Archives for October2012

Anatol Vieru

Anatol Vieru (1926–1998) was a music theoretician, influential pedagogue, and a leading Romanian-Jewish composer of the 20th century. A pupil of Aram Khachaturian, he composed seven symphonies, eight string quartets, numerous concertos, and much chamber music. He also wrote three operas (Iona – 1976, Praznicul Calicilor – 1981 and Telegrame, Tema si variatiuni – 1983). He was awarded Herder Prize in 1986.

“Anatol Vieru’s music occupies an unusual middle ground between the age-old and the ultra-new: his initial musical impulses were born of the Romanian folksong he heard around him as he grew up, though he soon evolved towards the mainstream of European modernism. (…) The first piece that Vieru acknowledged was a Suite in the Ancient Style for strings, which he wrote in 1945, at the age of 19 (before beginning his formal studies), and which won the George Enescu Prize a year later. He was to garner a number of prizes in the course of his life: his Cello Concerto won the Reine Marie-Jose Prize in Geneva in 1962, and four years later he won a Serge Koussevitzky Prize in Washington. Among Vieru’s other distinctions were a Romanian State Prize (1949), another George Enescu Prize (1967), that of the Union of Composers and Musicologists three times (1975, 1977, 1979) and the Herder Prize (1986).

His early works manifest an interest in combining modality with folk elements, but his language soon began to take on a more radical accent, even as early as the oratorio Miorita (“The Ewe”, 1957). And from around 1964 Vieru began to apply serial techniques more explicitly to his Romanian inheritance. The result, a method of composition he adhered to for the rest of his life, he called the “sieve principle”, using it to generate a soundblock of 61 notes. Vieru systematised his approach to composition in two theoretical treatises: Cartea modurilor (“Book of Modes”, 1980) and Dela moduri la timpul muzical (“From Modes towards Musical Time”, 1990). Cartea modurilor, Vieru said, “gives coherence of system to my findings and offers new suggestions for the future”.(…)Vieru was not afraid of the larger forms. His worklist includes four operas: Iona (“Jonah”, 1972-76), Praznicul Calicilor (“The Feast of the Cadgers”, 1978-81), Telegrame, Tema si Variatiuni (“Telegrams, Themes and Variations”, 1982-83) and The Last Days, The Last Hours (1990-95). There are six symphonies (1967-89), much chamber music (including eight string quartets), many concertante pieces (including, most recently, a concerto for the rare combination of two cellos and orchestra), and a generous quantity of cantatas and other vocal music.

Vieru was active in a number of other capacities. In his earliest adulthood he was a conductor at the Bucharest National Theatre (1947-50) and immediately thereafter (1950-51) took over the editorship of the journal Muzica. In 1970 he founded the concert series “Parallel Musics”, and was to conduct its concerts for many years, presenting an enormous range of music, from Lassus via Ives, Scriabin and Schoenberg to Varese and Schnittke. He also wrote on a wide range of musical topics, often on aspects of the theory of modern music.(…)”
Martin Anderson, 1998

MUSIC: Centaurus

Ulpiu Vlad

Ulpiu Vlad (b. January 27, 1945, Zărneşti) is a Romanian composer of orchestral, chamber, choral, and vocal works that have been performed throughout Europe.

Prof. Vlad initially studied music theory with Filaret Barbu and oboe with Pavel Tornea at the Music High School in Bucharest from 1958–64. He then studied with Tudor Ciortea, Dan Constantinescu, Octavian L. Cosma, Victor Giuleanu, Myriam Marbe, Aurel Stroe, Zeno Vancea, and Anatol Vieru at the National University of Music in Bucharest, where he graduated in 1971. He also attended composition seminars with Virgilio Mortari at the Accademia di Santa Cecilia in Rome in 1971–72.

His honors include a prize for oboe at the Festival of Young Performers of Romania (1964), the Special Prize from the National University of Music in Bucharest (1971), a Second-Class Medal for Distinction in Culture (1983), and the George Enescu Prize of the Romanian Academy (1985). He has also earned First Prize from the Romanian Composers Union at the National Song of Romania festival (1987) and four prizes from the Romanian Composers Union (1990, 1995, 2000, 2003) and was named an Officer of the Order of Cultural Merit by the government of Romania (2004).

Prof. Vlad is also active in other positions. He worked as a researcher in Romanian folk music at the National University of Music in Bucharest from 1971–77 and at the Ethnology and Dialectology Research Institute in Bucharest from 1977–80. In addition, he served as editor of the publisher Editura Muzicală from 1980–84 and as its manager from 1984–92.

He served as director of the music department at the Romanian Ministry of Culture in Bucharest in 1992–93 and has taught as a professor at the National University of Music in Bucharest since 1993. He is married to the composer Marina-Marta Vlad.

MUSIC: For You

Maia Ciobanu

Director of the Contemporary Music Information Center (1995-2003), President of the Romanian section of the ISCM (2002-2003), founder and chief editor of the “Contemporary Music-Romanian Newsletter”, Maia Ciobanu is an associate professor at the National University for Theater and Film in Bucharest and senior lecturer at the Spiru Haret University. She was asked to conference about her music in Gothenburg Music Academy, St. Gallen University, Wuppertal Music Academy; she published articles, studies, essays and realised broadcasting programms about contemporary music.

Ph.D. in Music with a thesis about the sound-mouvement relationship in the choreographic show; the George Enescu Prize of the Romanian Academy of Arts and Sciences, the Romanian Composers’ Union Prize, the Medal for the artistic schievements awarded by the President of Romania.

The works of Maia Ciobanu cover the different musical areas: symphonic, vocal-symphonic, chamber, vocal, electronic and stage music. The composer proposes new musical and multimedia genres, usually included in cycles like in the case of the Journals, Commentaries, Nr. 273,16  or the Elite Manifesto cycle.

In the same time she organises an original sincretic concept in which the word, the movement and the image are the wings of the leading sound dominating the finale significance of the artistic text (see Just passing through…, Hortus Domini magnum est, Das ist nicht ein Streichquartett  or the Elite Manifesto 1).

Her aesthetics is influenced by the “library” concept of Borges and has profound afinities with the Gaudi’s techniques and way of thinking.

The result is the disponibility of using our inner library, the coherence induced by the fluency of the matter and expression, the trust in the unconventional born globalising and transcending all the conventions, in more ways of communicating and discovering the spiritual and emotional Ourselves. In a confused and cultural hostile world Maia Ciobanu affirms the importance of the Elite, the reality of the Significance.

MUSIC: The Sleeping Muse

Horațiu Rădulescu

Horatiu Radulescu was born in Bucharest on January 7 1942. He studied the violin privately with Nina Alexandrescu, a pupil of Enescu, and later studied composition at the Bucharest Academy of Music (MA 1969), where his teachers included Stefan Niculescu, Tiberiu Olah and Aurel Stroë, some of the leading figures of the newly emerging avant garde. Upon graduation in 1969 Radulescu left Romania for the west, and settled in Paris, becoming a French citizen in 1974. He returned to Romania thereafter several times for visits, beginning in 1991 when he directed a performance of his Iubiri, the first public performance of any of his mature works in his native country. (Radulescu nonetheless commented that in the interim he had dedicated many of his works to a “virtual and sublimated” Romania) (Radulescu, cited in Krafft 2001, 47).

One of the first works to be completed in Paris (though the concept had come to him in Romania) was Credo for nine cellos, the first work to employ his spectral techniques. This technique “comprises variable distribution of the spectral energy, synthesis of the global sound sources, micro- and macro-form as sound-process, four simultaneous layers of perception and of speed, and spectral scordaturae, i.e. rows of unequal intervals corresponding to harmonic scales” (Radulescu 1993). These techniques were developed considerably in his music of subsequent decades. In the early 1970s he attended classes given by Cage, Ligeti, Stockhausen, and Xenakis at the Darmstadt Summer Courses, and by Ferrari and Kagel in Cologne. He presented his own music in Messiaen’s classes at the Paris Conservatoire in 1972-73; Radulescu recalled that while Messiaen himself was sympathetic, later calling him “one of the most original young musicians of our time” (Radulescu 199), some of the students were more reticent, not understanding his music’s “colourful, dreamy, mystical” inclinations (Radulescu cited in Krafft 2001, 48).

Beginning in the early 1970s Radulescu’s works began to be performed at the leading contemporary music festivals, including Gaudeamus (Taaroa, 1971; in ko ‘tro – mioritic space, 1972), Darmstadt (Flood for the Eternal’s Origins, 1972), Royan (fountains of my sky, 1973; Lamento di Gesù, 1975), Metz (Wild Incantesimo for nine orchestras, 1978; Byzantine Prayer, 1988) and Donaueschingen. From 1979 to 1981 he studied computer-assisted composition and psycho-acoustics at IRCAM, although his work makes relatively little use of electronic means of sound production. In 1983 he founded the ensemble European Lucero in Paris to perform own his works, a variable ensemble consisting of soloists specialising in the techniques required for his music. In 1991 he founded the Lucero Festival.

In the mid-1980s Radulescu was based in Freiburg in Germany, though for many years he retained an address in Versailles. In 1988 he lived in Berlin on a DAAD fellowship, and in 1989-90 he was resident in San Francisco and Venice as a laureate of the Villa Médici hors les murs scholarship. In the mid-1990s he moved to Switzerland, living first in Clarens and later in Vevey. He died in Paris on September 25, 2008.

From his earliest works Radulescu’s musical concepts, and the techniques he invented to realise them, were unconventional. For his final exams in Bucharest he composed the orchestral work Taaroa, named after the Polynesian god; this displeased his teachers, who found the idea mystical and even imperialist; only the composer Anatol Vieru supported him. Radulescu’s spectral techniques, as they evolved through the 1970s and beyond, are quite distinct from those of his French contemporaries Gérard Grisey and Tristan Murail. His compositional aim, as outlined in his book Sound Plasma (1975) was to bypass the historical categories of monody, polyphony and heterophony and to create musical textures with all elements in a constant flux. Central to this was an exploration of the harmonic spectrum, and by the invention of new playing techniques to bring out, and sometimes to isolate, the upper partials of complex sounds, on which new spectra could be built. The harmonic relationships in his music are based on these spectra and on the phenomena of sum and difference tones. The opening sonority of his fourth string quartet (1976-87), for example, is based on partials 21, 22 and 43 of a low C fundamental; this is an example of what Radulescu referred to as “self-generating functions” in his music, as partials 21 and 22 give in sum 43 and in difference 1, the fundamental. (On a C fundamental, partials 21, 22 and 43 are all different, microtonally distinct kinds of F, the 21st partial being 29 cents lower than tempered F, partial 22 being 51 cents higher and partial 43 12 cents higher.) Much of his music for strings makes use of a “spectral scordatura”, where the open strings are retuned, often to simulations of the partials of a single harmonic spectrum – for example in his Lux Animae (1996/2000), for solo cello or viola, the open strings are retuned to the 3rd, 4th, 7th and 11th partials of a low E.

Many of Radulescu’s later works derive their poetic inspiration from the Tao te ching of Lao-tzu, especially in the 1988 English version by Stephen Mitchell: the titles of his second, third, fourth, fifth and sixth piano sonatas, and of the fifth and sixth string quartets, are taken from this source. The piano sonatas, as well as his Piano Concerto The Quest (1996) and other later works, make use of folk melodies from his native Romania, integrating these with his spectral techniques.

MUSIC: Dizzy Divinity

Iancu Dumitrescu

Iancu Dumitrescu (born 15 July 1944 in Sibiu, Romania) is a Romanian avant-garde composer.

Dumitrescu received a master’s degree in composition in Bucharest; Alfred Mendelssohn was among his teachers. Later, he studied conducting and philosophy with Sergiu Celibidache; Celibidache led Dumitrescu to an engagement with the philosophy of Edmund Husserl and an effort to apply the principles of phenomenology to music.[1]

He began composing his mature works in the early 1970s. In 1976 he founded the Hyperion Ensemble, which he describes as “a multimedia group dedicated to experimental music.” Several of Dumitrescu’s early works for solo contrabass were recorded by the noted avant-garde bassist Fernando Grillo.

Dumitrescu has composed a large body of works for acoustic instruments and ensembles as well as works combining acoustic and electronic sounds and works composed entirely using tape or computer. In its emphasis on long tones that undergo transformations of timbre, Dumitrescu’s music can be loosely grouped with that of Italian composer Giacinto Scelsi and with the spectral music of fellow Romanian Horatiu Radulescu and the French composers of the spectral school.

Dumitrescu describes his music as “acousmatic” but disclaims a relationship with the Acousmatic music of French musique concrete pioneer Pierre Schaeffer. He accepts the “spectralist” label, though he distinguishes his work from some others in the spectral school in that it is not serial. “I think of myself as a spectralist, but in completely different way from the French.”[2]

Dumitrescu is married to fellow composer Ana-Maria Avram (born 1961); they have more than 20 joint CD releases on their Edition Modern label. Recordings of Dumitrescu’s works have also been released by Edition RZ, ReR Megacorp, Generations Unlimited, and other record labels. He is represented by Editions Salabert.

Costin Miereanu

Composer Costin Miereanu studied from 1960 to 1966 at the Music Academy of Bucharest with Alfred Mendelsohn, Dan Constantinescu, and Lazar Octavian Cosma, and later at the École des Hautes Études et Sciences Sociales, at the Schola Cantorum, and at the University of Paris VIII, where he was awarded first prizes in writing, analysis, music history, esthetics, orchestration, and composition) and earned a Doctor of Letters and a Doctor of Musical Semiotics. Between 1967 and 1969 he was a student of Karlheinz Stockhausen, György Ligeti, and Ehrhard Karkoschka at the Internationale Ferienkurse für neue Musik in Darmstadt (Cosma 2001). In 1977 he became a French citizen. Since 1981 he has been Professor of Philosophy, Aesthetics, and the Science of Art at the Sorbonne.
Miereanu evolved his compositional style featuring a sensuous sonic fabric by combining of Satie’s techniques with an abstraction of Romanian traditional music (Cosma 2001). Many of his complex and often virtuoso works include visual components. Miereanu has composed aleatoric works and works in the style of Musique concrète for orchester and chamber orchestra, often with the employment of tape-recording equipment, as well as works for the theatre. He was awarded the prize of the European Cultural Foundation 1967, the Prix Enescu (1974), and the Prix de la Partition Pédagogique of the French Composers’ Association (SACEM).

MUSIC: L’ombre double

Dinu Lipatti

Dinu Lipatti (1 April 1917-2 December 1950) was a Romanian classical pianist and composer. Lipatti was born in Bucharest into a musical family: his father was a violinist who had studied with Pablo de Sarasate and Carl Flesch, his mother a pianist. For his baptism, which occurred not shortly after birth as is usual, but when he was old enough to play the piano, the violinist and composer George Enescu agreed to be his godfather. Lipatti played a minuet by Mozart at his own baptism. He studied at the Gheorghe Lazăr High School, while undergoing piano and composition studies with Mihail Jora for three years. He then attended the Bucharest Conservatoire, studying under Florica Musicescu, who also taught him privately.  In June 1930, the best pupils at the Conservatoire gave a concert at the Bucharest Opera, and the 13-year old Lipatti received a huge ovation for his performance of the Grieg Piano Concerto in A minor. In 1932 he won prizes for his compositions: a Piano Sonatina, and a Sonatina for Violin and Piano. That year he also won a Grand Prize for his symphonic suite Les Tziganes.

He entered the 1933 Vienna International Piano Competition but finished second, because the jury considered him too young. Alfred Cortot, who thought Lipatti should have won, resigned from the jury in protest. Lipatti subsequently studied in Paris under Cortot,Nadia Boulanger (with whom he recorded some of Brahms’s Waltzes Op. 39), Paul Dukas (composition) and Charles Munch(conducting). He gave his first concert, at the École Normale, on 20 May 1935. However, three days before the concert, Paul Dukas died; in memory of Dukas, Lipatti’s first piece at his concert, and the piece he first publicly performed as an adult pianist, was J. S. Bach’s Jesu, Joy of Man’s Desiring.

Lipatti’s career was interrupted by World War II. Although he continued to give concerts throughout Europe, including Nazi-occupied territories, he eventually fled his native Romania in 1943 and settled with his wife (Madeleine Cantacuzene, also a concert pianist) in Geneva, Switzerland, where he accepted the position as piano professor at the conservatory. It was at this time that the first signs of his illness emerged. At first, doctors were baffled, but in 1947 he was diagnosed with Hodgkin’s disease.  As a result, his public performances became considerably less frequent after the war. Lipatti gave his final recital, which was recorded, on 16 September 1950 in Besançon, France. Despite severe illness, he gave unmatched performances of Bach’s Partita in B flat major, Mozart’s A minor Sonata, Schubert’s G flat major and E flat major Impromptus, and thirteen of Chopin’s Waltzes. He excluded No. 2, which he was too exhausted to play; he offered instead Myra Hess’s transcription of Bach’s Jesu, Joy of Man’s Desiring, the piece with which he had started his professional career as a pianist in 1935. He died less than 3 months later, in Geneva. Lipatti is buried at the cemetery of Chêne-Bourg next to his wife Madeleine, a noted piano teacher.

Lipatti’s piano playing was, and is, widely appreciated for the absolute purity of his interpretations, at the service of which he used a masterful pianistic technique. Lipatti is particularly noted for his interpretations of Chopin, Mozart and Bach, but he also made recordings of Ravel’s Alborada del Gracioso, Liszt, Enescu, and the Schumann and Griegpiano concertos. His recording of Chopin’s Waltzes has remained in print since its release and has long been a favorite of many classical music-lovers. Lipatti never recorded any music of Beethoven. It is a common misconception, however, that Lipatti did not perform Beethoven’s music until late in his career. The Waldstein Sonatahad been a feature of Lipatti’s repertoire since 1935. He also performed the Emperor Concerto in Bucharest twice during the 1940-41 season, and even stood ready to record it for EMI in 1949. An internal memo from Lipatti’s recording producer Walter Legge, dated 23 February 1948, states that “Lipatti ha[d] his heart set on doing a Beethoven Concerto in 1949″ and nominates the Emperor Concerto, given that Lipatti had already performed it.

A recording of Chopin’s Piano Concerto No. 1 in E minor, originally released under Lipatti’s name, and said to have been a recording of a live performance in Switzerland in May 1948, proved not to be his contribution at all. In 1981, it emerged that the soloist on this recording was in fact a Polish pianist (and a fellow Cortot pupil), Halina Czerny-Stefańska, the joint winner of the 4th International Chopin Piano Competition, playing with the Czech Philharmonic Orchestra under Václav Smetáček. However, later on, an authentic recording by Lipatti of the Chopin Concerto was found.

Dinu Lipatti’s legacy to new generations of musicians consists of numerous recordings of his concerts worldwide; the power, beauty and sincerity of his recordings continue to inspire and uplift pianists and music lovers.

In recognition of his outstanding contributions to classical music interpretation and composition he was posthumously elected in 1997 as a member of the Romanian Academy.

George Enescu

George Enescu (19 August 1881, Liveni – 4 May 1955, paris) was a Romanian composer, violonist, pianist, conductor and teacher. Enescu was born in the village of Liveni (later renamed “George Enescu” in his honor), Dorohoi County at the time, today Botoşani County. He showed musical talent from early in his childhood. A child prodigy, Enescu created his first musical composition at the age of five. Shortly thereafter, his father presented him to the professor and composer Eduard Caudella. At the age of seven, he entered the Vienna Conservatory, where he studied with Joseph Hellmesberger, Jr., Robert Fuchs, and Sigismund Bachrich. He graduated before his 13th birthday, earning the silver medal. In his Viennese concerts young Enescu played works by Brahms, Sarasate and Mendelssohn. In 1895 he went to Paris to continue his studies. He studied violin with Martin Pierre Marsick, harmony with André Gedalge, and composition with Jules Massenet and Gabriel Fauré.

Many of Enescu’s works were influenced by Romanian folk music, his most popular compositions being the two Romanian Rhapsodies(1901–2), the opera Œdipe (1936), and the suites for orchestra. He also wrote five symphonies (two of them unfinished), asymphonic poem Vox maris, and much chamber music (three sonatas for violin and piano, two for cello and piano, a piano trio, two string quartets and two piano quartets, a wind decet (French, “dixtuor”), an octet for strings, a piano quintet, and a chamber symphony for twelve solo instruments). A young Ravi Shankar recalled in the 1960s how Enescu, who had developed a deep interest in Oriental music, rehearsed with Shankar’s brother Uday Shankar and his musicians. Around the same time, Enescu took the young Yehudi Menuhin to the Colonial Exhibition in Paris, where he introduced him to the Gamelan Orchestra from Indonesia.

On 8 January 1923 he made his American debut as a conductor in a concert given by the Philadelphia Orchestra at Carnegie Hall in New York City, and he subsequently made frequent returns to the United States. It was in America, in the 1920s, that Enescu was first persuaded to make recordings as a violinist. He also appeared as a conductor with many American orchestras, and in 1936 he was one of the candidates considered to replace Arturo Toscanini as permanent conductor of the New York Philharmonic. In 1935, he conducted theOrchestre Symphonique de Paris and Yehudi Menuhin (who had been his pupil for several years starting in 1927) in Mozart’s Violin Concerto No. 3 in G major. He also conducted the New York Philharmonic between 1937 and 1938. In 1939 he married Maria Rosetti (known as the Princess Cantacuzino through her first husband Mihail Cantacuzino), a good friend of the future Queen Marie of Romania. While staying inBucharest, Enescu lived in the Cantacuzino Palace on Calea Victoriei (now the George Enescu Museum, dedicated to his work).

He lived in Paris and in Romania, but after World War II and the Soviet occupation of Romania, he remained in Paris.

He was also a noted violin teacher. Yehudi Menuhin, Christian Ferras, Ivry Gitlis, Arthur Grumiaux, Ida Haendel and Joan Field were among his pupils. He promoted contemporary Romanian music, playing works of Constantin Silvestri, Mihail Jora, Ionel Perlea and Marţian Negrea.

He was a National Patron of Delta Omicron, an international professional music fraternity.

On his death in 1955, George Enescu was interred in the Père Lachaise Cemetery in Paris.

Today, Bucharest houses a museum in his memory; likewise, the Symphony Orchestra of Bucharest and the George Enescu Festival—founded by his friend, musical advocate, and sometime collaborator, the conductor George Georgescu—are named and held in his honor. Recently, Bacau International Airport was named George Enescu International Airport.

Eugène Ysaÿe’s Solo Violin Sonata No. 3 “Ballade” was dedicated to Enescu.

Corneliu Cezar

Corneliu Cezar became remarkable after 1960 (breaking out from the proletarian cult).He was a fore runner of post-modernism in Romanian context. He is now considered rather a visionary of music than a producer of acoustic masterpieces. In the ‘60 he sustained and prophesied a new musical direction rediscovering the natural resonance of the sound within a different historical context – the idea of spectral music was going to materialize itself in Romanian tradition. After 1980 the artistic phenomena has no longer interested him. He took more distance of the ideal of skill, originality and aesthetic refinement accomplishment. After 1970 Cezar fought for the cause of recovering “the state of rendition” in music (musical expressiveness) and the composing manner he called “the organ of styles” – polistylism. Cezar imposed the theory of sonology – as means of applying music therapy. (Cristina Uruc)


Doina Rotaru

I’ve used structural principles of symbolic values and functions –like circular or spiral shapes, sacred numbers and so on. The symbol becomes an idea of composition, and this idea generates the structures, the musical time , the syntax, the architecture and the expressions of the work. I’ve also used elements from ancient Romanian folklore, where almost every sound is enriched with ornaments, glissandi, micro-tones, overtones and , of course, heterophony. The expression of Romanian ancient folk music is very nostalgic, creating a melancholic atmosphere and the feeling of a painful beauty (Doina Rotaru)

Born in 1951, Romanian composer Doina Rotaru has a B.A. and a M.A in composition at the National University of Music in Bucharest. She studied here between 1970 and 1975 with – among others – Tiberiu Olah. Since 1996 she has been a professor of composition and, since 2008, the head of the composition department at the same University. In 1991 she obtained a scholarship in Holland (Amsterdam) where she studied with Theo Loevendie.

She has written so far over 100 works that cover almost every musical genre: from solo, chamber, choral to orchestral works, from works that mix instrumental with electronic music to theater music.

Her music has been performed in many concerts and festivals all over the world : Europe, Far-East, Australia, Canada and South-America. – some of these being “author concerts”. Some of Doina Rotaru’s works have been commissioned by Radio France, Radio Graz, Suntory Hall Tokyo, French Ministry of Culture, Stockholm Saxophone Quartet, Warsaw Autumn,  ensembles and soloists from France, Germany, United Kingdom, The Netherlands, Switzerland.

Doina Rotaru was awarded prizes by the Romanian Academy (Bucharest,1996) and the Union of Romanian Composers and Musicologists (UCRM, Bucharest, 1981, 1986, 1990, 1994, 1997, 2001, 2004, 2007, 2011). For her 2nd Symphony, she won in 1994 the first prize at the Gedok – Mannheim International Competition (Germany).

She was invited as a lecturer about her music in Germany (Darmstadt, Summer Courses for New Music – 1992, 1994), Holland (Amsterdam, Gaudeamus International Composers’ Workshop – 1990,1992 ), England ( Huddersfield University – 1995, Brighton – 1995), Japan (Tokyo Suntory Hall – 1998, 2001) and Iceland (Skalholt, 2006).

Doina Rotaru has been invited to take part in international juries for composition competition in France (Paris, 2002, 2006), Slovenia (Ljublijana, 2004) and Romania (Bucharest, 2006).

Since 1998 she also has a PhD in Musicology at N.U.M.B., with the work “Contemporary composers and archaic traditions”. Her teaching career has led to the writing of two school books, in collaboration with fellow professor Liviu Comes: “Counterpoint School Book for Music Highschools” (Ed. Didactica, 1977) and “Vocal and Instrumental Counterpoint Treatise ” (Ed. Muzicala, 1987).

She has made so far over 50 radio and television transmissions.

In 1998 she was the Artistic Director of the “Contemporary Music Week” festival in Bucharest.

Her works are published by the Musical Publishing House (Editura Muzicala) in Bucharest , Leduc and H.Lemoine, Paris.

Official website, here.

SoundCloud account, here.

MUSIC on internet: L’ange avec une seule aile“Spirit of Elements” – 3rd Symphony (I)“Spirit of Elements” – 3rd Symphony (II)Japanese Garden