Mihaela Vosganian

Composer Mihaela Vosganian was born on May 7, 1961 in Ploiesti. Graduate of the composition department of the Conservatory “Ciprian Porumbescu in Bucharest, graduated in 1985, Myriam Marbe class teacher. Ph.D. in musicology: 2000. Professional Experience: Music teacher at School No. 3 in Giurgiu (1985-1987). Professor of Piano at the School of Music and co-ordinated (1988-1990) and the School of Music “Dinu Lipatti”in Bucharest (1990-1991). Assistant Professor in the Department of Counterpoint and Fugue at the Faculty of Musicology – Composition – Music Education National University of Music Bucharest (1991-1994) and since 1994 Lecturer at the same department.

Professional organizations: Member of the Union of Composers and Musicologists Romania – Symphonic section 1990. Board Member of UCMR-ADA in 2001. Member of the International Alliance for Women in Music in 1995. SIMC Board member – International Society for Contemporary Music – Romanian section (1999). ARFA President – Romanian Association of Women in Art in 2001. Founder Group of Contemporary Music and Dance INTER-ART. Director-founder of ART FORUM season. Director of the 13th edition of the Festival International New Music Week “(2003).

MUSIC: Clarinet Concerto

Adrian Borza

Adrian Borza has been recognized as a versatile musician, dedicated to writing instrumental and electroacoustic music, to music software development, to audio post-production, and to music teaching.

His recent compositions and interests have been focused on the interaction between live performers and computer.

His music has been performed in concerts and broadcasted across Switzerland, Greece, the United States, Italy, Hungary, Germany, Netherlands, Canada, Austria, France, the United Kingdom, Poland, Czech Republic, Slovenia, Belgium, New Zealand, and in festivals of new music in Romania, Sweden, Latvia, Ukraine, Japan, Chile, Spain, Colombia, Mexico, Serbia, Portugal and Australia. He has received commissions from soloists, ensembles and institutions, such as Stockholm Saxophone Quartet, Magnus Andresson, Swedish Concert Institute, Lucian Blaga National Theatre, Transylvania Baroque Ensemble, Cluj Television Studio, Jörgen Pettersson, and Daniel Kientzy.

His music has been published by Lucian Badian Editions Ottawa Canada, recorded on CDs by Hungaroton Classic Hungary, Amori Switzerland, CMP Romania, Nova Musica France, and on DVD by SAR Transilvania Romania. His books and studies were published by Lucian Badian Editions Ottawa Canada, Editura Muzicala Romania, Babeş-Bolyai Studia Universitatis Press, and MediaMuzica.


Irinel Anghel

Irinel Anghel (b. 1969) is a Romanian composer, vocalist, pianist and improviser. Her activities are devoted to the experimental music. She studied composition with Octavian Nemescu at the National University of Music in Bucharest, where she graduated in 1996 and earned her MA in composition in 1997 and PhD in composition in 2003. Among her many honors are First Prize in the competition of Romanian Radio (1998, for Mondes Impossibles I), four prizes from the Romanian Composers Union (1998-99, 2002, 2004) and the Prize of the Romanian Academy of Arts and Sciences (1999). She has also earned a creation – residency in Belgium (2000) and a grant from the Ernst von Siemens Musikstiftung (2002). She received the Uchimura Prize from the International Theatre Institute/UNESCO for stage music (2002, shared with the creative team of The Bloodied Lovers), the prize of the journal Actualitatea Muzicala in Bucharest (2003, for her work with Pro Contemporania Group), the Camajani Fellowship from New York University (2003, to lecture there), and the International New Music Consortium Award in New York (2003, for her work in all areas of new music). Her music has been performed in Albania, Belgium, France, Germany, Israel, Italy, Japan, Canada, The Netherlands, Poland, Romania, Sweden, Switzerland, and the USA and has been broadcast throughout the world.

Irinel Anghel is one of the founders of New Surrealism in music and a “story-teller” of the Romanian contemporary music field, creating “UFO” performances. She founded the ensemble Pro Contemporania in Bucharest in 1990, of which she has since served as artistic director and in which she plays numerous instruments. She has been active as an improviser since 2003, primarily with musicians from different genres. Moreover, she has been a researcher at the G. Oprescu History of Art Institute in Bucharest since 1994 and has served as editor of the review Muzica in Bucharest since 1996. She has also written the book Developments, Ways and Trends in Romanian Music during the Second Half of the 20th Century (1997, Editura Muzicala). In addition, she served as assistant director of the International Week of New Music Festival in Bucharest in 2003, 2010, 2011, 2012 and founded the crossover festival MultiSonicFest in Bucharest in 2004 and has since served as its artistic director.

MUSIC: Choix

Cornel Ţăranu

Cornel Taranu, born june 20th 1934 in Cluj; son of Francisc Taranu and Elisabeta Taranu, married Daniela Margineanu 1960; one daughter Dana-Cristina.
Distinguished Romanian composer of mostly orchestral, chamber and vocal works that have been performed throughout Europe, North and South America; he is also active as a conductor.

Prof. Taranu studied composition with Sigismund Toduta at the Gheorghe Dima Academy of Music in Cluj-Napoca from 1951-57, where he later earned a DMus in musicology in 1974. He also studied analysis with Nadia Boulanger and Olivier Messiaen at the Paris Conservatoire in 1966-67 and attended Darmstadt in 1968-69 and 1972, where he studied analysis with György Ligeti, conducting with Bruno Maderna and percussion with Christoph Caskel.
Among his many honors are the Great Officer of the Order of Cultural Merit (2004) (Romania), five prizes from the Romanian Composers Union (1972, 1978, 1981, 1982, 2001), the Prize of the Academy of the SR of Romania (1973), the International Koussevitzky Award (1982, for a recording of Garlands) and The Natoinal Prize for Music (2007) Doctor H.C. Music University Bucharest. He has been a member of the Romanian Academy since 1993 and was named a Chevalier de l’Ordre des Arts et des Lettres in 2002.

Prof. Taranu is also active in other positions. He founded the small orchestra Ars Nova in Cluj-Napoca in 1968 and has since served as its artistic director and conductor. He has also served as the vice-president of the Romanian Composers Union since 1990 and as director of the Cluj Modern festival since 1995. He has also published much musicological work, as well as the book Enescu in constiinta prezentului (1969, Editura pentru literatura; French translation as Enesco dans la conscience du présent, 1981, Editura stiintifica si enciclopedica).

He has taught at the Gheorghe Dima Academy of Music in Cluj-Napoca since 1957, where he was an assistant professor from 1970-90 and where he has been Professor of Composition since 1990. He has also given lectures in Germany, Israel, Switzerland, and the USA.

MUSIC: The Testament of the Nun Teofana

Carmen Maria Cârneci

Carmen Maria Cârneci was born in Romania. She first studied composition in Bucharest as a student of Dan Constantinescu, and later specialized in Freiburg, Germany, on a three years DAAD scholarship as a student of Klaus Huber.
She attended conducting classes with Constantin Bugeanu and Iosif Conta in Bucharest, with Kurt Masur in Weimar, Pierre Boulez in Avignon and Peter Eötvös in Szombathely. Cârneci won scholarships in Italy, France and England and conducting prizes in Austria and Germany.

As a composer she received important awards in Mannheim, Rome, Köln, Bucharest, Hong Kong, as well as commissions from The City Opera in Bonn and the Ensemble für neue musik Zürich, to name just a few. She was invited both as a conductor and a composer to several festivals of new music such as those at Donaueschingen, Dresden, Heidelberg, Zürich and Saarbrücken, and was artistic director of the International New Music Week in Bucharest in 2005 and 2006. She appeared as a guest conductor in Stuttgart (State Opera, Chamber Theatre), Milan (Piccola Scala) and Paris (Opéra Bastille) a.o. She is presently artistic director and conductor of the devotioModerna ensemble, also manager for the concert department of the National Museum George Enescu in Bucharest.

Among her works, published by Ricordi-München, Furore Edition-Kassel and Editura Muzicala-Bucharest, are The Garden, Das Hohelied,Trojtza, Semanterion-Toaca, O, viridissima, REm – Cello concerto, TraumLieder, OMENS.Herbs,steps, -embER, the two chamber cycles Giacometti-Szenen and OMENS, not to forget the opera Giacometti, premiered by the Neues Theater für Musik in Bonn under the baton of the composer.

SoundCloud account, here.

MUSIC on internet: O, viridissima

Livia Teodorescu-Ciocănea

Livia Teodorescu-Ciocanea is a Romanian composer and pianist, Ph.D. Associate Professor for composition, forms & analysis at the Bucharest National University of Music. She is also a concert pianist and she worked for the Bucharest National Opera as accompanist between 1985-2001. She studied composition with Myriam Marbe, Anatol Vieru (Romania) and Margaret Lucy Wilkins (UK, doctoral studies). She has presented conferences in UK (1996, 1999), Norway (2005) USA (2003, 2005, 2006) and Australia (2008). She has been a visiting lecturer at the University of Illinois-Champagne, USA, 2006, Oslo Academy of Music (2005) and Monash University Australia (2008).
Her music has been performed in Romania, Spain, Italy, Great Britain, Ukraine, Moldavia Republic, Denmark, Switzerland, Germany, Tasmania, Australia and USA. She has published articles in Contemporary Music Review Volume 22 Issue 1&2 pag. 87-104, Timbre versus Spectralism 2003 (UK) and Muzica (Romania) as well as 2 books: Musical Timbre-Composition Strategies (2004) and Forms and analysis Treatise (2005). She has written a large number of works for various ensembles, vocal and symphonic. Her major work, Le Rouge et le Noir ballet in 3 acts after Stendhal, was commissioned by the Bucharest National Opera, premiered in 2000 and included in the current repertoire (performances in 2000-2003 and 2007-2008). A second version of choreography has been premiered in 2006 at the National Operetta Theatre in Bucharest. The music of the ballet Le Rouge et le Noir was awarded the Union of Composers and Musicologists Prize for 2001. A CD with a special recording of this ballet was published by Electrecord Bucharest in 2006. Her Rite for enchanting the Air Flute concerto has been performed by the famous flutist Pierre-Yves Artaud.
Livia Teodorescu studied piano with Ana Pitis and Ioana Minei and attended piano master classes “Bartok Seminar” in Hungary offered by Zoltan Kocksis and Imre Rohmann. As a concert pianist, she has played for the first time in Romania two major works by Messiaen: 7 Visions de l’Amen for 2 pianos and the piano solo part of the Turangalila Symphony, with the G. Enescu Philharmonic orchestra conducted by Alain Paris. As a composer, she has been awarded several prizes, such as the Union of Composers and Musicologists Awards for 2001, 2003, 2006, 2009 as well as the Romanian Academy Award “G. Enesco” in 2006 and the National Cultural Merit Order (2008). Her music has been published by “Editura muzicala” Bucharest and features on CDs published in Romania (Electrecord, Casa Radio, Star Media Music) and Australia – Bridges – (Move Records). She won an Endeavour Award Scholarship – Postdoctoral Research Fellowship for 2008 (offered by the Australian Government) at Monash University, Melbourne, Australia.

MUSIC: Endaeavour Bells

Nicolae Brânduş

Composer and pianist Nicolae Brandus was born on 1935 in Bucharest. He studied at the National University of Music in Bucharest – piano (1952-1957) and composition (1960-1964). He attended the Summer Courses of New Music, Darmstadt (1969, 1970, 1972, 1974, 1978, 1980) and Aix-en-Provence (1979). Doctor in Musicology (1981) at the Academy of Music in Cluj-Napoca with the dissertation “Bases of a formalized analysis of the musical language”. He worked with the Group of Musical Research at IRCAM-Paris (1985). He was piano soloist of the Philharmonic Orchestra in Ploiesti (1969-1969). He was a lecturer (Chamber Music) at the National University of Music in Bucharest (1969-1981). Editor at the Muzica Review, Bucharest (since 1981). Professor of Chamber Music at the National University of Music in Bucharest (1992-2005). Scientific doctoral coordinator in National Music University in Bucharest (since 1998). Consultant Professor (since 2005).

Member of the Romanian Composers’ and Musicologists’ Union in Bucharest. Member of the Société des Auteurs, Compositeurs et Editeurs de Musique (SACEM) Paris. Member of the Executive Committee of the International Society for Contemporary Music (ISCM) between 1991-1993. President of the Romanian Section of the ISCM (1994-2002). His musical works were performed in the most important cities of Romania and abroad (Poland, Hungary, Yugoslavia, Sweden, Germany, USA, France, Belgium, Holland, Great Britain, Greece, Bulgaria, Austria, Denmark, Italy, Japan, China, Hong Kong, Taiwan, Albania, Slovenia, Macedonia, Israel a.s.o. He has contributed articles, studies, essays in music in various cultural journals; he sustained, as visiting composer, lectures about New Music in the USA, Germany, Israel, Greece, Hong-Kong, Taiwan a.s.o.

Prizes: The Cultural Merit, Bucharest: 1969. Honourable Mention in the “Prince Pierre de Monaco International Competition”: 1973. The Prize of the Romanian Composers’ and Musicologists’ Union: 1974, 2002, 2005. The Prize of the Romanian Radio and Television for Opera and Vocal-Symphonic Music: 1975, 1977. The Prize “George Enescu” of the Romanian Academy: 1977. The Diploma of the National Theatre Festival for the spectacle “Bizarmonia”: 1999, Bucharest. Officer of the Cultural Merit: 2004, Bucharest.

MUSIC: Tubulatures

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