Liana Alexandra

Romanian composer Liana Alexandra (1947-2011) studied from 1965 to 1971 at the University of Music Ciprian Porumbescu, Bucharest. She received the “George Enescu” scholarship and took composition courses in 1974, 1978, 1980 and 1984 in Darmstadt, West Germany. In 1983 she received a USIA stipend to study in the USA and received a Ph.D. in Musicology. In 1978 Liana Alexandra married the Romanian musician and composer Serban Nichifor.

Liana Alexandra has received the Prize of the Romanian Composers and Musicologists Union on five occasions in 1975, 1979, 1981, 1982, and 1984. In 1979, she received the first prize in Dresden at the “Carl Maria von Weber Competition.” She won the “Gaudeamus” Foundation prize in 1979 and 1980, and in 1980, she also won the prize of the Romanian Academy.

Liana Alexandra took a position as professor at the National University of Music of Bucharest, teaching composition, orchestration and musical analysis. She performed as a member of Duo Intermedia and was co-director of the Nuova Musica Consonante-Living Music Foundation Festival with Serban Nichifor.

Her Affiliations included: Member of the Union of Romanian Composers; Member of the International Society “Frau und Musik”, Germany; Member of GEMA, Germany; First Vice-President of the Cultural Association Romania-Israel (ACPRI); Member in GOOD STANDING of the Research Board of Advisors, American Biographical Institute, USA; Member of the Professional Women’s Advisory Board, USA; Member of the European Conference for Promoters of New Music (see Nuova Musica Consonante); Member of Living Music Foundation Inc., USA; Member of the Research Council of the International Biographical Center, England.

Liana Alexana composed several works (more than one hundred ),7 symphonies, 7 concertos for different instruments and orchestra, 3 operas, 4 cantatas, 1 oratorio, chamber music,choral music,music for children. Her compositions were published at :Editura Muzicala (Bucharest),Edition Modern (München),Edition Furore (Kassel), Score-on-Line (SUA). Its were played in Romania, USA, Germany, Holland, France, Israel, Belgium, Poland, Austria, Sweden, Czech Republic, Australia, Spain, England, and so on. She is also the author of the books: Musical creation – an ineffable measure between the fantasy and the arithmetical and geometrical rigour and Technics of Orchestrations. Liana Alexandra’s compositions have been recorded and issued on CD, including: Contemporary Music IV – Audio CD (Feb. 22, 2005) by Paul Constantinescu, 60×60 (2006-2007) by Vox Novus, and 60×60 (2004-2005), an album nominated for Just Plain Folks Award in 2009.

Şerban Marcu

Serban Marcu was born in Braşov, in 1977, and attended the local Art School. Becomes in 1996 student at the Music Academy “Gh. Dima” in Cluj-Napoca, at Cornel Ţăranu’s Composition Class. He graduated in 2001 and remained a teacher in the above-mentioned institution, teaching Harmony. He presented publically his PhD thesis entitled Aspects of contemporary writing in vocal-instrumental own works in 2006 and is conferred the prestigious title. He participated in several summer courses (in Cesky Krumlov – Czech Republic and Breaza – Romania). His work includes songs (Five art-songs for mezzo-soprano and piano on verses by Lucian Blaga), chamber works (Echoes for solo clarinet), choral works (Cherubic Hymn, Mournings), an oratorio (Youth Without Old Age and Life Without Death), a chamber opera (The Lesson), two ballets (Arachne and orfeuridice) and Acteon, poem for chamber orchestra.

His works have been presented in Cluj and other cities (Brasov, Bistriţa) and in some Romanian major festivals (Cluj Musical Autumn, Contemporary Music Week – Bucharest).

MUSIC on internet: Solo Clarinet Studies

Mihai Măniceanu

Composer and pianist Mihai Maniceanu was born in 1976 in Bucharest. He studied piano (1995–2000), composition (2000–2005) and the master courses (2005-2006) of both specializations within UNMB. Afterwards he graduated the doctorate studies within the same university (2011). He received an Erasmus scholarship at the University of Music and Theatre Felix Mendelssohn Bartholdy Leipzig, (2003-2004). UNMB scholarships at Muzikfest Festival, Hamburg (2001), Junger Künstler Festival–Filmmusik, Bayreuth (2002) and ISA 20. Internationale Sommerakademie, Murzzüschlag (2001). Nominated for Prometheus Opera Prima Prize (2009). Awards: First Prize at Icon Arts competition (2003), Romanian Academy Prize (for Sus) (2011) and UCMR Prize for Symphonic Work (for Sempre risoluto) (2011). His compositions have been played by George Enescu Philharmonic Orchestra, National Radio Orchestra, F.M. Bartholdy University Orchestra, Profil, Propuls,, devotioModerna, Swinepearl and Traiect ensembles, Accoustic and I.C. Danielescu choirs.

MUSIC on internet: Sempre Risoluto (piano concerto), Waltz Invitation, Viii

Diana Rotaru

One of the most visible young Romanian composers, Diana Rotaru studied with  Ştefan Niculescu and Dan Dediu at the  National University of Music in Bucharest – where she has a PhD in Composition (with the dissertation The Recent Trance and the Principle of Repetition in new Music) – and with Frederic Durieux at the Conservatoire National Superieur de Musique et de Danse de Paris (2005-2006). She participated at different summer composition courses such as Acanthes (Metz, 2008), Voix Nouvelles-Royaumont (2002 and 2006), or the International Bartok Seminary (Szombathely, 2003).

She was a resident at the Cité Internationale des Arts in Paris (Autumn 2007), on a George Enescu grant from the Romanian Cultural Institute. In April 2011 she was an artist-in-residence at Villa Sträuli, Winterthur (Switzerland), at the invitation of Ensemble TaG, who performed her music in two concerts during that period (Verborgen in einer Muschel/ Hidden Inside a Shell - Theater am Gleis and Meet the Artist: Diana Rotaru -Villa Sträuli).

She has won numerous prizes, among which the Romanian Academy’s George Enescu Award (2010), the ISCM-IAMIC Young Composer Award (World Music Days, Vilnius, 2008), the Irino Prize (Japan, 2004) or the George Enescu Prize ex-aequo (Romania, 2003 and 2005). Her works are performed in Europe, U.S. and Japan. Her works have been comissioned by Ensemble XXI (Dijon), Stockholm Saxophone Quartet, Pärlor för svin, Ernst von Siemens Foundation, Takefu International Music Festival, etc.

Diana Rotaru is a member of the syncretic group SeduCant, artistic director of SonoMania new music ensemble and artistic director of InnerSound International New Arts Festival in Bucharest (together with Sabina Ulubeanu).

Diana Rotaru is currently teaching at the National University of Music in Bucharest (Composition and Compositional Practice).

Official website here.

SoundCloud account here.

Sabina Ulubeanu

Sabina was born in Bucharest, on the 3rd of August, 1979. She began her musical studies at the age of 5, studied piano at the George Enescu Music Highschool and then Composition at the National Music University of Bucharest, with Tiberiu Olah and Doina Rotaru (Master in 2004). In 2001/2002 she studied composition with Violeta Dinescu at the Oldenburg University in Germany and in 2011 she completed her PhD studies with the thesis „The Function of Memory in the Construction of Musical Time”.

Sabina Ulubeanu is an active presence on Romanian and international stage. Her works, chamber music, multimedia or symphonic, are being performed in Romania and abroad (France, Germany, US, Lithuania, Italy, Belgium , Austria etc). and received national and international prizes. About her music, the composer writes: To write music is for me a necessity, a must. I need to express myself, my feelings, and my emotions. So, my music is first of all  intimate and subjective, my vision of the world.

Sabina Ulubeanu is also a photographer, exhibiting her images in Bucharest, Lisbon, Vienna. In her photography, she approaches strange, intimate spaces, building warm connections with human subjects and reflecting her own feelings on reality. She is interested in bringing together space, time and memory elements that unify the music and the visual arts. Her recent works combine the two, adding to the music strong visual support. The last project, Farben der Zeit, Wien, Steinway Haus, March 2011, was a chamber music concert interlaced with a photo exhibition. In April 2011, Sabina Ulubeanu, together with fellow composer Diana Rotaru, began orchestrating an older dream, the InnerSound New Arts Festival Bucharest, which had its first edition this year, between 28-30 August 2012.

Official website here.

SoundCloud account here.

Diana Gheorghiu

Diana Gheorghiu (1979 –) began her study in composition with Irinel Anghel (prior to her University admission) and continued with Octavian Nemescu, at the National University of Music – Bucharest, where she has a PhD in music, with the dissertation “Genuine versus original in Romanian music, starting with the second half of the 20th century”. During the academic period, she won various prizes on national composition competitions and she also received several international scholarships for new music workshops (Dimitri Terzakis and Aurel Stroe). Beside her master’s degree in music composition, she also got specialized in project management and public relations (she has a master’s degree in PR and Communication at the National School of Political Science and Public Administration – SNSPA, Bucharest). Part of her works are commissioned by prestigious institutes such as British Council, Ernst von Siemens Foundation, UCIMR – the Romanian Musicians Association of Performers’ Creation and are being performed on various concerts and festivals in Europe and Asia. 

Diana Gheorghiu’s recent interest in composition is linked to her PhD research and it focuses on exploring a psychoanalytical approach in music, grafted on a personal esthetic – the never ending memory, in correspondence with the captive shadow technique – which she also discovered. She is a member of UCMR – the Romanian Composers and Musicologists Union and ARFA – the Romanian Association of Women in Art. 

Since 2002, her name is linked to Exces Music (where she is employed as PR Manager), a Romanian arts agency founded by her husband, Sebastian Gheorghiu – an active and enthousiastic supporter of the Romanian culture. Since 2003, she is constantly involved in organizing a wide range of cultural projects, amog which the annual ICon Arts Academy and Festival in Sibiu (Transylvania) – one of the most important international contemporary arts independent events in Eastern Europe. 


MySpace account here.

SounCloud account here.

Gabriel Mălăncioiu

Born in 1979 in Braşov (Romania), Gabriel Mălăncioiu graduated from “Andrei Saguna” National College from its native town in 1997. Between 1997 and 2002 he followed the courses of the Faculty of Automatics and Computers within the “Politehnica” University of Timişoara, and, in parallel, between 2000 and 2005 he also followed the courses of the Faculty of Music of Timişoara. In 2001 he began the study of composition under the direction of Remus Georgescu, and in 2005 he began to attend the MA in composition within “Gheorghe Dima” Music Academy of Cluj, under the direction of Cornel Tãranu, PhD, member of the Romanian Academy. In 2011 he completed his PhD in composition with the thesis “Aspects of the sacred / profane relation in my own music” with summa cum laude distinction under the direction of Prof. Adrian Pop, PhD within “Gheorghe Dima” Music Academy.

In 2005 he participated in the Icon Arts International Summer Courses, studying composition with Erik Peters (Sweden), Marian Borkowski (Poland) and Doina Rotaru (Romania). In 2008 he attended Summer courses in composition with Aurel Stroe at Buşteni. In 2008 and 2009 he attended Master classes in composition at the International Sommerakademie Prag-Wien-Budapest, studying with Nigel Osborne (Great Britain), Klangforum Wien (Austria) and electronic music with Hans Tutschku (USA).  In 2010 he attended composition courses with Gyula Csapó at the International Bartók Festival. In 2011 he was admitted at the Experimental Studio des SWR Academy, Freiburg, Germany, studying with  Mark Andre (France), Chaya Czernowin (Israel), Dániel Péter Biró (Hungary / Canada), André Richard (Switzerland) and Brian Ferneyhough (Great Britain). During George Enescu International Festival, he took part in the composition workshop, under the guidance of  Miklós Maros (Sweden / Hungary), Bernard Cavanna (France), Hubert Stuppner (Italy) and Zygmunt Krauze (Poland). 

His works have been performed in concerts in Romania and also in USA, Austria, Germany, Norway, Italy, Ireland and Hungary. “In statu nascendi” was selected to be played in a Vox Novus Composer’s Voice concert by the clarinet virtuoso Bruce Curlette, and “Tat Tvam Asi” was selected by Neue Vocalsolisten Stuttgart to be played in Nuova Musica a Treviso Festival, together with ensemble L’arsenale. In 2012 he was member of the Artistic Committee of the “1st International Symposium of New Music and Computer Music”, Curitiba (Brazil). He is member of SACEM - Société des Auteurs Compositeurs et Editeurs de Musique, of UCMR - Romanian Union of Composers and of ISCM – International Society for Contemporary Music, the Romanian Section. Gabriel Mălăncioiu is currently teaching Musical Analysis at the West University of  Timişoara, Faculty of Music.

Official website here.

SoundCloud account here.

Gheorghe Costinescu

Gheorghe Costinescu, born in Bucharest in 1934 and residing in New York since 1969, has been active as a composer, conductor, pianist, musicologist, and educator. After earning an MA in composition from the Bucharest Conservatory under Mihail Jora, he continued his studies with Karlheinz Stockhausen in Cologne and Luciano Berio at the Juilliard School in New York. In 1976 he received a PhD with Distinction from Columbia University, where he studied with Chou Wen-chung. His chamber, choral, orchestral, and stage works have been performed in  major cities in Europe and the United States, and at the Royan, Shiraz–Persepolis, and Tanglewood festivals. His stage work The Musical Seminar, a winner in the League-ISCM National Composers Competition, was premiered at Lincoln Center in New York City. The German version of the work was produced by the State Opera of Stuttgart, and the British premiere took place at the Royal Scottish Academy of Music and Drama in Glasgow.

Costinescu has received grants and awards from the American Academy of Arts and Letters, the National Endowment for the Arts, the New York Foundation for the Arts, the American Music Center, Meet the Composer, and the Ford Foundation. He also received a Fulbright Scholarship, the Romanian Academy’s George Enescu prize, and the Alexandre Gretchaninoff Memorial Prize from The Juilliard School.  His theoretical writings include studies and articles on contemporary music, essays on comparative aesthetics, and A Treatise on Musical Phonology.

Gheorghe Costinescu has held teaching positions at The Juilliard School, Columbia University, and the New School for Social Research. In 1982, he joined the faculty and subsequently directed the electronic music program at Lehman College of the City University of New York, where he became Professor Emeritus of Music in 2003.

Violeta Dinescu

Violeta Dinescu (b. July 13, 1953, Bucharest) is a Romanian-born German composer of stage, orchestral, chamber, choral, vocal, and piano works that have been successfully performed and recorded across Europe. Prof. Dinescu graduated from the Gheorghe Lazar Lyceum in Bucharest in 1972, studied composition with Myriam Marbe at the Conservatory Ciprian Porumbescu in Bucharest from 1972-78 (receiving a one-year study of composition in 1977-78) and subsequently had two years of musicology studies in Heidelberg. She taught at the George Enescu Music School from 1978-82, and then moved to Germany, where she taught at the Hochschule für Kirchenmusik in Heidelberg from 1986-91 and the Hochschule für Musik in Frankfurt from 1989-91, and lectured at the Fachakademie Hochschule für Kirchenmusik in Bayreuth from 1990-94. Since 1996, she has been Professor für Komposition at the Carl-von-Ossietzky Universität Oldenburg. She has also given guest lectures in South Africa and the USA. She is the recipient of numerous awards, including four Romanian Composers Union awards (1975-76, 1980, 1983), Second Prize at the GEDOK International Composition Competition (1982) and First Prize at the International Competition for Composers (Utah, 1983). In addition, she has received Third Prize at the G.B. Viotti International Music and Dance Competition (1983) and the Carl-Maria-von-Weber-Preis for her opera Hunger und Durst (1985); she has also received mentions from numerous other competitions and commissions from numerous festivals. She has been a member of the Romanian Composers Union since 1980 and an executive board member of the International League of Women Composers since 1985.


Myriam Marbé

Myriam Marbé, the “Great Lady” of Romanian music (1931-1997), studied composition at the Bucharest University of Music with Mihail Jora and Leon Klepper, while also attending the master classes held by Mihail Andricu (who has a decidive role in shaping the entire generation of composers to which Marbé belongs). She taught composition at the University until 1988, when she was awarded a creative scholarship by the city of Mannheim. During her career, she received numerous prizez, the Romanian Academy Award (1977) and many international distinctions, such as the Bernier Award (Paris) or GEDOK (Mannheim). Her work is a synthesis between extreme rigor and aleatorism. For instance, Ritual for the Thirts of the Earth (1968) wishes to avoid any conventional system of organization, by replacing musical sounds with words. In several of her compositions, Marbé resorts to gestures and especially to the power of words, of ritual valls, in a very convincing manner. Jocus secundus (1969) highlights the synthesis between words and instrumental music. In 1974, Eine kleine Sonnenmusik reflects the return to a music of totality, while Vocabulary I, Song and even Cyclus mark a sudden change of stylistic attitude. The concert works of 1974-1978 are remarkable through their state of genuine musical euphoria. Artificial Birds and the String Quartet belong to a period of purging, but excel in the spectacular colour of the notation, while Recovered Time (1982) or the Concerto for Viola da Gamba, Tenor and Orchestra (1982) mirror Byzanthine influences. On one hand, Marbé’s music is based on the living tradition of Romanian and Byzanthine church music and of peasant folklore; on the other hand, its rich language is achieved throught the ingenious adaptation of modern techniques.

MUSIC: Trommelbass