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Iulia Cibişescu-Duran

Iulia Cibişescu-Duran (b. May 2, 1966, Deva) is a Romanian composer of mostly orchestral, chamber, choral, and vocal works that have been performed in Europe. She studied piano with Zoita Sfarlea at the Lyceum of Music in Cluj-Napoca from 1972-84 and there graduated with a diploma. She studied composition with Cornel Taranu at the Gheorghe Dima Academy of Music in Cluj-Napoca from 1985-90, where she then studied orchestral conducting with Petre Sbarcea and Emil Simon from 1991-96 and earned diplomas in both subjects, as well as her DMus in musicology in 2001. She also attended masterclasses in France and Germany from 1995-97, on scholarships.

Among her many honors are four prizes in the Gheorghe Dima competition in Cluj-Napoca (Second Prize, 1987, for Sonata [piano]; First Prize, 1989, for Trio; First Prize, 1990, for Cantata No2; Prize of the Romanian Composers Union, 1991, for String Quartet No1). More recently, she received First Prize in the Iasi competition and the Romanian TV Prize in Iasi (both 1996, both for Aegean Melancholy) and two prizes in the competition of the Lucian Blaga Festival in Sebes (Lucian Blaga Prize, 1996, for Three Lieder [soprano, small orchestra]; Second Prize, 1999, for Three Lieder [tenor, viola, piano]). She also earned two prizes as a conductor in the Craiova competition (Constanin and Jean Bobescu Prize, 1995; Filip Lazar Prize, 1996). Her music has been performed in Germany and Romania.

Iulia Cibisescu-Duran is also active in other positions. She worked as a critic for four Romanian newspapers in Cluj-Napoca from 1990-96 and later wrote the book Structuri polimorfe în postmodernismul muzical românesc – Polymorphic Structures in Postmodern Romanian Music (2002, Editura Media Musica). Moreover, she has written much poetry, including the books Ascunzisuri de masti – The Hiding Places of Masks (1995, Editura Mesagerul) and Taina egipteana – The Egyptian Secret (1997, Editura Cogito). She founded the contemporary music ensemble Art Contrast in Cluj-Napoca from 1992, which she conducted from 1992-97. Since then, she has conducted orchestras throughout Romania. She has been a member of the Professional Women’s Advisory Board of the American Biographical Institute since 2000.

She taught counterpoint, harmony, music history, and music theory at the Lyceum of Music in Cluj-Napoca from 1990-95. She then taught score reading as an assistant at the Gheorghe Dima Academy of Music in Cluj-Napoca from 1995-98, where she has been a professor of the same subject since 1998. In addition, she has given conferences in Germany, Moldova and Romania. (source)

Corneliu Dan Georgescu

Corneliu Dan Georgescu (b. January 1, 1938, Craiova) is a Romanian composer, also active as a musicologist and ethnomusicologist. He studied with Mihail Andricu, Alfred Mendelsohn, Tiberiu Olah, George Breazul at the National University of Music in Bucharest from 1956-61. He attended Darmstadt in 1970 and 1974, where he studied with Kagel, Ligeti, Stockhausen, Wolff, Xenakis, as well as a traditional music workshop and seminar at Slanchev Brjag and Amsterdam in 1977 and 1990, where he studied with Ton de Leeuw, Dimiter Christoff, William Malm.

He was active as a researcher at the Institute of Ethnological and Dialectical Research in Bucharest from 1962-83 (where he was also director of the music department from 1976-80) and at the History of Art Institute in Bucharest between 1984-87. After his emigration in 1987 he worked at the Internationales Institute für traditionelle Musik in Berlin from 1989-91, on a Thyssen-Scholarship, and at the Freie Universität in Berlin from 1991-94. From 1993-2008 he also collaborated to German encyclopaedia Musik in Geschichte und Gegenwart and from 2012 hold the seminar Computer-assisted composing. Algorithmic Music at the University in Heidelberg. He was distinguished with prizes for composition and musicology of the Romanian Composers Union (1969-70, 1978, 1982, 1984-85), the George Enescu Prize of the Romanian Academy of Arts and Sciences (1974) and the Prize of Romanian Radio and TV (1974).

As an ethnomusicologist, his principal books are Romanian Folk DanceA Typology of Instrumental Tunes, The Alphorn SignalsA Musical Typology (1984-87, Editura Muzicala, Bucharest), and Improvisation in der traditionellen rumänischen Tanzmusik (1995, K.D. Wagner, Eisenach).

The idea of the objective power of some archetypal musical structures as carrying the collective subconscious, an idea adapted from the psychology of C. G. Jung, has preoccupied Corneliu Dan Georgescu since his first compositions. He treated this idea in the five-article series The Study of Musical Archetypes (about symbolic numbers, repetition, births/death and Yin/Yang archetypes) for Revue Roumaine dHistoire de lArt (1982-87). In the cycle of orchestral pieces Plays he searched the archaic folklore for primitive, elementary structures, which he then treated as components of a palimpsest in an “atemporal” musical form. This kind of music (as theoretized in „Considérations sur une ‚musique atemporelle’“, 1979) “narrates” nothing, but generates a statically, internally vibrating construction. In the next cycle Models the subject of music is constantly the “contemplation of an archetype”, such in the opera Model Mioritic. Another cycle is dedicated to Piet Mondrian, a symbol of a radical aesthetic of simplicity and objectivity, of a strong reduction of colours and forms to elementary structures which do not allow any regional or temporal appartenence, but may have some mystical resonance. This idea was systematically treated in the cycle Atemporal Studies, electronic music (also seen as ambiental music), where repetitive elements as well as consonances or harmonic functions blend together with geometrical symmetries and principles of proportion. In the latest works – electronic, chamber, organ music, most of them with a tape background – the computer is used to control the musical construction as well as to generate the sound. Since 2003, the composer has tried to express his musical ideas also through visual means. He is detaching himself from the avant-garde vs. tradition “competition” or opposition.


STAGE: Model Mioritic (opera, libretto by the composer), 1973; ORCHESTRAL and CHORAL-ORCHESTRAL: the cycle Plays I-IX, 1962-80 (Dances; Peisaj; Festive Plays; Collages; Refrains; Pianissimo; Long Songs; Variants of a Dance; Echoes of Plays); the cycle Models, 1967-73 (Alb-Negru; Continuo; Rubato); the cycle Homage to Tuculescu (3 symphonies), 1975-85 (Simple Harmonies; Horizontals; The Regards of Colours); the Cycle Outlines for a Fresco: Colinde, chorus and orchestra (text on folklore carols), 1987; Hymns, 1988; Et Vidi Caelum Novum, chorus and orchestra (text from Apocalypses), 1996; Elegia, chorus and tape (vocalizes), 1999; Ex Aeterno Tempore, orchestra, 2004; Prelude to Columna Infinita, orchestra, 2011; CHAMBER MUSIC: the cycle Homage to Piet Mondrian, 1980-2003 (Composition in a Square with Red, Yellow and Blue; Composition with Tons of Pure Colour on White Background; Composition in Grey and Black; Composition in Black and White; Composition with Straight Lines; Composition with Triangles and Squares; Composition with Discontinuous Lines; Composition with Elementary Colours, Dialog Major-Minor, In Perpetuum, Contemplating the Triton). Other works (2003-2011): Dialog with D Minor, A-Minor Obsession; Cum Statua; Omnia Unus Est; VOCAL: Where the Irony Ends (text by Heinrich Heine), speaker, flute, viola, tape, 1997; Clouds-Waves-Sand (on poems in haiku-stile of Christoph Niess), mezzo-soprano, piano, perc., tape, 2001; Ritual for the Silence (on vocalizes), 6 mezzo-sopranos, percussion, tape, 2001; In Lucem Sempiternam, soprano, baritone, organ, 2004; PIANO: Sonata, 1958; Eight Static Compositions, piano, tape, 1968; Signs, piano+tape, 1978; Drei Steinsymbole, piano+tape, 1997; Transsilvanische Motive (3 vol.), 2001-2003; Dialog mit CIS moll, 2002; ORGAN: Contemplative Preludes, 1991-2000 (Ascendo; Spatium; Orbis I-IV, Orbis V: Motus Verticalis); Reflecting J.S. Bach, 1999; B-Minor Fixation, 2010, etc.; ELECTROACOUSTIC: Atemporal Studies, 1980 (Corona Borealis; Aequillibrium); Crystal Silence, 1989; Sketch for a Spiritual Building, 1994; New Zealand Meditations, 1998; NordSeeHorizonte, 1999; Music for a Illuminating Conversion, 2000; End-a-Beginning (on poems in haiku-stile of Christoph Niess), 2002; Ritual for the Harmony, 2006

FILMS (2003-2012): Silberklang; NordSeeHorizonte; Resonanzen; Ostern Meditation; Sliding; Atemporal Landscapes; Waves; De Sublimi Finis

Official website, here.

ICon Arts Festival

Launched in 2003, ICon Arts has become one of the most complex independent European events in contemporary arts. Each year, Sibiu County (Romania) hosts around 150 young musicians, dancers, actors and photographers from all over the world, which are drawn here by the exceptional environment for experiencing inter-cultural exchanges, professional development and self-management programs, concerts, competitions and workshops held by renowned international artists.
Although mainly focused on music (composition, musicology, solo performance, chamber music, orchestra, jazz), ICon Arts sections are also oriented towards reaching a wider perspective. This is why each edition has introduced something new, from dance to drama, instrumental theatre, visual arts and photography.

Besides attending seminars and Festival’s events, all students are actively involved in concerts and happenings that later often lead to their own artistic projects that are enthusiastically supported and promoted by ICon Arts.

Since 2009 the ICon Arts team has worked with valuable regional representatives in Asia, Middle East and Europe, as they are all key-members of the international artistic community.

Official website, here.



Musical Autumn of Cluj

Since 1965, apart from its permanent season of concerts, the Transilvania State Philharmonic Orchestra organizes every year the Musical Autumn of Cluj Festival.

The festival presents symphonic concerts, vocal-symphonic concerts, chamber concerts, as well as old and contemporary music recitals. Some of these concerts cast a new light upon forgotten music works, some bring to the audience’s attention the latest new music creations.

It is the most important art music event in Transilvania and the oldest music festival in Romania.

Official website, here.

Facebook page, here.

Cluj Modern

Every two years, in the middle of Spring, the Cluj Modern Festival becomes, for one week, the center of attention in Romanian contemporary musical life. The Gheorghe Dima Music Academy is the principal organizer of the festival; its regular partners are the Transilvania State Philharmonic and the Sigismund Toduţă Foundation. Since its first edition in 1995 and until now, the artistic director of Cluj Modern is composer Cornel Ţăranu, an important member of Romanian cultural life and member of the Romanian Academy.

The festival is a very respected platform of the contemporary music events in the city. The program combines national and international creations, its guests being, since 2004 (the year the festival was founded), the most representative contemporary music personalities: among them, Iannis Xenakis, Krzysztof Penderecky or György Kurtág. The first live european broadcast of a concert in Cluj took place on March 29th 2009, on the occasion of the world premiere of Kurtág’s Colinda-Baladă.




Poster 2011:


International New Music Week

The International New Music Week (Saptamana Internationala a Muzicii Noi – SIMN) is the most important Romanian artistic event dedicated to contemporary music. The festival was founded in 1991 by the great Romanian composer Stefan Niculescu and was meant to support a multicultural dialogue between composers and performers from all around the world. The International New Music Week has gradually become the best opportunity for the Romanian audience to hear the latest and best new music works, as well as the most interesting local and foreign performers.

During the 22 editions, many important new music figures have been invited to take part in the festival, such as Iannis Xenakis, Joji Yuasa, Claude Delangle, Mario Caroli, Jorgen Petterson and the Stockholm Saxophone Quartet, Excelsior Quartet, Tosiya Suzuki and many others. Some of them became regular guests: Pierre-Yves Artaud, Daniel Kientzy and Barrie Webb are the oldest and most precious friends of Romanian contemporary music.

Each year, a project for the festival is proposed at the Union of Romanian Composers and Musicologists and its selection determines the artistic director of that particular edition, usually a composer.












Lucian Meţianu

Currently living in Switzerland, the valuable composer, researcher and professor Lucian Meţianu was born on June 3rd 1937, in Cluj. He attended the National University of Music in Bucharest, studying with Anatol Vieru, Aurel Stroe and Tiberiu Olah. He also graduated the Faculty of Electronics within the Polytechnic Institute of Bucharest. Between 1969-71 he specialized in electronic music in Köln with Herbert Eimert at Hochschule für Musik where he graduated with a paper titled Pythagoreis. He has been deeply interested in the theory of music, the mathematical aspect of music, being the author of works such as Quartets No.4 and No.5, Brevis Symphony or Dialogue for flute, piano and percussion. At the University in Bucharest, Meţianu befriended Octavian Nemescu and Corneliu Cezar, sharing the same preoccupations as him: electronic music and innovative composition techniques, “strange” for those times.

Lucian Meţianu is a member of the Union of Romanian Composers and Musicologists, SUISA, the transdisciplinary group Ganesha (Lausanne University), Réseau Audition (Swiss Universities), Committee of the Lausanne Society of Contemporary Music, Swiss Society of Musical Pedagogy, the Foundation Council of the Ribaupierre Institute. He is the founder of the Archebole Composers’ Association. He moved to Switzerland in 1984 where he taught composition at the Lausanne Robaupierre Institute (1985-2011) and electronic music at the Lausanne Conservatory (1990-98), where he created the electronic music lab. In 2007 he was awarded the Order of Cultural Merit as an Officer for his entire cultural activity.

Lucian Meţianu composed chamber and symphonic music, as well as film music. Some of his chamber music works are Evocation (1973), Evolutio (1973), Evolutio (1974) and Eulogy (distinguished with the Union of Romanian Composers and Musicologists Award). He wrote articles such as Une ordonnance de la structure musicale (Muzica No.2/1981, Bucharest), Le geste – Espace, temps, Énergie, densitÉ (Revue Musicale de Suisse Romande, No.3/1987) and he appeared in various musical and film dictionaries, such as International Who’s Who in Music and Musicians Directory (10th edition), Grove Dictionary (London, 2011),  Filmlexikon or Die Neue MGG – Stichwortliste des Sachteils.


Laura Manolache

Laura Manolache (b. 1959, Bucharest) graduated the National Music University of Bucharest, the department of Musicology (1982) and Composition (2002). She was awarded a music doctorate for her dissertation with the title Twilight of the tonal era. At present she is teaching at the N.M.U.B. Since 1984 she has been member of the Romanian Composers’ Association and since 1991 she has also been a member of the Romanian branch of the International Society for Contemporary Music.
She has been awarded several important prizes for compositions, including the second prize in the N.M.U.B. Competition for chamber music (String Quartet – 1998) and The Grand Prix of the International Composition Competition “Aperto” (the Trio “Looks” for violin, clarinet and piano –1999).
Her oeuvre contains different instrumental – chamber opuses and also three recent symphonic works. Most of these have been recorded by the Romanian Society of Broadcasting, performed in concerts and festivals in Romania and numerous other European countries, as well as in the USA and Japan, printed by Editura Muzicală – Bucharest (Hommage – 1999, Trio”Looks” – 2000) and Müller & Schade Verlag – Berna (Ikone 2003).

Music on internet: The Balance of Time

Adina Sibianu

Adina Sibianu (born in Ploiești, Romania, March 9, 1981) graduated composition at the National University of Music in Bucharest, where she studied with professor Dan Dediu (2000 – 2005). She later attended post-graduated courses with composer Ștefan Niculescu at the same university (2005 – 2006).  In 2006, she was an Erasmus student at the Carl von Ossietzky Universität in Oldenburg, Germany, where she studied with Violeta Dinescu. In 2006 she studied composition at Carl von Ossietzky Universität in Oldenburg, Germany with professor Violeta Dinescu, as a Socrate-Erasmus student.

Adina Sibianu earned a PhD at the National University of Music in Bucharest in december 2011 with the dissertation “Coordination and Subordination in harmonic relation, mirrored in As If… for piano and orchestra”. She has been member of the Union of Romanian Composers and Musicologists since October 2012.

Several of her composition have been so far performed in concerts by Romanian ensembles. Str(e)ich for seven instrumentists (written in 2008) was performed by Archaeus Ensemble at Tinerimea Română (Bucharest, November 26, 2009) and Cantacuzino Palace (Bucharest, March 8, 2011). Air for chamber orchestra (writteng in 2009) was first performed by Profil-Sinfonietta Ensemble at Romanian Radio Hall (Bucharest, May 30, 2010) and by Icon Arts Ensemble at National University of Music in Bucharest, at first edition of the composition workshop (George Enescu International Music Festival,  September 7, 2011).

Between 2007 and 2012 she teached harmony, musical forms, piano and music theory at Carmen Sylva Art School in Ploiești, Romania. Since June 2012, Adina Sibianu works at the „George Enescu” National Museum, Bucharest, Romania.

Music on Internet: Air


Valentin Ghita

The oboist Valentin Ghita is one of the most active musicians of his generation. He was born in Cluj-Napoca – Romania in old tradition musical family. He studied oboe at the G. Dima Academy with Firuța Mesaroș and Aurel Marc, at the National University of Music in Bucharest with Florin Ionoaia and privately in Berlin with Matthias Becker. He also took different master classes with soloists such as: Francois Leleux, David Walter, Dorin Gliga, Tuomas Kaipainen, Emilia Ksánky, Hans Elhorst.

He was awarded five times with the prestigious  First price at national oboe competitions and he participated in some national and international music festivals such as: International Radio Orchestras Festival – Bucharest,  George Enescu International Festival – Bucharest;  Contemporary Music Festival – Masan, South Coreea.

In 2005 he was invited by The Bombay Chamber Orchestra Society as guest professor for the students in Mumbay.

Very active as solist, he played with orchestras such as: Radio Chamber Orchestra – Bucharest, Transilvania State Filarmonic Orchestra, Pitesti Filarmonic Orchestra, Targoviște Filarmonic Orchestra, Napoca Chamber Orchestra, Focșani Chamber Orchestra, and the orchestras of the National University of music in Bucharest and Gh. Dima Academy in Cluj-Napoca.

Since 2009, Valentin is principal oboist of the National Radio Orchestra and  member of the most important Romanian private music groups like: Sonomania and devotioModerna – contemporary music groups, Five Quintet – The National Radio Orchestra woodwind quintet, Camerata Regala  Camerata Lanto Arte and Romanian Youth Orchestra.