WHERE TWO WORLDS MEET: LIGETI AND ROMANIAN FOLK MUSIC by Bianca Ţiplea TEMEŞ

“… It is hard to grasp how a composer acknowledged as a symbol of the 20th century musical avant-garde, re-formed in the laboratory of electronic music in Cologne at the end of the 1950s and always eager to take on fresh stylistical challenges, resorted to folk music as a source of inspiration. …”
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BOOK REVIEW: CIPRIAN PORUMBESCU NECUNOSCUT (CIPRIAN PORUMBESCU UNKNOWN), PUBLISHING BY ED. LIDANA, SUCEAVA, 3 EDIŢII, 2011-2013 (ISSN: 2284-712X) by Gabriela COCA

“…Among a series of notable cultural representations made to celebrate 160 years of the birth of Bucovinean composer Ciprian Porumbescu, in June 1st at Stupca (today: Ciprian Porumbescu), at the Ciprian Porumbescu Memorial Museum, also held at the National Musicological Symposium. …”
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REPETITION AND FANTASY IN SPRING, POEM FOR SOPRANO, CLARINET AND PIANO, BY CARMEN PETRA-BASACOPOL by Şerban MARCU

“… The present study, part of the research grant The artistic and social impact of the contemporary music of the 21st century from the perspective of the relationship composer-performer-audience (project director Assistant Professor Cristian Bence-Muk, D.Mus.) investigates the structural and rhetoric aspects in the poem Spring, for soprano, clarinet and piano, by Carmen Petra-Basacopol, on the verses of poet Mariana Dumitrescu. …”
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BERCEUSES DU CHAT BY IGOR STRAVINSKY by Răzvan METEA

“…Berceuses du chat by Igor Stravinsky for voice and clarinet trio - picollo clarinet, clarinet in A, bass clarinet - is a cycle of four vocal-instrumental miniatures that are part of the Russian period of the composer’s work, being completed in 1915-1916. The timbral balance achieved between the voice and the instrumental ensemble, the lyrical manner of musical expression, the specific rhythmic-melodic typologies of writing, the chromatic versus diatonic dichotomy, the affiliation of the opuses to the comic aesthetic category are characteristics of this series of four micro-art-songs, cradle songs, dedicated to and apparently describing the characteristics of a cat. …”
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UMWERTUNGEN IN LISZTS WASSER-MUSIK by Márta-Adrienne ELEKES

“…I’ve clung into this theme as to a connecting thread which would help me to discover what kind of content attitude could be observed among some works and what kind of musical toolbar was born in the composer’s workshop. To make it simple, what was the meaning or how it happened that this “watery” theme came into the light and in what formal solution was this concluded. …”
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TEXTURALISM by Andrei C. COZMA

“… Although identifying and defining texture as a specific sound organization in sound mass compositions comes about frequently in contemporary musicology, only a handful of researchers regard this as a tendency of what turns out to be a large number of composers towards an aesthetic with underlying principles of composition. …”
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FRANZ SCHUBERT AND THE MUSICAL ROMANTICISM by Boróka GYARMATHY-BENCZE

“…Most musicians of that age possessed a vast cultural background, often being poets, composers and performers at the same time. Composer Franz Schubert reunites his art the subtle text interpretation with the melodic, purely musical ideal of shaping melody. …”
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ELEMENTS OF THE MUSICAL DISCOURSE IN “FUM (SMOKE)” BY DOINA ROTARU by Şerban MARCU

“… The present study is an analysis of the work entitled Fum (Smoke), for clarinet solo, written by the Romanian composer Doina Rotaru in 1996 and dedicated to the clarinetist Emil Vişenescu. …”
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GIUSEPPE VERDI: UN BALLO IN MASCHERA by Júlia KÖPECZI KIRKÓSA

“…Although one might state that the composer was obliged to make compromises, one could safely say that these did not affect by any means the message of the opera or the dramatic impact it had then, on the day of the premiere or even so today, 151 years after its creation. …”
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« LE PAYSAGE SONORE » DE MURRAY R. SCHAFER by Luana STAN

“…In a world where background music (muzak) invades all public places, Canadian musicologist and composer Murray Schafer does an analysis of all types of sounds (natural, artificial, from the old days until today) in his book The Tuning of the World and advances a proposal to create sound museums. …”
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ANNALYTICAL BENCHMARKS IN THE WORK “ON A SUN DIAL II” FOR CLARINET B FLAT AND RECITER BY PETRU STOIANOV by Cristian BENCE-MUK

“… On a sun dial II by Petru Stoianov, for clarinet and reciter strats from Nichita Stănescu’s verses (like many others of the composer’s opuses) and offers sonorous meditation on the poetic text. …”
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“JUGGLE” FOR CLARINET AND PIANO BY CRISTIAN MARINA – CHANGING THE SEMANTICS OF CONTEMPORARY MUSICAL CREATION FROM THE POINT OF VIEW OF VARIOUS INSTRUMENTAL VERSIONS by Cristian BENCE-MUK

“… Juggle (2005) for clarinet and piano by Cristian Marina represents the starting point for another of the composer’s works, Intorno (2006) for clarinet, violin and piano. …”
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VIOLETA DINESCU UND DER SCHLÜSSEL DER TRÄUME. JUBILÄUMS-PORTRÄT by Bianca ŢIPLEA TEMEŞ

“… Fusing together in her artistic background two utterly contrasting worlds such as Romania and Germany, the composer Violeta Dinescu succeded to achieve a unique, distinctive voice in contemporary composition. …”
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DIE MUSIKALISCHE ANALYSE DES WERKES „MYSTERIUM“ VON KISKAMONI-SZALAY MIKLÓS by Zoltán SZALAY

“…There he composed the song “Mystery” (1995), based on the poem of the same name by the Hungarian poet Ady Endre. …”
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LA FRUSTRATION IDENTITAIRE. QUELQUES IDÉES DE MIHAI MITREA-CELARIANU SUR L’ÉCOLE ROUMAINE DE COMPOSITION by Luana STAN

“… Mihai Mitrea-Celarianu was a French-Romanian composer. Born in Bucarest in 1935, after the arrival of the communist regime, he was forced to leave the country and he installed himself in Paris, where he died in 2003. …”
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Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices by Donald Greig

“…The score by Hans Zimmer is a landmark score for the composer and consolidates his reputation for scoring films of that genre. …”
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DÉBATS SUR LA « ROUMANITÉ » MUSICALE by Luana STAN

“…Firstly, in the 1920’s, an important musicological movement marked the appearance of the periodical Muzica of Bucharest; the two main personalities of the Romanian music, musicologist Constantin Brailoiu and composer Georges Enesco, wrote a lot of essays to defend this «romanity». …”
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THE RENAISSANCE FRENCH PSALTER. (THE ROMANIAN VERSIFICATION OF THE PSALMS WITH HUGUENOT MELODIES. ON THE OCCASION OF CELEBRATING THE 450th ANNIVERSARY OF THE FIRST FRENCH PSALTER,... by Anamaria Mădălina HOTORAN

“…Celebrating 450 years since the first French Psalter (Le Psautier français) at Geneva (1562), the book represents the second Romanian version of the French Psalter, after the Psalter published in 1673 by Dosoftei, Bishop of Moldavia and it is the result of the work of 18 composers and poets and 13 scientific referents from Romania, France, Germany and USA, under the coordination of  Mircea Valeriu Diaconescu (composer, Germany), Ştefan Bratosin (Univ. …”
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“JANKO”, THE “FOLK OPERA” LISZT NEVER WROTE by Mónika IVÁNYI-PAPP

“… On the basis of his extant correspondence, Liszt planned composing an opera with Hungarian scenes and titled it Janko, der ungarische Rosshirt (Janko, the Hungarian horse-herder). …”
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“EQUINOXES” BY TIBERIU OLAH by Răzvan METEA

“…He thoroughly researched and applied very well the expressive means of popular and classical instruments, as well as those of the human voice, but he especially explored Romanian folk dances and mainly their rhythm, suggestively expressed by the hidden language of modern percussion. The composer creates a world of celestial sonorities where musical time and space are very well outlined…”
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