"There is nothing or almost nothing for me but song...". After this laconic and categorical affirmation it might be marked out and characterized the whole creation of the great musician named ION ALDEA-TEODOROVICI who just through song has known to express secular spirituality of the nation, of the people...
The nature has generously granted them a composition gift of a great range, that could allow them within their activity, especially of academic years at the Faculty of Composition of the Conservatory "G. Musicescu" from Chisinau (1981-1987), to become familiarized with majority of academic musical genres. He activated prodigiously in domains with diverse stylistic orientation, having been the author of symphonic creations ("Rapsodii simfonice" - Symphonic Rhapsodies), of instrumental-chamber works ("Cvintet for coarde" - A quintet for strings), of compositions for piano ("Variatiuni for pian" - Variations for piano), he has also signed the sound track of tens and tens of films and dramatic spectacles etc. However his whole creation, beginning with fascinating "Crede-ma, iubire, crede-ma" - Believe me, love, believe me (composition released in 1973, when he was 19, immediately after graduating the Music Lyceum from Tiraspol, which in superb interpretation of Sofia Rotaru in short time has become a very spread hit) and ending with the last "melodiile sacre" - sacred melodies was an "artistic marathon" of the Great Maestro of Romanian Song.
In those about 300 vocal compositions, Ion Aldea-Teodorovici has created a musical universe of his own, an absolutely different melodic galaxy. Embracing creations of diverse thematic texture, which words were selected with a rare exigency and rigour, composer has collaborated with such great poets from the both sides of Prut as D.Matcovschi, I.Hadirca, A.Paunescu and, especially, with his older friend, G.Vieru, who's lyrics he has sung in the most part of compositions. But almost all of them, maintained in a recitative-improvised style, modeled by spontaneity of his own sentiments, involve us in a process of live narration, in a magnificent emanation of the song from the melody of verse.
Lyric by excellence, profound thinker, Ion Aldea-Teodorovici was a unique personality through modality to feel the dramatism of life in a politic climate hostile to his artistic desideratum. Moreover, may be from the family's dramatism, he was born in, dramatism of grandparents, raised and exiled in Siberia, dramatism of Basarabia, which passed through so much agitated moments, so much pain and suffering, which as in Casa Parinteasca - Parent's Home has not however been wasted - originates as well his song's dramatism.
From "Focul din vatra" - Fire From Hearth, from the splendid voice his mother, from the songs and councils father (former priest, who had been needed to withdraw from church to survive in that period, having become a teacher of canto in a school from Leova) there were rising the basic pylons musical talent, of character and civic sentiment of Ion Aldea-Teodorovici. From there were started up love for Homeland-mother Romania, and love for veracity and truth, and love for song. Even he has occasionally attested: "Romanian folklore, as well as church music is staying in the basis of my creation."
Sensible and receptive character, Ion Aldea-Teodorovici has outpoured in song his state of mind, experience and joys, having given life to some compositions of a formidable thematic diversity, as stylistic orientation, as rhythmic-intonative texture: from "melodii sacre", written down with incandescent letters in biography of years of the fight for independence, to lyric ballads, affined to the art of popular bards; from love songs, full of affection and tenderness to bright and lucid songs for children; from compositions with cantable melodic structure to show songs, funny and dance songs. But all the compositions, extremely various as artistic message and musical language, composer has inspired with a lot of movement, development and conflict...
However it is hard to suppose whether Ion Aldea-Teodorovici would have manifested in all the mentioned hypostases as much naturally and professionally, with so much talent and soul, as much if interpretative tandem and familial couple "Ion and Doina" had not existed. Adored wife of the composer is always presented in his creations: directly or figured, as a source of inspiration or as an active promoter in artistic realization of compositions, as a poetic image or as a partner in scenic presentation. Moreover: Doina has intuited, understood, perceived, and supported all her husband's ideas and componistic projects. She, as Ion having manifested herself as an artistic multiply gifted personality, shared next to him, as she has expressed herself in an interview, " Shakespearean esthetics: from great-to comic, from philosophy-to farce."
Indisputably, in this artistic polyvalent vision has been manifested multitude of experience of those two, complexity of concept about world and environment.
Notwithstanding, it is needed to accentuate concerning Ion's componistic creation and interpretative art of this unrepeatable duet in the context of an etherogen stylistic spectrum, that they will stay forever as a symbol of spiritual purity, tenacity of the nation, kindness, and human decency.
Their songs, having passed by in time hundreds of ephemeral pseudohits, having become truly immortal, would trace the path to new horizons of national music.
Eleonora FLOREA, doctor in study of arts,
university professor.
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