Afiş /Poster
Afişul festivalului

Miercuri, 27 Mai / Wednesday, 27 May

12.00 / 12.00 pm - Aula Palatului Cantacuzino / The Cantacuzino Palace Hall
Conferinţă / Lecture: Tosiya Suzuki, recorder

Conferinţă realizată cu sprijinul / Supported by: The Agency for Cultural Affairs - Government of Japan, Rohm Music Foundation, The Kao Foundation for Arts and Sciences, The Nomura Cultural Foundation, The Asahi Shimbun Foundation.

Toshiya Suzuki (born in 1961) studied the recorder at the Sweelinck Concervatorium with Walter van Hauwe in Amsterdam. He specializes in performing contemporary music and working to extend the techniques and the possibilities of the recorder. He worked with composers, such as L.Cori, B. Ferneyhough, T. Hosokawa, H. Itoh, H. Nakamura, I. Nodaira, Y. Pagh-Paan, U. Rojko, W. Schurig, S. Sciarrino, G. Stäbler and J. Yuasa and premiered their works. As a soloist he performed at festivals including, Wien Modern, Tage für Neue Musik Zürich, Gaudeamus Music Week, SIMN Darmstadt Ferienkurse für Nene Musik, ISCM World Music Days (1995,2000,2001 and 2002), Festival d'Automne à Paris, Akiyoshidai International Contemporary Music Seminar & Festival, Takefu International Music Festival, Voix Nouvelles at the Royaumont, Composium 2000 at the Tokyo Opera City, Europe-Asia International Festival of Modern Music, Klangspuren, Tongyeong International Music Festival and Festival A Tempo. He has had recitals and workshops in Europe, Russia, Turkey, USA(UCSD), Venezuela, Hong Kong, South Korea, Taiwan and Japan. He was awarded the Nagoya Citizen Art Festival Prize (1994), the Darmstadt Stipendien Preis (1994), the Darmstadt Kranichsteiner Musikpreis (1996) and the Kenzo Nakajima Music Prize (2006). In 2001 he founded a Duo with a sho player, Mayumi Miyata. He has been a lecturer at the Internationale Ferienkurse für Neue Musik Darmstadt in 2002. His solo CD [Tosiya Suzuki Recorder Recital] was awarded 'Musik & Ästhetik Interpretationspreis 2003' by der Gesellschaft für Musik und Ästhetike. The second CD [Salvatore Sciarrino] was released in November 2006.

17.00 / 5.00 pm - Aula Palatului Cantacuzino / The Cantacuzino Palace Hall
Trio TAFEAL
Elveţia / Switzerland
Codru’lui Tafeal
Irina Ungureanu, voce / voice, Teresa Hackel, recorder, Simone Keller, pian /piano

Program / Programme:
Daniel Fueter – Echo (p.a.r.) / (Romanian Premiere)
Beat Gysin – Am legat (p.a.r.) / (Romanian Premiere)
Diana Rotaru – Legat(p.a.a.) / (World Premiere)
Wanja Aloe – Flauschhund (p.a.r.) / (Romanian Premiere)
Improvisations and Romanian traditional music

TRIO TAFEAL - Irina Ungureanu, voice, Teresa Hackel, recorder, Simone Keller, piano Contemporary compositions, free improvisation and Romanian folk music – three elements merged by trio tafeal in the quest of an intersection of similarly sounding material, common colors and forms of expression, allowing the space between the three poles to be musically transited. The sounding language that thus emerges equals three superposed images, which have the ability to dissolve themselves gradually in order to then shimmer through each other. At some point it is the background that comes to the fore, whereby it fuses or complements itself with parts of the middle image. Later, all image layers become transparent, consequently contributing to an overall impression. The Trio Tafeal performed in Switzerland, France and Romania. It premiered compositions by Wanja Aloe, Daniel Fueter, Dominique Girod, Beat Gysin, Martin Jaggi, and Lucas Franco Jordan.

Irina Ungureanu Irina Ungureanu was born in Bucharest in 1984. She was only five when she started receiving violin classes from her mother Cristina Ungureanu. As a singer in the Romanian folk music group of her father Marius Ungureanu, she had her first encounter with the stage. In 1994 and 1996 the albums ”Taraf Transilvania” 1 and 2 appeared. After several years of canto education in Martina Bovet’s class in Zurich, she began to study canto with Jane Thorner-Mengedoht in 2004 at the Zurich Academy of Art. Here she graduated in 2008 with a teaching diploma. At the same academy, Irina is currently pursuing a Master’s program in Performance.
Irina’s interests focus on free improvisation, contemporary music, Romanian folk music, Lied singing and theatre music. She is particularly interested in the link between music and words. She performed at the ”Montreux Jazz Fetival”, the ”World Music Days” in Luxemburg and at the ”Expo 2002” in Switzerland with artists such as Karel Boeschoten, Stephan Eicher, Roger Girod, Fritz Hauser, Lucas Niggli, Hans-Rudolf Twerenbold, Marius Ungureanu and others. In 2005 the ”Linu-i lin, Irina & DRUM” CD with Romanian folk music and free improvisation was released. In 2006 Irina reached the final round of the renowned ”Concours Nicati”. With her solo program ”dezvaluiri” she performed in 2007 in Bucharest at the ”Week of Contemporary Music” and at the ”culturescapes Romania” festival in Basel. Together with contrabassist Dominique Girod and guitarist Urs Vögeli she launched the Trio ”Grünes Blatt” (frunza verde), which performed in 2009 in the Zurich jazz club ”moods”. Irina is an awardee of the Lyra and the Friedl Wald Foundations.

Teresa HackelTeresa Hackel was born in 1981 in Berlin. Between 2000 und 2004 she studied recorder with Gerd Lünenbürger at the Arts University in Berlin. While working on her thesis on ”Improvisation in Composition”, Teresa pursued the postgraduate program in ”Free Improvisation and Improvised Chamber Music” at the Music-Academy in Basel, Switzerland, under the supervision of Christoph Baumann, Peter K. Frey and Walter Fähndrich. From 2005 until 2008 Teresa continued her studies in the class of Carsten Eckert and received her Recorder Concert Degree at the Academy of Arts in Bern, Switzerland. In 2006 Teresa won the third Price at the renowed «Concours Nicati». She is very engaged in free improvisation and interpretation of contemporary music and a founding member of the recorder due H2o and of the Trio Tafeal. Teresa currently teaches "Improvisation-Composition-Interpretation" at the Academy of Arts in Bern as well as recorder at a music school in Appenzell, Switzerland.

Simone KellerSimone Keller was born 1980 and grew up in Weinfelden. She studied piano at the Zurich conservatory with Hans-Jürg Strub and graduated with a concert diploma. She also attended master classes with Andrzej Jasinski, Siegfried Mauser, Karl Engel, Hartmut Höll and Werner Bärtschi. Simone also received instructions in historic piano instruments with Michael Biehl, in organ classes with André Manz and in Lied classes with Daniel Fueter and Hans Adolfsen. She was awarded several prizes and distinctions, such as the first prize at the Landolt Piano Competition in Zurich, the second prize at the Hans-Ninck Piano Competition in Winterthur and the EMCY-Chamber Music Prize for Lied accompaniment at the European Classical Music Festival in Ruhr. Simone Keller performs soloistically and in chamber music ensembles on an international level and she is versant in various music styles. She is a founding member of the trio tafeal, of the ensembleTZARA and the Umi Ensemble. Furthermore she can be seen or listened to in several Swiss TV productions as well as in Swiss radio shows and theater performances. Simone is particularly interested in contemporary music. She premiered many compositions, some of them were even composed on the suggestion of her. Since 2007 Simone Keller is the artistic conductor of the Hinterberg Gallery in Zurich. She initiated the Music Festival in Weinfelden, which she also directs. (www.simonekeller.ch).

Composers and Programme Notes

Daniel Fueter

Born in Zurich in 1949, Daniel Fueter studied piano at the Zurich Academy of Music and graduated with a teaching and concert diploma. Since 1973 he has been active in music education and has taken up several administrative roles, such as the one of rector of the former Zurich Academy of Music and Theater Zurich, between 2003 and 2007. Daniel Fueter wrote about a hundred stage pieces for theatre in Switzerland’s German speaking area. Furthermore, he composed chansons, Lied, piano and chamber music as well as choir and theatre pieces. Among his most extensive works are an opera and an operetta on Libretti by Thomas Hürlimann, a chamber opera on texts by Lukas Bärfuss and an oratory on a text by Jürg Jegge. Daniel Fueter also acts as Lied accompanist. He currently teaches a Lied class at the Department of Music of the Zurich Academy of Arts and in master classes around Europe. Daniel Fueter is father of two daughters and grandfather of two grandchildren. He is married to pianist Eriko Kagawa.

Echo
(2009)
”Echo” was written for the trio tafeal. Based on a poem by Marin Sorescu, the music sets out to address the topic of the echo on multiple levels. The words of the poet resonate inside of us and inside the music.

Beat Gysin (*1968) studied in Basel Piano, Chemistry (Diploma), Composition (Thomas Kessler, Hans-Peter Kyburz, Diploma) and Music Theory (Roland Moser, Detlev Müller-Siemens, Diploma). He works as a free-lance composer and lives with his family in Binningen near Basel.
Beat Gysin comes from a family of musicians and from childhood on he was engaged in composing. He has always been particularly interested in the spatiality of sounding phenomena. The unusual positioning of instruments as well as multi-channel audiotape compositions come to create in may of his works surprising spaces of sound, which embed music and challenge to a ”Euclidian” (three-dimensional) listening. In selected venues Beat carries out games of perception and addresses the interplay between scenery and musical content. With ”Adyton” Beat created a series of music spaces which are acoustically variable and which are able to change and move to the music. As light elements, they are transportable and internationally applicable. Beat is currently designing ”Modula” spaces in which ”acoustic” arenas are being twisted against each other. Here, the spectator’s space is also moving: With ”Modula”, the composer analyzes how music is being listened to, when the hearers are being accelerated, turned and tumbled, or when idleness and gravitation are determinants of the hearer’s perception.

Am legat for mezzo-soprano, tenor recorder, piano, 6-channel-audiotape and CD player (2008)
After a poem by Marin Sorescu entitled «Am legat». Commissioned by the trio Tafeal.

„Singing and Dancing among the attendees! The traditional Romanian folk music has a different spacial comprehension than the art music. How movable it is! The freedom of the tones! New music has a different understanding of tonal systems than traditional music. How flexible it is!
A poem and the Romanian Singer Irina Ungureanu are the commencement of my work. I find myself fascinated by the duality of homelands, which is noticeable in the singer's performance.
I am building an "auditory spatial system". From a spatial point of view, this system is composed by an alignment of loudspeakers, by the immobile piano, the moving voices, and the moving recorder as well as by a mobile CD player. Acoustically, it is in itself and vis-à-vis its audience a changeable system of sound sources. It is at the same time a scenographic alignment: The system and the movements within bear a choreographic significance. The choreographic and inner-musical space represent a unity. For each spatial alignment and for each movement of the interpreters there is a certain music and vice-versa: For each musical structure there is a choreographic positioning.”

Beat Gysin

Diana Rotaru – composer (b. Bucharest, 1981)
Born in Bucharest (1981), Diana Rotaru has a B.A. and a M.A. in composition at the National University of Music in Bucharest, where she studied with Ştefan Niculescu and Dan Dediu. She is presently taking PhD courses at the same University. During 2005-2006 she also studied, by means of an Erasmus student exchange, at the ”Conservatoire National Superieur de Musique et de Danse de Paris” with, among others, Frederic Durieux. She participated at different summer composition courses such as Acanthes (2008), Voix Nouvelles-Royaumont (2002 and 2006), or the International Bartok Seminary-Szombathely (2003)- thus studying with composers such as Salvatore Sciarrino, Jonathan Harvey, Brian Ferneyhough or Michael Jarrell. She has won numerous prizes, among which the ISCM-IAMIC Young Composer Award (at the ISCM World Music Days, Vilnius 2008), the Irino Prize (Japan) for orchestral work in 2004 or the George Enescu Prize ex-aequo in 2003 and 2005 at the ”George Enescu” International Competition (Romania). Her works have been performed in concerts and festivals in Europe and Japan. Her creation includes chamber and orchestral music, as well as a chamber opera.

Legat for soprano, tenor recorder and piano (2009)
This short work is dedicated to the wonderful Tafeal Trio and is inspired by Romanian poet Marin Sorescu’s ”Am legat” (”I have tied”). The obsessive minimal music material – with hints at Romanian traditional doinas - tries to convey the claustrophobic sensations from the text, as well as the typical mixture of tragic and humour in Sorescu’s poems.

Wanja Aloe (b. 1970), was born and lives in Basel, Switzerland. After his high-school leaving examination, he studied two years of guitar at SwissJazzSchool in Bern, Switzerland. He continued his career by studying Music Theory and Composition at the Music Academy of Basel, with Roland Moser, Detlev Müller-Siemens, Balz Trümpy and Dorothée Schubarth.
Wanja graduated in 2001 with a teaching diploma. Shortly after, he received a scholarship of the Zug Cultural Foundation Landis&Gyr, enabling him to study composition with Philip Cashian at the Royal Academy of Music in London. In 2002 he received a one year scholarship from the Basel Foundation Christoph Delz. Wanja's music has been performed by various ensembles among which the London Sinfonietta. During his education he visited courses with György Kurtág, Walter Fähndrich, Vinko Globokar, Poul Ruders, Philip Cashian and Peter Maxwell Davies, among others. Since autumn 2006 Wanja is an associate professor for Music Theory at the Music Department of the Bern Academy of Arts.

Flauschhund for soprano, recorder, piano and audiotape (2008)
After a poem by Oskar Pastior entitled "Abendlied". Commissioned by the trio Tafeal.

Two essential elements in Oskar Pastior's poem "Abendlied": First, the straightforward propositions (i.e.: "A cloverleaf makes the evening traffic effervesce"). These propositions are clear because they are irrefutable. They mix "existing and invented requisites", as Wolfgang Hildesheimer explains in his analysis of the poem. The tone is cold and distant; it is being reported. Still, the daily banality – where Pastior draws his motives from – seems sunken into the night. And this is the second essential element: the daily banality is not too despicable for the art; it is being involved into an associative process, by becoming meaningful and tranquil.
It's these two elements that make me feel close to the poem. From the point of view of the intuitive logic, it is therefore no coincidence that my musical version begins with a long piano introduction, which encompasses almost one half of the whole duration of the piece. This introduction entails absurdly repeated chords; this of course being a reference to the archetype of piano accompaniment. But the introduction is not introducing; it is in fact being abruptly interrupted. The following piece is completely different, marked by single gestures, breakouts, interjections and frazzles of sense. It is not concerned with an overall and chronological representation of the poem. It is rather taking what it particularly likes. However, in the end it becomes serious and choral. The composition splits up into two: a heterophone line of sound in the foreground and in the background the voice of the singer, reciting the whole poem, being again introduced by the piano. Thus the piece receives trivially enough the closeness of a three part Lied form.

Wanja Aloe

19.15 / 7.15 pm - Societatea Română de Radiodifuziune / Romanian Radio Broadcasting Corporation,Studioul „Mihail Jora” / Mihail Jora Studio
Orchestra de Cameră Radio România / The Romanian Radio Chamber Orchestra
Dirijor / Conductor: Radu Popa România / Romania
Solişti / Soloists: Ion Bogdan Ştefănescu, flaut / flute, România / Romania, Sorin Petrescu,pian / piano,România / Romania, Doru Roman,percuţie / percussion,România / Romania, Cornelia Petroiu,violă / viola,România / Romania, Daniel Kientzy, saxofon / saxophone, Franţa / France,
Cristian Hodrea, bas / bass, România / Romania

Îşi dau concursul / Guest performers: Anton Tauf, recitator / reciter, România / Romania, Reina Portuondo, live-electronics, Franţa / France

Program / Programme:
George Balint – Ludic Scenes for «Trio Contrasts» (flute, percussion, piano) and orchestra (pa.a.) / (World Premiere)
Fred Popovici – webern28@sax-alto.freqmod (p.a.a.) / (World Premiere)
Cornel Ţăranu – Dedications

Orchestra de Cameră Radio The Romanian Radio Chamber Orchestra
Since 1990, The Romanian Radio Chamber Orchestrahas been an important ensemble for Bucharest’s musical life. Its repertory consists in classic masterpieces but also in some less known pages from universal musical literature. Romanian first auditions or significant works are performed as well. Both permanent conductors (Mendi Rodan, Constantin Bobescu, Carol Litvin, Constantin Silvestri, Ludovic Bács, Cristian Brancusi) and maestros of musical life’s elite (Horia Andreescu, Enrique Garcia Asensio, Francois Xavier Bilger, Amaury du Closel, Lawrence Foster, Ilarion Ionescu-Galati, Cristian Mandeal) have contributed to the fame of this orchestra. It has accompanied prestigious Romanian and foreign soloists (Cristina Anghelescu, Dana Borsan, Viorica Cortez, Ileana Cotrubas, George Crasnaru, Ruxandra Donose, Valentin Gheorghiu, Daniel Goiti, Dan Grigore, Nicolae Herlea, Emanuel Abbül, Dmitri Alexeev, Claudi Arimany, Pierre-Yves Artaud, Daniel Blumenthal, Igor Bezrodnii, Grace Bumbry, Vladimir Bunin, Marc Coppey, Hiroko Sakagami, Peter Soave, Rivka Golani, Natalia Gutman, Monique Haas, Barbara Hendricks) whom celebrity offered great brightness to its concerts. The tours abroad (Russia, Ukraine, Austria, Spain, France, Italy, Japan, Greece, Cyprus, Germany, South Korea), the recordings, television films, its participation to important festivals have attracted great appreciations form the audience and critics. The high standards of performances, the complexity of their repertory are highly valued by the public.

http://orchestre.srr.ro/ocr/ (English translation Irina Stănescu)

Radu PopaRadu Popa (born in 1969, Bucharest). He graduated composition and conducting at National University of Music, Bucharest. He specialized himself in the same fields. Ludovic Bacs played a significant role in his evolution, as well as Erich Bergel. Radu Popa made his debut with Oltenia Philharmonic Orchestra in 1993 and ever since, he is a guest conductor of the orchestras from: Cluj-Napoca, Iaşi, Bucureşti, Timişoara, Târgu-Mureş, Satu-Mare, Oradea, Craiova, Arad, Sibiu, Ploieşti, Râmnicu-Vâlcea, Bacău. He also conducted the National Chamber Orchestra of the Romanian Broadcasting Corporation. Abroad, he conducted in South Korea and Czech Republic. With Chamber Orchestra „Camerata Janacek”, Radu Popa conducted and coordinated „Die Zauberflöte” project, in Sumperk – Czech Republic (2002). In 2002, 2003 he assisted at some international conducting classes from Opava, Czech Republic. One year later, he was invited to conduct „Janacek”Phiharmonic Orchestra in Ostrava, Czech Republic. Nowadays, Radu Popa is a permanent conductor of „Banatul”Orchestra, Timisoara and ”Oltenia” Orchestra, Craiova, Romania.

Radu Popa (English translation Irina Stănescu)

Ion Bogdan ŞtefănescuIon Bogdan Ştefănescu
Born on 25th of April 1969, in Romania. He is Doctor in Music (2002), and he has a Master of Music Degree - University of Illinois, Urbana-Champaign, USA – leading Professor: Alexander Murray (1994 - 1995). He teaches at University of Music, Bucharest - Flute Section (1993) and George Enescu High School of Music, Bucharest (1987). Since 1997 he is Solo Flute of the "George Enescu" Philharmonic Orchestra, Bucharest, Romania. He sustained recitals and concerts as soloist in Romania and abroad: England, France, Spain, Czechoslovakia, North Korea, Germany, U.S.A. Laureate of many national and international competitions: Composer Uniuon Prize for Solo Activity, 2007, Liones Club Prize for Best Performance in James Glaway Semniar, 2003, etc. He is a member of the three most important Romanian contemporary music groups: Trio Contraste, Pro Contemporania and Profil, with noumerous participations in national and international music Festivals (George Enescu International Festival, Bucharest, Contemporary Music Festival, Bucharest and Darmstadt; Festival of Classical and Contemporary Music, Phoenian, North Korea, National Flute Assosiation, Kanssas, USA, International Flute Assosiation, Munchen, Zeit für Neue Musik, Bayreuth, Germany, Wien Modern, Steingreber Festival). He has published ”Joc de oglinzi: (Jeux des mirroires), ed. Libra, 2004 and ”Vârstele flautului” (Flute’s ages), ed Libra, 2005.

Ion Bogdan Ştefănescu

Sorin PetrescuSorin Petrescu is born in 21.07.1959, Timişoara-Romania. He graduated ”Ciprian Porumbescu” University of Music Bucharest. Between1990-1991 he participated at Master classes held within the International Seminar of Music in Weimar, with the Russian pianist Rudolf Kherer.
Since 1982 he is soloist of the ”Banatul” Philharmonic Orchestra in Timişoara, and since 1991 is a part-time Senior Lecturer at the Conservatoire of Timişoara. He had over 700 concerts and recitals in Romania and abroad: Germany, Netherlands, Switzerland, France, Norway, Sweden, Denmark, Luxenbourg, Belgium, Great Britain, Spain, Poland, Bulgaria, Latvia, Hungary, Columbia, Puerto-Rico, China, Hong-Kong, Taiwan. He participated at international festivals: ”Summer in Varna” (Bulgaria), ”Festival for Eastern Europe” in Bergen (Norway), ”Ost-West” Amsterdam (Netherlands), New Music Festival” Darmstadt (Germany), ”Musicarama” Hong-Kong, ”Contemporary Music Festival” – Huddersfield (Great Britain) , ”Heidelbergfrühling” (Germany) a.o. In 1994 he received an invitation from the ”Brahms Foundation” (Germany) for a training stage at the Brahms House in Baden-Baden.
Prizes: 1989- The Prize of the Romanian Music Critics
1990 – The Prize of the Romanian Composers and Musicologists
1990 – ”Stipendienpreis” of the Festival in Darmstadt
1993 – The 2nd Prize of the International Competition for Concert Pianists in Mazara del Vallo (Italy)

Sorin Petrescu

Doru RomanDoru Roman is born March 22, 1963 in Timisoara, where he graduated percussion at "Ion Vidu" Music School (teacher Mrs. Viorica Siminescu). 1986 - Degree of Music Academy "G. Dima" Cluj-Napoca, Master class Grigore Pop. In the same year become member of the National Opera Orchestra-Timisoara. In 1990 he becomes a member of "Banatul" Philarmonic Orchestra - Timisoara and in 2007 - Concert Soloist on the same orchestra. He teaches percussion at the Faculty of Music, West-University Timisoara. Doru Roman is a member of: International Orchestra "Europa Symphony" SIMN - Vienna, "Metropolitan" Orchestra, Bucharest, Percussion Ensemble - Cluj-Napoca, Percussion Ensemble ”Rhythmic" – Timisoara, Old Dixeland Jazz Band, Trio "Contraste". He obtained numerous prizes along his career: First Prize to the Percussion National Competiton in: 1979, 1980, 1981, 1982, 1986, Special Prize at Jazz Festival Sibiu – 1986, "ProCultura Timisiensis" Prize and UCMR Prize – in 2008 etc. He participated at International Festivals in Romania and abroad: Contemporary Music Festival in Darmstadt (Germany) in 1991, S.I.M.C.Festival- Lausanne (Switzerland) in 1992, 1996, 2004, - Contemporary Music Festival in Huddersfield (England) in 1993, Musicarama Festival in Hong – Kong in 1995, "George Enescu" International Festival, Bucharest in 1998 , 2003, 2007 etc.

Cornelia PetroiuCornelia Petroiu
In 1986, when Cornelia Petroiu became a member of the Bucharest ”George Enescu” Philarmonic Orchestra, she already had a reach experience as a viola player. She graduated the Music High School (1978) and the Conservatory in Bucharest (1982) and she took part in different music camps, such as Interlochen-Michigan (1975), or Weimar-Germany (1976). Cornelia Petroiu has always been interested in chamber music. Pro Musica and Brio were not the only chamber music groups she was part of. With the FlautArchi quartet she had concerts in Japan, in 2002, and in the same year she had an excellent collaboration with musicians from the Conservatoire de la Ville de Luxembourg. She took also part in Hyperion, devotioModerna and Traiect, contemporary music ensembles. In 2005, she made Daniel Kientzy’s idea come true and founded the Trio Alto. Ever since they’ve been performing world premieres for saxophone, viola and piano. In the same year she started the post-production sound-editing. In 2007 she founded, together with Daniel Kientzy and Reina Portuondo, the proMOZICA Trio , dedicated to performing of world premieres for saxophones, viola and electro-acoustics, in concert tours all over Europe, in 2007 and 2008.

Daniel KientzyDaniel Kientzy – photo Horia Niţu
When 16, he became a professional musician, starting with pop music, and it was later on he discovered the classical music. He was studying, at the same time, the saxophone and the double bass. He became interested in ancient music and instruments. Kientzy specializes in acoustics, electro-acoustics and recording techniques, and he became a doctor in aesthetics, science and technology of arts. Starting 1978/79, he dedicated himself to contemporary music, when he chose the Saxophone under its multiple forms, which he’s been serving ever since. He identified himself with the musical avant-garde and he’s renowned as the ”inventor of the contemporary saxophone”. He made matchless studies over the seven members of the Saxophone family, and he’s the only saxophone player all over the world, playing all of them. He was dedicated over 300 compositions. As a writer, ”Saxologie” is a matchless exploit, which analyses all the technic and acoustic capabilities of the saxophone. Daniel Kientzy is Doctor Honoris Causa of the National University of Music, Bucharest.

Cornelia Petroiu

Cristian Hodrea

Cristian Hodrea is born in Cluj, September 27th, 1977. He studied at oboe (1997-2002) and singing at ”Gheorghe Dima” Music Academy (Singing and Artistic Production , Singing Master classes – Marius Budoiu class) from 2007 until present. His voice was remarked since his first appearance nowadays he is lyrical artist at ”Transilvania” Philharmonic Choir in Cluj-Napoca. He performed in numerous concerts in Romania (Cluj, Iasi, Bucharest, Arad, Sibiu, Craiova etc.) and abroad (Italy).



Anton Tauf

Anton Tauf (Born 18.04.1946) graduated I.A.T.C in Bucharest, 1968. He is actor at National Theatre in Cluj. Anton Tauf has been Head-Master at the same institution (1992-1993), and Head Master of Dramatic Theatre in Baia Mare, Romania (1995-2002). He is both actor and Director, playing parts in some of the most important universal and Romanian repertory. He toured in Hungary, Austria, Germany, Italy, France, England, USA., Canada.

Anton Tauf (English translation Irina Stănescu)

 

Reina PortuondoReina Portuondo
After graduating the University from Havana, Cuba, she developed herself like the ideal performer of the electro-acoustic instruments. Her experience on this ground is vast: innumerable recording sessions, audio post-processing, conferences and soloist in concerts. Together with Daniel Kientzy, she conceived the Enneaphony, the meta-chamber-music instrument. By means of the Enneraphony, physic and/or synthetic spatialising joins the natural way of performing. This alchemy contains all possible timbral nuances, sound and temporal metamorphosis, by means of the electro-acoustics. This is The Art of the organo-acousmatic performing, as seen by the META DUO group: Daniel Kientzy and Reina Portuondo. Although her activity develops mainly in acoustic and recording studios, she can be rather often seen on stage, as a soloist at Maison de Radio France, Cluj-Napoca Music Academy, Bucharest, Habana, Bilbao, Cracow, Heidelberg, Sevilla, Copenhague, Malmo, Aarhus, Corfou, Alicante, Coimbra, Blois. She sustained conferences on the performing in the electro-acoustic music, in Spain, France, Korea, and she made recordings and audio post-processing for several CDs. In 1996, after a concert in City Hall Theater in Hong Kong, the North-American magazine ARRAY stated that mixed music concerts should follow Reina Portuondo’s example.

Composers and Programme Notes

George Balint
(1961), graduated from the National University of Music in Bucharest (1986), at the composition department of Prof. Ştefan Niculescu. At the same time he studied the art of orchestra conducting (with professors Constantin Bugeanu and Iosif Conta) and this was a field in which he has obtained an M.A. degree (2001), after a period of study with Professor Cristian Brâncuşi. In 2003 he is granted the distinction ”Doctor of Music” for the paper ”Theoretical perspectives on the interpretative musical performance”. Most of the works composed by G. Balint are of a chamber nature - vocal-instrumental, instrumental and choral. He approaches a composition technique that mostly emphasizes the importance of the musical project, in a language closely related to the Romanian ethos, seen from the perspective of a modern expression. Among the awards that stand for the value of his works we can mention: 2nd prize for choral composition - Tours (France), 1984; the UCMR prizes: 2002; 2005; 2007; 2008; the ”George Enescu” prize of the Romanian Academy, 2002. He is currently a conductor at the National Operetta Theatre ”Ion Dacian” in Bucharest.

Ludic Scenes
for «Trio Contrasts» (flute, percussion, piano) and orchestra (2008) reveals itself in the form of a concert, comprising three parts that are based on the principle of a tempo contrast: fastslowfast. We may say that it is the first Romanian performance of this type, written for the famous ensemble in Timişoara, which has reached in only a few years the level of a state trio. Making use of a melodic line, of a rightful-heterogeneous versification, of an instrumental touch, of concise phrases and of virtuosic soloist instrumentalists, the play aims at making the audience achieve a state of well-being and good spirits. In addition to this, several «jests» are also included, with the purpose of fulfilling the sentiment of a comfortable audition, by means of surprise and humor.

The composer

Fred Popovici graduated from the Academy of Music in Bucharest, in 1972. He was participant in the Darmstaedter Kurse fr Neue Musik (1978, 1980, 1982), studying, there, among others, with Cristobal Halffter, Helmut Lachenman, Brian Ferneyhough. He was also invited to theInstitute for Electroacoustical Researches in Berlin, in 1983, at IRCAM, Paris, (1990, 1993, 1996). In 1993, he was requested at Centre ”Yannis Xenakis”, Massy, to write a work for string quartet and electronic sounds. Fred Popovici has an experience as teacher of theory of music and counterpoint at the ”George Enescu High School of Music” in Bucharest; teacher of composition at the Academy of Music in Iasi, music advisor at the Ministry of Culture, coordinator of the ”George Enescu” International Festival, founder of the International Courses for computer music at the European Centre of Culture in Sinaia, Romania, member of the MATHEMATICS & MUSIC RESEARCH GROUP of the Romanian Academy, lecturer at theTECHNISCHE UNIVERSITAT in Berlin (1993), at the London University (1996,1997) in Canada (2000) etc. His works were performed in: Athens, Belgrade, Budapest, Prague, Moscow, Warsaw, Rome, Vienna, Paris, London, Washington, Boston, Montreal and Ottawa, his partitions were edited by The Romanian Composers Publishing House; Israeli Music Publishers, Jerusalem.

http://www.cimec.ro/MUZICA/Pers/PopoviciENG.htm
webern28@sax-alto.freqmod

What's behind the famous Anton Webern's ”silences”? What about his ”BACH-mania”, in op.28? Paraphrasing M. Foucault's views about Raymond Roussel, I'm inclined, in my turn, to state ”the secret of secrets is that is no secret at all, outside the language (i.e., its strenghful organization) is anything but language itself which confines the borders of death”. In order to reveal this ”awkward” secret of Webern, I imagined a sui generis de-construction of the BACH series from his String Quartet op.28.The silences have been filled up with the dynamic processes within the sound(s) - as these are put in relief by the electroacoustical researches and/or the computer investigations of sound parameters. Frequency modulation, inharmonic spectra and the sophisticated mapping of noise in sound and vice versa were the main tools used in my compositional strategy. As usually in my so-called concertos for ”soloists” and orchestra, the latter is conceived as a complex device that simulates, in real time, the transforms in the evolution of the former (the ”soloists”). In this way, starting from a salient masterpiece of the modern(ist) music - Webern's Quartet – I attempted to make an intrusion of atemporality within the fragile frame of temporality (or of nothingness...).

Fred Popovici

Cornel Ţăranu, born June 20th 1934 in Cluj is a distinguished Romanian composer of mostly orchestral, chamber and vocal works that have been performed throughout Europe, North and South America. Prof. Taranu studied composition with Sigismund Toduta at the Gheorghe Dima Academy of Music in Cluj-Napoca 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), and the International Koussevitzky Award (1982, for a recording of Garlands). 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. 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 ”Enesco dans la conscience du present”, 1981, Editura stiintifica si enciclopedica.

Dedications (poems by Nichita Stănescu) for baritone, actor, small mixed choir and orchestra (1991)
Nichita Stănescu wrote these poems for his friends Cornel Ţăranu and Anton Tauf. ”Dedications” have six parts, alternating or superposing the singer and the actor, culminating in the last part with an intervention of a choir, singing a ”Kirie eleison” in a ”byzantin” manner. The modal-chromatic writing, some aleatoric moments as well as some repetitive elements tried to respond to Nichita's so personal lyricism, after a lot of other works inspired by him. The six parts are the followings:
1. Muzica, tu / Music, you
2. Redevenise om / He became again a man
3. Ca in nisip / Like a sand
4. Linie, tu / Line, you
5. Acest barbat / This man
6. Ce pocale pline cu ingeri / What glasses full of angels

Cornel Ţăranu