[et_pb_section fb_built=”1″ admin_label=”About” _builder_version=”4.16″ background_color=”#151f3e” background_enable_image=”off” z_index=”10″ overflow-x=”hidden” overflow-y=”hidden” global_colors_info=”{}” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on” da_disable_devices=”off|off|off”][et_pb_row column_structure=”2_5,3_5″ _builder_version=”4.16″ width=”90%” width_tablet=”90%” width_phone=”90%” width_last_edited=”on|desktop” max_width=”80%” custom_css_main_element=”display: flex;||align-items: flex-start;” global_colors_info=”{}” custom_css_main_element_last_edited=”on|phone” custom_css_main_element_phone=” ” custom_css_main_element_tablet=” “][et_pb_column type=”2_5″ module_class=”istoric-photo-column” _builder_version=”4.16″ custom_padding=”50px||||false|false” custom_padding_tablet=”0px||||false|false” custom_padding_phone=”0px||||false|false” custom_padding_last_edited=”on|desktop” custom_css_main_element=”display: flex;||justify-content: space-between;||position: relative;||flex-direction: column;” global_colors_info=”{}”][et_pb_image src=”https:\/\/filarmonicabanatul.ro\/wp-content\/uploads\/2022\/11\/ISTORIC-photo.jpg” title_text=”ISTORIC-photo” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” custom_css_main_element=”flex: 1 1 auto;” global_colors_info=”{}”][\/et_pb_image][et_pb_image src=”https:\/\/filarmonicabanatul.ro\/wp-content\/uploads\/2022\/11\/ISTORIC-photo2.jpg” title_text=”ISTORIC-photo2″ _builder_version=”4.16″ _module_preset=”default” custom_css_main_element=”flex: 1 1 auto;” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ text_font=”Roboto||||||||” text_text_color=”#ffffff” text_font_size=”16px” text_line_height=”1.5em” header_2_font=”Playfair Display||||||||” header_2_text_color=”#ffffff” header_2_font_size=”48px” header_2_line_height=”1.3em” header_2_font_size_tablet=”52px” header_2_font_size_phone=”36px” header_2_font_size_last_edited=”on|phone” custom_css_main_element=”font-weight: 400;” global_colors_info=”{}” header_2_2_font_size_tablet=”52px” header_3_2_font_size_tablet=”52px” header_4_2_font_size_tablet=”52px” header_5_2_font_size_tablet=”52px” header_6_2_font_size_tablet=”52px” header_2_2_font_size_phone=”36px” header_3_2_font_size_phone=”36px” header_4_2_font_size_phone=”36px” header_5_2_font_size_phone=”36px” header_6_2_font_size_phone=”36px” header_2_2_font_size_last_edited=”on|phone” header_3_2_font_size_last_edited=”on|phone” header_4_2_font_size_last_edited=”on|phone” header_5_2_font_size_last_edited=”on|phone” header_6_2_font_size_last_edited=”on|phone”]<\/p>\n
The musical life of Timi\u0219oara cannot be understood or explained outside of the cultural traditions of this geographical area, conventionally called the historical Banat. At the end of the first millennium, in the immediate vicinity of the future Timisoara citadel, at Cenad (Morisena) there was a monastery inhabited by Greek monks who practiced a Byzantine rite religion, and, of course, the music used and spread in the area was of Byzantine origin. The Roman Church, which aimed to attract the Hungarians to it, resulted in the displacement of the Greek monks, turning Cenad into an episcopal site. The first bishop of the Diocese of Cenad was a Benedictine monk from Venice, Gerard de Sagredo (977-1046), who also founded a school here, following the model of advanced medieval educational institutions in which music, an important component of the septem artes liberales, as in the future universities of the time, will obviously occupy a place of honor. In this sense, Bishop Gerard will bring Master Walther as a music pedagogue (Legenda sancti Gerhardi). He will teach many students who, in turn, will spread the musical notions to other monasteries in Banat, having in mind that, in the Benedictine ones, prayers were done singing. It is also known that from the 11th century, next to every cathedral or large church, there was also a school for learning church songs (Fr. Metz \u2013 Te Deum Laudamus).<\/p>\n
The Timi\u0219oara Citadel, documented more than 700 years ago, will absorb these musical traditions and develop them like any other European center.<\/p>\n
The first concert took place on December 8, 1871. Under the baton of Heinrich Weidt, two large symphonic vocal works were performed: Die Frithjofs Saga by Max Bruch and Der Taucher – a composition belonging to the conductor from Timi\u0219oara.<\/p>\n
The concert activity that followed was mainly focused (in the beginning) on the “a cappella” genre (from miniatures to large-scale scores such as Missa Papae Marcelli by G.P.da Palestrina) and on chamber music. It does not mean that the vocal-symphonic genre has been overlooked. On the contrary, large-scale works such as the Requiem (1877) and the Die K\u00f6nige in Israel Oratorio (1882), both by the Timi\u0219oara-born composer Franz Wilhelm Speer, the Creation (J. Haydn, 1880), Elias (Mendessohn-Bartholdy, 1884) and Paulus (Mendessohn-Bartholdy, 1891) oratorios constituted important moments in the concert activity of the Society. In the repertoire-deciding process, as well as that for most of the chamber music programs in the first quarter of a century of the Philharmonic Society’s existence, an important role was played by the conductor, organist, violinist, brass player, teacher and composer Martin Nova\u010dek (1834-1906) and, to some extent, by his sons: Rudolf (1860-1929) \u2013 violinist, violist, pianist, teacher, prolific composer and orchestrator (appreciated even by P.I. Tchaikovsky), friend of Ferruccio Busoni and Arthur Nikisch, former director of the Berlin Opera; Ottokar (1866-1900), the best-known member of the Nova\u010dek family, violinist – former member of the famous “Brodsky” string quartet and the “Damrosch” orchestra in New York, talented composer, author, among others, of a Moto perpetuo for violin and orchestra and of a Heroic Concerto for piano and orchestra presented in first audition (1896) in Berlin by Ferruccio Busoni with Arthur Nikisch as conductor; Karl (1868-1929), – principal cellist in the Budapest Opera orchestra and Victor (1875-1914) – violinist, winner of the “Robert Schumann” Prize (Leipzig), concert soloist (he also performed at the Romanian Athenaeum in Bucharest (1895), former concertmaster of the Helsinki Philharmonic and Sibelius’s consultant for the latter\u2019s Violin Concerto. Until the artistic destiny of each separated them from the family, in Timi\u0219oara, Budapest or Karlovy Vary they enjoyed great appreciation for the performances of the “Kammermusikvereinigung Familie Nova\u010dek” quartet.<\/p>\n
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Many guest musicians of real notoriety have been invited to perform over the years by the Timi\u015foara Philharmonic Society. A selective enumeration of their names is: David Popper (1873), Hubay Jen\u00f6 alias Eugen Huber (1876), Pablo de Sarasate (1877), Henryk Wieniawski (1877), Joseph Joachim (1879), Johannes Brahms (1879) , Leopold Auer (1881), Franti\u0161ek Ondri\u010dek (1893), Jan Kubelik (1900), Gheorghe Dima (1902), Dimitrie Popovici der Bayreuther (1902), B\u00e9la Bart\u00f3k (1906), Lucia Cosma (1907), the Swedish sisters Walborg and Sigrid Sv\u00e4rdstr\u00f6m (1911). A picturesque appearance on the Timi\u0219oara and Arad concert stages, but also admirable from an artistic point of view, was the “Suomen Laulu” choir, made up of the Helsinki University students (1906). Musicians brought by various impresarios or invited by various companies or local institutions arrived in Timi\u0219oara. Starting from 1921 and until 1943, George Enescu has given concerts in the city on the Bega no less than 12 times. Here is what the \u201dTemeswarer Zeitung\u201d wrote (May 25, 1921) about George Enescu’s debut in Timi\u0219oara: \u201dFor years… since the greatest artists visited us, we have not listened to such a violinist as George Enescu, who, yesterday evening, in the large hall of the Military Casino, he led his listeners to ecstasy, through his special art… In the Maestro\u2019s violin interpretation, the works of Nardini, Kreisler, Perpetuum mobile by Ottokar Nova\u010dek, the Romance in F major by Beethoven are reborn to a new life through the mastery of his bow.<\/p>\n
In 1931, on the occasion of his 50th anniversary, George Enescu was awarded the title of Honorary Citizen of the municipality of Timi\u015foara in a huge celebration. After a laudatio by the mayor Emil Gr\u0103dinaru, honorary member of the Philharmonic Society of Timi\u015foara, Prof. Iosif Velceanu addressed the Master with good wishes and health on behalf of the 180 choir and 60 fanfare members of Romanians from Banat. On behalf of the “Friends of Music” Association, the celebrant was awarded the Diploma of Honorary President of the Association. The German and Hungarian musical societies representatives from Timi\u0219oara also sent their congratulations. Enescu, in turn, as a sign of gratitude, offered the City Hall a portrait with autograph.<\/p>\n
International musicians such as Pablo Casals, Eugene Ysaye, Fritz Kreisler, Jacques Thibaud, Nathan Milstein, Gregor Piatigorsky, Annie Fischer, Arthur Rubinstein, Bronislaw Hubermann, Carlo Zecchi, Cella Dellavrancea, Traian Groz\u0103vescu, Silvia \u015eerbescu, Constantin Bobescu and, of course, many others also performed in Timi\u0219oara in the first half of the century.<\/p>\n
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