist

eperiments rarely felt the urge to ignore thetraditionalists% ome famous performers like

$eopold tokowski or Aalter 6ieseking, foreample, oasionally promoted hoenberg but

it is important to point out that they ne!ertheless

remained e!en tenaious supporters of reently+omposed romanti musi by li!ing omposers%

to snub the traditionalists% ome popular

performers like Aalter 6ieseking, $eopoldtokowski, and -imitri Mitropoulos, for eample,

oasionally hampioned hoenberg but it

isimportant to point out that they ne!ertheless

remained e!en stronger ad!oates of reently+

omposed romanti musi by li!ing omposers%

pg 7 paragraphs 1 and 2

&long with the rise of all sorts of musial

streams, a parallel historial e!olution alsogathered and it is eually important to our

general speeh of the #omantiism in the

wentieth entury% 'n the 19>0s, a young pianist and sholar,

;rank Cooper matured a de!otion for rare

romanti musi% 8e pursued his passion in a

pragmati way, and beame one of the prominenttheoretiians and organi*ers of a !ery non+

aademi important musial mo!ement well+

known in late wentieth entury musi writtenmusiologial researh alled as the #omanti

#e!i!al%

pg 122

&long with the rise of #ohbergGs

neoromantiism, a parallel historial de!elopmentalso gathered steam, and it is eually !ital to our

general disussion of #omantiism in the

wentieth entury% 'n the 19>0s, a young pianistand sholar named ;rank ooper de!eloped a

passion for rare romanti musi% 8e ated on his

passion in a pratial way, and beame one of the

leading theoretiians and organi*ers of a !ery non+aademi grassroots musial mo!ement widely+

known in late twentieth+entury musi Dournalism

as the #omanti #e!i!al%

pg 7 paragraph :

8e began his uni!ersity areer as a young

professor of piano at .utler "ni!ersity, where he

founded the;estival o$ Ne"lected Romantic

Music in 19>J% his was the first publi onert

series to systematially present lost or rare sores

from the #omanti 0s, thesame era that regular twentieth entury musi

history tetbooks usually were reser!ed for

aleatory and serial musi, ooper and $ewenthaldiso!ered that the time was right for a

#esurgene of #omantiism, and theneforth

pg 1:4

ooper began his uni!ersity areer as a young

professor of piano at .utler "ni!ersity, where he

founded the ;esti!al of @egleted #omantiMusi in 19>J% his was the first publi onert

series to systematially present rare sores from

the romanti era, and many performers assoiated

with the new #omanti #e!i!al appeared atooperGs festi!al% $ewenthal, of ourse, was a

regular guest, as were other speialists in the

literature suh as 6unnar =ohansen, =orge .olet,and !iolinist &aron #osand%%%-uring the 19>0s,

the same era that standard twentiethentury musi

history tetbooks usually reser!ed for serial andaleatory musi, $ewenthal and ooper burst on

the musi sene with the ounter+laim that the


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they beame key figures in the #omanti #e!i!al

of the 19>0s and 70s%

time was ripe for a resurgene of romantiism,

and the two musiians theneforth beame keyfigures in the #omanti #e!i!al of the 19>0s and

70s%

pg 7 paragraphs 5 and >

ladimir 8orowit, the leader pianist after

#ahmaninoffIs death, maintained the repertoire

priorities of the pre!ious generation and theolorful singing tone% "nlike some of his

ontemporaries (suh as #% erkin, % &rrau),

8orowit* had no problem in keeping a salonomposer like Mos*kowski ali!e in his onerts%

@or was he ashamed of determinedly insisting

that $is*t and #ahmaninoff were still worthy ofappreiation and respet% 'n addition, he was also

one of the few in his generation (another were*iffra, .olet, herkassky) to keep ali!e the

older ustom for onert use of omposing!irtuoso transriptions% @othing odd beause this

!enerable and long tradition had still been in

pratie until the 1940s when pianists like;riedman, 8ofmann, Moiseiwitsh and

#ahmaninoff, ruled the international stage%

8orowit* and the most alaimed musiians ofthe entury beame !ery powerful symbols for

the sur!i!al of epressi!e romanti !alues in an

era when so often elitist ritis and maDorsholars fought against them%

pg :44

8orowit* arried on the singing tone and

repertoire priorities of the pre!ious generation,

who still operated at a time when onerts of moreserious and hea!y musial works were typially

lea!ened with lighter fare% "nlike some of his

ontemporaries (suh as erkin, &rrau, orur*on), 8orowit* had no shame in keeping a

salon omposer like Mos*kowski ali!e% @or was

he ashamed of stubbornly insisting that $is*t and#ahmaninoff were worthy of respet% 8is

audienes agreed% 'n addition, he was also one ofthe few in his generation (another was *iffra)

who kept ali!e the older ustom of omposing!irtuoso transriptions for onert use% his long

and !enerable tradition had still been in plae

during the 19:0s and 1940s when pianists like8ofmann, #ahmaninoff, ;riedman and

Moiseiwitsh ruled the international stage%

&side from a few of his own transriptions(whih are now swiftly entering the repertoires of

the youngest generation of international

!irtuosos), 8orowit* did not de!elop into aomposer as suh% 8owe!er, his enormousprestige as a legendary !irtuoso in the grand

tradition going all the way bak to lementi,

-ussek and Mo*art ensured that he (8orowit*)beame a !ery powerful symbol for the sur!i!al of

epressi!e romanti !alues in an era that so often

fought against them%

(@oteC he final paragraph on pg 7 and the firstthree paragraphs on pg J are not from wo

enturies in /ne), although .ratu borrows part

of her setion headingC

''%:%2% 'nitial $ eplosion of the 1950s to

themati -s olletions of the most importantreord labels

pg 1:2

%%%Aestminster, a new and !ery prolifi reord

label that had Dust sprung up during the initial $eplosion of the 1950s%


13/22

pg J end of paragraph 4

@o wonder one of .artYk sholar,0s and 70s so muh glamour, $ewenthal

did muh to inspire and pa!e the way for future

eplorers, who, by the end of the entury, hadepanded into a !eritable army%%%% 8e ga!e his

orhestral debut in 194J at the age of 20 andimmediately set about performing and reording

the standard repertoire% &mong his reordingswere .eetho!en sonatas and #ahmaninoff and

6ershwin onertos for Aestminster, a new and

!ery prolifi reord label that had Dust sprung upduring the initial $ eplosion of the 1950s

pg J paragraph > and 7 to pg 9 beginning

8e as many of other important names was that

kind of musiian that taught students, rebuilt his

instrumental tehniue and de!oured rarenineteenth+entury romanti musi with the

passion of someone newly in lo!e% 8e soured

seond+hand shops of the world and libraries for

rare sores like the omplete operatitransription of igismund halberg% 'n 19>2, he

ga!e a two+hour leture broadasted reital,

dediated to a omposer in less than 50 yearsfrom his death+ in total obli!ion+ harles K%

&lkan% .esides resurreting &lkanIs ymphonie

for iano olo and the 6rand onate, $ewenthalalso defended the muh denigrated now $is*t,

who was the spiritual enter of the late+

twentieth+entury #omanti #e!i!al% 8isaudiene ould one again hear $is*tIs

8eameron and a re+reation of the famous

$is*t+halberg duel of 1J:7%

pg 1:2

't was during this time that $ewenthal took the

opportunity to tra!el and work abroad% 8e taught

piano students, rebuilt his piano tehniue andde!oured rare nineteenth+entury romanti musi

with the ardour of someone newly in lo!e% 8e

soured the libraries and seond+hand shops of the

world for rare sores like the elusi!e #eubkeiano onata and the omplete operati

transriptions of halberg% Aith all this

preparation behind him, $ewenthal finallyreentered the musi world in the early 19>0s in

spetaular fashion% 'n 19>2, he ga!e a two+hour

leture reital de!oted to the ompletely forgotten&lkan% J5 he broadast attrated a great deal of

attention and had to be repeated due to popular

demand% 't was soon followed up with asuessful reital at @ew ZorkGs own 8all in

19>4, again de!oted to &lkan, and $ewenthalGs

areer was bak on trak% .esides resurreting


14/22

&lkanGs Symphonie for solo piano and 'rande

Sonate, $ewenthal also defended the muhmaligned $is*t, who was the spiritual enter of the

late+twentieth+entury #omanti #e!i!al% hus,

listeners ould one again hear $is*tGs 8eameron

and a re+reation of the famous $is*t+halberg

duel of 1J:7%pg 9 paragraph 2

Mihael onti was Dust then embarking on hisfirst onert tour of &meria, ha!ing already

established himself in 4 .usoni ompetition% 't was Ko #eordswho helped establish Mihael onti as an

international name to be rekoned with% he Ko

reordings (from haiko!sky, #ahmaninoffand riabin musi) went on the market in

etensi!e and systemati repertoire olletion atbudget prie and were purhased in large

uantities by urious musi lo!ers and libraries%/ne by one omplete yles of a long series of

rare romanti onertos of #ubinstein, Medtner,

.alakire!, #eineke, $yapuno!, and dI&lbertame out of obsurity% &nd so it ame to pass that

he was another reording pianist who was

helping the spread of the #omanti #e!i!al intoe!erybodyIs li!ing rooms aross

onti was Dust then embarking on his first onerttour of &meria, ha!ing already established

himself in 4 .usoni

ompetition%pg 1:7

't was Ko #eords who helped establish onti as

an international fore to be rekoned with%onsisting of etensi!e and systemati repertoire

sur!eys at budget prie, the Ko reordings werepurhased in large uantities by libraries and

urious musi lo!ers e!erywhere% 94 onti himselfommented further that EKo asked if ' knew the

omplete piano works of #ahmaninoff,

haiko!sky, and riabin, and some others theywanted me to do% ' said, I/h, yes%G &tually '

learned about 9J per ent of them from srath%F95

&nd so it ame to pass that onti beome knownto olletors far and wide, helping spread the

gospel of the #omanti #e!i!al to turntables in

li!ing rooms aross @orth &meria and


15/22

he 19J0s and W90s and nowadays are by

definition already, the deades of he 6reat#ehabilitation in history and ulture% &gain and

again o!er the past deades, a omposer

pre!iously onsidered marginal, has been fully

restored to a position of publi appreiation.

For many listeners and critics interested in

traditionalist twentieth-century romantic composers,

recordings of this underrated segment of the

repertoire have been eloquent. Composers

representing musical idioms that had been long

counted unimportant, because they did not brea

new ground in an evolutionary and progressive

sense, have been replaced in titles in large

quantities.

Martin !ndersons reord label Toccata

Classics, ed erry of8yperions larger

atalogue (more than 1500 -s),RalphCouens of Chandos Records> as some of the

most popular segment ompanies+ Doining the

ranks of re!i!al+oriented reord labels ongoing

proDets of rare romanti piano, !iolin, and elloonertos, many of whih were written by

omposers who were still ati!e long after 1910+

the time of the &tonal #e!olution% 8yperionIs

large atalogue (about 1500 -s) fairly burgeonswith traditionalist repertoire along the

traditionalist lines%

Ahen 8yperion began their now+famous

#omanti iano onerto series, they epressly

sought to ontinue in the spirit of the ontiIs Koreordings, but with better orhestras and less

hasty prodution !alues%

&lmost entirely absent from 8yperionIsatalogue, howe!er, are omposers representati!e

of 8igh Modernist streams were absent, eept

some .% .artYk musi they already ha!e some

traditionalist roots%

the 19J0s and I90s are pro!ing to be the deades ofhe 6reat #ehabilitation% &gain and again o!er the

past deade or so, a omposer pre!iously onsidered

marginal, a uasi+pri!ate enthusiasm, has been

restored to a position of genuine publi esteem% /ne of

them is


16/22

Mihael pring, the planner of the 8yperion

series onludedC EO&viously# ,m workin" very

&roadly throu"hthe whole ran"e o$ material#

startin" $rom a&out 3?@6>ish up until# well# anytime# as lon" as stylistically it $its.The latest

weve done is the /ohn0nyi Second# which is34AB# , think. DE The 8yperion pro+ect is $ar

$romover# and due to its $inancial success# is

pro+ected to continue $or years to come. Thereason we "ot to olumeF6 is $undamentally#

&ecause it sells#9

pg 14>Mihael pring, the planner of the 8yperion series,

eplainsC E/b!iously, 'Gm working !ery broadly

through the whole range of material, starting from

about 1J20+ish up until, well, any time, as long as

stylistially it fits% he latest weG!e done is the

-ohnVnyi eond, whih is 1947, ' think%F10J he

8yperion proDet is far from o!er, and due to its

finanial suess, is proDeted to ontinue for years to

ome% Ehe reason we got to Kolume 50 is

fundamentally beause it sells,F says pring%

pg 9 end to pg 10 beginning

.esides o!ering the rih early and mid+

nineteenth+entury repertoire (Aeber, 8er*,#ubinstein, Mosheles,) the #omanti iano

onerto series has also enompassed manyworks by omposers of the #ahmaninoff

hoenberg+tra!insky 6eneration% he fat that

these late romanti omposers areontemporaneous with early twentieth+entury

a!ant+garde is !ery important to fous one again

as we ontinue our task of establishing a positionfor romantiism in the apparently alien modernist

musial atmosphere, that many thinkers laimed

had elusi!ely atalogued the early wentiethentury%

pg 14>

.esides o!ering the rih early and mid+

nineteenth+entury repertoire (8er*, Mosheles,Aeber, #ubinstein, 6oet*, et%), theRomantic

2iano Concerto series has also encompassedmany works &y composers o$ the Rachmanino$$>

Schoen&er">Stravinsky "eneration. The $act that

these late romantic composers arecontemporaneous with early twentieth>century

radicals is very important to hi"hli"ht once a"ain

as we continue our task o$ esta&lishin" a place $orromanticism in the apparently alien modernist

musical climate that many thinkers claimed had so

exclusively de$ined the early twentieth century.

pg 10 paragraph 2

'n 19J2, was foundedMarco 2olo Music =a&el.

&t a glane Maro oloIs urrent 900+-atalogue still onfirms this% 't is dediated abo!e

all to romanti, late romanti and early twentieth+

entury omposers with speial emphasis plaedon se!eral anti+modernists from the hoenberg

eraC Medtner, #espighi and fit*ner%

he man under Maro oloIs brand, Nlaus

8eymann, went on to start a seond lassial

musi label in 19J7%Naxos Records was the

pg 150

'n 19J2, 8eymann founded Maro olo Eas a

hobby% 6i!en 8eymannGs bakground, it was notsurprising that the initial fous of his E$abel of

-iso!eryF would be romanti musi% & glane at

Maro oloGs urrent 900+- atalogue stillonfirms this% 't is dediated abo!e all to

romanti, late romanti and early twentieth+

entury omposers% /f great signifiane is thefat that speial emphasis is plaed on se!eral

outspoken anti+modernists from the hoenberg

eraC #espighi, fit*ner, ;urtwXngler and Medtnerpg 152

8eymann went on to start a seond lassial

musi label in 19J7% @aos #eords was the


17/22

result, and it is now one of the largest lassial

reord label in the world (with about 5500 itemsin its atalogue)% @aos fouses on establishing

omplete yles of the standard omposers,

supplemented with an eually !ast range of rare

material as well%

result, and it is now the largest lassial reord

label in the world (with about 5500 items in itsatalogue)% @aos fouses H if one an all it that

H on establishing omplete yles of more or less

all the standard omposers, supplemented with an

eually !ast range of rare material as well%

pg 10 paragraph :

#eording produts ha!e e!idently on!ined a

signifiant number of present+day onnoisseursthat the romanti works tradition was still in

muh better shape during the early modern era

than aademi oneits like Othe death ofromantiism would seem to indiate%

pg 147

8yperion has e!idently on!ined a signifiant

number of present+day onnoisseurs that theromanti onerto tradition was still in muh

better shape during the early modern era than

aademi oneits like Ethe death of romantiismFwould seem to indiate%

pg 10

o start with the most influential written

produts+ 1, homson

framed the dissonant omposers on the left, the

late romantis (trauss, ibelius, #ahmaninoff,)on the right, and the neolassiists in the middle,

together with the impressionists% he

neolassiists, homson onluded were by farthe largest group% 'nteresting for us is the fat

that within his enter group, homson also made

plae for a small @eo #omanti group whihinluded omposers like auguet and himself%

#e!ealing is also the fat that homson, in using

pg 290

Zet another ommentator who had his own ratheruniue !iew of the early twentieth entury was the

riti and omposer Kirgil homson (1J9>+19J9)%

'n 19>1, homson put the late romantis

(#ahmaninoff, ibelius, trauss) on the right, thedissonant omposers on the left, and the

neolassiists in the middle, together with the

impressionists% he neolassiists, homson felt,were by far the largest ontingent% 'nteresting for

us is the fat that within his enter group,

homson also ar!ed out a plae for a smallneoromanti group whih inluded omposers like

himself and auguet%


18/22

the word Eromanti,F ne!ertheless tried so hard

to distane himself from what he atalogued asEembarrassingF terminologial assoiations with

the #omantiism of #ahmaninoff and ibelius

that homson, in using the word Eromanti,F

ne!ertheless took pains to distane himself fromwhat he desribed as EembarrassingF

terminologial assoiations with the romantiism

of ibelius and #ahmaninoff%

pg 10 paragraph 7

S& moderni*ing trend was started bak in the

1970s by Carl /ahlhaus# one of the greatest

6erman musiologist of his time% &t that time,-ahlhaus had taken the bold musiologial step

of referring to the years 1J90+1910 as a Modern

period instead of the wilight of the #omanti


19/22

Mor"an in 1991% Morgan began by stating that

around 1900, #ussian musi OenDoyed speialprominene in Aestern musial omposition,

and further, that riabin and #ahmaninoff were

the ountryIs most important figures% his

sounds like a promising beginning to what ould

be a hapter or two of solid o!erage for thesetwo omposers, espeially onsidering the

o!erall prominene of #ussian musi in thetwentieth entury standard repertoire%

in 1991% Morgan began his o!erage by stating

that around 1900, #ussian musi EenDoyed speialprominene in Aestern musial omposition,F and

further, that riabin and #ahmaninoff were the

ountryGs most important figures% his sounds like

a promising beginning to what ould be a hapter

or two of solid o!erage for these two omposers,espeially onsidering the o!erall prominene of

#ussian musi in the twentieth entury standardrepertoire%

pg 11 paragraph :

'n reality, howe!er, they were adopting a musial

attitude that an e!en larger number of onsistent

traditionalists like amuel .arber and AilliamAalton had been following all along% he ample

presene in the 1950s and 19>0s of romanti+sounding tonal omposers easily demonstrated

the issue+ !ia todayIs reord atalogues andpubli performanes (despite immIs

protestations that 1970s neoromantiism was

re!i!ing a long+gone romantiism that hadfinally faded away in the1940s with the deaths of

#ihard trauss)%

pg 11J to119

'n reality, howe!er, they were adopting a musial

attitude that an e!en larger number of onsistent

traditionalists like amuel .arber and AilliamAalton had been following all along% he ample

presene of romanti+sounding tonalists in the1950s and 19>0s is easily demonstrated !ia

todayGs reord atalogue, despite immGsprotestations that 1970s neoromantiism was

re!i!ing a long+gone romantiism that had finally

faded away in the1940s with the deaths of traussand fit*ner%

pg 11 paragraph 4

KarUse sholar,Gonathan -ernhard# was one of

the most unfa!orable among ritis who wereless than willing to salute a late twentieth+

entury neoromanti mo!ement%

pg 119

KarUse sholar =onathan .ernhard is one of the

most hostile among those writers who were lessthan enthusiasti about the late twentieth+entury

neoromanti mo!ement%

pg 11 paragraph 5

he real truth of the matter was that (along with

.arber and Aalton) many omposers like J),6ian arlo Menotti (1911+2007),

$eonard .ernstein (191J+ 1990) or @ino #ota

(1911+1979) had imposed themsel!es ne!er

lea!ing the tonal ground+ during the post+ 1945glorious days of serialism and aleatory musi%

pg 119

he real truth of the matter was that (along with

.arber and Aalton) many omposers like 6ian

arlo Menotti (1911+2007), Mario astelnuo!o+edeso (1J95+19>J), ), @ino #ota

(1911+1979) and 6eorge $loyd (191:+199J) hadmade a point of ne!er lea!ing the tonal fold

during the post+1945 heyday of serialism and

hane musi%

pg 11 paragraph >

.urkholder ourageously state for the year 200>

Ewhile some music &y composers o$ this

pg 1J>

.urkholder boldly writes that Ewhile some musi

by omposers of this generation may sound late


20/22

"eneration maysound late Romantic in spirit or

techniHue# what makes all o$ it modern is thisoverwhelmin" sense o$ measurin"

onesel$ a"ainst the past.9

#omanti in spirit or tehniue, what makes all of

it modern is this o!erwhelming sense ofmeasuring oneself against the past%F

pg 11 paragraph 7

The 3F66>pa"e 2en"uin 'uide to Classical C/s>

an etension of 6ramophone mark+ strongly

reflets this matter% Aith !ery few eeptions theenguin 6uideIs lists are filled with a twentieth+

entury repertoire that is often drastially to the

general ideology of musial Modernism% he fatthat so muh old fashion repertoire pro!ed to be

+e!en today +of suh strong interest to

onnoisseurs and musi lo!ers speaks for itsultimate historial importane%

pg 17:

he 1500+page2en"uin 'uide to Classical C/s# a

de fato arm of 'ramophone# strongly reflets

teaneGs outlook% Aith !ery few eeptions (seeappendi), the2en"uin 'uideIs listings are filled

with the type of twentieth+entury repertoire that

is ontrary (often drastially so) to the generalphilosophy of musial modernism%

pg 175

he fat that so muh rare repertoire of this kindis of suh strong interest to onnoisseurs e!en

today in the twenty+first entury speaks for itsultimate historial importane%

pg 11 paragraph J

ubli popularity was also an obDeti!e to whih

the more modernist omposers ultimately

aspired% ;reueny of performane has alwaysbeen a measurable and pragmati way of

measuring popularity% &s we ha!e already e!en

the most radial a!ant+garde like .oule* ortokhausen insisted had their fa!ored repertoire

be gi!en a entral plae in the programming of

onert organi*ations%

pg 1JJ

&nd publi popularity, we repeat, was also a status

to whih the more selfonsiously modernist

omposers ultimately aspired% o state theob!ious, freueny of performane has always

been a standard way of measuring popularity% &s

we ha!e already seen in hapter one, e!en themost radial a!ant+guardists like .oule*,

Auorinen and tokhausen insisted in word and

deed that their fa!oured repertoire be gi!en aentral plae in the programming of onert

organi*ations%

pg 11 end to pg 12 beginning

his is not to say that the emanipation of the

dissonane will no longer be re!eling in

musiologial point of !iew, as an interesting and

luurious notion in its own right% 't will ontinueto ha!e at least some urreny, but it will now be

seen in a larger historial ontet%

annot eplain 6la*uno!Is, MedtnerI s K% @%-ro*doffIs (to name a few) and #ahmaninoffIs

piano piees, it will remain useful for helping

eplain ertain esoteri and speiali*ed setionsin ompositional tehniue that, for some

musiians in the early modern period, at least,

pg 1JJ

his is not to say that the emanipation of the

dissonane will no longer be important in

musiologial disourse as an interesting and

fruitful notion in its own right% 't will ontinue toha!e at least some urreny, but it will now be

seen in a larger historial ontet, as one of a great

many historial trends that were being played outin the musi world of the early twentieth entury%

.olero or 1920s radio musi, it will remain usefulfor helping eplain ertain esoteri and

speiali*ed departures in ompositional tehniue


21/22

seemed to promise a new le!el of reati!e

etra!agan*a% -espite the fat that the generalway of looking at the twentieth entury has

hanged greatly o!er the last deade ( ook,

aruskin, #oss)%

that, for some musiians in the early modern

period at least, seemed to promise a new le!el ofreati!e freedom%

pg :>:

-espite the fat that the general way of looking at

the twentieth entury has hanged greatly o!er the

last deade (f% aruskin, #oss, ook and ople),the @orton ontrat was gi!en to a musiologist

whose general hard+line stane in fa!our of thetraditionally high historial ranking of hoenberg

and atonality has been apparent right from the

beginning of his areer%

pg 12 paragraph 2

8owe!er, a reognition of suh EemanipatedF

historial de!elopments implies that they an nolonger for a retrospeti!e !iew, to be used as a

weapon to underground late #omantiism intothe wentieth entury realities in a good

neighborhood and on!i!iality with the etremedissonane%

pg 1JJ

8owe!er, a reognition of the essentially rare$ied

nature of suh EemanipatedF historialde!elopments naturally implies that they an no

longer in good onsiene be used to undergirdthe highly speiali*ed !iew that the twentieth

entury was a time dominated by etremedissonane%

pg 12 paragraph : onsists solely of the

following uoteC

ETo de$ine Modernism in terms o$ dissonance isto i"nore the $act that a composer can &e

ori"inal in dimensions other than harmonic

novelty.9

pg 191 he uote gi!en in the opposite olumn

was ulled from a longer uotation of &lbright

(he rest of page 12, as well as all of pages 1:

and 14 are about riabin and 6la*uno!, and arenot taken from wo enturies in /ne)

pg 15 paragraphs 1 and 2

't is lear by now that wentieth+entury

#omantiism is near linked with a !ery widestylisti range of omposers% Many ad!oate

sholars of this type of #e!i!al agreed that themain riteria seemed to be that these omposers

still used tonality and the lon" melodic line# and,

espeially, were outstanding symbols of a!ant+garde resistane% 'n a word, they were seen as

onser!ati!es but for some other point of !iew as

another type of inno!ati!e reational musi side

pg 114

't is lear from the omposers mentioned abo!e

that Aatkins, like imms, assoiated twentieth+entury romantiism with a !ery wide stylisti

range of omposers% ;or him, the main riteriaseemed to be that they still used tonality and the

long melodi line, and, espeially, were

outstanding symbols of a!ant garde resistane% 'na word, they were seen as onser!ati!es% hese

features H onser!atism, tonality, the long melodi

line, and resistane to the a!ant+garde H are of the


22/22

of epressionIs ontinuators%

hese features will be approahed H tonality,onser!atism, the long melodi line, and the

resistane to the a!ant+garde H beause are of the

utmost importane to keep in mind%

utmost importane to keep in mind as we

gradually formulate our definition of romantiismin the twentieth entury%

%%%' will stop here% uffie it to say that the remaining pages of .ratus essay proeed in the manner ofthe abo!e eamples% &t least J0 perent of the .ratu essay is diretly taken from Two Centuries in Oneaording to the manner found in the abo!e eamples%

' am only ited four times in the endnotes% he endnotes themsel!es onsist mainly of more

material diretly taken from either the footnotes or the main tet of Two Centuries in One% Most of thebibliography (or E.iographyF as .ratu alls it) repliates entries from my bibliography, sometimes with

puntuation, italis, et% slightly altered%

'n onlusion, it saddens me immensely that a fine musiian with good redentials and anaademi position would risk plagiari*ing on suh an etensi!e sale% learly, &ndreeas .ratu is !ery

sympatheti to the more romanti and tonal repertoire from the 20th entury and has played muh of it

herself% ;or eample, she has gi!en good eposure to the works of the ontemporary omposer

Kladimir -ro*doff% he surely has enough personal knowledge in this general area of musi to writeher own paper% lagiarism on suh an etensi!e sale not only reflets badly on her, but also on the

reputation of /!idius "ni!ersity ("ni!ersitatia /!idius) in onstanta, #omania% ' sinerely hope the

matter is resol!ed soon%

;ebruary, 201>%

Documents

Andreea Bratu, "The XXth Century Romantic Revival Issues. Scriabin's and Glazunov's Cases." Plagiarized Passages from "Two Centuries in One: Musical Romanticism and the Twentieth Century"