HESPERIDE for Cello and Piano (Orphaeide I.) - performed by cellist DAN CAVASSI and pianist MIHAI MURARIU (first audition, recording from the concert of the “devotioModerna” ensemble at the MERIDIAN festival). One might find in HESPERIDE several compositional ingredients that can send to the area of legendary nymphs: a strand of flow (of water, Hesperia...), a resonance of nostalgia that defines a special place in the world of symbols (…the garden with the tree that makes golden fruits...), a pendulum between fluent melodic and truncation at the cell level (suggesting the happenings that abound in the mythological epic), as well as the meaning of graceful found in ornamental formulas, which resonates stylistically with the two instruments closely married in the Baroque, but also in the discrete or theatrical volutes of the dynamics. HESPERIDE has as its starting point (almost lost, incidentally, in the process of re-composition) one of the "Two songs for mezzosoprano and piano on lyrics by Magdalena Ghica" (that I composed in 1984/85) and consistently proposes a form of cantilena: here the introduction sequence acquires emerging power and returns throughout the piece, modeling the re-launch of the melodic path itself; it is articulated by sequences built on the two small neighboring chromatic thirds (g – b  / g sharp – h), but also by the ascending or descendent drawings of the melodic lines (where they are left to get amplified in free-atonal algorithm), drawings distributed to both instruments, often in intentional relationship of non-synchronization (echo lint).
Carmen Maria Cârneci, November 11, 2014

HESPERIDE pentru violoncel și pian(Orphaeide I.) - în interpretarea violoncelistului DAN CAVASSI și a pianistului MIHAI MURARIU (primă audiție, înregistrare din concertul ansamblului devotioModerna din cadrul festivalului MERIDIAN).
Găsim în HESPERIDE mai multe ingrediente componistice care pot trimite la zona legendarelor nimfe: un filon al curgerii (apei, Hesperia...), o rezonanță de nostalgie ce definește un loc aparte în lumea simbolurilor (grădina cu pomul ce face fructe de aur...), o pendulare între cursivitate melodică și trunchiere la nivel de celulă (sugerând întâmplările ce abundă în epicul mitologic), ca și sensul grațiosului regăsit în formulele ornamentale, ce rezonează stilistic cu cele două instrumente strâns mariate în Baroc, dar și în volutele discrete sau teatrale ale dinamicii.
Hesperide are ca punct de plecare (aproape pierdut, de altfel, în procesul de recompoziție) unul din cele "Două cântece pentru mezzosoprană și pian pe versuri de Magdalena Ghica" (compuse de mine în 1984/85) și propune în mod consecvent o formă de cantilenă: aici secvența de introducere capată putere emergentă și revine pe parcursul piesei, modelând re-lansarea traseului melodic propriu-zis; acesta se articulează prin secvențe construite pe cele două terțe mici învecinate cromatic (sol - si bemol / sol diez - si), dar și prin desenele ascendente sau decendente ale liniilor melodice (acolo unde sunt lăsate să se amplifice în algoritm liber-atonal), desene repartizate ambelor instrumente, aflate adesea în relație de intenționată desincronizare (scame de ecouri).
Carmen M. Cârneci,11 noiembrie 2014

Carmen Carneci - HESPERIDE: Dan Cavassi(cello) & Mihai Murariu (piano)

Emil VISENESCU, clarinet & Dan CAVASSI, cello - playing Carmen CARNECI's sommeil de morphine, Giacometti-Szene(2007)at Cantacuzino Palace in  Bucharest, in October 2007.

Doi interpreti ideali... pentru aceasta visare sinuoasa-agitata, mai degraba un ne-somn ca rastimp pentru o vizitare a labirintului interior... Inregistrare din concert, octombrie 2007, Aula Cantacuzino.

Unbekanntes Album (02.12.2008 18:31:10)

sommeil de morphine for Clarinet (Emil Visenescu)& Cello (Dan Cavassi)

Carmen Maria Cârneci - Exil secund.
Live recording of the world premiere from the concert of the Ensemble PROFIL (15.12.2010)conducted by Tiberiu Soare, during the International Festival MERIDIAN, Bucharest.

Fiind o recompunere dinamizantă a 'exilului neterminat' – “(inachevé) l’exil”, compus in 2007 – octetul "Exil secund" face parte dintr-o grupă de compoziţii generate de un emblematic poem al franco-algerienei Annie Cohen-Solal, împreună cu “…que des âmes” (1991, pentru şase voci feminine) și “…que des mots” (1992, pentru soprano și trio de coarde), lucrări în care am abordat textul poetic în manieră cântat-declamată. În cele 'două exiluri' însă, aceleaşi versuri sunt ‘conţinute’ în secvenţe muzicale pur-instrumentale corespunzând grupării originare a versetelor (de unde și o formă aparte a piesei), acestea fiind delimitate prin punctuaţii abrupte urmate de ‘tăceri reflexive’.

As a dynamic re-composition of the 'unfinished exile' – “(inachevé) l’exil”, composed in 2007 – the 'Exil secund' (Second Exile) is part of a group of compositions generated by an iconic poem of Franco-Algerian Annie Cohen-Solal, together with “…que des âmes” (1991, for six female voices) and “…que des mots” (1992, for soprano and trio of strings), works in which I approached the poetic text in a singing-declamation manner. In the two "exiles", however, the same verses are ‘contained’ in pure-instrumental sequences corresponding to the original grouping of verses (where from a particular form of the piece), delimited by sharp punctures followed by ‘reflective silent’.

Carmen Carneci - Exil secund - for ensemble

une main immense for double bass flute (199) bears a dedication to PIERRE-YVES ARTAUD.
The seven fragments of this work are a quasi-reading of MAGDA CARNECI’s poem, a filtering of the text through the patterns developed by the flute. The remaining understandable words are scattered within the instrumental texture, thus carrying a new emotional weight. This, together with the new developed proportions in rhythms and form, prevents the composition from being simply illustrative. It is a sample of the composer’s manner of treating voice and instrument as a whole: the singing-speaking  voice turns and mixes into the flute tones, which, in their turn, try to imitate vocal colors. In this work, as well as in other compositions of hers for voice, words and musical cells split and meet again in a vivid anamorphosis.
Despina Petecel-Theodoru (booklet to CD: Carmen Maria Carneci - Chamber Music)

une main immense (1991) - Pierre Yves Artaud, double bass flute

(inachevé)l'exil

HESPER(Í)A for solo Piano, composed in 2016, Premiere: 22.05.18, played by MIHAI MURARIU. Live-recording from the SonoMania concert during the International Week for New Music, Bucharest 2018, in the AULA of the Cantacuzino Palace in Bucharest.

HESPER(Í)A  uses material from HESPERIDE for cello and piano (2014, the first piece from the cycle ORPHÄIDE), more precisely it grows from the intersection of the two instrumental paths: weaved together, cut, developed or spontaneous, alternating between transparency and agglomeration. Like in HESPERIDE, there is in HESPER(Í)A  a continuous flow - a sonic metaphor of a ductus leading towards an Eden space: the garden guarded by the four nymphs Hesperides, daughters of Atlas, Hespería being one of them. This flow is created by the alert and always surprising rhythm (that only in the end becomes calmer...). Another characteristic of the work is the theme of graceful play (giocoso), by using mostly the high register of the instrument and a Baroque-like ornamentation: grace notes, trills, and tremolo.  
HESPER(Í)A for piano solo (2016) has occasionally nostalgic tones – declarative 'pesante' chords or allusive echo-fragments and accents –, the primary character of the work being an exuberant one, narrative and evocative at the same time.

Carmen Carneci - HESPER(Í)A for solo Piano

Just like LICHTUNG.Giacometti-Szene (1997), the later recomposed LICHTUNG2 (2011) sounds hermetical, “like a geometrical calculation”; still, this geometry allows feelings to breathe, even if for only a while. With post-expressionist allure and minimalist realisation, both pieces have a certain objectivity in leading the expression. „The complex polyphonic conception, the precision in rhythm and the numerous degrees in dynamics create together a kind of artificial space, like a public-less museum hall – as Carneci wrote – across which obsessively repeated sounds cease to echo”. (Despina Petecel-Theodoru, from the Booklet to the CD: Carmen Maria Carneci – „Chamber music”). LICHTUNG2 was generated by the idea of taking apart, unfolding and spreading out the sonorous flux – as it already existed in LICHTUNG – upon a larger accoustic field covered by the two pianos; this recomposition attempt brought with it an important alteration of the initial expression: once started, the bunch of polyphonic lines rebuilds itself continuously to more stable configurations that should generate either states of a quasi-levitation between lowest sounds anchors, or states of agitation, still always kept under control.  (Carmen M. Carneci)

Carmen Maria Carneci - Lichtung2 - For Two Pianos, Live - Recording

Carmen Maria Carneci - OMENS.Herbs,Steps - Animated Landscape for Clarinets and Orchestra

Studio recording. Performed by CONCERTO Chamber Orchestra, Bucharest, conductor: Dorel Pascu-Radulescu.
Alter Klang, Baumklang for 14 strings (1988). The first version (1987) was composed as a personal reaction to Paul Klee’s painting “Alter Klang” (Mellow Tones); especially “the autumn colors, the September chromatics, with archaic echoes” urged the composer to write a music, sentimentally belonging to the same family as the painting, that should be “pulled out from the ancestral, everlasting Sound”. One can hear traces of mourning songs, fragments of dance rhythms, allusions to what the composer imagines as being “old, ancient”. The whole sound of the 14 strings slowly slides to the lowest range limit, climbs afterwards with vivid steps to the highest one, “like sap through the trunk of a primordial tree”.
In the final version (1988) the composer worked particularly on what she calls the glissando-heterophony. 


CARNECI - Alter Klang, Baumklang for 14 strings (1988)

OMENS.THESAURÓS for sextet (2009)
The title refers at the same time to prophetic signs (omens) that could direct our attention to hidden meanings, also to the richness (thesaurós) of the perception of the world we could aspire at…In musical terms, thesaurós indicates the special consistency of the sound body, the mosaic-like composition, the multitude of details in rhythm or manner of playing; as a metaphor, it is supported through the multitude of ornaments and of metallic timbres (suggesting jewelries, coins, weapons) in the lines of the tandem piano-percussion, also in the short events of the accompanying instruments (bells, metal sticks and little spheres) assigned to the other four performers: flute, clarinet, violin and violoncello are evolving together, sometimes in an alert manner, within several sequences that are described also through contrasting dynamics (forte – piano). A middle part, almost static, in a meditative mode, gives to the piano a more pregnant role: while the encrusted motifs, repeated with minimal variations, are requesting concentration on the large arch of expression, the broken lines in the percussion are suggesting the exploration of old coffers containing jewels of any kind…In this part omens appear punctually at the winds and strings – thought as discreet signs of an continuous presence…The final part brings with it a tentative of returning to the start point, but this atypical reprise remains somehow whittled, thus creating the feeling of breaking off with the mirage…   
 
Dedicated to Hans-Peter Frehner, Manfred Spitaler, Urs Bumbacher,  Nicola Romano, Lorenz Haas, Viktor Müller, members of the ensemble für neue musik zürich, who commanded this work in 2009. Many thanks to the conductor Andreas Brenner, also to Elisabeth Märkli, for support and friendship.



Thesaurós - Sextett

LICHTUNG sounds hermetical, “like a geometrical calculation”; still, this geometry allows feelings to breathe, even if for only a while. With post-expressionist allure and minimalist realisation, this work has a certain objectivity in leading the expression: it should be a “luminous funeral music”, a memento for the singer Steliana Calos. The complex polyphonic conception, the precision in rhythm and the numerous degrees in dynamics create together a kind of artificial space, “like a public-less museum hall – as Carneci wrote – across which obsessively repeated sounds cease to echo”. (Despina Petecel-Theodoru, from the Booklet to the CD: Carmen Maria Carneci – Chamber music).
Performed by ANDREI TANASESCU. Live recording from the recital on November 8th 2011 at the GEORGE ENESCU National Museum in Bucharest.

LICHTUNG - Giacometti Szene for piano played by Andrei Tanasescu

Performed by Bianca Manoleanu, soprano, Remus Manoleanu, piano, and Doru Roman, percussion. "George Enescu" Festival 2007, Bucharest.

“Summer Songs” for soprano, piano and percussion
 "Vers de mireasă"/ “Verse of a Bride”  opens this song cycle that aims to put into sounds the few poems of Radu Cârneci in which the lyric subject that makes the appology of love and teaches to learn from the beginning the subtle but overwhelming affectional powers is of female gendre.
In “Verse of a bride” the mood of unprecised longing and febrile awaiting generated by the image of the ‘Flying Eros’ (Zburătorul) – a demonical half-god of early love in the romanian lyricism comming from the archaic folk tradition – is leading to an wave-like escape into the onirical space.
I felt like a composer’s challenge to put into light  the virtuosity and tumultuous inspiration of these verses.

                                                                                                       Carmen Cârneci 




Vers de mireasa (Zburator) / Verse of a Bride - on lyrics by Radu Carneci

Carmen Maria Cârneci was born in Romania. She first studied composition in Bucharest as a student of Dan Constantinescu, and later specialized in Freiburg, Germany, on a three years DAAD scholarship as a student of Klaus Huber. 
She attended conducting classes with Constantin Bugeanu and Iosif Conta in Bucharest, with Kurt Masur in Weimar, Pierre Boulez in Avignon and Peter Eötvös in Szombathely. Cârneci won scholarships in Italy, France and England and conducting prizes in Austria and Germany.

As a composer she received important awards in Mannheim, Rome, Köln, Bucharest, Hong Kong, as well as commissions from The City Opera in Bonn and the Ensemble für neue musik Zürich, to name just a few. She was invited both as a conductor and a composer to several festivals of new music such as those at Donaueschingen, Dresden, Heidelberg, Zürich and Saarbrücken, and was artistic director of the International New Music Week in Bucharest in 2005 and 2006. She appeared as a guest conductor in Stuttgart (State Opera, Chamber Theatre), Milan (Piccola Scala) and Paris (Opéra Bastille) a.o. She is presently artistic director and conductor of the devotioModerna ensemble, also manager for the concert department of the National Museum George Enescu in Bucharest.

Among her works, published by Ricordi-München, Furore Edition-Kassel and Editura Muzicala-Bucharest, are The Garden, Das Hohelied,Trojtza, Semanterion-Toaca, O, viridissima, REm - Cello concerto, TraumLieder, OMENS.Herbs,steps, -embER, the two chamber cycles Giacometti-Szenen and OMENS, not to forget the opera Giacometti, premiered by the Neues Theater für Musik in Bonn under the baton of the composer.

http://www.cimec.ro/muzica/ucmr2007/ 
http://www.klassika.info/Komponisten/Carneci_CM/index.html
http://www.ricordi.de/carneci-carmen-maria.0.html 








carmencarneci

Popular tracks