The Begginings of the Mamaia Festival

THE BEGINNINGS OF THE MAMAIA FESTIVAL

OCTAVIAN URSULESCU

ROMANIAN COMPOSERS AND MUSICOLOGISTS’ SOCIETY

ABSTRACT: In 1963, the Romanian Composers and Musicologists’ Society undertook a cultural forum to organize a national festival of pop music, following the model of Sanremo (very popular in our country, as well as all Italian pop music). Actually, it was discovered that in the first editions each song was presented in two versions, until 1970 there was only a Creation contest, dedicated to composers. The first edition coincided with the inauguration of the Summer Theater in the tourist resort of Mamaia, on the shores of the Black Sea, a theater that was originally called „Ovid”, after the poet exiled from Rome on the shores of Pontus Euxinus. At the beginning, only the leading composers signed up, the most famous, reputed, younger creators only appearing along the way. The same situation was registered at the level of performances, the songs in the contest being entrusted only to the stars in great vogue at the time. The accompaniment was provided by the best orchestras, with the best conductors of the moment, the Radio and Television Orchestra – conductor Sile Dinicu, and the Electrecord Record House Orchestra – conductor Alexandru Imre. Later, combo-type groups appeared, in a smaller formula, especially for the recitals moments that were introduced outside the competition. The Mamaia Festival is the most important page in the history of Romanian pop music; it was interrupted several times, mainly for political reasons, the last time in 2012 – until today not being resumed.

KEYWORDS: MAMAIA, FESTIVAL, FLACĂRA

IN FEBRUARY 1963, a debate took place at the Music Council, at the State Committee for Culture and Art, as the current Ministry of Culture was then called. At the proposal of the representatives of the Union of Composers and Musicologists of Romania, it was decided to launch a festival and a pop music contest, in order to encourage and promote the original creation. The term used in our country, „light music”, was also found in other languages until recently, the former „light music” being today more and more replaced with „pop music” – in the US music rankings can be found the category „AC” (adult contemporary). But the terminology is less important, because let's not forget that George Enescu expressed himself sharply: „There is no hard and light music, only good or bad music!”. In fact, over the years, especially in the years when the Festival enjoyed great official recognition, the juries were led not once by the presidents of the Romanian Composers and Musicologists’ Society – Ion Dumitrescu, Nicolae Cǎlinoiu, Pascal Bentoiu, Adrian Iorgulescu, along with them taking place in the jury box recognized personalities of cult music: Arta Florescu (held the title of Artist of the People, now missing), Elvira Cârje, Georgeta Stoleriu, Cornel Trăilescu, Luminița Vartolomei, Petre Codreanu, Smaranda Oțeanu, Vasile Tomescu, Vasile Donose. Also, the works from the Festival were brought to the microphone by important voices, with performances recognized on the lyrical stages: Ludovic Spiess, Florin Georgescu, Bianca Ionescu, Dorin Teodorescu, Marcel Roșca. The beneficial intention of the musicians' guild was to continue the exceptional traditions left by the true founders of the genre, Ionel Fernic, Vasile Vasilache, Gherase Dendrino or Ion Vasilescu, whose creations are still sung today at the great musical events. Despite its popularity, but also of the genre as such, the Mamaia Festival did not have a smooth history: it was no longer organized in 1967, 1968, 1970 (a period in which certainly all efforts, creative and financial, were directed towards the first editions of the international festival „The Golden Stag” in Brașov), and between 1976 and 1983 it was interrupted (many feared a final abolition) following „bayonet” attacks from the most influential publication, including politics, from that period, the magazine „Flacăra”, led by the poet Adrian Păunescu. Here is what he wrote on August 5, 1976, immediately after the end, on July 31, of the Mamaia Festival: „We would have expected a more serious effort by composers and lyricists to include the soul life of the builders of socialism, a life so complex and not devoid of dramatic accents, of course if we think of the great action to which all people are called work. Let's not forget the idea that comrade Nicolae Ceaușescu emphasized when talking about artists,

Proceedings of the „George Enescu“ International Musicology Symposium Proceedings of the „George Enescu” International Musicology Symposium namely that they must address the source, not the jug... Life, with its joys, struggles and pains, did not reach Mamaia this year. And life needs an art that addresses itself directly to man”. And not to anyone Adrian Păunescu, a remarkable poet, did not like traditional pop music, promoting at the Cenacle „Flacăra”, which he presented (huge audience, full stadiums) especially the folk genre, called „young music”. Obviously, the workhorse was mainly represented by the lyrics of the songs, in the same article he practically abolished even the „thematic” songs, with patriotic thrill, such as Romania, If I Were to Be, „The 100 Years”. So, although other similar songs were awarded at that edition, as required by the Party directives („Tell Me, My Country” , „Today, Here, Now”), at the highest level it was decided to ban the Festival, which will not be resumed until 1983, thanks to the ability of the Secretary of State of the Council of Socialist Culture and Education, Ladislau Hegheduș. He introduced an infallible system: the „thematic” songs opened and closed, as between the covers, the festival evenings, along the way he sprinkled two or three songs of the same kind outside the competition, so the rest was sung without any problems! There were the years when, until 1989, some of the most beautiful hits of the genre were awarded in Mamaia: Strada Speranței, And I Fell In Love With You by Vasile Veselovski, Water and Fire, Well, Why? by Horia Moculescu, At 5 past Half, at the University by Ionel Tudor, I Didn't Think About Parting by Dan Dimitriu, If You Don't Come, Come Back, Love, If One Day You Will Love Me by Ion Cristinoiu, Why Don't You Tell Me You Love Me? by Vasile V. Vasilache, Silent Lovers, Who Loves by Jolt Kerestely, How Much I Loved You, Bringing Love Back by Dumitru Lupu, Stay by My Forehead by Mircea Dragan and many others. Since the 1990 edition, appreciated by the music critic Mario Luzzato Fegiz in the Italian daily „Corriere della sera” as „Sanremo alla romena sul Mar Nero”, it is obvious that the „thematic” pieces have not been imposed, appearing titles that do not even we could have thought before, such as Ave Maria by Cornel Fugaru (Grand Prize in 1990), Give, Lord, Song! by Viorel Gavrilă and others. Unfortunately, the freedom of expression in the lyrics was not always accompanied by musical gains, the dilution of the substance of the event causing the renowned composers to stop participating in the competition. As a result, a degradation of the festival has been observed since 1998, which did not stop until its interruption (the longest so far) in 2012. The last edition of the Romanian pop music Festival in Mamaia (this is how it was conceived at the beginning, which became later we will see during this series) took place in 2012 at... Constanța, at the Soveja garden, being presented by the performer Daniel Iordăchioae, as he recalled in a very successful and funny show „Vara lui Măruță” from ProTV. And if we are still here, we can not but praise Cătălin Măruță, who introduced in July-August 2021 in his show no less than 10 important moments related to the Mamaia Festival, although he never presented the Festival, nor ProTV never broadcast it! Instead, TVR, which has all the footage (if they hadn't deleted it, as I understood it would have done with those from „Becoming Hits” and „The Nameless Star”...) and which could have proceeded to a beautiful history of the Festival, did nothing... But until we review the unforgettable sequences from this Festival founded in 1963 with the decisive contribution of the Union of Composers and Musicologists of Romania, we find absolutely revealing the position of the lyricist (he signed hundreds of songs, many of which become a hit), to the librettist and writer Eugen Rotaru, published in the magazine „Actualitatea Muzicală” in June 2001, in the very first issue of the new series, color: „Why do we pay from everyone's money the stupid activity of a few? Who decides this payment? Who has been forcing us to endure for several years now the inability of some civil servants who have nothing to do with the art of music, but who are clinging to organizing this NON-MUSIC Festival in Mamaia?” Here are some questions to which I will try to give some answers as a member of the Union of Romanian Composers and Musicologists. At the time when the Union was involved in the organization of the festival in Mamaia, the result was a real celebration of Romanian pop music. The quality of the chosen songs represents the educated taste of several generations of composers who endorsed the excellent content of the genre repertoire. The texts were redone until their final form could be proudly published in any magazine. Without being about censorship, there were composers, lyricists, poets, orchestrators called to judge the stage at which the Romanian genre creation was, trying every year to add new works and new people to the common fortune. But something happened. Someone changed the order of importance of the organizers of this event... primarily artistic. Slowly, slowly on the organizational level, the Ministry of Culture passed on the first place through its representatives, on the second place the Romanian Television through its artistic officials, on the third place the local organizers, and the Romanian Composers And Musicologists’ Society remained without the „object of work”. Who made the new „original” order of organizing a music festival... without music? There is only one answer: POVERTY. Poverty is the cause of the decent withdrawal of specialists in the face of the invasion of impudence and mitochondria, elevated to the rank of supreme judgment. The poverty of ideas gave us the unfortunate solution to concede the Festival to Adrian Ștefănescu – a suburban trickster – and to put Doina Păuleanu – a museographer with musical aspirations, at the artistic direction of such an event. Woe to you, Romanian Pop Music! Last year, the poor quality of Patron brought the Festival to the hands of people who have nothing to do with what is called the National Festival. People without any measure in social behavior awarded a Mercedes car and imposed on a prize a modest restaurant singer, who sings well, but who

Vol . XX, 2021 Vol. XX, 2021 does not communicate anything (n.ed.: In 2000 the trophy for Interpretation was granted to Rafael Ciobotaru, who much later would collaborate with the band Iris). The Romanian Composers And Musicologists’ Society will always stand by the organizers from Constanța with friendship and dedication only as long as a quality music of Romanian tradition is desired, far from any children's fashions that have been zealously promoted in recent years. The Union of Composers will not make any discount on quality just to be part of the organizers. We are indebted to our forerunners to defend all that is good, in our parameters of professionals, and it can represent us now and in years to come, when our descendants will judge us”. In the above lines, we recall, dating from two decades ago (but how current today!), Eugen Rotaru made a relentless analysis, but absolutely correct and objective, of the Festival from Mamaia to the border between the millennia. A few clarifications are required, for those less familiar with the field. Doina Păuleanu, a respected art critic (in the field of painting), was later the director of the Art Museum in Constanța and passed away last year, but I don't think she got too involved in the musical „kitchen” of the festival, being just a representative civilized organization of local organizers. Instead, from Adrian Ștefănescu, through the 1998 and 1999 editions, which were incomprehensible to him, as Eugen Rotaru rightly remarks, the decline of the Mamaia festival began. Self-entitled „producer”, although he had neither musical nor... financial competence, he upset the event, introducing new sections, choosing inexperienced moderators and generally turning everything into a circus from which the Festival will no longer return. The scandals with unpaid collaborators (Alina Chivulescu, Gabriel Cotabiță) date from that period, but especially with two excellent winners of the Mamaia Trophy, the beautiful Natalia Barbu (from Chisinau) and Adria Șerban from Buzǎu (forced to focus on classical singing, the rise in pop music being barred from it). Adrian Ștefănescu, becoming the all-powerful producer, tricked them into signing absolutely enslaving exclusive contracts with him, which simply took away their artistic freedom! Starting with the 2000 edition, to which Eugen Rotaru refers, the reins of the festival were taken over by Liana Săndulescu, from TVR, under whose command the skid deepened, leading to the “final victory”, the 2012 death of the Festival ... As I said, „The first contest and festival of Romanian pop music” (so the poster said) took place between August 25 and 29, 1963, inaugurating the „Ovidiu” Summer Theater, with 1100 seats. Much of the information about the editions up to 1969, when I arrived at the festival in person, was provided by the passionate historian of pop music, Mircea Nicolau from Constanța. Although so much time has passed, it is amazing that we still hum the choruses of some of the songs that won then: Towards the Sun by George Grigoriu (UTM award), Dawn by Temistocle Popa (Seaside Award), Mirrors of the Sea by Eugen Teger Radiotelevision award), I Would Like the Years of Youth Again ... by Henry Mălineanu (UCMR award), How Is It? by Florin Bogardo (Writers' Union Award), The Sun Is In Love by Dinu Șerbănescu, I'm Looking for You by Florentin Delmar – a piece appreciated as a „masterpiece” by Horia Moculescu (both – Mentions). The jury awarded Special Prizes to the performers Ioana Radu, Dorina Drăghici (both, Emeritus Artists), Gigi Marga, Lavinia Slăveanu, Doina Badea, Constantin Drăghici, Margareta Pâslaru, Luigi Ionescu, Nicolae Nițescu. The second edition was scheduled a little earlier, July 14-17, 1964, and was as seen with a shorter day. This time we had a Grand Prize awarded by the State Committee for Culture and Art to the song You by Vasile Veselovski, otherwise the same distinctions were awarded, except for the RTV award. Winners: Two Swallows by Radu Șerban (UTM award), Nobody by Henry Mălineanu (Seaside award), As on the First Day by Elly Roman (UCMR award), The Moment Then by Noru Demetriad Writers' Union, the lyrics being signed by Nina Cassian), Your Eyes by Gelu Solomonescu (mention). The Special Awards went to Sile Dinicu, conductor of the RTV stage orchestra, Alexandru Imre, conductor of the Electrecord record label orchestra, Doina Badea and Constantin Drăghici, while Special Mentions went to the soloists Margareta Pâslaru, Ilinca Cerbacev, Luigi Ionescu, Nicolae Nițescu, Aurelian Andreescu. In 1965, the third edition of the Mamaia Festival took place between August 1014, occasioning some spectacular debuts: the duet Alexandru Jula-Ionel Miron, Horia Moculescu, Anca Agemolu, Jean Păunescu, Grațiela Chițu, Jancsy Korossy. The winners were almost all the leaders of those golden years of the genre, all with inspired refrains: Radu Șerban – Tell Me and I Believe You (UCMR award), Temistocle Popa – Dorule (Writers' Union Award), Vasile Veselovski – With You (RTV award) and The Moon in Mamaia (Seaside award), George Grigoriu – Let's Sing (UTC award). Mentions were given to the songs Singing For the Sake of Whom I Love by Aurel Giroveanu (one of the performers being Horia Moculescu), A Simple Song by Elly Roman, How to Forget What It Was by Nicolae Kirculescu, I Didn’t Know How to Keep You by Noru Demetriad (great hit, one of the soloists being Horia Moculescu), Evenings by the Sea by Sile Dinicu. At this edition, the organizers awarded Special Prizes to both the three conductors (Sile Dinicu, Alexandru Imre, Horia Moculescu) and to the soloists Margareta Pâslaru, Ilinca Cerbacev and Aurelian Andreescu. New distinctions also appeared: Award for the best performance (Constantin Drăghici), 1964 Romanian Light Music Disc Award (to the same Constantin Drăghici), Interpretation mentions (Lucky Marinescu, Horia Moculescu, Grațiela Chițu), Honorary diploma (Jancsy Korossy). It was the last edition in which the finalist pieces from the Creation contest benefited from two interpretive versions. About those years when he debuted at the festival in Mamaia (because in the resort he sang with his orchestra, the place being always crowded), the famous

Proceedings of the „George Enescu“ International Musicology Symposium Proceedings of the „George Enescu” International Musicology Symposium composer Horia Moculescu, whom I happened to notice in the above lines, remembers: „In 1964 I sent two pieces to the pre-selection, which did not enter, but my ascent is related to that year's edition. I took over, playing at the Casino in Mamaia, ten pieces from the pre-selection and I processed them for a band of five people. We sang them in front of two leading representatives of the Party culturally. The success was so great that we were proposed to the artistic agency of impresario, OSTA. Three soloists joined us: Marina Voica, Ilinca Cerbacev, Constantin Drăghici and the comic actor Ovid Teodorescu. We started some fabulously successful tours, which brought us an hour of broadcasting on New Year's Eve TV 65. Then I ended up accompanying a quarter of the Festival, together with the other two conductors, Sile Dinicu and Alexandru Imre”. The first three editions of the Festival outlined the guidelines for the following years, after which everything that was good was kept and gave up what had not brought an indicative addition to the jury, such as the two interpretive versions. Instead, from the next edition there are a series of interesting innovations, which, unbelievably, we find in the current development of the Sanremo Festival! We will insist in this material especially on the old editions of the Mamaia Festival, practically unknown to the young or little known even to the elderly. Until 1989, the Festival was an emblematic event, eagerly awaited by all lovers of the genre, being, if you will, our Oscar or Grammy awards! There was no shortage of famous composers (which has not happened since the late 90's, when, as I wrote, the deterioration of the Festival, from an artistic point of view, gained alarming notes and removed the creators), also for performers was a title of glory to lead to awards songs that would later become national hits, hummed by music lovers of all ages. Even at the level of the organizers, this huge interest led to the permanent modification of the regulation, of the system of deployment, this happening for the first time at the 4th edition, in 1966, which lasted not less than a week, between 8 and 14 of August. The innovations consisted in the selection of 22 successful songs released in the last year, these, plus the 32 in the first audition, being presented in three distinct stages (of course, the ones from Sanremo copied us, over the years!). In the first stage all 54 songs were presented, in the second the jury operated a selection, the retained ones being performed in the third concert, which was actually identified with the Laureates Gala. Also, the formula with double interpretation was abandoned, the pieces having only one version at a time. It was the edition in which performers were noticed who later became authentic stars – Luminița Dobrescu, Pompilia Stoian, Dan Spătaru, Anda Călugăreanu, Sergiu Cioiu, Menzel Brothers- as well as others successful in that period, such as Trio Do-Re-Mi, Elena Neagu or Denise Constantinescu (protected by Nicolae Kirculescu). In a TV show, years ago (Sunday With the Family, on Antena 1), Marina Voica offered a recording with her accompanied on the piano by the composer Radu Șerban, who had entrusted her with the song Dear friend. But as the artist, who came from the USSR, had entered a period of political interdiction (she had several during her career ...), the composer rightly decided that it was a pity to lose such a beautiful song, chosen in a survey by Radio Romania on the border between millennia as „The hit of the twentieth century”. It was the chance of the student of Philology at the University of Bucharest (English-French faculty) Pompilia Stoian, who gave life with great sensitivity to the song awarded at that edition with the Grand Prize of the State Committee for Culture and Art. Pompilia Stoian's revelation also brought two other winning songs to the fore: The First Call by Paul Urmuzescu (Mention) and My Dream, My Life by Aurel Giroveanu (Jury Prize). So many decades have passed since then, but, incredibly, the choruses of many of the winning songs automatically come to our lips! Thus, the U. C. M. R. prize was awarded to Nicolae Kirculescu's composition Colors, Colors (soloist Constantin Drăghici), while the Writers' Union prize went to the play signed by Vasile Veselovski on the lyrics of the poet Ion Minulescu Sang a Sailor (Doina Badea). Over the years, other songs from the palmares remained in the consciousness of the general public, such as Don't Be Upset by Paul Ghențer, with Anda Călugăreanu and Mihai Dumbravă, the latter also signing the lyrics (UTC Central Committee Award) or The Song of the Wind by Alexandru Mandy, with the actor-singer Sergiu Cioiu (Award of the Executive Committee of the People's Council of Constanța). Other distinctions went to titles such as If I Were Born Again by George Grigoriu, soloist Gica Petrescu, since then a veteran (Romanian Radio and Television Award), Mamaia, au revoir by Noru Demetriad, soloist Ilinca Cerbacev („Carpathians” National Tourism Office Award), Youth Olympics by Temistocle Popa, soloist Dan Spătaru (Union Award for Physical Culture and Sports). Of course, the distinctions were also established by the jury, only that a number of official bodies were included at the organizational level in the list. Three Interpretation Prizes were awarded –Doina Badea, Constantin Drăghici, Gelu Solomonescu (conductor of the „Bucharest” orchestra, which was in fact of the „Constatin Tănase” Music-Hall), while the Interpretation Mentions reached Pompilia Stoian, Ilinca Cerbacev (at that time it seems that no one was bothered by the obvious cacophony...), Anda Călugăreanu (she was luckier: Anca was in the bulletin and someone noticed her and changed a consonant for her!), Dan Spătaru, Sergiu Cioiu, Alexandru Imre (conductor of the Electrecord record label orchestra). As can be seen, the separate performance competition, open to young aspirants to glory, had not been introduced, but the deserving artists were highlighted in the final list. And the true masters

Vol . XX, 2021 Vol. XX, 2021 were never forgotten, proof that in 1966 Gică Petrescu was awarded an Honorary Diploma, and the wellknown romance songs soloist Mia Braia was awarded the „Disc Award” in 1965. For obscure reasons, the 1967 and 1968 editions probably did not take place, as I wrote before, due to the fact that all artistic forces, as well as Romanian Television, were involved in organizing the first edition of the „Golden Stag” International Festival of in Brașov – a bet that the political leadership had to win and succeeded (we suspect that for the same reason the 1970 edition was „skipped”, when a contest took place in Bucharest, which we will naturally insist on). So, here we are in 1969. The 5th edition (July 25-27) marks the introduction of the Interpretation competition and also the forced move to the Dramatic Theater in Constanța, due to the unfavorable weather (the summer theater in Mamaia was not covered and remained so, despite attempts to mount a tarpaulin in a few years). As in 1966, the successful pieces released in the previous year were also taken into account, but this time there were separate rankings. They confirmed some of the young soloists stated at the previous edition (Anca Agemolu, Dan Spătaru – both had represented Romania at the first „Golden Deer” in Brasov, in 1968, Sergiu Cioiu), but there were others who in the coming years will meant a lot in the economy of the genre, such as Angela Similea, Doina Spătaru, Aura Urziceanu – with a fulminating career in jazz, Dorin Anastasiu, Acvilina Severin. In the Creation/ Works section in the first audition, the first prize was awarded to the song You Can't! by Henry Mălineanu, with the great lady of Romanian romance Ioana Radu (by the way, the song is indispensable, year after year, from the manifestations dedicated to this so Romanian genre, „Golden Chrysanthemum” from Târgoviște and others). The second prize went to Vasile V. Vasilache's composition The Old Piano, an extensive piece, which will also have a notable international career, highlighting the vocal ambition of the soloist Doina Badea. On the third position were placed, tied, two pieces whose title is ... completed: I Did Not Know by Mișu Iancu (Doina Badea) and ... I Know by Nicolae Kirculescu (Constantin Drăghici). The three mentions were directed to the compositions of the frantic drummer Sergiu Malagamba – With Closed Eyes (Doina Badea), the hitmaker George Grigoriu (It's The Age of Questions – Mihaela Mihai) and the conductor Gelu Solomonescu (Your Hands – Luigi Ionescu, soloist under his baton at the „Constantin Tănase” MusicHall Theater). With great interest, of course, the confrontation of the songs already known to the general public, released between April 1968 and April 1969, was expected. You could already feel the „breeze” of the „thematic” works, the first prize going to the song Always on this Earth by Temistocle Popa, sung by Doina Badea, ideal for this kind of songs (the singer died dramatically in the 1977 earthquake). The exceptional composer, pianist and music director Florin Bogardo was never credited with the Trophy or the first prize, but in 1969 two of his creations won the second prize: Let's Not Forget to Love the Roses (Margareta Pâslaru) and The Hour of the Song (Mihaela Mihai). One of the songs awarded, also ex aequo, with the third prize was From Yesterday to Today by Laurențiu Profeta (Aurelian Andreescu), and the second makes us send a smile, but also a reproach to the jury of that edition, being about Oh, Little Heart! by Edmond Deda, with whom Luminița Dobrescu had won the „Golden Stag” in Brașov a few months earlier - the first Romanian victory at the big Festival! The three Mentions were directed to the composition of Constantin Drăghici, also sung by him, It Should Not Be, to the creation of a veteran of the genre, Elly Roman I Hug You, My Love, on the lyrics of the poet Victor Eftimiu – soloist Luigi Ionescu) and to Petre Mihăescu's song You Left Laughing, entrusted to the star of the moment, Luminița Dobrescu. The juries, not only in Mamaia, are always confused when they are dealing with a big hit, as it had become since the launch of Passing the Military Marching Band, performed by Dan Spătaru. But as Temistocle Popa had already been awarded the first prize, a compromise formula was used: only a... Mention of popularity. But what still matters, certainly the diploma lies, yellowed by the weather, through a bridge, but the world is still humming the nice march inspired by the author of the Galați fanfare of his childhood... Gică Petrescu won the „Record Award” in 1968 – is there any an elderly family that still doesn't have a few vinyl records, published by Electrecord, with the legendary performer, even if the pick-ups have disappeared? At least two remarkable songs did not enter the record, but since then a lot has been sung, which says it all: After the Night Comes the Day by Aurel Giroveanu, on lyrics by Tudor Mușatescu (Margareta Pâslaru) and If You Don't Love by George Grigoriu (Luminița Dobrescu), although normally they had to be awarded. As can be seen, with rare exceptions the composers relied on established voices, not having much confidence in young people, maybe that's why it was decided to introduce a performance competition, even if some of the winners were already well known, proof that the first prize was shared by Dan Spătaru and Dorin Anastasiu, the second prize by Aura Urziceanu and Anca Agemolu, while Sergiu Cioiu won the third prize. Of the five young people awarded with Mentions, the best known today is by far Doina Spătaru; with successes at the time were Acvilina Severin and Gabriela Teodorescu, and not much is known about Valentina Popescu. The fifth „Mention” has an interesting story. A few years ago, an elderly performer came to the I Am Waiting for You on the Same Road romance festival in Zlatna, about whom her former stage colleague from ClujNapoca, from her student days, Stela Enache (found in the jury), said that he should not be admitted to the competition. It was about Octavian Cadia, settled for a long time in the USA, where he had also tried his luck as a film actor, the celebrity bringing him the role in the movie „Dracula” by Francis Ford

Proceedings of the „George Enescu“ International Musicology Symposium Proceedings of the „George Enescu” International Musicology Symposium Coppola, the crazy spider swallow who was waiting beyond thanks to the adored master, a role probably entrusted to him due to his Romanian origin. Cadia, mentioned in 1969, passed away some time ago. What we find interesting, if Mircea Nicolau's information is correct and really competed, is the fact that soloists such as Angela Similea, Alexandru Jula, Puica Igiroșanu, Elena Constantinescu, even George Răpcău did not enter the list, but their ascent was just beginning... Therefore, except for 1969, for three years, 1967, 1968 and 1970, exactly during the first four editions of the international festival „The Golden Stag” from Brașov, the Mamaia Festival did not take place. So, from the Black Sea all the forces of Romanian pop music – composers, lyricists, instrumentalists, conductors – had moved to the mountains, adding to them the impressive team of Romanian Television, the event being broadcast live on the small screen. The notebook (actually an impressive book in size, containing over a hundred scores) with Romanian genre creations was sent in advance all over the world, and for Romanian composers it was a great joy to listen to their works performed by valuable soloists from abroad, some of them having a good business card at that moment (Frida Boccara, Joe Dolan, Kiki Dee, Jacques Hustin, Guy Mardel). As probably the decision not to organize a fifth edition of „The Golden Stag” in 1972 had already been taken at a high level, between July 23rd and 25th, 1971 I returned to Mamaia, for the 6th edition. As can be seen, only three days of the Festival, of which only the first took place at the Summer Theater in Mamaia, after which the event was moved due to bad weather, as in 1969, at the Dramatic Theater in Constanța. Extremely interesting is the fact that either the level of entries was lower than before (more than likely), or the requirement of the jury that year increased, but the first and second prizes for Creation were not awarded – a first in the field. Instead, three songs were awarded with the third prize, ex aequo: Trust by Ion Cristinoiu (Marina Voica), as well as two songs sung by Dan Spătaru – But What Don't You Have? by Vasile Veselovschi and My Mind Came Around by Henry Mălineanu. But there were no less than five distinguished songs with mentions: Once Upon a Time” by Horia Moculescu (Dan Spătaru, soloist in his best period), I'm in Trouble on the Calendar by Aurel Giroveanu (song specially designed for the veteran Gică Petrescu), First Place on Earth by Alexandru Mandy (with the favorite soloist of the composer-poet, the actor Sergiu Cioiu), The Sun of Love by George Grigoriu (Margareta Pâslaru), Do You Remember? by Constantin Alexandru, the pseudonym under which the composer Ramon Tavernier (soloist Aurelian Andreescu) appeared for a while. As can be seen, the names of the composers who had already made an important business card frequently returned to the record, the same being true for the soloists who had taken over the position of stars from their predecessors – Margareta Pâslaru, Marina Voica, Aurelian Andreescu, Dan Spătaru, Sergiu Cioiu. With the exception of the deceased (Spătaru, Andreescu), they are still active today, proving an astonishing longevity at a high level. And in the interpretation contest, at the 1971 edition, artists appeared who will be added to them in the „national group” of performers who, in turn, with some exceptions, enjoy popularity and appreciation. But here is the record of the Interpretation competition from Mamaia 1971: Cornel Constantiniu, Dida Drăgan (first prize), Stela Enache (second prize), Petre Geambașu, George Enache, Ana Petria (third prize). Constantiniu, Geambașu and Petria would later be colleagues for a long time at the „Ion Vasilescu” Theater in Bucharest, which had a strong music-hall section. Just a Mention for today's golden voice, Mirabela Dauer, on the same level appearing George Răpcău and Anca Dimitriu. The future extremely popular artist Mihai Constantinescu also competed, although he did not enter the list, but he had the consolation that his then friend, Olimpia Panciu, to whom he had entrusted the composition The Puppet, was rewarded with a mention for the youngest competitor". From 1972 until the brutal interruption in 1976, the Festival in Mamaia did not have an Interpretation contest, it reappeared at the resumption, in 1983, instead there were recitals of the beloved stars. The organizers have always been the same: the Council of Socialist Culture and Education, the Union of Romanian Composers and Musicologists, the Romanian Radio and Television and the Constanța County Committee for Socialist Culture and Education. It returned to the stage of the Mamaia Summer Theater, adorned with successful sets, and the accompaniment was provided by the Estrada Orchestra (this was the term at the time) of the Romanian Radio and Television, conducted by Sile Dinicu. As in the 1963-1965 editions, the performance of the finalist songs in two versions was resumed, and the duration of the festival again covered almost a week. Thus, the 7th edition took place between July 25th and 30th, 1972, being embellished with the applauded recitals given by Doina Badea, Marina Voica, Anda Călugăreanu, Mihaela Mihai, Corina Chiriac, Aurelian Andreescu, Dan Spătaru, Mihai Constantinescu, George Enache, that is, exactly the artists with a high box office at that time. The first prize was shared by two composers who dominated the landscape of the genre, George Grigoriu with Your Beauties (Doina Badea, Mihaela Mihai) and Radu Șerban with Spring of Beauty (Doina Badea, George Enache), both are understood with a discreet „thematic” perfume, which will be accentuated in the years to come. The second prize went to Temistocle Popa, for the songs The First Love (Doina Badea, Ioana Iliant) and In Row Four (Anda Călugăreanu in both evenings, Dan Spătaru missing at the last moment of the festival). The last piece, otherwise a big hit, produced a lot of fun through Mircea Block's text, because there were only 3 rows in the classrooms, the benches in the third one being all in the

Vol . XX, 2021 Vol. XX, 2021 window anyway, so it would have been correct „window”! The renowned composer Aurel Giroveanu received the third prize for two works, In Every Harbor (Marina Voica, Mihaela Mihai) and The Romance Has Rejuvenated, I Still Listen to You Today ... (Corina Chiriac, Elena Munteanu). This last song is still present at the romance festivals in the country, led by „The Golden Chrysanthemum” from Targoviste. Elena Munteanu traveled the world singing aboard cruise ships with Stela Enache; his daughter, Tina Munteanu, is a young star of operetta and musical. Also with the third prize was awarded the wonderful song of Florin Bogardo A Butterfly, a Bird, performed by Aurelian Andreescu and Stela Enache, the soloist being the new wife of the composer. Three songs received Mentions, these being Look at the World by Gelu Solomonescu (George Enache, Mihai Constantinescu), Who Says It's Easy? by Petre Mihăescu (Corina Chiriac, Cornel Constantiniu) and In the Sweet Fair of Iasi by Richard Stein (Corina Chiriac, Cornel Constantiniu – who was also an actor at the National Theater in Iași). Richard Stein is the author of the famous song Sleigh with Rattles, shamelessly appropriated by the American guitarist Les Paul (and also sung by Edith Piaf!), But also, more recently, by Danny Klein (who insolently responded to journalists to „The Golden Deer” when she was questioned on this topic!) and Vaya con Dios. It was, it seems, an international process, but what chance did a musician from a socialist country have of winning, even if justice was 100% on his side? The organizers and the jury probably felt the need to give three so-called „Popularity Mentions” to songs that were really successful: Say Goodbye, You Bride! (Mihai Constantinescu) and Hey, Sea! (Mihaela Mihai; Stela Enache and George Enache –no kinship between them!), both by George Grigoriu, How Young You Are! by Radu Șerban (Anda Călugăreanu; Olimpia Panciu and Mihai Constantinescu). The soloists with outstanding performances were rewarded with Special Awards for Interpretation, these being, in general, the same as in the previous edition: Doina Badea, Marina Voica, Anda Călugăreanu, Stela Enache, Corina Chiriac, Mihaela Mihai, Ioana Iliant, Dida Dragan, Aurelian Andreescu, Cornel Constantiniu, Mihai Constantinescu, George Enache. Thus, at the beginning of the eighth decade, the groups of composers and performers had transformed, as they say, everything they touched, this aspect being evident in the 8th edition, July 17th -22nd, 1973, when the recitals were given by Doina Badea, Marina Voica, Margareta Pâslaru, Corina Chiriac, Dida Drăgan, Cornel Constantiniu, Mihai Constantinescu, George Enache. This time the organizers nominated separate, own distinctions, each of them rewarding two creations by the same composer. George Grigoriu marked his supremacy again, obtaining the Prize of the Council of Culture and Socialist Education with the songs Sweet, Sweet Romania (Cornel Constantiniu, Mihaela Mihai) and The Stars (Marina Voica, Margareta Pâslaru). The other two important distinctions followed the same formula, a slightly „thematic” piece, next to which a „neutral” one was placed. Thus, the Award of the State Committee of the Romanian Radio and Television went to Radu Șerban, for the creations Who Found My Youth? (Sergiu Cioiu, Mihaela Mihai) and A Branch to Heaven (Corina Chiriac, Eva Kiss), and the Composers and Musicologists’ Soicety rewarded the talent of a young composer who would write history in Mamaia. Marius Țeicu was awarded the U.C.M.R. Prize for The Call of Love (Adrian Romcescu, Dida Drăgan) and Young People (Anda Călugăreanu, Mihai Constantinescu). The same three organizers also awarded two mentions each. The Council of Socialist Culture and Education focused on You Are My Spring by Florin Bogardo (Aurelian Andreescu, Mihaela Mihai), an emblematic piece of the genre, and To Us by Aurel Manolache (Margareta Pâslaru, Dan Spătaru). The radio and television rewarded with its own mentions the compositions of Temistocle Popa Sing a Shepherd (Margareta Pâslaru, Dan Spătaru), And I Woke Up That I Love You (Margareta Pâslaru, Ioana Iliant), while the Composers and Musicologists’ Soicety, naturally, to some creations of great refinement, giving no less than four mentions: Song by Horia Moculescu (Horia Moculescu Quintet, Eva Kiss) or You Told Me You Love Me by Misu Iancu (Aurelian Andreescu, Mihaela Mihai). Along with these, the guild of music professionals gave two mentions to the songs of Vasile Veselovschi Someone Caroled These Places (Doina Badea, Corina Chiriac) and Hour (Mihai Constantinescu, George Enache). The same great celebrities, consecrated from now on, were invited, as a sign of recognition of their value, to give recitals in 1974, at the 9th edition of the Festival, scheduled between July 23-28: Gică Petrescu, Doina Badea, Marina Voica , Corina Chiriac, Mihaela Mihai, Aurelian Andreescu, Cornel Constantiniu, Mihai Constantinescu, to which was added Aura Urziceanu, who had not yet fully dedicated herself to jazz. From this year the politicization of major distinctions begins to become the rule, the first prize, for example, returning to the song Homage by Temistocle Popa, the two versions belonging to Doina Badea and Cornel Constantiniu, soloists „condemned” to give life to the extensive, vibrant „thematic” works. First prize: I Love You by Vasile Veselovschi, with the same two soloists. Marius Țeicu confirmed the superlative launch from the previous edition, winning the third prize with the songs Now I Found You (Marina Voica, Aurelian Andreescu) and Just Peace (Adrian Romcescu, Dida Drăgan). Another third prize was awarded to a regular of the trophies, George Grigoriu, for The Day that Is Not Forgotten (Cornel Constantiniu, Dida Dragan). I mentioned Marius Țeicu, and in 1974 other composers appeared on the list of laureates for whom the presence on the podium in the future will become a habit, both being rewarded with Mentions: Ion Cristinoiu with Happy Years (Corina Chiriac, Stela Enache), respectively Marcel Dragomir with Adolescents (Mihai Constantinescu, Olimpia Panciu). The other

Proceedings of the „George Enescu“ International Musicology Symposium Proceedings of the „George Enescu” International Musicology Symposium mentions went to the songs Who Would I Be? by Mișu Iancu (Cornel Constantiniu, Mihaela Mihai), Moments by Andrei Proșteanu (Corina Chiriac, Aurelian Andreescu), Unbelievable by Mihai Dumbravă (Sergiu Cioiu, Mihai Dumbravă), Longing and Thought by Aurel Giroveanu (Doina Badea; Mihaela Mihai and Cornel Constantiniu), I Was Born in Romania by Petre Mihăescu (Cristian Popescu, Dan Spătaru), Your Beloved Eye by Florin Bogardo, on lyrics by Mihai Eminescu (Stela Enache, Mihai Constantinescu). The 10th edition of the Mamaia Festival (July 22-27, 1975) brought as an innovation the micro-recitals of young soloists, usually launched at the TV contest The Star Without a Name: Janina Matei, Doina Limbășanu, Clara Anton, Monica Moldas, Cezar Tataru, Radu Tozo, compensating in a way the lack of acting competition. The evenings were completed, of course, with recitals of the „heavy” genre: Marina Voica, Margareta Pâslaru, Dida Dragan, Cornel Constantiniu (here he could, poor man, prove that he can sing songs ... normal!), Mihai Constantinescu, Adrian Romcescu. After his somewhat timid appearance a year before, with a Mention, the remarkable composer (equally conductor and percussionist) Ion Cristinoiu strikes, as they say, occupying the highest step of the podium with no less than three songs – a premiere in the field. So, the first prize went to her showcase for the songs For You, My Country (Doina Badea, Angela Similea), Melodies of Love (Margareta Pâslaru; Olimpia Panciu and Mihai Constantinescu), The Reviewing (Aurelian Andreescu, Mihaela Mihai). The record holder of the awards in Mamaia, George Grigoriu, was placed only on the second position, although both of his creations were clearly „on the official line”, more present and suggested to composers, if they aspired to an award: Here, At My Home (Margareta Pâslaru, Cristian Popescu) and Ballad for This Earth (Cornel Constantiniu, Clara Anton). Ironically, although he received a text subliminal patriotic song after the highly successful The Tree of Jolt Kerestely (Aurelian Andreescu, Stela Enache) was awarded third prize only ... And as the officials were vigilantly asleep with the texts of the awarded songs, in the category Mentions could also find their place the love songs: If You Want My Love by Horia Moculescu (Corina Chiriac, Marina Voica), You Appeared As a Story by Radu Șerban (Corina Chiriac, Aurelian Andreescu), Declaration of Love by Camelia Dăscălescu (Stela Enache, vocal group „Studio 8”), All Day, Good Day by Mihai Dumbravă (Mihai Constantinescu, Mihai Dumbravă), together with ... the inevitable We Want Peace on Earth by Vasile V. Vasilache (Mihaela Mihai, Cornel Constantiniu). Who could have guessed that the 11th edition (July 26-31, 1976) would trigger such a virulent reaction, leading to the interruption of the Festival? The attacks of the poet Adrian Păunescu focused, as we have seen, on the texts of the winning „thematic” pieces, although they were not worse than before. Again in the lead, George Grigoriu won the first prize with the songs The 100 Years (Doina Stănescu, a discovery of his; Cornel Constantiniu) and If I Were to Be (Mihaela Runceanu, Doina Stănescu). The second prize was awarded by two renowned composers, each with two pieces, one of which is obviously „thematic”: Temistocle Popa with Romania (Doina Badea, Cornel Constantiniu, the unfortunate specialists of this kind of songs ...) and A Love Novel (Margareta Pâslaru, Doina Spătaru), and Vasile V. Vasilache with Tell Me My Country (Cornel Constantiniu, Angela Similea) and Dorul (Aurelian Andreescu, Olimpia Panciu). Florin Bogardo with Definition (Aurelian Andreescu, Angela Ciochină) and Horia Moculescu with My Parents (Corina Chiriac, Aurelian Andreescu) stood shoulder to shoulder on the third step. The mentions were, as usual, numerous and seldom tributary to the political commands of the day. Among the winners: Gelu Solomonescu with Today, Here, Now (Angela Ciochină, George Sava, both missing in full force), Ion Cristinoiu with Carnival On the Seaside (Mirabela Dauer, Mihai Dumbravă) and I Love the Present (Mihai Dumbravă), Ramon Tavernier, returned to his name, with The Infinite Column (Adrian Romcescu, Călina Anastasiei), together with the younger Vasile Șirli with The Road (Angela Similea, Adrian Romcescu) or Andrei Proșteanu with The Streets (Aurelian Andreescu, Corina Chiriac). Doina Badea, Margareta Pâslaru, Corina Chiriac, Olimpia Panciu, Mihai Constantinescu performed in recitals, and the micro-recitals belonged to rising voices – Mirabela Dauer, Mihaela Runceanu, Mihaela Oancea, Teohari Fitanidis, Viorel Fauer, Eugen Ionescu. Absolutely sad that just when remarkable soloists such as Angela Similea, Angela Ciochină, Mihaela Runceanu, Mirabela Dauer had started to have consistent and applauded appearances at Mamaia, for seven years they could not show their exceptional talent, the festival being banned. until 1983 – years wasted for them, but also for pop Romanian music...

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