Andrei Tudor

• Name — Andrei Tudor • Pen Name — I. Alexis Edgar, Andrei Tudor, Lafcadio • Birth Name — Isaac Rozenzweig • Born — August 31, 1907 • Birthplace — Brăila, Romania • Died — 18 June 1959 • Place of death — Bucharest, Romania • Resting Place — Crematoriul Cenușa, Bucharest • Occupation — poet, translator, journalist, musicologist • Language — Romanian • Citizenship — Romania • Education — Juris Doctor • Alma Mater — University of Bucharest Law School • Period — 1928 - 1959 • Spouse — Melania Tudor, 1938 - 1959 • Children — Manuela Lena, Alexandru Laurențiu • Movement — avant-garde Symbolism Criterion

Tudor was born to a Jewish family in Brăila, the son of Mayer and Tony Rozenzweig. After graduating from the Nicolae Bălcescu National College in 1926, he attended law school at University of Bucharest. He was licensed to practice in 1930, though ultimately never pursued a career in law. Instead, Tudor decided to pursue a literary and journalistic career in the capital; allowing himself a more intellectually conducive environment in which he could write about his true interests. In 1940, Romania legislated its equivalent of the Nuremberg Laws, at approximately the same time when Tudor’s career began to gain traction. Much like other prominent Jewish writers of the time, his name was suppressed from media. While in Prague in 1959, he fell ill. He ultimately sought treatment in Bucharest, but shortly thereafter succumbed to his illness as a result of medical negligence while hospitalized.

Tudor debuted his literary career in 1927 with a translation of French poet Francis Jammes. • Illustration — page=1 Francis Jammes Prayer Alexis Edgar - Andrei Tudor and Mihail Sebastian translators • Illustration — Andrei Tudor and Mihail Sebastian in Brǎila, 1928 His first the poem, Trupește, was printed in 1928. Tudor's poetry and prose appeared in avant-garde publications. Several newspapers and periodicals regularly printed his musical, theatre and cinema reviews. In 1935 his first and only poetry volume, Love 1926, was awarded the poetry prize by Fundația Pentru Literatură și Artă "Regele Carol II". It was published in 1937. • Illustration — page=1 Cover of Love 1926 (1937) • Illustration — Dinner at "Modern," Bucharest, November 30, 1935, in honor of novelist Liviu Rebreanu. Identified participants from left to right: Camil Baltazar, I. Valerian, Liviu Rebreanu, C. Panaitescu, Oscar Lemnaru, Octav Șuluțiu, Dan Petrașincu, Andrei Tudor, Horia Roman, I. Peltz, Cicerone Teodorescu, Radu Boureanu, and Eugen Jebeleanu. Source: Adevărul, December 5, 1935. Along with other members of the Criterion group, Tudor was closely associated with, the now defunct, Pro-Arte music conservatory. After the war he translated Social realist poets from the USSR, Czechoslovakia and Korea. but his interests increasingly turned to music. He held lectures to popularize classical music before live audiences and on the radio. Tudor, an early Enescu scholar, curated the newly (1956) established museum dedicated to the composer. In May 1955 he wrote a proposal for an international Enescu festival. The first edition of the festival took place in 1958. Tudor worked at several cultural institutions: • 1951 - 1952 editor-in-chief at Revista Muzica [The Music Journal] (official publication of the Union of Composers and Musicologists from Romania) • 1950 - 1959 professor at the Bucharest Conservatory • 1951 - 1959 director - Music History department, Art History Institute, Romanian Academy • 1951 - 1956 professor at the Institute for Theatre I. L. Caragiale Caragiale National University of Theatre and Film • 1955 - 1959 Editorial Committee member Studii și Cercetări de Istoria Artei [Art history: Studies and Research] (official publication of the Romanian Academy, Art History Institute)

• (1937) Love 1926: poems • Mihail Sebastian reviewed Amor 1926 in Revista Fundațiilor Regale (1937), offering a favorable assessment. He praised Tudor as a literary "amateur" in the positive sense — a writer of refined taste and creative freedom — invoking Marcel Proust as a parallel. Sebastian identified Tudor's strengths in his gentle irony, playful humor, and dreamy ingenuousness, and situated him in a literary family alongside Perpessicius and D. Iacobescu in Romanian poetry, and Francis Jammes, Levet, and Toulet in French. He also praised Tudor's unpublished translations as among the finest expressions of his poetic sensibility.

• (1927) Francis Jammes Prayer • (1950) Soviet poets: Peace songs • (1951) Korean poetry selections • (1952) The book of blood: the heroic resistance of the Greek people • (1955) Vítězslav Nezval A song of peace

• (1947) Moscow: The metropolis of the new world

• (1953) Leonid Lench Funny Stories

• (1945) A note on tradition in soviet music • (1947) Three decades of soviet music • (1956) Enescu's work and the problems of folk themes use in musical creation • (1955) Eduard Caudella and the Romanian lyrical theatre • (1959) New creative aspects of contemporary Romanian symphonic music

• (1946) Music Chronicle • (1946) The Society of Rumanian Composers • (1946) The Forthcoming Musical Season • (1947) Rumanian Musicians and the Exchange of Culture • (1947) Opening of the Season • (1947) Rumanian Artistic Relations With Foreign Countries • (1955) Rumanian Music Forges Ahead