Afiş /Poster
Afişul festivalului

Joi, 28 Mai / Thursday, 28 May

12.00 / 12.00 pm - Aula Palatului Cantacuzino / The Cantacuzino Palace Hall
Simpozion / Symposium Aurel Stroe
Coordonator / Coordinator: Laura Manolache
Participă / Participants: Corneliu Dan Georgescu, Alexandru Leahu, Ruxandra Arzoiu, Valentina Sandu-Dediu, Sorin Lerescu, Octavian Nemescu, Octavia Dinulescu

Aurel Stroe
Aurel StroeBorn in 1932, he studied at the Academy of Music from Bucharest where he would later be teaching orchestration and composition. Since 1985, he lived in Mannheim (Germany). His music prouves his interest in some special ideas about the compositional classes, the theories of morphogenesis, the acoustic system, the compatibility between different systems of tuning. Some major works are: Canto I, Canto II, Prairie, priere for saxophone and orchestra, Capricci et Ragas for violin and orchestra, Clarinet Concerto, the Trilogy of the ”Cite fermée”(Orestia I Agamemnon, Orestia II Coeforele, Orestia III Eumenidele). Stroe attended courses in Darmstadt (1966 –1969), he was Resident Composer in Berlin (D.A.A.D.) in 1972-73, professor of Composition at the University of Illinois in Urbana-Champain (U.S.A) in 1985 – 1986, and at Darmstadt Summer Courses between 1986-1992. Aurel Stroe died in October 2008.

17.00 / 5.00 pm - Aula Palatului Cantacuzino / The Cantacuzino Palace Hall
Sorin Petrescu
, pian / piano, România / Romania

Program / Programme:
Gheorghe Costinescu – Sonata (new version) (p.a.a.) / (World Premiere)
Joji Yuasa – Cosmos Haptic II – Transfiguration
Laura Manolache – Plecarea (p.a.a.) / (World Premiere)
– pauză / intermission –
George Crumb – Macrocosmos II (p.a.r.) / (Romanian Premiere)
Aurel Stroe – Sonata a II-a

Sorin 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

Composers and Programme Notes

Gheorghe Costinescu, born in Bucharest in 1934 and residing in New York since 1969, has been active as a composer, conductor, pianist, musicologist, and educator. After studying privately with Pascal Bentoiu and earning an M.A. in composition from the Bucharest Conservatory in the class of Mihail Jora, he continued his studies with Karlheinz Stockhausen in Cologne and with Luciano Berio at The Juilliard School in New York. In 1976 he received a Ph.D. with Distinction from Columbia University, where he studied with Chou Wen-chung. Mr. Costinescu has received grants and awards from the American Academy and Institute of Arts and Letters, the National Endowment for the Arts, the New York Foundation for the Arts, the American Music Center, Meet the Composer, and the Ford Foundation. He has been a Fulbright Scholar and has also received the Romanian Academy’s George Enescu prize; The Juilliard School’s Alexandre Gretchaninoff Memorial Prize; and fel-lowships from MacDowell Colony, YADDO, and the Virginia Center for the Creative Arts. His theoretical writings include articles on contemporary music, essays on comparative aesthetics, and A Treatise on Musical Phonology. Gheorghe Costinescu has held teaching positions at The Juilliard School, Columbia University, and the New School for Social Research. In 1982, he joined the faculty and subsequently directed the electronic music program at Lehman College of the City University of New York, where he became Professor Emeritus of Music in 2003.

Sonata for the piano
I composed the initial version of my piano sonata in 1957, while a conservatory student in Romania. I revised it, or rather re-composed it, exactly fifty years later in the United States.
I mean by ”re-composing” updating, restructuring, and expanding already existing material.
Of the three movements of the work – Moderato energico, Andante poco rubato, and Presto con fuoco – the first and the third are structured more or less according to the classic sonata form; the second movement uses a combination of ternary and vari-ational forms. Since making a studio recording of the last movement for the Romanian Broadcast in 1957, I have had none of the movements performed in public, feeling that their full potential was not yet realized. The Sonata’s main themes, some rather pungent and chromatic, others more lyrical or with modal inflections, followed me through the years. Recently, I felt urged by my compositional and life experiences to complete the work as I first imagined it. It came, however, as a surprise that the last movement, especially in the coda, turned out to integrate, in addition to echoes from the
preceding movements, elements of ragtime and jazz. These emerged as if pointing to where the long journey of composing this work was to end.

G. C., New York, 2008

Joji Yuasa, born in 1929, is a self-taught composer. He first became interested in music while a premedical student at Keio University, and in 1952 turned to music full-time when he joined in Jikken-Kobo' (Experimental Workshop). Since then, Yuasa has been actively engaged in a wide range of musical composition, including orchestral, choral and chamber music, film music, music for theatre, and intermedia, electronic and computer music. He has won numerous commissions from such institutions as the Koussevitzky Music Foundation, Saarland Radio Symphony Orchestra, Helsinki Phil harmony Orchestra, Japan Philharmonic Orchestra, NHK Symphony Orchestra, Canada Council, IRCAM, National Endowment for the Arts of the U.S.A., Suntory Music Foundation and Suntory Hall, etc. Since 1981 through 1994 Yuasa had been a professor of the UCLA, San Diego. Also he had been a composer in residence of the Orchestra Ensemble Kanazawa from 1993 to 1995. His music has been widely performed throughout the world such festivals as the ISCM World Music Days, Warsaw Autumn, ULTIMA Oslo Contemporary Music Festival.
Awards & Prizes:
- The 21st Otaka Award and the Grand Prize of the Japan Arts Festival for his Chronoplastic for orchestra (1973)
- The Grand Prize of the Japan Arts Festival for A Perspective for Orchestra (1983)
- The 36th Otaka Award for Revealed Time for viola and orchestra (1988)
- Hida Furukawa Music Award Grand Prix and Kyoto Music Award Grand Prix for Piano Concertino and Symphonic Suite The Narrow Road into the Deep North: Basho (1995)
- The 45th Otaka Award for Violin Concerto in memory of Toru Takemitsu (1996)
- The Suntory Music Award and Art Encouragement Prize of Japan for his musical achievement in 1996 including Violin Concerto in memorial of Toru Takemitsu, Jo-Ha-Kyu for 5 players and Projection No.2 for string quartet (1996)
- Medal with purple ribbon from the Japanese government (1997)
- The Imperial Prize and the Japan Art Academy Prize (1999)
- The 51st Otaka Award for Haptic Cosmos V for orchestra (2003)

Cosmos Haptic II - Transfiguration for piano (1986)
This music, the sixth of my piano solos, was composed by request of Aki Takahashi, the pianist, and premiered at her recital in February, 1986. It is written in the modal arrangement of dodecaphony, constituting six parts of different character. I intended throughout to write such music that is enabled only by the piano, developing to the utmost the characteristics of this instrument, especially the sonority through its vast reverberant body. In other words, as far as this work is concerned, the transformation of reverberation blended by the use of pedals, rather
than the arranged notes themselves, should be listened to continuously along with the lapse of time. This is the second seriation of ”Cosmos Haptic” which I composed in 1957. ‘Haptic’ is a word employed in ”Icon and Idea” by Herbert Read, and it is used to explain the way how the painters of such primitive arts as found in the Caves of Altamira grasped the idea of cosmos.

Joji Yuasa

Laura Manolache – composer, musicologist and manager
Born in Bucharest, Romania, she studied at the National Music University of Bucharest. She attended the ”Summer courses of New Music” in Darmstadt (1990), she obtained three DAAD research scholarships - at the Musicology Institute of the Köln University (1992-1993) and the Musicology Institute of the Osnabrück University (1999, 2004) - and also the ”M. Elias” scholarship offered by the Romanian Academy - at the Musicology Institute of Vienna University (1996). Didactic activity at the NMUB since 1991, a Musicology PhD in 1995. Since 2007 she is also general director of the ”George Enescu” National Museum. Laura Manolache is member of the Composers and Musicologists Union of Bucharest (since 1984) and she is member of the Romanian Department of the International Society for New Music (since 1991) etc. Her creation, that contains different instrumental–chamber opuses and also three symphonic works, was awarded several times. Some of her works were recorded by the Romanian Broadcasting Society, two were edited by ”Editura Muzicală”- Bucharest and one by Müller & Schade Publishing House – Bern; the most was performed in concerts and festivals both in Romania, and in many others European and American countries. Her musicological writing edited by the Musical Publishing House includes titles as: George Enescu. Interviews, Twilight of Tonal Ages, Six Portraits of Romanian Composers (2002), Theodor Rogalski (2006) etc.

The composer

Plecarea (The departure)
Inspired by Urmuz’s writing titled The departure abroad, this composition in one part uses not only fragments of this text (pronounced by the pianist) but also the way of structuring the musical flow, trough a surprisingly combinations of ideas. As a personal experience, here I dare for the first time to associate music with words. I do it shy, fascinated and sustained by my friend-the pianist. The score is written for and played by Sorin Petrescu at this Edition of International New Music Week Festival.

Laura Manolache (English translation Irina Stănescu)

George Henry CRUMB was born in Charleston, West Virginia on 24 October 1929. He studied at the Mason College of Music in Charleston and received the Bachelor’s degree in 1950. Thereafter he studied for the Master's degree at the University of Illinois, Champaign-Urbana under Eugene Weigel. He continued his studies under Boris Blacher at the Hochschule für Musik, Berlin from 1954-1955. He received the D.M.A. in 1959 from the University of Michigan, Ann Arbor after studying with Ross Lee Finney. Crumb's music often juxtaposes contrasting musical styles. The references range from music of the western art-music tradition, to hymns and folk music, to non-Western musics. Many of Crumb's works include programmatic, symbolic, mystical and theatrical elements, which are often reflected in his beautiful and meticulously notated scores. Crumb retired from his teaching position at the University of Pennsylvania after more than 30 years of service. Awarded honorary doctorates by numerous universities and the recipient of dozens of awards and prizes, Crumb makes his home in Pennsylvania. George Crumb's music is published by C.F. Peters and the ongoing series of "Complete Crumb" recordings, supervised by the composer, is being issued on Bridge Records.

Macrocosmos II is comprised of 12 pieces laid out in three groups of four each. Makrokosmos sounds as though the piano has become an orchestra unto itself. There is, in fact, an enormously wide range of sound, timbre, touch, dynamics, etc. A variety of factors – amplification, various vocal effects, the imaginative exploitation of the three pedals, effects produced by the fingers in contact with the strings, and the use of external devices – contribute to this. The amplification of the piano by a conventional microphone suspended over the strings gives the instrument a greater presence than normal; however, the amplification must not result in any distortion of the sound. The amplification enhances many of the very delicate effects, such as pizzicato playing and muting of the piano strings.

Robert Miller

Aurel Stroe (see ”Symposium Aurel Stroe”)

Sonata a II-a
Strikingly original, Aurel Stroe’s compositional theory integrates a series of borrowed concepts from contemporary sciences, mainly from mathematics (Rene Thom’s catastrophe theory) and physics (Ilya Prigogine’s approach to the Second Law of Thermodynamics). Particularly the Second Piano Sonata (1984), known as ”The Thermodynamic”, focuses on the latter, even though morphogenetic (catastrophic) type of music is also present as an underlying issue of the structure. Key concepts of Prigogine’s scientific work are illustrated here, like arrow of time, time irreversibility or fluctuations, which are a characteristic of self-organizing systems, leading to a new inner order of the system. The sonata has two movements (Clepsidrae and Fluctuations), separated by an Interpolation – a short pesante motif, taken from the First Piano Sonata (”The Morphogenetic”). It acts as a perturbation factor through the fluctuations, which should virtually restore order out of chaos. The two movements reflect a number of dichotomies which are to be found in Prigogine’s writings - stationary and dissipative structures, equilibrium and far-from-equilibrium phenomena, linear and non-linear processes. Given this frame of philosophy of science, the Second Sonata raises a significant question regarding musical ontology, mirroring Prigogin’s perspective, that is ”from being to becoming”.

Octavia-Anahid Dinulescu

19.00 / 7.00 pm - Universitatea Naţională de Muzică Bucureşti / National University of Music Bucharest, Sala „George Enescu” / George Enescu Hall
Ansamblul bulgar de muzică contemporană / Bulgarian Contemporary Music Ensemble:
Mila Pavlova,
flaut / flute, Rosen Idealov, clarinet / clarinet, Valentin Toshev, violă / viola, Tsvetelina Panaiotova, pian / piano

Program / Programme:
Dragomir Yossifov – Cinq petits adieux for clarinet (pa.r.) / (Romanian Premiere)
Maia Ciobanu – Concerto for piano and electroacoustic medium
Anatol Vieru – Couple for Cl & Vla
Lazar Nikolov – Sonata per Fl e Pf (pa.r.) / (Romanian Premiere)
Velislav Zaimov – Trio per Fl, Cl e Vla (p.a.a.) / (World Premiere)
Julia Tsenova – Message for flute, clarinet, viola, piano (p.a.a) / (World Premiere)

Bulgarian Contemporary Music Ensemble Bulgarian Contemporary Music Ensemble
Mila Pavlova
is a graduate of the National School of Music "L. Pipkov" and the State Music Academy "P. Vladigerov" with a master's degree. She is a First prize winner of the X National Competition for instrumentalists and singers "Sv. Obretenov" in Provadia and twice First prize winner of the Competition for chamber music "The Golden Diana" inYambol. She is also a winner of special price and golden medal of the International Competition for chamber music in Neerpelt, Belgium. Mila Pavlova has been an active participant in the two master classes of the flutist Andras Adorjan (Varna, 1990, 1992). In 1997 she was invited in France for a specialization in the flute class of the flutist Loic Poulain in the ""Olivier Mesiaen" Conservatory in Paris. In the period 1993 - 2000 she permanently played in the Sofia Philharmonic Orchestra. Mila Pavlova has appeared as soloist with the "Sofia Soloists" chamber ensemble, "Orchestral" ensemble, New Simphony Orchestra, the chamber orchestras of Plovdiv and Tarnovo, AGBU chamber orchestra etc. From 1995 she became member of the New Simphony orchestra and from 2003 of FM Classic Orchestra. She is also First flute player in the Simphony Orchestra of the International "Accademia Chigiana" in Siena, Italy. She has also recorded a lot of solo and chamber music for the Bulgarian National Radio and the Bulgarian National TV.

Rossen Idealov
has been a student in the Varna Music High School ”Dobri Hristov” and in the State Academy of Music. He majored under Aurelian-Octav Popa in Contemporary Music and Interpretation. In 1999 he wins the prize for pedagogic achievements on the Music and Earth International Competition. In 2005 – the prize The Golden Staff for his high achievements and his contribution to the spreading of the Bulgarian music. He teaches Chamber Music and Clarinet in the National Music High School in Sofia. Since 2006 he is a lecturer of Chamber Music in the State Academy of Music. He has performed actively for more than thirty years as a soloist and chamber performer in Bulgaria and abroad in the most prestigious international music forums and festivals (Wien Modern, Triest Prima, Varna Summer, Sofia Music Weeks, etc). He has recorded tens of works for the Bulgarian National Radio, the Bulgarian National Television and other television channels. He performs in nine CDs with contemporary music. He had taught stages of the development of the Bulgarian music and had performed in concerts in Cansas and Pitsburg, USA. He takes part in different chamber groups. He is an author of many clarinet and blass instruments reworkings and he has writtent cadenzas for concertos and pieces for clarinets.

Valentin Iordanov Toshev was born in 1967 in Sadovo (a town in the region of Plovdiv). He started playing the violin at the age of six. Later, he started playing the viola. In 1983 he was a runner-up in a competition for young talents in Blagoevgrad. In 1986 he was the winner in the Svetoslav Obretenov National Competition – Provadia. In the same year he graduated from the Music High School ” Dobrin Petkov” in Plovdiv in the class of S. Staneva and in 1993 - the State Academy of Music in the class of Professor Chilikov. He has worked in different chamber and symphony ensembles – ”Simfonieta” – Sofia, State Music Theatre ”Stefan Makedonski”, New Symphony Orchestra, etc. Since 1993 he is a member of the Sofia Philharmony, where he still works. In 1993 he and some of his friends and colleagues created the baroque music ensemble Ark Baroque. This ensemble won the prize Ensemble of the Year 2007. This group takes part in many festivals and concerts – Sofia Music Weeks, March Music Days – Rousse, Varna Summer, Luxuria Europeae – Sofia.

Tzvetelina Dimcheva Panaiotova
was born in Sofia in a family with music traditions. She started playing the piano at the age of six under professor M. Kurteva. She was a student in the National Music High School when she made her first records for Balkanton. In 1992 she graduated from the State Academy of Music under professor L. Atanasova and T. Nestorova.
She has won many prizes from national and international competitions – International Competition in Salerino, Italy (1985); the National Competition ” Svetoslav Obretenov”(1986);”Dimitar Nenov” Days – Razgrad; ” A. Rusel” Competition (1991), etc. as a corepetitor she has helped many instrumentalists to win prizes in prestigious competitions. Tzvetelina Panaiotova has taken part in many festivals – Pianissimo, Musica Nova, Sofia Summer, Reflections, Luxuria Europeae, Ochrid Summer, Saloon of the Arts, Days of Botev (in Vraza), March Music Weeks in Rousse. She performs not only in Bulgaria (in the towns of Sofia, Varna, Rousse, Pleven, Smolian, Elena, Isperich, Vraza), but also abroad (Macedonia, Turkey, Serbia, Italy, Slovakia, Germany). She performs as a soloist of symphony orchestras and as a chamber performer in different ensembles.

Composers and Programme Notes

Dragomir Yossifov
(1966)started studying music in the Secondary School of Music in Varna concentrating on bassoon, piano and conducting. Later he graduated from the State Musical Academy, Sofia where he studied choir conducting with Prof. Vassil Arnaudov and with Prof. Georgi Robev and orchestra and opera conducting with Dimitar Manolov and with Prof. Ivan Vulpe. His composing teachers were Prof. Lazar Nikolov and Bojidar Spassov. In 1989 he obtained Pancho Vladigerov Scholarship. In 1989 being a student in the State Musical Academy Dragomir Yossifov founded and conducted all the years after the Musica Nova Sofia Ensemble. The ensemble regularly participates in the concert cycles of the ISCM Bulgarian Section and Mr. Yossifov is a member of this section. In 1989 and in 1995 Dragomir Yossifov participated in The International Ateliers with Theo Loevendie and with Ton de Leeuw. In 1993, he established Prof. Vassil Arnaudov Mixed Choir in Russe whose conductor has been ever since and with which he participated in International festivals in Bulgaria such as March Music Days in Russe; Varna Summer Music Festival; Salon of Arts in Sofia. In 1995/1996 He specialized with Anatol Vieru and attended the conducting courses of Karl Oesterreicher and Ilya Mussin. In 1996, Dragomir Yossifov founded the Youth International Festival Orchestra with which he regularly takes part in March Music Days Festival, Russe. Dragomir Yossifov has conducted the Musica Nova Sofia Ensemble and Prof. Vassil Arnaudov Mixed Choir while touring in Germany, Spain, Hungary, Italy, and Macedonia. His works have been performed in Germany, Romania, Russia, Czech Republic, Slovakia, Switzerland, Italy, and USA among others. As a choirmaster, conductor and pianist, Dragomir Yossifov has initiated first performances in Bulgaria of numerous contemporary works (...)

Cinq petits adieux for clarinet (Romanian Premiere)
Maia Ciobanu studied composition and piano at the "Ciprian Porumbescu" National University of Music in Bucharest; Fellowship for the "Internationale Ferienkurse fur Neue Musik" - Darmstadt, Germany (1980). She won ”George Enescu” Prize of the Romanian Academy (1998) and the Prize of the Romanian Composers’ Association (1999) for her electronic works, the Order for Cultural Achievments (2004) and the ”Actualitatea Muzicală” Diploma for creative activity (2007). Ph. D. in music, conferences about her works by the Music Academy in Göteborg (Sweden), by the Music Academy in Köln-Wuppertal (Germany) and by the University of St. Gallen (Switzerland). Director of the Contemporary Music Information Centre (1995 - 2003), President of the Romanian section of the ISCM (2002 - 2003), founder and chief editor of the ”Contemporary Music - Romanian Newsletter” - the first English newsletter of the ISCM - Romanian section; President of the International Composition Contest ”Jeunesse
Musicales” 2008. M. Ciobanu is an associate professor at the National University for Theater and Film in Bucharest and senior lecturer at the Spiru Haret University. The works of Maia Ciobanu include all musical genres.The composer reveals a metastylistic attitude where the different layers of time perception are superposed and synthesized, offering a new coherence, a new meaning and an unexpected image in the post-modern trend.

Concerto for piano and elecroacoustic medium
A declared romantic work, the Concerto for piano and electroacoustic medium has the sonata's and the air with variations' structures as well as the academic piano concerto’s attitudes - as a pretext for describing different possible ways and/or degrees of ”being involved” of the artist. After the Ist part‘s the exposition, the lyric and rather strange atmosphere is suddenly interrupted by the air with variations of the second part in a rhetoric-dramatic way. The piano plays the dominant part and it projects on the tape its own changing images. The accumulated tension explodes fairly in the last part - "Fantasia". Here the sonata form accomplishes its structure by involving also the main ideas of the middle part. Reminding the soloist/orchestra relationship of the traditional concerto, the pianist/ tape relation gets different aspects in the three parts of the work. The electroacoustic part participates to the development of the alter-egos of the piano and describes its own trajectory and personality. In spite of the initial closed sonata structure, the romantic meaning of the form is expressed by its open way, not copying but rethinking, reinterpreting and justifying with musical arguments these aesthetics, without solving the tensions, without hoping to get equilibrium, by its psychological motivation, transgressing styles and history.

Anatol Vieru was born in 1926, Iasi, Romania. He attended at the University of Music, Bucharest and the Tchaikowsky Conservatoire in Moscow where he studied composition with Aram Khatchaturian. From 1955 untill his death (in 1998) he was professor at the University of Music, Bucharest. In the 70’s he initiated in Bucharest Musiques Paralleles, a non-dogmatic series of concerts (in wich he also conducted) including works by Lassus, Ives, Skriabin, Schönberg, Varèse, Schnittke etc. He attended The Internationale Ferienkurse für Neue Musik, Darmstadt for the first time in 1967 and was the recipient of a DAAD fellowship in West Berlin from 1973 to 1974. He also gave many guest lectures in the USA, Canada, Israle an dat the Internationale Ferienkurse für Neue Musik, Darmstadt. Between 1992 and 1993 he was composer in residence at New York University. Vieru’s music has frequently been awarded with important prizes (George Enescu Prize, 1946; Herder Prize, Wien, 1986; Koussevitzky Foundation Prize, 1966, Washington etc) premiered in international concerts and festivals and his works – published by Editura Muzicală, (Bucharest), Salabert (Paris), Schott (Germany), Breitkopf & Härtel (Germany), Muzyka (Moskow). Vieru’s musicological writings are based on a mathematical theory of musical scales. In 1978 he became a Doctor in Musicology with a thesis entitled From modes Towards a Model of Intervallic Musical Thoughts and in 1980 his Book of Modes was printed in Bucharest.

Couple for clarinet and viola is taken from a recent series of short duos for various instrumental settings. This piece arrow from the sheer joy of composing. It works with finely wrought microtonal sound surfaces which are constantly pierced by synchronized bursts of sound.

Lazar Nikolov
(1922-2005) was for many years among the most prominent representatives of Bulgarian musical modernism. Along with a small group of his contemporaries, Nikolov pioneered the use of avant-garde techniques in Bulgaria, giving them a distinctive Eastern European personality. His strong musical personality and the evolution of his innovative ideas are most forcefully expressed in his seven large-scale piano sonatas, three of which are performed by the gifted young Bulgarian virtuoso, Angela Tosheva. They range in date from the Fifties to the Nineties, from the most oppressive period of the old regime to the freedom and recognition of recent years (…) Lazar Nikolov, the doyen of Bulgarian composers and one of the first to introduce avant-gardism into Bulgaria, is the composer of seven path-breaking piano sonatas. (…) Nikolov's output includes operatic, vocal, symphonic and chamber music but he is particularly known for his piano works which explore the sonic character of the instrument but also make extensive use of its virtuoso traditions. The influence of Liszt, Bartòk, Prokofiev and Messiaen is present along with the Viennese expressionists and the techniques and sonorities of modern Polish music and of European serialism, all used in a distinctive and personal manner.

Sonata per Fl e Pf (Romanian Premiere)
Velislav Zaimov
(1951, Sofia) graduated composition with Prof. Dimitar Tapkov and Prof. Alexander Tanev at the ”Pancho Vladigerov” State Academy of Music (SAM). After graduation he worked as a teacher in harmony at ”Pancho Vladigerov” SAM, at the ”Lubomir Pipkov” State School of Music and as a teacher in musical analysis at the Academy of Music and Dance Art in Plovdiv. Currently, he teaches score reading at ”Pancho Vladigerov” SAM. His music has been performed in Italy, the Netherlands, Russia, Germany, Ukraine, Romania and has been recorded for the Bulgarian National Radio. He is member of the board of the Union of Bulgarian Composers.

Trio per Fl, Cl e Vla (World Premiere)
Julia Tsenova
is a composer and pianist with a bright creative presence imposed in the seventies, when she graduated piano with prof. B. Starshenov and composition with prof. P. Vladigerov, at the State Academy of Music in Sofia. Her consequent interests in contemporary music led her to participate in various composers' forums, ateliers, concerts and festivals in the four continents of America, Europe, Asia and Australia. Her numerous creative works are marked by an original, multi-layered philosophical conception which interweaves intellectualism with paganism and a broad religious sentiment with an undeniable individuality. The originality of the ideas lead her to seek out the roots of various cultures, while her artistic sense and subtle feeling for sound form the basis for strange and non-standard musical decisions. Julia Tsenova is mentioned in various authoritative encyclopaedias and has received prizes for choir and scenic music. In 2001 a book called ”Diving in the Poles” was written by prof. dr. Veska Tsinandova-Haralampieva, and Bulgarian National Television (BNT) produced a documentary entitled ”prayers onto the wall” devoted to the composer and her works. Currently Prof. Julia Tsenova is dean of the Pop and Jazz Department in National Academy of Music in Sofia ”Prof. P. Vladigerov”, as well as a member of the governing council of the Union of Bulgarian Composers.

20.30 / 8.30 pm - Universitatea Naţională de Muzică Bucureşti / National University of Music Bucharest, Sala „George Enescu” / George Enescu Hall

Atelierul de muzică contemporană ARCHAEUS / ARCHAEUS Contemporary Music Workshop
România / Romania
Conducerea muzicală / Music Director: Liviu Dănceanu
Anca Vartolomei
, violoncel / cello, Rodica Dănceanu, pian / piano, Dorin Gliga, oboi / oboe, Şerban Novac, fagot / bassoon, Ion Nedelciu,clarinet / clarinet, Alexandru Matei, percuţie / percussion, Marius Lăcraru, vioară / violin
Colaborează / Guest performers: Mălina Dandara, vioară / violin, Maria Ciurduc, violă / viola, Alexandru Mihalcea, chitară / guitar

Program / Programme:
Ştefan Niculescu – Sincronie I
Ulpiu Vlad – Rezonanţe-n viitor IV (p.a.a.) / (World Premiere)
Livia Teodorescu-Ciocănea – Polyspectralia (p.a.r.) / (Romanian Premiere)
Costin Miereanu – Sept minutes autour de moi
Horia Şurianu – Evocation
Liviu Dănceanu – Diario minimo (p.a.a.) / (World Premiere)
Călin Ioachimescu – Palindrom

ARCHAEUS Contemporary Music WorkshopARCHAEUS Contemporary Music Workshop, Romania, founded in 1985 with a view to promote the most diverse tendencies and trends in contemporary music .It has performed over 300 de concerts, including more than 550 works (many of them as premières) signed by 300 native or foreign composers, in 80 cities and over 100 concert halls at home, all over Europe and in the USA. It has also appeared in many major festivals and international musical events in Bucharest, Paris, Vienna, Salzburg, Budapest, Geneva, Huddersfield, Berlin, Bonn, Cologne, Munich, Hannover, Copenhagen, Moscow, Lisbon, Sofia, Kishinev, Bratislava, Rome, Turin, New York, Cleveland, Washington, etc. At the same time, the ensemble has widely recorded thousands of minutes of music for the Romanian Radio Society and radio stations abroad, as well as on discs, audio and video cassettes. It has also performed the sound tracks for over 20 animated cartoons, documentaries, experimental films, etc., its extremely broad repertoire covering various music styles and periods, including the Byzantine music and contemporary music. For its activity, the ensemble has been awarded the ATM Prize 1987, the Critics Award 1991, the Prize of the "Music Today" Journal 1996, the "Soros" Prize 1997.

Ştefan Niculescu (b. July 31, 1927, Moreni, Dâmbovita, d. 22 ianuarie 2008, Bucureşti). Esteemed Romanian composer of mostly orchestral, chamber and choral works that have been performed throughout the world. Stefan Niculescu studied at the National University of Music in Bucharest from 1941-46 and the Polytechnic Institute from 1946-50 before he studied composition with Mihail Andricu, harmony with Mihail Jora and piano with Muza Ghermani-Ciomac at the Academy of Music in Bucharest from 1951-57. He also attended an electronic music course with Mauricio Kagel in Munich in 1966 and Darmstadt from 1966-69. Among his honors are many awards from the Romanian Academy and the Romanian Composers Union. He has also received an award from the Académie des Beaux-Arts in Paris (1972), the International Record Critics Award (1985) and the Herder-Preis in Vienna (1994). In 1993, he was made a corresponding member of the Romanian Academy and has been a full member since 1996. He served as composer-in-residence at the Deutscher Akademischer Austauschdienst in Berlin in 1971-72 and founded the International Week of New Music Festival in Bucharest in 1991. Since 1963, he has been a lecturer in analysis and composition at the Academy of Music in Bucharest, where he was made a professor in 1993. In addition, he has guest lectured in Zagreb (1969), Paris (1989), Valencia (1991), and Darmstadt (1992).

Sincronie I
Synchrony for 2-12 instrumental voices constitutes a composition class with multiple combinatory variants. With an extraordinary self – conscious consequence, Stefan Niculescu has elaborated and experienced the most viable and full of possibilities system of composition – the heterophony. It is about synchrony – comparable with the fugue (axiological and ontological), the sonata (as typical homophonic form) or the lied (as a characteristic feature of accompanied monody). And, as like any fundamental principle, synchrony is equal to simplicity and fulfilling. The composer operates with transparency: heterophony shows it natural face. One and multiple. Mono and plural-voices. Coincidence and divergence: here it is the flux and the reflux of synchrony. Concerning the symmetrical forms of it, they are the coincidence of a primordial acoustic phenomenon, as the birth and propagation of sound.

Liviu Dănceanu

Ulpiu Vlad was born on 27th January in Zărneşti, Romania. He studied at the National University of Music Bucharest (composition with Anatol Vieru, degree 1971). In 1972-73 he took part in a programme for foreign students at the Academia di Santa Cecilia, Rome (composition with Virgilio Mortari). He was scientific researcher, editor and than director of the Romanian Musical Publishing House, Music department director at the Romanian Ministry of Culture. Since 1993 he is professor dr. at the National University of Music Bucharest and since 2006 Vice-President of the Union of Composers and Musicologists of Romania. Some of his works are played in Romania, Germany, Italy, Holland, Switzerland, U.S.A., Israel …, are edited by the Romanian Publishing House, Bucharest, and at Carciofoli Verlagshaus, Zürich, and are recorded on CDs. His honors include: George Enescu Prize of the Academy of Romania on 1985; The Prize of the Union of Composers of Romania on 1991, 1995, 2000, 2003 and 2006; The Order of Cultural Merit in Officer Rank, 2004.

Resonances in the future IV
The piece Resonances in the future IV for oboe and tape combines a series of strongly individualized sections opening gates towards various worlds of sounds, interlocking moments of apparent silence with states of strong dramatic tension.

Livia Teodorescu-Ciocănea
is a Romanian composer and pianist, Ph.D. Associate Professor for composition, forms & analysis at the Bucharest National University of Music. Between 1985-2001 she worked for the Bucharest National Opera as accompanist. She studied composition with Myriam Marbe, Anatol Vieru and Margaret Lucy Wilkins (doctoral studies in composition, UK). She has presented conferences in UK, Norway and USA. Her music has been performed in Romania, Spain, Italy, Great Britain, Ukraine, Moldavia Republic, Denmark, Switzerland, Australia and USA. She has published articles in Contemporary Music Review (UK) and Muzica (Romania)as well as 2 books. She has written works for various ensembles, vocal and symphonic. Her major work, Le Rouge et le Noir ballet in 3 acts after Stendhal, was premiered in 2000 and included in the current repertoire of the Bucharest National Opera. Livia Teodorescu studied piano with Ana Pitis and Ioana Minei and attended piano master classes ”Bartok Seminar” in Hungary offered by Zoltan Kocksis and Imre Rohmann. As a concert pianist, she has played for the first time in Romania two major works by Messiaen: 7 Visions de l’Amen for 2 pianos and the piano solo part of the Turangalîla Symphony, with the G. Enescu Philharmonic orchestra conducted by Alain Pâris. She has won the Endeavour Award Postdoctoral Research Fellowship for 2008 at Monash University, Melbourne, Australia.

Polyspectralia – Trio for clarinet, violin and piano
Polyspectralia is a piece that combines some of the most beautiful characteristics of the three instruments in a kind of narrative way in as much as I have tried to bring together musical characteristics from Western and Eastern Europe and the near East. It looks for expressivity and
insights along with dynamic and virtuosic passages. Its ethos was achieved by melodies and harmonies with a ‘polycultural’ flavour. It was written in June 2008, for some staff members from the School of Music, Monash University during my Endeavour Award PostdoctoralResearch Fellowship at Monash University Australia and premiered during the Music in the Round Festival Melbourne September 2008.

Livia Teodorescu-Ciocănea

Costin Miereanu (born 27 February 1943 in Bucharest) is a French composer and musicologist of Romanian birth. Miereanu studied from 1960 to 1966 at the Music Academy of Bucharest with Alfred Mendelsohn, Dan Constantinescu, and Octavian Lazăr Cosma, and later at the École des Hautes Études et Sciences Sociales, at the Schola Cantorum, and at the University of Paris VIII, where he was awarded first prizes in writing, analysis, music history, esthetics, orchestration, and composition). He has earned a Doctor of Letters and a Doctor of Musical Semiotics. At the Ferienkursen für neue Musik in Darmstadt he was between 1967 and 1969 a student of Karlheinz Stockhausen, György Ligeti and Ehrhard Karkoschka. In 1977 he became a French citizen. Since 1981 he has been Professor of Philosophy, Aesthetics, and the Science of Art at the Sorbonne. Miereanu has composed aleatoric works and works in the style of Musique concrète for orchester and chamber orchestra, often with the employment of tape-recording equipment, as well as works for the theatre. He was awarded the prize of the European Cultural Foundation 1967, the Prix Enescu (1974), and the Prix de la Partition Pédagogique of the French Composers’ Association (SACEM).

Sept minutes autour de moi
Horia Şurianu was born in 1952 in Timişoara (Romania). He has been living in Paris since 1983 and has the French citizenship. He is bachelor in composition from the National Musical Academy in Bucharest and Ph.D. in Aesthetics and Sciences of Arts from the University Paris I Pantheon-Sorbonne. Actually, he is professor of harmony, contrepoint, composition and musical analysis in two conservatoires in the Paris region and associate professor at the University Paris I Pantheon-Sorbonne. His works, in various musical genres, are played in France and abroad, and are published by Editura Muzicala in Bucharest and by several French publishers like « Editions Combre », « Editions Henry Lemoine » and « Editions Salabert ».

for guitar - according to Nietzsche, an artistic process implies the balance between the Apollonian and the Dionysian, equilibrium rendered in music by a proportional relation between consonance and dissonance. Based on modal structures, the guitar piece ”Evocation” reiterates a melodic and harmonic process, reminding some other times – those of the medieval music of the troubadours. As its title suggests, the piece recalls some stylistic patterns proper to medieval music, rendered in a contemporary modal context. The interest for modal harmony characterising this work is, in fact, a distinctive trait in some other pieces by Horia Surianu, a proof that this rich harmonic system can still be fertile. There are several possibilities of harmonizing a melody. Each time the melody is heard, a different harmony creates a musical form of harmonic variations; the melody appears thus, as new even if the variations are rather close and derive from one another. The score was published in Paris, in 2007, by the French editor Henry Lemoine and played in different countries.

Liviu Dănceanu – born in 1954, in Roman, Dănceanu graduated the National University of Music in Bucharest in 1980, where he studied composition with Ştefan Niculescu. He has a master degree at the same University, studying as well at the International Seminary of Composition in Kasimiersz-Dolny (Poland, 1984) with Xenakis, Kotonsky and Paul Petterson. He is the founder and artistic director of Archaeus, one of the most prestigious and world-known Romanian contemporary music ensembles. He was twice the artistic director of the International Music Week in Bucharest, as well as the director of festivals such as Archaeus (Bucharest) or The Contemporary Music Days (Bacau). He has an intense international activity as a composer, being played and invited at festivals all over the world, as well as a teaching career at the National University of Music in Bucharest (since 1990). He has won numerous awards, such as Studium de Toulouse (France, 1986), the George Enescu Romanian Academy Prize (1989) or Antidogma musica (Torino, 1994). Dănceanu has written so far over 90 works in almost all genres.

Diario minimo
”What if, I told myself, I recorded my daily sonorous impressions, in a manner as frugally and as spontaneous as possible? So said and done. Thus, Diario minimo op.112 for string quartet was born. I have lumbered in it my thoughts, my anxieties, my searches, cascades of aesthaetical ideas. I have stripped myself of all secrets, at times with insolent impudence, at times with wishes of humour and brilliant verve, but always with burning sincerity. (...) For one month, during July 2007, the month of Cancer – sign under which I was born –, I have practiced the ability of expressing myself fast and conspicuously. Afterwards, I have decided upon the title, as I found Umberto Eco’s Misreadings. (…). Diario minimo is a story. In it, I have lost and found myself for a month.” (Liviu Dănceanu). The work is structured in seven parts (Lundi, Mardi, Mercredi, Jeudi, Vendredi, Samedi, Dimanche), parts that can also be performed individually or in groups of 2-7, but respecting the initial order.

Liviu Dănceanu (English translation Diana Rotaru)

Călin Ioachimescu – born in 1949 in Bucharest, graduated in 1975 from the Bucharest Music Academy. He also attended the Darmstadt New Music International Courses and the course in Computer Music on the I.R.C.A.M. in Paris (1985). At present he leads the Computer Music Studio of the Romanian Composers’ Union. Author of symphonic works, concertos and chamber music, as well as of mixed music (for musical instruments and magnetic tape) or of movie original score, his music was performed not only in Romania but also abroad, published by the Musical Publishing House of Bucharest and the Edition Salabert in Paris, and recorded on disc support at the Electrecord House in Bucharest, Attaca Records in Amsterdam and Nova Musica in Paris. For his creations, Călin Ioachimescu received the ”Kranichsteiner Musikpreis” granted by the Internationales Musikinstitut in Darmstadt (in 1984, for Oratio II), the Prize of the Romanian Union of Composers and Musicologists (in 1974, for the String Quartet no.1; in 1979, for Tempo 80; in 1982, for Oratio II; in 1988, for Spectral Music; in 1995, for the Concerto for saxophone and orchestra; in 1999, for Heptagram; in 2002, for the Concerto for cello and orchestra) and the Romanian Academy’s Prize (in 1992, for Palindrom/7). The aesthetics of Calin Ioachimescu inscribes itself into the orientation that explores the inner world of sound, by using the natural resonance. Therefore, his musical language is based on acoustics and psycho-acoustics’ laws, in the attempt to reach a ”new consonance”.

Palindrome 7
for clarinet, bassoon, piano-synthesizer, violin, cello and percussion is centered upon the idea of symmetry – the palindrome being its ideal representation. The piece is made of 3 sections played without interruption built over a symmetric series resulting by circular permutations of number succession: 1, 2, 5, 7, 9, 12, meant as values applied to all music parameters (rhythm, pitches, timbre, distribution, time proportions etc.). But the combination grate is always subordinated to the expression and signification requirements of music, germinating different sound hypostasis of the algorhythm chosen to order the sounds. In this way, the piece permits to assume a certain liberty of the componistic options inside a circle of rigorous determinations.