Composers

Tudor Feraru

Romanian / Canadian composer of instrumental, orchestral, chamber, vocal, choral, film, and electroacoustic works, Tudor Feraru is currently Associate Professor at the Cluj-Napoca Academy of Music. Tudor Feraru studied composition with Cornel Ţăranu and orchestral conducting with Petre Sbârcea at the “Gh. Dima” Academy of Music. He also studied with Omar Daniel at Western University in Canada, where he earned a Master of Music degree in composition. Later on, he pursued Doctoral studies at the University of British Columbia in Vancouver, Canada, under the supervision of Stephen Chatman. He also completed Post-Doctoral research at the National University of Music in Bucharest.

Tudor Feraru has held teaching assistantships within the composition departments at Western and UBC. He has also instructed and conducted the contemporary music ensembles at these universities. Among his honours are scholarships from the “Sigismund Toduţă” Foundation in Cluj, grants to attend composition masterclasses in Europe, International Graduate Scholarships from the two Canadian universities, as well as several Prizes in national composition competitions in Romania.

Numerous of his original compositions have been performed, recorded and broadcast in Europe and North America. As a pianist, Tudor Feraru has performed in Romania and Canada, and has often played his own music. He has also occasionally served as an orchestral conductor.

Works by Tudor Feraru have been published by various editions, such as “Müller und Schade” in Bern – Switzerland, “VDM Verlag” in Saarbrücken – Germany, “Muşatinii” in Suceava – Romania, and “MediaMusica” in Cluj-Napoca. Among his most notable compositions are the “Piano Concerto”, the choreographic poem “The Lyre of Orpheus”, and a chamber opera entitled “The Piano Teacher”, which earned him the Prize of the Romanian Society of Composers and Musicologists in 2015.

MUSIC on the web:

The Piano Teacher (fragment) | BaRoCh | con tenerezza

Diana Simon

Composer Diana Iulia Simon graduated from the Art Highscool in Braşov(piano, 1999) and the National University of Music in Bucharest(composition, 2005), where she studied with Ştefan Niculescu and Dan Dediu. She has a master degree (2007) and a PhD in composition (summa cum laude, 2012) with the dissertation Christic Sacrifice and Catharsis in Passions of the XXth and XXIst centuries. Analytical approach on works by Paul Constantinescu, Krzysztof Penderecki, Arvo Part, Osvaldo Golijov and Diana Iulia Simon (adviser Dan Dediu). She has been granted scholarships at Hochschule für Musik und Theater-Hamburg (prof. Michael Hammel, 2001), Carl von Ossietzky Universität-Oldenburg (prof. Violeta Dinescu, 2003-2004), Karol Lipinsky Music Academy-Wrocław (Agata Zubel-Moc, 2005-2006). Diana Simon has written chamber as well as symphonic music works that have been performed in U.S., Germany, France and Romania. She has collaborated with prestigious Romanian ensembles such as Archaeus, Profil, Icon Arts or Clarino.

Diana Simon is currently teaching at the Dinu Lipatti National Arts College in Bucharest (piano and score reading) and at the Crina Mardare Music Experience school (piano, harmony and music theory).

 

Eugen Wendel

Composer Eugen Wendel was born on December l8, 1934 in Valea Rea, Romania. He studied in Bucharest at the Technical University (electronics, acoustics and electroacoustics) and at the Music Academy – the current National University of Music (composition). He has a doctoral degree in aesthetics and science of arts at the University Panthéon-Sorbonne, Paris. Besides composing, Eugen Wendel was also a sound engineer at the Electrecord recording label in Bucharest. He also contributed and researched as a musicologist in the domains of room acoustics and the acoustics of musical instruments. He has frequenty collaborated with performers while investigating about new instrumental technics.

Eugen Wendel has been living in Germany since 1975 and has a German nationality. He is member of the Society of German Composers and of the Union of Romanian Composers and Musicologists. He was an engeneer and producer at Radio societies, first at Deutschlandfunk and then, since 1977, at West German Radio (WDR) in Cologne.

He has written works for a solo instrument (with or without tape or electroacoustic transformations), collaborating, as mentioned, with various performers; works for various chamber music ensembles, also with voice (soloist or as part of a  choir); works for symphonic orchestra. His pieces are performed in concerts and festivals, as well as recorded by different Radio societies and published on CDs.

MUSIC on internet: Aulodia

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

 

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.

SELECTED WORKS:

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.

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

 

Ana Szilágyi

Ana Szilágyi was born on 29 of March 1971 in Bucharest in a music family. She frequented the Music High School in Brașov (Piano: Mira Popescu) and the „George Enescu“ Music High School in Bucharest (Piano: Cătălina Popovici). Between 1991-1997 she studied composition at National University of Music Bucharest with Dan Dediu and Aurel Stroe (1997 M.A.). Between 1994-1995 she received a scholarship at „Hochschule für Musik“ in Trossingen (Germany) where she studied composition with Jürgen Weimer. At National University of Music Bucharest she studied also organ with Lidia Sumnevici and wrote a PhD thesis (2009) with the theme The rapport time-form in the music of 20th century. Between 1996-1997 she was a pianist accompanist at „George Enescu“ Musik High School in Bucharest and between 1997-2002 an assistant at the „Transilvania“ University in Brașov, at the Music Faculty, teaching Musical Forms and Analyses. She received in 2002 the German Herder Grant (Hamburg) and went to Vienna. Between 2003-2006 she studied electroacustic composition with Dieter Kaufmann and got a Magister Degree at the „Universität für Musik und darstellende Kunst” in Vienna. Between 2003-2007she studied also theory of music with Dieter Torkewitz at the same University and got the second Magister Degree. In 2011 she got the second PhD at the „Universität für Musik und darstellende Kunst” in Vienna with the theme Incommensurability in Aurel Stroe’s Music Referring to his Opera-Trilogy „Orestia”, for which she received the Award of Excellence 2011 from the Ministry of Science and Research in Vienna. Actually she is lecturing at the University of Vienna, at the Institut of Musicology.

Ana Szilágyi received for his compositions many prizes, honours and grants., i.e.: German Herder-Grant, Austrian Prize Theodor Körner for promotion of science and art under the high care of the Austrian president, 3th Prize for radio play piece The School Time at the Technical University of St. Pölten (Austria). In 2012 she got a fellowship from the Ministry of Education, Art and Culture, Vienna. She received also other prizes in Bucharest, Cluj and Brașov. Her works were performed in many towns: Bucharest, Brașov, Bacău, Ploiești, Sinaia; Vienna: Wiener Konzerthaus, „Wien Modern“ Festival, „Electronic Spring“ Festival at Alte Schmiede, Arnold Schönberg Center, Romanian Cultural Institut of Vienna, Society of Music Theater; Cork (Ireland); Merkin Concert Hall of New York (USA); Tokio (Japan). In 2012 Electrecord produced a CD („Flights“, EDC 1074) with seven works of her. She had several Radio and TV broadcastings with her works, also articles and interviews in newspapers and revues: Der Standard (Austria), Actualitatea muzicală, Muzica, Gazeta de Transilvania (Romania), Ditutto (Italy). Her work covers several musical genres, like symphonic, chamber music, vocal, choral, electronic, multimedial.

She also published musicological articles and studies in the periodical Muzica and in the volume Divergenzen – Konvergenzen. Hermeneutische Paraphrasen und Phantasien (Laaber, 2010) and edited 2011 together with Sabina Ulubeanu the book Aurel Stroe and the European Musical Tradition.