News

InnerSound 2014 – Vortex

InnerSound International New Arts Festival

3rd edition – VORTEX

Bucharest, 17-20 September 2014

Places: ArCuB , InSpayer, The National University of Music in BucharestModulab, CNDB

VORTEX promo English from InnerSound New Arts Festival on Vimeo.

 

OUTLINE: 

 

VISUAL VORTEX

SILENT FILM NIGHT

Short mute films with live music (call for projects) | ArCuB 19.09

Performers: SonoMania Ensemble & Gabriel Bebeşelea, conductor

PERFORMANCE

Urban Sounds / Haina care aude - Daniel Stancu | 17.09-20.09

Futuropolis - Irinel Anghel & Paul Dunca | InSpayer 18.09

PHOTOGRAPHY 

Exhibition (call for projects) | InSpayer 17.09-17.10

NEW TECHNOLOGIES 

LIVE ELECTRONICS CONCERTS 

Ensemble opus.art - electronics & percussion - Cătălin Creţu & Alexandru Dan feat. Thomas Myrmel (Holland) | ArCuB 17.09

Malgorzata Walentynowicz – piano & synthesizer & electronics (Poland) | UNMB 18.09

Henry Vega & Bart de Vrees - computer & percussion - (Holland) | InSpayer 20.09 

MULTIMEDIA

LeVant feat. Darie Nemeş-Bota | 20.09

ELECTRONIC MUSIC

Sillyconductor | InSpayer 17.09

Somnoroase Păsărele | InSpayer 19.09

 

ENCOUNTERS IN TIME AND SPACE 

CHAMBER MUSIC CONCERTS

RTÉ ConTempo String Quartet (Ireland) | ArCuB 17.09

Reality Check / Barbara Lüneburg, violin & Martin Mallaun, zither (Austria) | UNMB 18.09

Sigma Project saxophone quartet (Spain) | UNMB 18.09

Irina Ungureanu, soprano & Riccarda Caflisch, flute (Switzerland)| ArCuB 19.09

Mercury Quartet (UK)| ArCuB 20.09

 

WORKSHOPS AND LECTURES 

Composition Workshop – RTÉ ConTempo Quartet (Ireland) | UNMB 17.09 

Composer Lectures - Henry Vega (Holland), Vlad Maistorovici, Simone Movio (Italy) | UNMB 17.09 - 19.09 

Modulab – DIY Electronic Music Instruments - Sound Experiment Workshop | Modulab 18.09 

Zither Presentation - Martin Mallaun (Austria) | UNMB 19.09

inter@FAŢA - Interdisciplinary Interactive Real Time Sound Generator (dramAcum) | CNDB 20.09

 

Organizers: 

Main Organizer: OPUS Association

Artistic Directors: Sabina Ulubeanu, Diana Rotaru

Executive Director: Cătălin Creţu

Main Partners: Raiffeisen Bank, AFCN,  ArCuB, InSpayer, The Cultural Romanian Institute, The National University of Music in Bucharest (UNMB) & The Electroacoustic and Multimedia Music Center, RTÉ (Raidió Teilifís Éireann, Ireland’s National Public Service Broadcaster), The Austrian Cultural Forum, The Bucharest Polish Institute, Culture.pl, City of Gdańsk, ETXEPARE – Basque Institute, INAEM – National Spanish Institute of Arts and Music, The Netherlands Embassy in Bucharest, CIMRO, Modulab, dramAcum, CNDB, Brigada de Voluntari, We are basca, Bilete.ro, Poşta Română, Sofa Mix Studio, All Deco International, The National “George Enescu” Museum, ARTEk, Heineken Romania

Media Partners: Digi 24, RFI Romania (main partners), Ziare.com, Kudika, Think Outside the Box, 9AM News, Igloo, Garbo, LiterNet.ro, HotNews, Ziarul Metropolis

Communication Partner: OMA Vision

Technical Supervisor: Thomas Myrmel

Graphic Design: Maia Manolescu

Video: Mihai Cucu

Team: Andreea Chiricescu, Dan Bujor, Dan Alexandru, Lucian Indre, Andrei Mita, Ionela Chirila

READ FULL PROGRAM HERE

CIMRO DAY #4 – Frescomania

CIMRO DAYS 2014

Bucharest | A1 (No. 1, Piata Amzei)

 

#4 | Tuesday, November 4, 7 p.m. – 9 p.m.

“Variations on a Given Theme”

FRESCOMANIA

Contemporary variations on a theme by Girolamo  Frescobaldi (17th century)

Doina Rotaru- Arrangements of the aria Se L’aura spira from Primo libro d’arie musicali per cantarsi (1630) by Girolamo Frescobaldi

Gabriel Mălăncioiu – Frescobaldi’s Winter Dream for soprano, flute, viola, cello and tambourine

Mihai Măniceanu –  Bicephalous for flute and oboe

Sebastian Androne  - Fresco meets Baldi for viola and cello

Adina Sibianu –  InsPIral for viola, cello and piano

Sabina Ulubeanu – Clustercantabile for soprano, flute, oboe, violin, viola and cello

Diana Rotaru – 2 little whos for soprano, flute, viola, cello and percussions

Alexandru Sima – Vendeleria for flute, oboe, viola and cello

Cătălin Creţu – Bird’s-Eye View of Frescobaldi’s ‘Se L’Aura Spira’ for soprano, flute, oboe, viola, cello and piano

 

Conductor: Vlad Răzvan Baciu

Artistic Director: Diana Rotaru

Performers: Veronica Anuşca (soprano), Ştefan Diaconu (flute), Valentin Ghita (oboe), Tamara Dica (viola), Eugen-Bogdan Popa (cello), Olga Podobinschi (piano, percussions)

Special Guest: Raluca Stratulat (violin) 

CIMRO DAY #3 – Expositions and Presentations

UPDATE:

Live Recordings

 

CIMRO DAYS 2014

Bucharest | A1 (No. 1, Piata Amzei)

 

#3 | Wednesday, October 8, 7 p.m. – 9 p.m.

“Expositions and Presentations”

Concert and dialogue with composers and musicologists 

 

Program:

 

Cristian Bence-Muk – Radio.zip for flute, oboe, cello and piano

Tiberiu Olah – Sonata for solo clarinet

Dan Dediu – À la récherche de ‘La Marseillaise’ de Stravinsky op. 134 for solo violin

Gheorghe Firca – Polarités for solo flute

Doina Rotaru – Clocks for clarinet, piano and percussion

***

Carmen Cârneci – Summer Song nr.2 for flute, piano and percussion

Livia Teodorescu – Nibbly for solo oboe

Laura Manolache – Japanese Impressions for solo percussion

Liviu Marinescu – Harmonic Fields for flute, clarinet, oboe and piano

 

Performers: SonoMania Ensemble

Conductor: Lucian Beschiu

Ştefan Diaconu (flute), Valentin Ghita (oboe), Mihai Pintenaru (clarinet), Olga Podobinschi (piano), Sorin Rotaru (percussion) 

Special guests: Diana Moş (violin), Eugen-Bogdan Popa (cello)

Photos by Sabina Ulubeanu:

CIMRO DAY #2 – Mechanics and Mechanisms in Music

UPDATE:

You can listen to the lectures here (Romanian speakers only):

Embed Music – Audio File Hosting – Stefan Firca – Between Pisto…Music File Hosting – Embed Audio – Irina Nitu – Niculescu and t…

Free Music – Embed Audio Files – Bianca Temes – Ligeti and th…Music File Hosting – Download Audio – Vlad Vaidean – Gradual Proce…

 

CIMRO DAYS 2014

Bucharest | A1 (No. 1, Piata Amzei)

 

#2 | Sunday, July 6, 7 p.m. – 9 p.m.

“Variations on a Given Theme”

MECHANICS AND MECHANISMS IN MUSIC

Musicology Symposium

 

Ştefan Firca: “Between Pistons and Wheels: Imaginings of the Mechanistic Metaphor in Music” / “Între pistoane şi roţi: câteva imaginări ale metaforei mecaniciste în muzică”

Irina Niţu: ” Ştefan Niculescu and the ‘Celestial Mechanics’” / ”Ştefan Niculescu şi ‘mecanicile cereşti’”

Bianca Ţiplea-Temeş: “Disrupting the Gears: Ligeti’s Demoniac Clocks” / “Dereglând angrenaje: Ligeti şi ceasurile demoniace”

Vlad Văidean: “Gradual Process and Recombinant Teleology in the Early Minimalism of Steve Reich” / “Proces gradual și teleologie recombinantă în minimalismul timpuriu al lui Steve Reich”

 

[View more photos HERE, on our Facebook page.]

The second event in CIMRO DAYS is a different kind of symposium: four young musicologists will give four different and exciting views on the same subject, “Mechanics and Mechanisms in Music”. You’ll find out what subtle connections are there between wheels, pistons, clocks, as well as between musical predictability versus musical unforseeableness, by listening to Ştefan Firca, Irina Niţu, Vlad Văidean (Bucharest) and Bianca Ţiplea-Temeş (Cluj). The symposium is powered by Modernism.ro and is part of the “Variations on a Given Theme” series, one of the very few commission projects for young musicians in Romania – sustained by the Administration of the National Cultural Fund / Administraţia Fondului Cultural Naţional.

Free entrance.

 

CIMRO DAY #1 – Expositions and Presentations

UPDATE:

You can listen to the concert here:

Music Hosting – Upload Audio – Violeta Dinescu – Satya II…

Free Music – Share Audio – L. Danceanu – Cette lancinan…

Music Hosting – Free Audio – Nicolae Brindus – Melopedi…

Download Music – Upload Audio – Adrian Pop – Gordun for ce…

Share Music – Upload Audio Files – George Balint – Da Viola for…

Play Music – Download Audio – Cornel Taranu – Sonata for c…

Music File Hosting – Download Audio – Catalin Stefanescu – Tarante…

Upload Music Files – Embed Audio – Mihaela Vosganian – Il gioco…

 

 

CIMRO DAYS 2014

Bucharest | A1 (No. 1, Piata Amzei)

 

#1 | Sunday, June 8, 7 p.m. – 9 p.m.

“Expositions and Presentations”

Concert and dialogue with composers and musicologists 

Program:

 

Violeta Dinescu – Satya II for bassoon

Liviu Dănceanu – Cette lancinante douleur de la liberté for viola

Nicolae Brînduş – Melopedie şi Fugă for bassoon

George Balint – Da Viola for viola

Adrian Pop – Gordun for cello

***

Cornelia Zambilă – Doberos Dabeis III – False Treatise on Pshychotherapy for bassoon, tape and live electronics

Cornel Ţăranu – Sonata for solo cello

Cătălin Ştefănescu – Tarantella for guitar

Mihaela Vosganian – Il gioco degli innocenti for processed voice, electric guitar, keyboard, viola, cello and tape

 

Performers: SonoMania Ensemble

Maria Chifu (bassoon, keyboard), Tamara Dica (viola), Eugen Bogdan Popa (cello), Radu Vâlcu (guitar and electric guitar)

Guest performer: Mihaela Vosganian (processed voice)

 

SIMN 2014

The International New Music Week, the oldest and most respected contemporary music festival in Romania, organized by the Union of Romanian Composers and Musicologists, starts this Saturday, on May 24th and ends on May 30. Here is what the Artistic Director, composer Dan Buciu, has to say about this 2014 edition and check our the complete program below.

New music, contemporary music, musical avant-garde… we may continue in a similar way but this terminology fails to be perceived in a strict and unitary way by the musicians and music lovers of the second decade of the 21st Century! The Festival that we propose to the public and the specialists in May 2014 is dedicated to new music – that music that has been written starting with 1950: this music has been impelled by the technological and scientific progress (let us remember the concrete music, the electronic and electro-acoustic music, the computer assisted music or the music built on mathematical basis) but also by the development of some ideas that had germinated in the second half of the XXth Century: the integral serialism, the “global effect” music, the aleatorism, the minimalism. This is the vast and generous objective of the 24th edition of the SIMN Festival. 

It would be an illusion to try and provide a complete retrospective of six decades of music in only one week. The musical life is dynamic and ever changing and its values (even the “oldest” ones) have not been decanted yet. The Festival organizers wanted to focus on the contemporary music phenomenon (the last 20 years) without neglecting the values (even if only partially confirmed) of the previous decades (the 6th, the 7th, the 8th and the 9thof the XXth century. The present issue of the Festival is structured on cycles of events: “Prestigious Chamber Ensembles”, “Great Romanian Performers of New Music”, “Young Musicians and New Music”, “Prestigious Guests”, “Great National and International Ensembles” and “Experimental Concerts”. There will also be a Symposium with the theme “Current Challenges and Trends in Romanian and Universal Music after 1990” and a New Music Performing Masterclass that will be organized by Andreea Butnaru at the National University of Music in Bucharest and at “George Enescu” National College of Music. Its results will be embodied in a concert at the end of the masterclass. 

SIMN 2014’s main purpose is undoubtedly that of gaining the public’s attention and having more and more people attending the concerts of a musical “zone” that is (unfortunately) thought to be reserved to specialists only. There will be high quality performances; consecrated artists will be promoted – but also those who aspire to success in a justified manner; this way, SIMN 2014 aims to attract true music lovers – those who overpass the prejudices and who will surely discover new sonorous realms, strange and fascinating musical events. They will joyfully rediscover “Music” – regardless of the classical or modern barriers. 

SIMN 2014’s team invites the public to attend the concerts in Bucharest and in other cities starting with May 24th until May 30th 2014. We wish you a wonderful musical experience! 

Artistic Director,

Dan Buciu

 

THE INTERNATIONAL NEW MUSIC WEEK | SĂPTĂMÂNA INTERNAŢIONALĂ A MUZICII NOI (SIMN 2014) 

Program in Bucharest

Saturday, 24.05 

 

11.30 a.m. | Romanian Atheneum Hall

 “Young Musicians and New Music” 

The “Universitaria” Orchestra of the National University of Music in Bucharest

Conductor: Jin Wang

Soloist: Octavian Moldovean – flute

Orchestral coordinator: Alexandru Ganea 

 

Program: 

Sebastian Androne – Erebos

Doina Rotaru – Concerto no. 1 for flute, 13 string instruments and percussion

Jin Wang – Concerto for the Young Orchestra

  • Theme and Variation
  • Song Without Words
  • Techno and Fugue

Dumitru Capoianu – Cinematographic Variations

 

*

 

5 p.m. | The Cantacuzino Palace Hall

“Distinguished Guests” 

Lilianna Załesinska – mezzosoprano

Mihai Murariu – piano

 

Program: 

Paweł Szymański – Drei Lieder nach Trakl

Pascal Bentoiu – Two of the Five Songs on lyrics by Nina Cassian, op. 11

  • Poetul și marea (The Poet and the Sea)
  • Obârșii (Ancestries)

Andrzej Panufnik – Two vocalises from Hommage a Chopin

George Balint – De Hebdomadibus

Alicja Gronau – Zwei selbstverfasste Lieder (Das Badauern, Das Schmerz)

 

This concert is supported by the Polish Institute in Bucharest.

 

*

 

8 p.m. | The “George Enescu” Hall of the National University of Music in Bucharest

“Distinguished Guests” 

AdHOC Ensemble

Conductor: Matei Pop

Artistic Director: Adrian Pop

Boroka Pöllnitz – flute, Adrian Cioban – oboe, Răzvan Poptean – clarinet, Victor Tobac – bass clarinet, Rafael Butaru – violin, Diana Man – violin, Ovidiu Costea – viola, Vlad Rațiu – cello, Raul Lenart – double bass, Eva Butean – piano, Ioan Dărăban – percussion

With the participation of the “Opera” String Quartet: Rafael Butaru – 1st violin, Diana Man – 2nd violin, Ovidiu Costea – viola, Vlad Rațiu – cello

 

Program: 

György Selmeczi - Septuor

  • Liaisons dangereuses
  • Les Adieux
  • Rondeau bulesque

Valentin Timaru – Sonata for solo oboe

Daniel Matej – NICE

Vasile Herman – Grafica musicale per pianoforte

György Kurtág – Six moments musicaux op. 44 (Opera Quartet)

  • Invocation (fragment)
  • Footfalls
  • Capriccio
  • in memoriam György Sebök
  • Rappel des oiseaux (Étude pour les Harmoniques) à Tabea Zimmermann
  • Les Adieux (in Janaceks Manier)

Adrian Pop – Poliphonies  (First „Orient Express” Official Arrival at Victoria Station, London)

Corneliu Dan Georgescu – Sub signum harmoniae

 

***

 

Sunday, 25.05

 

11.00 p.m. | The National “George Enescu”Music College

“Young musicians and new music” 

New Music Masterclass – MusicaViva Ensemble

Andreea Butnaru – piano; Florin Mitrea – cello

Guest: Emil Vişenescu – clarinet

 

Program: 

Felicia Donceanu – Maple Leaf for violin and piano

Robert Muczynski – Duo for flutes

George Balint – Ra-ta-ta for trumpet and piano

Sorin Lerescu – Solitude for violin and piano

Howard Cowell – Trio for piano, violin și cello

Gofredo Petrassi – Dialogo angelico for two flutes

Arno Babageanian – Trio for piano, violin and cello

Nino Rota– Trio for piano, clarinet and cello

Liviu Dănceanu – Armeni op. 101 from the Exercises in Admiration cycle

 

The works will be performed bu pupils of the “George Enescu” College and students of the National University of Music in Bucharest, alongside Andreea Butnaru and Florin Mitrea.

 

*

 

5 p.m. | The “George Enescu” Hall of the National University of Music in Bucharest

“Great Romanian New Music Performers”

 

Ionuț Ștefănescu – flute

 

Toru Takemitsu – Itinerant

Luciano Berio – Sequenza

Giacinto Scelsi – Quays

Philip Glass – Arabesque in memoriam

 

Alexandru Matei – percussion

 

Szegho Peter – Concert Piece

Ștefan Niculescu – Solo for vibraphone and marimba

Dan Voiculescu – Flowers for two semantrons

Iannis Xenakis – Rebonds

 

Emil Vișenescu – clarinet

 

Sorin Lerescu – Divertisment

Eugen Wendel – Claribior

J. Vilblerger – Diario

 

Mihai Murariu – Vyshtma for flute, clarinet and percussion

 

*

 

7 p.m. | The “George Enescu” Hall of the National University of Music in Bucharest

“Prestigious Chamber Music Ensembles” 

PROFIL Ensemble

Conductor: Tiberiu Soare

Artistic Director: Dan Dediu

Ștefan Diaconu – flute, Cosmin Sperneac – oboe, Emil Vișenescu – clarinet, Laurențiu Darie – fagot, Mihai Toth – trompetă, Sorin Lupașcu – horn, Florin Pane – trombone, Sorin Rotaru – percussion, Adriana Maier – piano, Diana Moș and Oana Vișenescu – violin, Marian Movileanu – viola, Eugen Bogdan Popa – cello, Dinu Petrache – double bass

 

Program: 

Carmen Cârneci – OMENS. Thesaurós for flute, clarinet, violin, cello, piano and percussion

Marc Mellits – Platter of Discontent for flute, clarinet, violin, cello, marimbă and piano

Mihaela Vosganian – Symmetries for ensemble and processed sounds

Thomas Beimel – Bagatellen for flute, clarinet, bassoon, trumpet, trombone, percussion, 2 violins, viola and cello (I. zeichen, II. sprechen, III. von zeit zu zeit)

Ștefan Niculescu – Undecimum for ensemble

 

***

 

Monday, 26.05

 

5 p.m. | The “George Enescu” Hall of the National University of Music in Bucharest

“Great New Music Performers” 

Mihai Măniceanu – piano

Andrei Tănăsescu – piano

 

Program: 

Radu Paladi – Rondo a Capriccio (M. Măniceanu)

Octavian Nemescu – Centrifuga (A. Tănăsescu)

Mihai Măniceanu – Preludio alfabetico e Toccata numerico  (M. Măniceanu)

György Ligeti – Monument for Two Pianoos (A. Tănăsescu, M. Măniceanu)

Aurel Stroe – 3rd Sonata “en palimpseste” (M. Măniceanu)

Nicolae Brânduș – Sonata for two pianos (M. Măniceanu, A. Tănăsescu)

Andrei Tănăsescu – Evantai (Fan ) (A. Tănăsescu, M. Măniceanu)

 

*

 

7 p.m. | The Opera and Multimedia Studio of the National University of Music in Bucharest

“Prestigious Chamber Music Ensembles” 

The ARCHAEUS Contemporary Music Workshop

Conductor: Liviu Dănceanu

Stage Director:  Daniel Prallea-Blaga

Anca Vartolomei – cello, Rodica Dănceanu – keyboards, Dorin Gliga – oboe, Ion Nedelciu – clarinet, Serban Novac – bassoon, Sorin Rotaru – percussion, Marius Lacraru – violin

Soloists: Simona Jidveanu – soprano – (“Her”) and Christian Alexandru Petrescu – tenor – (“Him”)

 

Program: 

Liviu Dănceanu – Unu Plus Minus Unu (One Plus Minus One) – chamber opera in seven scenes for soprano, tenor and ensemble

  • Sinrondophonia, op.148 – (Ouverture)
  • Suiciacconata, op.149 – (Morning)
  • Tocchabanerata, op.150 – (The Ice Woman)
  • Cantasonata, op.151 – (Afternoon)
  • Peşfugarev, op.152 – (The Other Shore)
  • Varicercazioni, op.153 – (Evening)
  • Finocturnal, op.154 – (Night)

 

*

 

9:30 p.m. | The Opera and Multimedia Studio of the National University of Music in Bucharest

“Experimental Concerts” 

ODD CONNECTIONS

opus.art Ensemble (Dan Alexandru – percussion, live electronics; Cătălin Crețu – live electronics)

Guest performer: Mihai Sergiu Rebac – clarinet

 

Program: 

Adrian Borza – Fractus – electronic composition

Maia Ciobanu – Das ist nicht ein Streichquartett! – multimedia work

DE CAELO remix – an electroacoutic phantasy on a work by Dan Dediu

Cătălin Crețu – Odd interactions – for percussion and live electronics

 

Producer: The Electroacoustic and Multimedia Music Center of the National University of Music in Bucharest

 

 

***

 

Tuesday, 27.05

 

5 p.m. | The Cantacuzino Palace Hall

“Prestigious Chamber Music Ensembles” 

Delian Quartet

Adrian Pînzaru – violin, Andreas Moscho – violin, Aida-Carmen Soanea – viola, Romain Garioud – cello

 

Program: 

Gabriel Iranyi – String Quartet no. 5  – Ferne-Nähe, Verzweigungen, Splitter (W.P.)

Wilhelm Berger – String Quartet op.24 no.6

Hans Peter Türk – Meditations on KV 241

Helmut Zapf – Streichquartett No.1

 

*

 

7:30 p.m. | The “George Enescu” Hall of the National University of Music in Bucharest

“Young Musicians and New Music” 

The “Concerto” Symphonic Orchestra of the National University of Music in Bucharest

Conductor: Bogdan Vodă

 

Program: 

Liviu Glodeanu – Etudes for orchestra

Christian W. Berger – Fragments from a Mosaic op. 16 (R.P.)

Myriam Marbé – Serenata – Eine kleine Sonnenmusik

Bogdan Vodă – Ses voies incompréhensibles (W.P.)

Tiberiu Olah – The Mihai Viteazul Symphonic Suite

 

***

 

Wednesday, 28.05

 

5 p.m.| The “George Enescu” Hall of the National University of Music in Bucharest

“Prestigious Guests”

 

Part I

 

Gary Barnett – piano

 

Program: 

Liviu Marinescu – Shadows

Violeta Dinescu – Schlachtfeld von Marathon

Martin Jaroszewicz – Laberinto

Mario Davidovsky – Synchronisms No. 6

 

Part II

 

Claudia Codreanu – mezzosoprano

Diana Vodă-Nuțeanu – piano

 

Program: 

Liana Alexandra – Diptych – two poems on lyrics by Eugene van Itterbeek

  • Poem for Romania
  • Poem for the Neamț Madonna

Csiki Boldizsar – Mint sir az feher hattyu (The Cry of the White Swan) on traditional lyrics

Nicolae Teodoreanu – Two Songs on lyrics by Lucian Blaga

  • Lacrima și raza (The Tear and the Ray)
  • Vei plânge mult, ori vei zâmbi?(Will you cry a lot or will you smile?)

Remus Georgescu – Two Songs

  • Autumn Twilight on lyrics by Lucian Blaga
  • Argonautica on lyrics by Radu Stanca

Gheorghe Costinescu – Hand in hand two children went on lyrics by Tudor Arghezi (translation by Gheorghe Costinescu and E. Hulick)

 

*

 

7 p.m. | The “Mihail Jora” Hall of the Romanian Radio Broadcasting House

“Internationally renowned musical ensembles” 

Radio Chamber Orchestra

Conductor: Gheorghe Costin

Soloists: Ladislau Csendes – violin and Ravvivando String Quartet (Olga Berar – 1st violin; Ciprian Oraveţ – 2nd violin; Adrian Vasile – viola; Mircea Marian – cello)

 

Program: 

Remus Georgescu – Concerto for string orchestra

Ulpiu Vlad – Field Flowers for quartet and chamber orchestra (R.P.) 

~~~ 

Cornel Țăranu – Yang & Yin

Dan Dediu – Nuferi (Water Lilies) for violin and chamber orchestra (R.P.)

 

During the break:

Foyer 

Your Highness – performative installation with electronic medium by Irinel Anghel

Performers: Irinel Anghel – voice, performance;  Ana Costea, Raluca Roşu, Bogdan Drăganescu – dancing performances

Costume: Raluca Ghideanu & Irinel Anghel

 

***

 

Thursday 29.05

 

4:30 p.m. | The Cantacuzino Palace Hall

“Great Romanian New Music Performers” 

Bianca Manoleanu – soprano

Remus Manoleanu – piano

Guests: Emil Vișenescu – clarinet; Gödri Orban – bassoon

 

Program: 

Nicolae Coman – extraits from Seven Songs on lyrics by Miquel Marti i Pol

  • Us proposo de compartir
  • Un sonet per a tu

Viorel Munteanu – Selfportrait, from the Returning to Blaga cycle

Horia Șurianu – Two Songs on lyrics by Mihai Eminescu

  • Prin nopţi tăcute (Through Silent Nights)
  • Peste vârfuri (Over the Tops)

Costin Miereanu – extraits from Six Melodies on lyrics by Victoria Dragu

  • Nr. 5 – Potecile astea de lut (Those Clay Paths)
  • Nr.6 – Inima mea (My Heart)

Darie Nemeş Bota – Lu-Mi-Dum cycle on lyrics by Răzvan Ropotan

Theodor Grigoriu – extraits from 11 Haikus. Beyond the Silence – the Spirit of the Fields (no. 7 and 11)

Valentin Gheorghiu – Two Songs on lyrics by Tudor Arghezi

  • Midnight
  • Transfiguration

Luciano Berio – extraits from Quattro Canzoni popolari

  • Avendo gran Dio
  • Ballo

~~~

Ned Rorem – Ariel – Five poems

  • I.Words
  • II.Poppies in July
  • III.The Hanging Man
  • IV.Poppies in October
  • V. Lady Lazarus

Anton Dogaru – Two Lieds ob lyrics by Ana Blandiana

  • Mi-e somn (I’m sleepy)
  • Fără mişcare (No movement)

Willard Somers Elliot – Tears, Idle, Tears

 

*

 

7 p.m. | The “Mihail Jora” Hall of the Romanian Radio Broadcasting House

“Internationally Renowned Musical Ensembles” 

 

Part I 

PRELUDIU Chamber Choir 

 

Conductor: Voicu Enăchescu

 

Paul Constantinescu – Rugăciunea inimii (The Prayer of the Heart)

Marțian Negrea – Psalm 123

Livia Teodorescu – Ciocănea – Orationes Aliquot Sanctae Brigittae

 

Conductor: Gabriel Marica

 

Francis Poulenc – Prayer

John Woolrich – Far from home

 

Conductor: Răzvan Rădos

 

Petru Stoianov – Basmul Trenului-Destin (The Story of the Destiny-Train) on lyrics by N.D.Frumtelata

 

Conductor: Luminița Guțanu

 

Grigore Cudalbu – Poveste dintr-un sat (Story from a Village)

 

Conductor:  Grigore Cudalbu

 

Richard Oschanitzky – Two Secular Carols

Vasile Spătărelu – Towards… on lyrics by Nichita Stănescu

Corneliu Cezar – fragments from Flăcări și roți (Flames and Wheels)

 

Part II 

The Radio Academic Choir

Conductor: Dan Mihai Goia

 

Program:

Elena Apostol – Odă sobei mele (An Ode to my Oven)

Marcel Octav Costea – Kyrie from Missa Tempus Adventus (Organ – Simona Săndulescu-Popovici)

Diana Vodă-Nuţeanu – Toccata–Waltz

Christian Alexandru Petrescu – Laudatio

Valentin Gruescu – Taka–Modern Fugue

Felicia Donceanu – Ciocârlia

Adrian Enescu – Graffiti (Piano – Carmen Săndulescu)

Irina Odăgescu-Ţuţuianu – Our Father

Kirke Mechem (US) – Professor Nontroppo’s Music Dictionary (Soloist – Svetlana Sicencova)

 

*

 

9 p.m. | The Opera and Multimedia Studio of the National University of Music in Bucharest

“Young Musicians and New Music” 

SIMN 2014 Ensemble

Conductor: Lucian Beschiu

 

Program: 

Cristina Uruc – Farfalle for violin and clarinet

Diana Gheorghiu – Mandukya III. Opposites for piano, violin, clarinet and tape

Alexandru Murariu – Trio for flute, percussion and piano

Veronica Anghelescu – The End of Childhood for clarinet and percussion

Diana Simon – Trini(s)on for septet

 

***

 

Friday, 30.05

 

9 p.m. | The “Dinu Lipatti” Hall of the National University of Music in Bucharest

 

Musicology Symposium: Currents and Tendencies in Romanian and Universal Music after 1990

Coordinator: Olguța Lupu

 

Speakers: 

Oana Andreica ( “Gheorghe Dima” MusicAcademyin Cluj-Napoca) – Vingt minutes autour de Costin Miereanu

Gary Barnett (Universityof California, Riverside, SUA) – A Portrait of Postmodern Romanian Solo Pianoo Music

Oana Bălan ( “Gheorghe Dima” Music Academy in Cluj-Napoca) – The Development of Music Management as Support for Contemporary Creation after 1990

Dragoș Călin (The NationalUniversityof Music in Bucharest) – Music and Music Personalities in Canadian Music after 1990

Iulia Cibişescu-Duran („Gheorghe Dima” Music Academy in Cluj-Napoca) – Structure and Language in my own Works: Concerto for violin and orchestra no.1 and Concerto for violin and chamber orchestra no.2

Lavinia Coman (The National University of Music in Bucharest) – The “Ombra del mar” cycle, seven songs by Nicolae Coman on lyrics by Miquel Martí i Pol – a Merging of Music and Poetry

Grigore Constantinescu (The National University of Music in Bucharest) –Draft of a Profile of Octogenarian Master Cornel Ţăranu

Leonard Dumitru (The „George Enescu” University of Arts in Iași) – Creative Achievements and Aspirations: Viorel Munteanu at 70

Corneliu Dan Georgescu (Heidelberg Universität, Germany) – Romanian Composers at Venerable Ages. The Contribution of Earlier Generations at the Fruition of Romanian Music

Nicolae Gheorghiță (The National University of Music in Bucharest) – Research Directions in Byzantine Romanian Musicology after 1990

Sanda Hîrlav-Maistorovici (The National University of Music in Bucharest) – “The Daughter of the Sea” – a Choreographic Poem for Children by Carmen Petra Basacopol. Analytical Musicologic and Aesthetic Observations.

Olguța Lupu (The National University of Music in Bucharest) – The Quotation in Works by Tiberiu Olah Written after 1990

Liviu Marinescu (California State University Northridge, Los Angeles, SUA) – The Concept of Sonic Plasma in Horaţiu Rădulescu’s Music

Octavian Nemescu (The National University of Music in Bucharest) – The Cultural-Artistic Crisis after 1990

 

Free entrance.

 

*

 

5 p.m. | The Cantacuzino Palace Hall

“Prestigious Chamber Music Ensembles” 

The Green Thing Ensemble

Matei Ioachimescu – flute, Edua Zadory – violin, Ana Topalovici – cello, Alfredo Ovalles – piano

 

Program: 

Ulkemin Akbas – Hermes for flute, violin, cello and piano (W.P.)

Gerald Resch – Green Things for flute, violin, cello and piano

Daisuke Soga – Syrinx for flute, violin, cello and piano (W.P.)

Dragan Latinčić – Fragments of Blue for flute, violin, cello and piano

Kajia Saariaho – Cendres for flute alto, cello and piano

Annie Gosfield – Cranks and Cactus needles for flute, violin, cello and piano

Cristian Lolea – Mechanisms for flute, violin, cello and piano (W.P.)

 

*

 

7 p.m. | The “Mihail Jora“ of the Romanian Radio Broadcasting House

“Internationaly Renowned Musical Ensembles” 

National Radio Orchestra, Academic Radio Choir and Children Radio Choir

Conductor: Horia Andreescu

Choir masters: Dan Mihai Goia and Voicu Popescu

Soloists: Raluca Stratulat – violin and Andreea Țimiraș – cello

 

Program: 

Dan Constantinescu – Chamber Symphony

Anatol Vieru – Double Concert for violin and cello

Adrian Iorgulescu – Symphony no. 4 with choir (W.P.)

CIMRO DAYS 2014

The Romanian Music Information Center organizes between June-November 2014 CIMRO DAYS, a series of musical events that will take place at A1 (Piata Amzei no.1) – one of the freshest sites in Bucharest. If you are interested in Romanian contemporary chamber music, we invite you to „Expositions and Presentations” (June 8 and October 8), where you’ll be able to talk directly to the composers and musicologists from different generations about the performed works. Four young Romanian musicologists will analyse and present the „Mechanics and Mechanisms in Music” from four different point of views on July 6, in casual symposium. This event will be included in a „Variations on a Given Theme” series of comissions meant to stimulate and promote the new generation of music specialists in Romania. The other event from this category is „Frescomania” (November 4), a series of short contemporary variations on Girolamo Frescobaldi’s gorgeous air Se L’aura Spira (1630), transformed in a kaleidoscope of personal styles. 

All music will be performed by the members of SonoMania, at the moment one of the most active and energetic new music ensembles in Bucharest, that has been trying since it’s foundation, in 2012, to create new contexts for contemporary and modern music, especially through multimedia and synchretic concerts. SonoMania has played in important festivals such as The International New Music Week (Bucharest), Bucharest Music Film Festival – ArCuB,  Happoman 2012 (South Korea) or MeridianISCM-Romanian Section Days (Bucharest).

CIMRO DAYS 2014 is sponsored by the Administration of the National Cultural Fund (AFCN). The access to all events is free.

 Program:

#1 | Sunday, June 8, 7 p.m. – 9 p.m.

“Expositions and Presentations” Concert and dialogue with composers and musicologists

Works by:  Violeta Dinescu, Liviu Dănceanu, Nicolae Brînduş, Adrian Pop, Cornelia Zambilă, George Balint, Cornel Ţăranu, Cătălin Ştefănescu, Mihaela Vosganian

Performers: Maria Chifu (bassoon, keyboard), Tamara Dica (viola), Eugen Bogdan Popa (cello), Radu Vâlcu (guitar, electric guitar)

Guest performer: Mihaela Vosganian (voice) 

#2 | Sunday, July 6, 7 p.m. – 9 p.m.

“Variations on a Given Theme”

MECHANICS AND MECHANISMS IN MUSIC Musicology Symposium 

Speakers: Ştefan Firca, Vlad Văidean, Bianca Temeş and Irina Niţu

#3 | Wednesday, October 8, 7 p.m. – 9 p.m.

“Expositions and Presentations” Concert and dialogue with composers and musicologists

Works by: Cristian Bence-Muk, Doina Rotaru, Dan Dediu, Carmen Cârneci, Liviu Marinescu, Tiberiu Olah, Livia Teodorescu, Laura Manolache, Gheorghe Firca

Performers: Ştefan Diaconu (flute), Valentin Ghita (oboe), Mihai Pintenaru (clarinet), Eugen-Bogdan Popa (cello), Olga Podobinschi (piano), Sorin Rotaru (percussions)

#4 | Tuesday, November 4, 7 p.m. – 9 p.m.

“Variations on a Given Theme”

FRESCOMANIA Contemporary variations on a theme by Girolamo  Frescobaldi (17th century)

Works by: Mihai Măniceanu, Sebastian Androne, Diana Rotaru, Adina Sibianu, Sabina Ulubeanu, Gabriel Mălăncioiu and Cătălin Creţu

Performers: Veronica Anuşca (soprano), Ştefan Diaconu (flute), Valentin Ghita (oboe), Tamara Dica (viola), Eugen-Bogdan Popa (cello), Olga Podobinschi (piano)

International Percussion Music Radio Festival 2014

Between March 10 – 15 2014, the Bucharest Radio Hall will host a unique event in Romania: the first edition of the International Percussion Music Radio Festival. The festival was initiated and coordinated by percussionist Alexandru Anastasiu, one of the most active percussionists in Romania and soloist of the National Radio Orchestra. For 6 days, some of the greatest percussionists in the world (from Japan,Taiwan,Belgium,France and Romania) will perform daily at 7 p.m.works by renowned international composers. 

Program below –>

PROGRAM: 

Monday, March 10th 2014, 7 p.m. (buy ticket here)

CHIN CHENGLIN(Taiwan,Belgium) – marimba

Chin Cheng Lin: The S.e.A, Flying, Reflection on the voice of mountains, Wind, Kaleidoscop (Pray for a wish, Café without sugar, Fresh Expections)

***

GAME Ensemble (Romania)

Conductor: Alexandru Matei

Minoru Miki: Marimba Spiritual  - Soloist: Sorin Rotaru – marimba

Octavian Nemescu: Tri son

Doina RotaruNoesis

Nebojša Johannis Živković: Trio per Uno

 

Tuesday,March 11th 2014, 7 p.m. (buy ticket here)

SHINITI UENO (Japan) – percussions

Akira Nishimura: Dialogue

Kaito Nakabori: New Piece (WP)

***

biNgbang – Percussion Ensemble of Music Academy Zagreb (Croatia)

Artistic leader: I. Lešnik

I. Lešnik/J. Fischer:  Symphony for timbales and marimba

I. Lešnik/F. Cibulka: Concerto for percussion and percussion

I. Lešnik: Musketeers for percussion ensemble

I. Lešnik: Dwarfs – suite for percussion ensemble

 

Wednesday, March 12th 2014, 7 p.m. (buy ticket here)

RADIO CHAMBER ORCHESTRA

Conductor: Amaury du Closel

Chin Cheng Lin: One World-one Dream-one Love – Concerto for marimba and orchestra Soloist: Chin Cheng Lin (Taiwan,Belgium) – marimba

Emmanuel Séjourné: Double concerto for vibraphone, maromba and chamber orchestra

Soloists: Emmanuel Séjourné (France) – marimba and Alexandru Anastasiu (Romania) – vibraphone

Piotr Moss: Elan

J.S.Bach: Suita No.3 in D major

 

Tuesday, March 13th 2014, 7 p.m. (buy ticket here) 

Emmanuel Séjourné:  Avalanche for vibraphone and piano

Shiniti Ueno – vibraphone; Emmanuel Séjourné – piano

Un Tel Amour pentru vibrafon solo

Emmanuel Séjourné  – vibraphone

Abalone for flute and two marimbas

Ioana Turcu (Romania) – flute; Alexandru Anastasiu (Romania) – marimba; Emmanuel Séjourné (France) – marimba

***

Shiniti Ueno & Percussion Group PHOENIX– Réflexion (Japan)

Akira Nishimura: Kala for marimba and 6 percussionists

Toru Takemitsu:  Rain tree

Akira Nishimura:  Kecak for 6 percussionists

 

Friday, March 14th 2014, 7 p.m. (buy ticket here) 

NATIONAL RADIO ORCHESTRA

Conductor: Gerd Schaller

Jordan Gudefin: Concerto for vibraphone and winds orchestra

Soloist: Alexandru Anastasiu (Romania) – vibraphone

Ludwig Albert:  Double concerto for two marimbas and orchestra

Solists: Ludwig Albert – marimba; Chin Cheng Lin (Taiwan,Belgium) – marimba

A. Dvořák: Symphony No. 8 in G major, op. 88

 

Saturday, March 15th 2014, 7 p.m. (buy ticket here) 

Gala concert with all the invited soloists and percussion ensembles

1. GAME (Romania)

Nebojša Johannis Živković: Uneven Sous with 12 tenors

2. PERCUSSION STUDIO GROUP (Romania)

Soloist: LUDWIG ALBERT (Belgium) – marimba

Keiko Abe: The Wave

3.PERCUSSION STUDIO GROUP (Romania)

EMMANUEL SÉJOURNÉ (France)

CHIN CHENGLIN(Taiwan,Belgium)

Emmanuel Séjourné: Calienta

4. Shiniti Ueno & Percussion GroupPHOENIX– Réflexion (Japan)

Tokuhide Niimi: Heterorhythmix

5. biNgbang – Percussion Ensemble of Music Academy Zagreb, I. Lešnik artistic leader (Croatia)

ALEXANDRU ANASTASIU (Romania) – vibrafon

I. Lešnik: No Business for Rap voice, soloist improvisations, percussion ensemble and choir

With the participation of the Radio Academic Choir, conductor Dan Mihai Goia 

 

 

Piano recital in London: Mihai Măniceanu

“Start your New Year’s Eve celebration with a kaleidoscope of best music ever written by Romanians.”  - the Romanian Cultural Institute in London will end its activity for 2o13 with an extraordinary event, a recital of Romanian contemporary music offered by pianist and composer Mihai Măniceanu. The concert will take place on Tuedsay, December 31st, at 1 p.m., at St Martin-in-the-Fields,Trafalgar Square, London (free entrance).  

Programme: 

Vlad Maistorovici – transScent 

In 2009 I heard Victoria Christian present Clive Christian’s fragrance called “X”, as part of a call for scores inspired by perfume. The discovery that X contained similar ingredients to the perfume used by Cleopatra, Queen of Egypt, did not surprise me. The aromatic and earthy timbres sent me spiralling into a sensory laced vision:  ‘…The Mediterranean, Mark Anthony the conqueror and his mighty army are sailing south. His mind is cold, his heart hungry for battle. The breeze of the South brings strange scents from the mysterious Egypt. Scents that stir his mind and cool his heart… He knows that this journey will bring him victory in military ambition but he will ultimately be defeated by his senses…’ . The sense of smell is so important! Each one of us has experienced walking on the street, drifting on a day’s monotony, when a special person walked past. A special person with a very special scent. One’s world comes alive, colours start breathing, sounds start dancing… It is such an experience that X gave me. It is this experience that I wanted to immortalise in tranSscent. (Vlad Maistorovici)

Diana RotaruDebumessquisse

As the title itself suggests, this short piece was inspired by the aquatic atmosphere from Debussy’s and Messiaen’s piano works. The apparently improvisatoric structure is actually based on the continuous variation, in a kaleidoscopic manner, of an initial musical gesture. The work is dedicated to Satoko Inoue, who performed it for the first time in Tokyo in 2008. (Diana Rotaru) 

Cristian LoleaÉtude pour piano

Étude pour piano is a work that requires a great virtuosity. It was written in 1996 and it received, the same year, the “Mihail Jora” Prize, while being included in the “Mihail Jora” Piano Competition Programme. (Cristian Lolea)

Mihai MăniceanuThe Living

This work, finished in December 2006, deals with problems of time as an existential obsession. Geometrical forms of an almost material time, incarnated time, contrast with the ethereal or decanted chorals, crystallized in a sonorous haze.     Perpetual gradual movements, in a consequent process out of tune, contribute to accenting the interrogative meaning of this music together with the absurd rhythmic mechanisms that are looking for the original matrix. From a formal point of view, The Living articulates itself like a repeating mosaic construction, based on a few generating substantive elements. At the same time, this work might be assimilated to a tripartite form with coda or, on a suggestive level, to an undeveloped sonata. (Mihai Măniceanu)

Dan Dediu – Lévantiques

- bêtes nostalgiques – LAMENTO

Background in ostinato, first by itself (voices: 1. descending lamento bass in different octaves; 2. ascending chromatic scale; 3. variants of the B.A.C.H. formula), then together with a lyrical Baroque melody that gradually becomes aberrant, ragged, syncopated, gothic. The visceral roaring in the lowest register, first secco, then painfully long con pedala, stab the upper, agonic melody. The finger snapping of the left hand gradually eat away at the melodic line, that is the first to perish. Then, the  flesh of the background disappears, leaving only the skeleton: the lamento bass and the finger snapping. After the lamento bass dies, the only thing left, the finger snapping, create the illusion of a soul being lighted, of an originary frame of mind. 

Bibliography:  Cărtărescu, Mircea. Orbitor;  Heidegger, Martin. Hölderlin and the Essence of Poetry; Sein und Zeit;  Bach, Johann Sebastian. The Italian Concert, 2nd part  (Dan Dediu)

Axionvorspiel – The Enigmatic Scale  

A Passacaglia on an Ortodox hymn theme, engraved on an enigmatic scale that starts in the lowest register and ends in the highest register, a microscopic image of the angel scale in l’angelo vecchio. The aspiration, the longing defines the beginning; the completion of the praise – the ending. 

Bibliography:  Cretanul, Petru. Axion;  Dediu, Dan. Capriccio classico – 3rd Symphony; Nono, Luigi. Fragmente. Stille. An Diotima; Verdi, Giuseppe. “Ave Maria” from Quatro pezzi sacri (Dan Dediu)                         

- Le vent de Transylvanie 

A sonorous image of a haunted land. A rondo with an ascending signal as the refrain, an explosive burst. The first episode: a filigree, delicate melodic line, made by a heterophonic technique; an image of a wind carrying nocturnal aromas. The second episode: fictitious packs of saxophones in a big-band, with the required percussion effects (finger snapping) – images of transylvanian feasts. The third episode: a slashing wind transformed in an enchanted one, filled with rumours, hunting signals, hidden treats. A sudden finale, like a violent death.

Bibliography:  Debussy, Claude. Le vent dans la plaine; Qu’est-ce qu’a vu le vent de l’Ouest; Grieg, Edward. Piano Concerto; Liszt, Franz. Études transcedentales (Dan Dediu)

Gheorghe CostinescuEssay in Sound

Essay in Sound for piano reflects the way I play, think of, and feel about the instrument. The grammar of the work differs from the principleof building a musical edifice starting from a single cell or idea. Here, several short, apparently disparate statements are introduced, each expanding on its own terms, while merging into a more-or-less continuous discourse of all entities. The work is dedicated to the pianist Stephen Gosling, who premiered it at the ACA Summer Festival, Symphony Space Thalia Hall, New York City, June 13, 2011. (Gheorghe Costinescu)

Aurel Stroe – Piano Sonata No. 3, “en palimpseste”

In his 3rd Piano Sonata (1991), Aurel Stroe uses the idea of a palimpsest composed of incommensurable structures, disposed on different layers. The structures come from three different periods of the composer’s career. These flashbacks, by their construction and the temporal realities that they evoke,  create significance leaps. (Ruxandra Arzoiu)

***

The same concert will be performed in Bucharest, on December 19th, 6 p.m., at the “George Enescu” National Museum – The Cantacuzino Palace Hall (Calea Victoriei 141).

Born in 1976 in Bucharest, Mihai Măniceanu is one of the most important voices in Romanian contemporary music. He studied piano (1995–2000), composition (2000–2005) and attended the master courses (2005-2006) of both specialisations within the National Unversity of Music in Bucharest. In 2011 he received a PhD from the same institution. He was awarded an Erasmus scholarship by the University of Music and Theatre Felix Mendelssohn Bartholdy, Leipzig(2003-2004), as well as the Bucharest Music Unversity scholarship 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), the pianist received several 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, opus.art, devotioModerna, Swinepearl, Acolade, Traiect, SonoMania, IconArts and Mercury Quartet ensembles, Accoustic and I.C. Danielescu choirs. He studied with Dan Dediu, Ştefan Niculescu, Richard Pfundt, Peter Michael Hamel, Dmitri Terzakis, Nigel Osborne, Maria Fotino, Steluţa Radu, Viniciu Moroianu, Sandu Sandrin, Ina Oncescu, Oana Velcovici and Martha Paladi.

Check out a version of Mihai’s The Living / Viii for piano and live electronics (by Catalin Cretu) HERE.

 

SonoMania – “Voyage” Interview

The beginning of winter brings not only cold weather and running noses, but also a boost in the Bucharest contemporary music stage, with the start of the MERIDIAN International Festival (read the whole program HERE). During the festival, SonoMania new music ensemble will perform, on December 4th 2013, VOYAGE, a concert with works by the young generation of Romanian composers, realized in partnership with CIMRO. On this occasion we’ve invited the young artists that participate in the concert to answer some questions about the contemporary academic music world and what they expect or take from it. Without further ado, here are their answers.

***

Some of you are still students, some are already established artists, nationally and internationally. What has determined you to start working in the new music field and what is it that keeps you going?

Gabriel Mălăncioiu (composer): Meeting Remus Georgescu and hearing a concert of contemporary music played by Trio Contraste were very important factors for my musical development.

Diana Rotaru (composer): I was very skeptical at first of this “contemporary music”, I didn’t listen to it until I was 15 or 16 years old. My mother, being a composer, had a lot of recordings, and so I gradually started to explore this new domain, starting with her works. And when I was hooked, I was hooked for good. At some point I listened to a CD of this Swedish ensemble, peärls before swïne experience, and I was surprised to see that, in its essence, no matter what the general audience may think, new music is mostlyFUN. Fun to write, fun to play and fun to hear. Even when it’s tough or deep or visceral or hallucinatory, once it grabs you it never lets you go. And this is why I’ll keep doing this, no matter the difficulties.

Raluca Stratulat (violinist): I first discovered what contemporary music feels like after I graduated. What made me want to do it seriously was the idea that haunted me for some time, that is that people often misunderstand contemporary music, and that the fault for that may very well be the performer’s (being one myself). Nobody forces you to accept to play something, and if you accepted to play it, then it’s only in your nature as a performer to search the perfect way to express it and to reach to as many people as possible. What keeps me going is the constant novelty of this kind of music, and the wish to continuously be a complete musician. The means of expression contained in this area of music (which is almost impossible to describe in words because of it’s immense mixture of genres) helped me improve my violin technique, my acting skills, it significantly widened my artistic horizon, made me want to always discover for new things, and finally, this music is an important part of what I mean today as a musician. 

Octavian Moldovean (flutist): Music has a lot to offer, as much as it has a broad spectrum of possibilities. As artists, we are built to seek diversity more than regular people do. In addition, a complete artist should have a performance repertory as wide as possible. In this way, new music proves to be both a challenge and a curiosity switch. I find contemporary music to be useful and interesting. It attracts me because of its complexity – thanks to all the miscellaneous effects and dynamics it develops instrumental technique. (For instance, after playing Ferneyhough or Takemitsu, any other classical piece feels like a walk in the park). Thus, I believe it is a matter of keeping an opened mind and broaden our perspectives with every experience that music has to offer. 

Sabina Ulubeanu (composer): I was attracted to new music since elementary school. The piano competitions included a mandatory Romanian new work which I loved and was eager to play every single time. When I was 8 years old, I was assigned a  piece by a living composer who came into the class and gave me indications and advice. It was a fascinating experience for me and it made me love the new music even more. Of course, now everything I played back then sounds so „normal” and even mainstream, but in those times when the repertoire was mainly baroque, classical and romantic, it was  a very welcomed variation. Later I decided to try to compose my self and it became addictive. I realised the new music and the new sounds are a necessity for me, I just have to let out every wave that haunts me. 

Eugen Bogdan Popa (cellist): Although it was not an exclusive choice regarding that music, my motivation has been, since the beginning, the sincere interest for the contemporary language and for the performing means it develops. My activity in that regard started about 10 years ago, when I received the honouring invitation from composer Dan Dediu to be a member in the PROFIL ensemble. The approach I made ever since to the new music also influenced my Ph.D. research, and being part in other newer ensembles, such as PROPULS and SONOMANIA keeps offering me possibilities to express as a musician in a field of ever growing interest, so I let myself be challenged and inspired! 

Maria Chifu (bassoonist): I felt a real need to grow, and new music offered me that unique joy of experimenting and surpassing my own limits, of being one step beyond of what had been created so far.

Sebastian Androne (composer): Stravinsky’s „Rite of Spring” was the trigger in my case. I’ve listened to it in highschool with my jaw on the floor, hardly believing that a piece of music can have such a humongous expressive force. Later, while I was still grasping the idea that the XXth century music merely expands the expressive pallet of the universal music, drilling into unexploited fields, I’ve come across another composition that blew my mind: Penderecki’s „De Natura Sonoris”. Gradually I realized that through art objects (a painting, a novel or a symphony for example), one can manifest his/her own view and attitude of his/her time. Why should I choose the unchangeable past when I can try to understand my own present and add my contribution to the future? 

Ana Giurgiu-Bondue (composer): I am a composer but also a pianist and a harpsichordist. As an interpret, I play very different musics, from baroque to contemporary. So, my interests in music are many and varied. I started to compose very early, even before knowing the musical notes, when I was around 5 years old but I decided quite late to be a composer. Nevertheless, composition is now for me a necessity, a permanent need to create and re-create my reality.

Gabriel Mălăncioiu ©  Stefan Firca

Diana Rotaru © Stefan Firca

Do you think that contemporary music in Romania benefited from a perceptible interest growth in the past few years, or do you think it remained mostly the same as it was after 1989? 

Gabriel: I can see some good signs in the later years: the composition workshop during George Enescu Festival is a very useful idea, helping young composers to get in touch with internationally recognized composers, the appearance of New Music Festivals like InnerSound is certainly giving a fresh look to our contemporary musical scene; another good sign is the emergence of ensembles dedicated to playing contemporary music in various cities: Sonomania Ensemble in Bucureşti, Ad-Hoc Ensemble in Cluj, Atem Ensemble in Timişoara to name just a few. 

Diana: I definitely think there are some changes, especially in the independent field. A lot of new people involved, a lot of events and a growing public for experimental music. This did not happen when I was a student. Still, we have a long way to go until we reach the level of other European centers, even the small ones, and our improvement should start with more funding and more respect for new music artists, especially the younger ones. 

Raluca: Yes, I think things have considerably changed since 1989, but I always believed that the more we musicians gain interest in it, the more the rest of the people will. So if we really want to gain more public, then we have to become truly in love with the new music ourselves first. 

Octavian: Hard to compare, since I came to exist precisely in ’89. However, I can say that compared to a few years ago, Romanian new music has grown. A reason for this growth is the solid tradition of several modern age composers such as Anatol Vieru, Aurel Stroe, Sigismund Toduta, Theodor Rogalsky, Constantin Silvestri and many more others. These people left a valuable heritage of works, establishing an inspired perspective for the living composers today. For example, Doina Rotaru is appreciated all over the world for her compositions. I had the privilege to work with Mario Caroli, one of the leader instrumentalists in new music, who is constantly playing Mrs. Rotaru’s creations. Henceforth, I find that young composers should become aware of our native predecessors and maintain a national tradition as much as they learn to express themselves. 

Sabina: Immediately after 1989…no, the interest did not raise.  But in the last few years it did. My explanation is simple: the involvement of new media, such as video, photography, contemporary dance  and electronics, attracts a new kind of public,  people that perceive art as a whole and develop a taste for new music with the help of visuals. And they don’t come only to syncretic shows, but begin to fill the concert halls even when only music is present. 

Maria: It surely did. I notice this each year in the increasing number of people in the concert halls and in the unconventional spaces, in the appearance of new festivals – which was absolutely necessary -, in the growing interest of composers and performers from abroad and in their reaction towards Romanian contemporary musical creation. Anyway, if one desires a boost of this impact, I think it’s necessary to have a more intense creative input, as well as a much better distribution towards the potential receptive audience. 

Ana: I think it is a huge difference between these two periods, the situation exactly after ’89 and nowadays times. The new generation of Romanian musicians is extremely concerned to discover new art forms and to conquer, at the same time, a new public. I think a very important aspect in promoting new music is establishing a really interactive dialogue, work and experimentation between musicians and other arts and artists, even scientists, as well as a better communication between different generations. When I helped Adina Dumitrescu and Catalin Cretu to create Opus in 1998, this was our goal. I was very happy to find some of these ideas embodied into another form, the InnerSound Festival. I think that, at the moment, the idea of Team work is vital for the future. Nobody works in science nowadays on their own, but in a team. But this implies patience and giving up one’s personal pride and rigid conceptions.

Raluca Stratulat © Mihai Cucu

Octavian Moldovean

Do you think chamber music still has a place in the new music field, or did it became anachronistic in comparison with all the new technologies? 

Gabriel: Yes, I think chamber music is the first choice for many composers. I don’t think chamber music will ever became anachronistic in comparison with new technologies, but, certainly, it can be enhanced by the electronic medium. 

Diana: I think it does. There is still that irreplaceable quality of a human being touching a string or a flute that I doubt will go out of fashion. Working with multimedia or electronic devices is fascinating and opens whole new worlds, but I don’t think that these means of expression should exclude the “traditional” ones. 

Raluca: I like to believe that chamber music will never seize to exist regardless of the age we live in, and I also believe that all the new technologies that are used today can only help it to evolve or if you like help it transcend it’s status. Chamber music is my first love, and I think it is an important part of every musician’s life, one that cannot be dispersed without the risk of losing one’s identity. Chamber music is not only a superior way of communication among musicians, but because more than one of them play together, it also becomes a communion, a reflection of one’s self in the others and vice versa, and not lastly a supreme being in which one seize to exist as an individual, to become part of something greater. So yes, I think we will always feel the need of chamber music, because it’s a part of our human nature translated into music. 

Octavian: Regardless of how much technology would develop, people will still need the energy that flows in the concert hall during a performance. It is a chemistry between the transmitter and receiver, bounding that a machine or computer could never make. Solo playing can become boring, and orchestra requires a lot of organizing and it usually is expensive. Chamber music has a greater chance to thrive because it offers a more intimate approach to the music. It has the advantage of being more accessible for composers and the audience. Moreover, chamber music enhances solo performing and dialogue better than orchestra playing does. 

Sabina: Chamber music will never die. Even the new technologies are made by people! and these people play together: a composition for 2 computers is still chamber music. Chamber music means interaction, attention, empathy and a whole range of feelings. Also, the public and the players need variation. We need to hear classical music, contemporary music, made with a few instruments, made by a  big symphonic orchestra or  electronics. So I am positive that chamber music cannot be anachronistic. 

Eugen Bogdan: Chamber music will always exist in any type of new music. I strongly believe that the dialogue, as a valuable principle, will always be a key to understanding music, regardless of the specific era in which music was created. The topic is extremely debatable, but regarding the impact on new technologies, I don’t think it creates a situation of exclusion or marginalization of chamber music, but quite the opposite, it enhances it.

Maria: I am certain of it. For me, contemporary music is the sum of the multiple states a human being can feel, if the composer manages to convey their message to the audience. I think in that case, any means of communicating ideas, immages, emotions – that everybody needs – is useful.

Sebastian: I believe that technological innovation expands certain elements of what it can later replace. But I am convinced that chamber music will not disappear due to some technologically improved replicas. The tradition of an instrument for example cannot just be erased from the collective memory and be replaced by a substitute. 

Ana: Chamber music is like a pyramidal basis in our European musical tradition. So it is impossible to consider it “anachronistic”. New technologies bring other resources,  an enormous variety of sounds, effects and creates a new possibility, a new perspective for different arts to collaborate.

Sabina Ulubeanu © Cornel Brad

Eugen-Bogdan Popa © Florin Artist

The “avant-garde” concept seems to have scared the music lovers in the past century, although this didn’t happen with the other arts. Can we still speak of avant-garde in today’s music or not? 

Gabriel: I think in the present time it’ s more a question of synthesizing the discoveries made in the last centuries. And more than that, I think that each composer tries to find his own way by going more deeply into his own psyche and then using methods, systems, sonorities, structures… that resonate with those inner discoveries, than just finding himself in an endless search of something REALLY NEW. In the same time, the  avant-garde has the role of destroying the borders created by tradition; and these two opposite  forces paradoxically coexists, even in our times.

Diana: Not really. I think we have reached the point when we don’t have to reject the past or the non-academic music, we can embrace them and try to create something sincere and original by combining all sorts of influences. That doesn’t mean that I promote kitsch or facile music, far from it. I am puzzled by young composers that are writing as if they lived at the beginning of the XXth century, or worse. I see absolutely no use in trying to copy the past; one should learn it, yes, assimilate it and tranform it into something else, something personal – and by “past” I mean the whole XXth century, with all its currents and developments, as well! 

Raluca: My opinion is that the spirit of avant-garde is proper to the art itself, whose only constant is change, the continuously hunger for novelty and finding new means of expression. It depends of what we understand through the concept of avant-garde. If we see it as a reaction to something old that is already consumed and in a dead end, I’m sure there will always be people to think that, along with people who miss the old ways, like there always have been, and not just regarding music, but other arts too and even life itself. Also, the range of today’s music is so wide that I believe we cannot speak of anything absent. Something new happens every day, only thing is that everyone sees it as they can or like, and it’s not labeled as it used to be in the past. There are too many genres to be analysed and labeled, and as many as they are, the shorter their life seems to be. One of today’s feature is that one can constantly prove itself, which didn’t seem so happen so much in the past, perhaps because of our increase hunger to consume, to live more, to experience as much as possible. And if the avant-garde concept seize to exist in today’s music, then it means we have to remove it from our vocabulary too. Therefore I think that as long as we still use it, it exist, but maybe it’s signification has changed, or gained new meanings. 

Octavian: Avant-garde can be spoken of anytime during history; and thanks to that, we’re not in the cave right now, or hunting animals with our bare hands. There have always been people that simply did not settle for the rules and regulations imposed by others within a certain time. It’s quite the same in music too: some composers strive to find uniqueness in every aspect of their creation – and they succeed. Nevertheless, there is the danger of overdoing the avant-garde: in the hazardous attempt to be original, other music creators write a lot of meaningless repertory. And that is scary, for everyone. 

Sabina: The beauty of our times is that we can choose from a multitude of facets in new music. Feeling nostalgic? Listen to Doina Rotaru. Computer virtuosity and beautiful energy? Have some Henry Vega. Want to reflect on the meaning of life? Octavian Nemescu is your guy. Do you need to develop and search your innerself in a beethovenian way? It’s time for Tiberiu Olah. So, there is time and space for everyone who has the talent to transform you and your feelings. I don’t know if it’s avant-garde or not, but I am happy with the current state of music. 

Maria: Art, as well as science, in normal conditions, develops under the light of evolution, everything progressing along with our civilization. Within the audience there are always controversies, the history has continuously known these forms of reaction, while being witness to progress. One cannot create works that bring nothing innovative, only from fear of failure or to please the audience. I have met people who were reticent towards new music, but those same people, after a while, started to understand the message of the composer and are currently coming to syncretic concerts and shows with pleasure and interest. 

Sebastian: Probably the avant-garde has had this effect on humans since always in all arts. Novelty is obsession to some and kryptonite to others. Of course we can speak of avant-garde in today’s music. There are experiments in each new music festival. Although this fact does not guarantee masterpieces it still has the potential of opening new artistic directions. 

Ana: No, I really think the concept of avant-garde is not available anymore. The Avant-garde is supposed to precede something. We cannot forget that the “avant-garde” period in 20th century had also huge political and economical aspects and enormous artistic constraints. I think now is the time for a new “Renaissance”, a new Freedom and Responsibility for the artistic (musical) gesture. Responsibility? Yes, for the creators; because art is supposed to form the sensibility. We cannot ignore the human emotional function and just address “interesting concepts and ideas” to the intellect.

Maria Chifu © Alma Ghiulea

Sebastian Androne

Ana Giurgiu-Bondue

One last question, for composers only: tell us two words about your work and how it integrates with your own artistic search and aspirations. 

Gabriel: Into this work “Linişte” , I’m using Lucian Blaga’s poem, which creates a connection with an archaic musical culture that is fascinating me in this moment.

Diana: My work is called “Play!”, a polysemantic word that means “to play a musical instrument”, “to play a role”, “theatrical performance” as well as “to play a game”. It synthesizes my musical preoccupations, as it deals with narrative elements (contrast, musical characters, development) as well as trance-like, contemplative ones. I’ve used some little theatrical elements, like the “theatre” gong that the pianist has to play, as well as a quite strict modal language and rhythms based on the Fibonacci series. Mostly though I just had fun writing it. 

Sabina: Raum und Liebe is a composition that explores my melodic world, a distinctive pattern in my creation, but also my less used harmonic interior, which I felt the need to „exercise”. Space-Time and Memory , my whole life obsessions, are the  two investigated concepts behind this music. Memory relies on affects, on feelings and on associations. Memory is therefore Love, that creates Time, Space and Presence. From the musical point of view,  Space is expressed transformative and evolutional, in its interlaced harmonic and melodic states. The harmonic paradigm becomes obsession,  ostinato,  while  melody travels from heterophony to polyphony, only to unveil the serenity of monody at the very end. I have deliberately worked  with harmony  and ostinatos and also with a more rythmical and energetic side of myself, and I have enjoyed that a lot.

Sebastian: „Le Voyage de l’Age Voy” is directly linked to Anouar Sarhan’s concert and the piece was composed to be performed in the opening of his concert. I wanted to compose a piece that would contrast his music but would still share some idiomatic traits. I was interested in expanding the expressive palette and I treated it like a real journey, a stylistic incursion into distinct and recognizable worlds of sound. One of my objectives was to create a homogenous discourse focusing on the transitions that were of great compositional interest to me.

Ana: My work “Le Feu” is written in 2012. I was very impressed by some poems belonging to a francophone poet and doctor from Haiti, Jean Metellus, poems about the 4 elements in Nature. My intention was to explore, in my musical way, the link between this metaphoric and mystical text, the voice, a melodic instrument (viola) and a harmonic instrument (piano). The form is inspired by an ancient profane cantata by Montéclair, a French composer in the 18th century. I am fascinated by the formal asymmetry in ancient and baroque music and my “narrative” approach in composition allows me to create links between some of these forms and my own musical ideas; of course, in a new context and in my personal musical language.