Archives for

Cătălin Creţu

Cătălin Creţu (b. September 8, 1971, Petroşani) is a Romanian composer of orchestral, chamber, choral, piano, electroacoustic, and multimedia works that have been performed in Europe. He is one of the few Romanian composers specialised in electroacoustic music.

Creţu went to a music school in Petroşani from 1977–85 and studied electromechanics at the Technical University of Petroşani from 1990–95. He studied musical pedagogy at the Western University of Timişoara from 1993–95 and then at the National University of Music in Bucharest from 1995–98; at the latter, he also took composition classes with Dan Dediu and Adrian Iorgulescu from 1996–2001 and he earned his PhD under Octavian Nemescu in 2008. He studied with Peter Michael Hamel at the Hochschule für Musik und Theater in Hamburg in 2001–02, as part of the ERASMUS programme, and multimedia composition with Georg Hajdu there from 2005–07. He took post-graduate studies at the Institute for Advanced Study of the New European College in Bucharest in 2004–05 and then, at Český Krumlov in 2000, Bayreuth in 2001 and Darmstadt in 2002. Cătălin Creţu graduated post-doctoral studies (2011-2012) at the National University of Music in Bucharest, as part of the MIDAS (Musical Institute for Doctoral Advanced Studies) programme.

He was a resident at the Cité Internationale des Arts in Paris (2009), on a George Enescu grant from the Romanian Cultural Institute. His music has been performed in France, Germany and Romania.

He worked at the National University of Music in Bucharest  as music secretary (2002-08) and, since 2008, as researcher at the Center for Electroacoustic Music and Multimedia. He currently teaches at the same University.

Cătălin Creţu is the Chairman of OPUS Association.

Official website, here.

MUSIC on internet: Entfremdetes Ich oder die Anatomie des ShattensLüneburg Soundscape



OPUS Association (Cătălin Creţu – Chairman) is a non-governmental, non-profit organization founded in 2000 by a number of alumni of the National University of Music in Bucharest. Its members – composers and musicologists – have been an outstanding group of undergraduate students with numerous initiatives in the field of music. Publishing a musicology journal (a premiere for the National University of Music), as well as other music publications (dictionaries, textbooks, programme notes), organizing concerts for students and for teachers, and the members’ own professional interests, prompted the idea of creating an organized structure, focused on implementing these activities. Over the years, the members of the organization gained experience through doctoral programmes, master-classes, grants (in Romania, Germany, France, Finland). This contributed to the desire to extend their range of activities (and, implicitly, that of OPUS Association), by means of interdisciplinary programmes encompassing music, dance, visual arts, puppet theatre, and literature, and by collaborating with external partners.

Since 2012 OPUS Association is the main organizer of InnerSound International New Arts Festival.

The purpose of the organisation:

Supporting and encouraging Romanian musicians – performers, composers, musicologists, conductors, teachers, students – in order to promote Romanian culture, as well as new art, on a national, European, and international scale.

Cooperating with other Romanian and European institutions, associations, and organizations, both governmental and non-governmental, from all artistic and cultural sectors.

Issuing specialized publications and promotional material, organizing meetings, symposia, workshops, master-classes, participating in radio and TV broadcasts, as well as in any activity that would help disseminate new art.

Studying the specific realities of the music sector and offering viable solutions to its problems.

Elaborating and endorsing proposals of cultural politics in the new arts and supporting new legislation in order to improve the musician’s status.

Building a material base and a database necessary for the Association’s optimal performance.

Executing promotional tasks, undertaking artist management functions, networking with similar organizations from Romania and abroad.

Organizing workshops, summer schools, seminars, student exchanges, know-how transfers, concerts, festivals, and musical competitions.

Sâmbăta Sonoră

SAMBATA SONORA is a program aimed at developing local appreciation for music research and performance in the fields of contemporary music, free improvisation, sound experiment, radio art and sound poetry.
SAMBATA SONORA consists of public events organized by Jumatatea plina (“Half Full”) cultural association with the support of diverse institutional partners. Since 2009, more than 40 live performances, listening sessions, conferences and workshops have been presented for venues like the Music Academy, Enescu Museum, the Contemporary Art Museum, the National Dance Center, but also a park and a bar. Their events attract a dedicated public (100+ in average), enjoy media coverage, and often provide the first chance for foreign artists to meet a Romanian public.

Partnering organizations for past events include: l’Institut Francais de Bucarest, Goethe Institute, Czech Centre, Arte, Romanian Broadcasting Corporation.

For more info, please see the official blog (in Romanian).

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.