Afiş /Poster
Afişul festivalului

Sâmbătă, 30 Mai / Saturday, 30 May

12.00 / 12.00 pm - Universitatea Naţională de Muzică Bucureşti / National University of Music Bucharest, Sala „George Enescu” / George Enescu Hall
Concertul studenţilor claselor de compoziţie ale UNMB / The concert of the National University of Music students of composition classes
În program lucrări de / Works by: Darie Nemeş Bota, Mihai Murariu, Cristina Uruc, Sebastian Androne, Dan Andrei Popescu, Toni Niţă, Cornelia Zambila, Sorin Marinescu, Lucian Zbarcea, Victor Colţea

17.00 / 5.00 pm - Universitatea Naţională de Muzică Bucureşti / National University of Music Bucharest
, Sala „George Enescu” / George Enescu Hall
Dan Dediu – Opera Eva (p.a.a.) / (World Premiere)
Laura Dumitru, soprano / soprano, Adrian Prelucan, baritone / baritone, cor de bărbaţi / men choir, Dan Dediu, pian / piano

Composers and Programme Notes

Dan Dediu Dan Dediu was born on 16th March 1967 in Braila, Romania. He graduated composition at the Music University in Bucharest (1989) and attended post-graduate courses at HMdK in Vienna (1990/91). Scholar- and Fellowships were offered by Alfred-Toepfer Foundation, Hamburg, Alban-Berg Foundation, Vienna, New Europe College, Bucharest, Wissenschaftskolleg zu Berlin, Zuger Kulturstiftung Landis & Gyr, Switzerland, Bavarian Ministry for Culture, Germany. Among his teachers one could name the composers Ştefan Niculescu, Dan Constantinescu and Francis Burt. Guest Lecturer at Queen's University of Belfast, Northern Ireland (1994), invited for the Summer Workshop in Computing for Composers, IRCAM, Paris (1994), Dediu was in 1999, 2001, 2007/8 artistic director of the New Music Festival in Bucharest ”International Week of New Music”. Since 2003 is Professor for Composition and in 2008 was elected Rector of the National University of Music, Bucharest. He obtained prizes and awards for composition in Vienna, London, Paris, Berlin, Budapest, Bucharest, Dresden, Ludwigshafen. His over 130 works are world-wide performed: ”The music of Dan Dediu could be described as versatile, nervous, with a specific feature of dynamic restlessness. He works with forms, which consists every time in an alternation of good perceptible sonorities, pithy microuniverses.”

Lothar Knessl

Eva!
Chamber Opera in one act
Libretto: Matei Vişniec
SHE..............Lyrical Soprano
HE................Lyrical Baritone
Men Choir

The plot presents a love-affair between She and He in a manner of the history of musical styles. The love horizons are very different: from a seduction attempt (in style of Haendel, Mozart, Rossini) to a love duet (in the Puccini manner), from her consent (Brahms, Wagner, Mahler, Ravel, Debussy) to her refusal (Janacek, Prokofiev, Şostakovici, Orff, Bartok, Berg, happening) or even to the quarrel and aggressive behaviour between both of them (minimalism, bossa-nova, men choir procession). A final intermezzo comments the history of ascending and descending of a man-woman relationship.

18,30 / 6.30 pm – Universitatea Naţională de Muzică Bucureşti / National University of Music Bucharest, Sala „George Enescu” / George Enescu Hall
Ansamblul de percuţie GAME / GAME Percussion Ensemble România / Romania
Conducerea muzicală / Music Director: Alexandru Matei
Alexandru Matei

Sorin Rotaru, Rareş Pahonţu, Dan Alexandru, Daniel Iudean, Ilinca Lorentz

Program / Programme:

Joji Yuasa – Interpenetration II
Tiberiu Olah – Incontri spatiali
Lou Harrison – Canticle V (p.a.r.) / (Romanian Premiere)

GAME Percussion Ensemble
established in February, 1995, Bucharest. Its name represents the title of the first musical work dedicated to this ensemble by the composer Liviu Dănceanu. The appearance of the group was a necessity in the musical field of Bucharest, and altogether was a stimulus for composers all over Europe. The repertory of this ensemble is formed by contemporary, Byzantine and ”latino” music, mixed shows of music, images and happenings.
GAME Percussion Ensemble has performed at important Romanian festivals and events in Bacău, Bucureşti, Brăila, Piatra Neamţ, Timişoara, Cluj, Râmnicu-Vâlcea etc.). GAME has participated at numerous radio and television shows, and it has recordings on CD’s and DVD’s.
GAME Percussion Ensemble was honored with Soros Foundation Prize in 1998, and one year later, Alexandru Matei, the founding leader of the group, received a special prize for his concert activity with GAME Ensemble from Actualitatea Muzicală Magasine.

Al. Matei (English translation Irina Stănescu)

Joji Yuasa
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)

Interpenetration II
According to Dr. Daisetsu Suzuki, the Zen philosopher, ”Interpenetration” signifies that A becomes B, B becomes A, yet both A and B are independent. This piece was originally composed as a present for two percussionists to celebrate their marriage. The piece was composed with various membrane, woods and metal instruments without keyboards, to show how A and B are becoming oneness through various aspects of on going sound and beats.

Joji Yuasa

Tiberiu Olah – 26.12.1927 / 2.01.1928 (Arpăşel, Bihor) – 2.10.2002 (Targu Mures)
He graduated the Music Academy, Cluj, Romania (1946-1949), as well as „P. I. Ceaikovski” Conservatory, Moscow (1949-1954). T. Olah participated at numerous training courses: Darmstadt (1966-1971); München – 1966; West Berlin (1969-1970). He was awarded „Koussevitzky” (1971) and DAAD (West Berlin, 1978-1979) scholarship. He was a teacher at the National University of Music - Bucharest from 1954 to 2001 (teaching composition since 1974). Among his awards and distinctions we mention Romanian’s Academy „George Enescu” Prize (1965), International „Koussevitzky” Prize (1967), Moscow’s Film Festival Award (1972), 7 Prizes of Romanian Union of Composers and Musicologists and the greatest distinction of the same Union for his entire musical activity (1993). His list of works reunites chamber music, concertos, symphonic and vocal-symphonic works, theatre and film music. His music was played in important centers all over the world, his partitions were printed at Salabert, Schott, Editura Muzicala, and recorded by Electrecord, EMI etc. His music often grows from essences of archaic or classical origin, the result consisting in musical architectures with a personal logic of construction. T. Olah was preoccupied by the idea of spacing the musical material in different registers and organizing the musical time, ”the memory game” being materialized in a subtle dialectic of contrasts. In his late works, there is a noticeable preference for elaborating superposable structures.

Olguţa Lupu

Incontri spaziali
The work is based on Olah’s interest in ”space scattered penthatonic scales, dispersed in several octaves”. The same compositional technique was used in Rimes I for clarinet and tape, Rimes II for the revelation of time or Sonata for violin, percussion and tape. Incontri spaziali is written for one percussion player and electronic ambient made of the same sonorous material (also performed by Alexandru Matei), overlapped six times. The superposition is realised according to
a certain componistic strategy: ”all the voices take part in one harmonic system, in one macro-modal scale, all the sonorities being consonant”.

Tiberiu Olah

Lou Harrison was one of the great composers of the twentieth century-a pioneer in the use of alternate tunings, world music influences, and new instruments. Born in 1917 in Portland Oregon, he spent much of his youth moving around Northern California before settling in San Francisco. There he studied with the modernist pioneer of American Music, Henry Cowell, and, while still in his twenties, composed extensively for dance and percussion. He befriended another of Cowell's students, John Cage, and the two of them established the first concert series devoted to new music for percussion. They composed extensively for these concerts, including their still popular collaboration Double Music. In 1942, Harrison moved to Los Angeles to study with the famous Arnold Schoenberg at UCLA. Steeped in the atonal avant garde of Schoenberg's school, he moved to New York the following year, where he made a name for himself not only as a composer, but also as a critic under the tutelage of composer/writer Virgil Thomson. Harrison also worked at editing the scores of American composer Charles Ives and conducted the first performance of Ives's Third Symphony (which won Ives the Pulitzer Prize). Harrison also published a study of the music of atonal composer Carl Ruggles, and the influence of Ruggles and Schoenberg comes through in works such as Harrison's Symphony on G and his opera Rapunzel. However, the stress and noise of New York led to a nervous breakdown in 1947. To help his friend recover, Cage recommended him to Black Mountain College in rural North Carolina, where the quiet and idyllic setting proved conducive to studies in Harrison's new interests, Asian music and tuning.

http://www2.hmc.edu/~alves/harrisonbio.html

Canticle V


20.00/ 8.00 pm - Universitatea Naţională de Muzică Bucureşti / National University of Music Bucharest
, Sala „George Enescu” / George Enescu Hall
Transparentele aripi
Ion Bogdan Ştefănescu, flaut / flute & Horia Maxim, pian / piano, România / Romania
Invitaţi / Guest performers: Eusebiu Ştefănescu, actor / actor, România / Romania, Ana Chifu, flaut / flute, România / Romania
Versuri de / Lyrics by: Cezar Ivănescu, Mihai Eminescu, Nichita Stănescu, Lucian Blaga, Tudor Arghezi, Eugen Jebeleanu, Geo Bogza, Ion Bogdan Ştefănescu

Program / Programme:

Violeta Dinescu – Kata (flaut şi pian / flute and piano)
Joji Yuasa – Reigaku (flaut solo / flute solo)
Miryam Marbe – Haikus (flaut şi pian / flute and piano)
Horaţiu Rădulescu – Dizzy Divinity (flaut solo / flute solo)
Giacinto Scelsi – Krishna e Radha (flaut şi pian / flute and piano)
Ion Bogdan Ştefănescu – Dizzy flutes (p.a.a.) / (World Premiere)
Deep voices praying (p.a.a.) / (World Premiere)

Ion 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

Horia MaximhHoria Maxim
One of the main figures of his generation started his solo career in 90'. His repertoire include the main piano works from Baroque, Classic and Romantic Age, also he is very active in promoting the music of his time. As a soloist of the main Romanian orchestras he collaborated with the most important conductors and players in different chamber ensembles. His playing was appreciated abroad (Spain, Italy, Japan, and Argentine). He was awarded of many national and international competitions. Since 90' he records piano repertoire or in combination with other musicians for Romanian Radio Society. He was invited in jury of many piano competitions. Since 1996 he is professor in the National University of Music in Bucharest.

Eusebiu ŞtefănescuEusebiu Ştefănescu - Theatre and film actor, presently at the National Theatre of Bucharest; Professor and Dean of the Arts Faculty - Hyperion University of Bucharest; very much loved by the public at large as one of the most remarkable Romanian reciters; director of many theatre and poetry performances; awarded with Mihai Eminescu - 150 Medal; Nichita Stănescu Anniversary Medal; Iurie Matei International Prize for Theatre and Film (Chişinău, 2001); Trophy of Nichita Stănescu International Poetry Festival, XV edition.

Composers and Programme Notes

Violeta Dinescu
was born in Romania in 1953. In 1977, after finishing her studies at the Ciprian Porumbescu Conservatory in Bucharest with diplomas in composition, piano and pedagogy, she furtheres her special studies in composition for one year with Myriam Marbe. From 1978 to 1982 she was teaching theory, piano nand aesthetics at the George Enescu Music School in Bucharest. During this period she became a member of the Romanian Union of Composers. Since 1982 she has been living in Germany where her works have received numerous international prizes and awards. After lecturing at several German and US Universities, Dinescu became a composition professor at the Carl von Ossietzky University in Oldenburg since 1996. Her major commissioned works include 'Akrostichon' and 'L'ORA X' for orchestra, 'Pfingstoratorium', the music for the Friedrich Wilhelm Murnau silentfilm 'Tabu', the ballets 'Der Kreisel', 'Effi Briest' and the operas 'Hunger and Thirst', 'Der 35 Mai', 'Erendira', 'Schachnovelle' and 'Herzriss'.

Kata

Kata - the piece for flute and piano is inspired from a poem of Georg Heym suggesting sound spaces with colors and resonances. This poem expresses also an imaginary drama. The flute and the piano send vibrations of the expressionistic text and allow other dimension of dramatic intensity. The music brings also a transparent sound of echoes...

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)


Reigaku for alto flute - In Memoriam Isang Yun
”Reigaku” in Japanese has the same meaning of ”Reak” in Korean. When I first heard Mr. Yun’s orchestra work ”Reak”, I was deeply impressed and learned. Therefore this piece is a homage to Isang Yun’s music and idea. Reak is a sort of ritualistic music in Confucianism. I am convinced that Mr. Yun knew that the ritualistic activity proved what human being is, different from the other creature. This piece implies above meaning.

Joji Yuasa

Myriam Marbe
Born in 1931 in Bucharest, Myriam Marbe died on 25.12.1997. Her works have been awarded numerous international prizes for composition. Furthermore she received a scholarship from the city of Mannheim. Myriam Marbe belongs to the so-called Golden Generation of Romanian composers. Her music acquires its particular strength from the fact that it stands on two legs: on one hand it is nourished from a living tradition such as Romanian-Byzantine church music and traditional rural music; on the other hand it gains its richness of language through the frequent ingenious adaptation of modern techniques. One of the outstanding characteristics of Myriam Marbe's music is that despite its austere structure, it moves in generous waves, apparently "free floating" in time, hinting moments of eternity and incorporating ritual and spiritual features.

Haykus for flute and piano (1994)
1994 was in a certain way a special year for Myriam Marbe. After finishing her ,,Requiem" in 1991 she had to face a difficult question: how to survive her own maturity. From 1991 she suffered a profound aesthetic crisis from which she recuperated in a way which reminds us of the last period of Pablo Picasso: she rediscovered the joy of the material - the sounds and the process of sound producing itself. In the following works she became again very interested in improvisation. Throughout her life, Myriam Marbe was very attracted to the spiritual history of mankind. Ancient culture became a constant source of inspiration to her, whether from Classical Antiquity or Romanian Folk rituals. Thus, out of a position of critical distance she tried to revive music by trying to find a new spiritual attitude in composition. After several works in which she tried to find a new and refreshed path, she wrote Haykus, a series of some small-sized acoustic pictures.

Thomas Beimel

Horaţiu Rădulescu
Born in 1942 in Bucharest, he studied violin with NinaAlexandrescu (a pupil of George Enescu and Jacques Thibaud) and composition with TiberiuOlahatthe National University of Music in Bucharest. He also took music analysis and musical forms classes with Stefan Niculescu and instrumentation with Aurel Stroe. In 1969, he moved to Paris, becoming a French citizen in 1974. In 1970—80, he participated in international composition courses in Co¬logne, Darmstadt and Paris (ircam), held by Mauricio Kagel, Luc Ferrari, John Cage, lannis Xenakis, Gyorgy Ligeti and Karlheinz Stockhausen. In 1983, together with the Arditti Quartet, Pierre-Yves Artaud and other outstanding performers, he co-founded the soloist ensemble Europe¬an Lucera. In 1991, he created the Lucero Festival and the associated master classes. In 1988—90, he resided in Berlin on a daad scholarship, and received the French award to stay for a year at the Villa Medici in Rome. He is considered a co-founder of spectral music. His symphonic, cham-berand choir works have been performed and broadcast in Europe, the Americas, Africa and Australia.

Dizzy Divinity for flute solo
Echoes of Byzantine music melt in a sea of microtones. There is something extraordinary and mystical about the shape and process ofthis work.

Horaţiu Rădulescu

Giacinto Scelsi
Born in the village of Pitelli near La Spezia, Giacinto Scelsi(1905 - 1988)received education from a private tutor. Later, his family moved to Rome and his musical talents were encouraged by private lessons with Giacinto Sallustio. In Vienna, as a disciple of Arnold Schönberg, he became the first adept of dodecaphony in Italy, although he did not continue to use this composition system. In the 1920s, Scelsi travelled abroad extensively. In 1927, in Egypt, he first came into contact with non-European music. In 1940, when Italy entered the war, Scelsi was in Switzerland, where he remained until the end of the conflict, composing and improving his conception of music. Back in Rome after the war, he underwent a profound psychic crisis that eventually led him to the discovery of Eastern spirituality and also to a radical transformation of his view of music. He rejected the notions of composition and author in favour of sheer improvisation. These improvisations, recorded on tape, were later transcribed by collaborators under his guidance, then orchestrated and complemented by the composer's meticulous performance instructions, or adjusted from time to time in close collaboration with the performers.

http://en.wikipedia.org/wiki/Giacinto_Scelsi

Krishna e Radha is a joit composition by G. Scelsi and Carine Levine. They spent numerous evenings playing musig together at Scelsi's home in Rome. It is an eprovis which was recorded, and, later on,Scelsi wrote the score. He chose the title Krishna e Radha, the two characters described in the ancient Hinduistic Gita-Govinda poems from 1100 B.C..

Ion Bogdan Ştefănescu
(see ”Transparentele aripi, Ion Bogdan Ştefănescu, flute & Horia Maxim, piano”)

Dizzy Flutes
is a piece inspired by Nichita Stanescu’s poem ”Catre Figurant”, which reflects a continuous dispute between the rhythmic and melodic plans. The soundtrack contains them both, the rhythmic plan is achieved by the flutes (different sizes), the piccolo offering the only melodic thread. The two players overlap the soundtrack, like in an argument, one insisting on a rhythmic cavalcade at the bongos, the other one being influenced by the rhythmic and melodic effects of the soundtrack.

Deep Voices Praying
The deep, grave iridescent sounds of the two bass flutes, through effects which at the beginning seem to discover a prayer whispered more to itself, start to come to life, to implore, to rebel, to resign, and finally, like after a confession, rise in sign of gratitude and veneration for the achieved peace of the soul.