O scurtă istorie a românilor povestită celor tineri by Neagu Djuvara

2 (Bucharest: Imprimeria Naţională, 1938): 556–7, quoted by Majuru, Adrian, Bucureştii mahalalelor sau periferia ca mod de existenţă ( Bucharest: Compania, 2003): Google Scholar 152.

Demidov’s data are similar to those that result from the census of 1830: Bucharest had a population of 70,000, of which 1,795 were foreign subjects: 1,226 Austrian, 236 Russian, 158 Prussian, 94 English, 80 French, and 2,301 Jewish. An earlier edition (1840) revises letters published in Esquisse d’un voyage dans la Russie méridionale et la Crimée (Paris, 1838) see Iorga, Nicolae, Istoria românilor prin călători ( Bucharest: Editura Eminescu, 1981) Google Scholar:ĥ28. Somewhat later, in the 1830s, Russian prince Anatol Demidov reckoned that there were 2,583 Jews living in Bucharest with their families, 1,795 sudditi (Italian suddito, ‘foreign subject’) and between 10,000 and 20,000 persons in transit through Wallachia, see de Demidov, Anatole, Voyage dans la Russie méridionale et la Crimée par la Hongrie, la Valachie et la Moldavie ( Paris: Bourdin, 1854) Google Scholar.

Recordon, François, Lettres sur la Valachie ou Observations sur cette province et ses habitants, écrites de 1815 à 1821, avec la relation des derniers événemens (sic) qui y ont lieu ( Paris: Lecointe et Durey, 1821) Google Scholar: 1. Finally, I analyse the shifts in musical tastes that took place in the upper layers of society as a complicated process of exclusion, inclusion and assimilation of various musical influences as we shall see, the mixing and hybridization of musical practices not only shaped the tastes of music lovers, but also influenced the creation of Romanian music, which entered a new phase.Ĩ ‘Plus de 80.000 individus qui sont absolument étrangers à la nation, étant la plupart grecs, arméniens, allemands, russes, juifs, serviens, bulgares, hongrois, transylvains, même français, italiens ou enfin de la race des Tziganes’.

These decades of change yielded rich intercultural encounters and fusions, whereas the years that followed – from the 1870s to the outbreak of the First World War – show a more unified phase of assimilation of Western music.Īfter looking at the boyar class and the bourgeoisie of Bucharest (the social segment from which an opera- and concert-going public emerged in the last quarter of the century), I move on to the everyday musical practices of the population of Bucharest, using musical examples and travellers’ accounts as a descriptive means. It focuses on the period between the end of Phanariot rule (1821) and the establishment of Romania’s capital in Bucharest (1862). This article attempts to describe the shift in the Romanian public’s musical taste brought about by musical borrowings and imports from the West.

O scurtă istorie a românilor povestită celor tineri by Neagu Djuvara