Szilard Benes, Clarinet
Kimiko Krutz, Piano
Bojidara Kouzmanova-Vladar, Violin
Dorottya Standi, Violoncello

Peter Burwik, Conductor

Recorded live in November 2020 at Bilkent University Concert Hall

Johannes Maria Staud: Lagrein | exxj | Burwik

Au pavillon de (Monsieur) Porcelaine ...en six variations

A șaptea piesă de pe noul meu album, Zeuții, inspirat de poemele lui Florin Dumitrescu

The seventh tune from my new album, Zeuții (The Godlets), inspired by poems by Florin Dumitrescu.

Diana Miron - voci, pocnit din degete/ voices, finger snaps
Iordache - chicken egg

AI PUTEA SĂ

Ai putea să-mi explici
de ce mai abitir
pe aleea de lîngă cimitir
trec cele mai mișto gagici

Ai putea să crezi
că strigă după ele
clopotul din capele
în liniștea amiezii

Ai putea să descrii
cum vin să le mîngìie
vălătuci de tămîie
de dincolo de zid

Ai putea să-mi deduci
ce voluptuoasă taină
le-nfioară sub haină
atunci cînd fac cruci

Ai putea uita
viața că e scurtă
vidă și absurdă
cînd chiar în fața ta

poți să vezi prea lesne

pe lespezi cum se plimbă
îngeri fără nimb bă
și să-i prinzi de glezne

Zeuții

Ai putea să (feat. Diana Miron)

Sonatine for viola & piano
I : Novelette
II : Scherzino
III : Quasi Requiem

Christophe DESJARDIN (Viola)
Wilhem LATCHOUMIA (Piano)

Nov 14th, 2016 
ARS MUSICA

SONATINE

- for flute, violin, cello, percussion & harp -
Ensemble Couleurs (Cluj)
Alexandru Murariu, conductor

Starlight

Diana Rotaru: "All music is a challenge; if listeners have the curiosity to try to learn a new language, it's difficult not to find something that they like."

Music Time - Meridian International Festival

"Monologue on a song without words", a solo horn piece in 4 movements by composer Irina Pernes.
(1. Composure 2. Anger 3. Despair 4. Resignation)
World premiere performance, Bucharest conservatory, 22.05.2023
Horn: Erik Sandberg

Irina Pernes: Monologue On A Song Without Words

listen to a SAMPLE of Johannes Maria Staud "Lagrein" for clarinet, violin, cello and piano 
performed by PHACE 

Johannes Maria Staud "Lagrein" for clarinet, violin, cello and piano (excerpt

"The Last Cry of the Unicorn II" (2007) – for alto saxophone, trombone and string quintet
Performed by Ensemble Reconsil Vienna, Roland Freisitzer, conductor
27.10.2015 Vienna, Arnold Schönberg Center, concert realised in partnership with KulturKontakt Austria

The unicorn is used here as a symbol of a dying era, an era of dreams, myths, purity, ideals and hope, but also as a symbol of the artist, a fabulous creature living in a world that doesn’t seem to need him anymore. The soloists – the saxophone and the trombone - are two aspects of the same “voice”: the death song of the unicorn, while the string ensemble is an echo, a shadow projected by this song. The climax of the work involves a little stage movement when, in an almost ritualic manner, the soloists play percussion instruments. 

This piece is written in memory of Romanian director Cristian Nemescu and all other young artists who were brutally stopped from their search. “The Last Cry of the Unicorn” was originally written as a duo for alto saxophone and trombone. This larger version is dedicated to Profil Ensemble. 


Last Cry Of The Unicorn II - Ensemble Reconsil Vienna

Francesco Filidei - Berceuse (2018) - Luca Lavuri, Piano

Part of the piece - 2 Kinetic studies, made during the residency at the Spatial Sound Institute in Budapest in 2016: https://soundcloud.com/svetlanamaras/sets/2-kinetic-studies

Study no.1 is guided by the principle of symmetry. The central spot of the composition is in the middle of the room - half the way on both horizontal X- and Z-axis. Each object always moves through both halves of at least one of the X- or Z-planes. The element which is being doubled, is followed by the same-pace movement of the element on the opposite side of the axis, but the movement is being reversed: element no.6 positioned on Z-4 goes from X-5 to X+5 while at the same time in the same speed element no.7 at Z+4 goes from X+5 to X-5. 
There are three elements which are the musical nucleus of the composition (1, 2, 3). These sounds are airy (noisy) but they have a recognisable pitch and form a minor triad. All other elements are tuned to these three elements which define the tonal center of the piece. This kind of interpretation of the harmonic aspect of the composition, parallels the interpretation of ‘symmetrical’ in spatial domain. 

This is a stereo mixdown of the piece.

VIDEO: https://vimeo.com/210260544

Study No.1

One of the most visible young Romanian composers, Diana Rotaru (b. 1981, Bucharest) has written from chamber and orchestral music to chamber opera and soundtracks for multimedia or dance shows and short films. Her music explores different expressive directions, from hypnagogia or pre-oneiric aesthetics, feminine psyche, humor or imaginary folklore.

 

She is also active as a promoter of new music in Romania, as the artistic director of SonoMania new music ensemble (since 2012) and the main coordinator of the Romanian Music Information Center (CIMRO.ro).

 

Diana Rotaru has won numerous prizes, among which the Romanian Academy’s George Enescu Award (2010), the ISCM-IAMIC Young Composer Award (World Music Days, Vilnius, 2008), the Irino Prize (Japan, 2004) or the George Enescu Prize ex-aequo (Romania, 2003 and 2005). Her works have been commissioned by Ensemble XXI (Dijon), Stockholm Saxophone Quartet, Pärlor för svin, Ernst von Siemens Foundation, Takefu International Music Festival, etc.

 

She was a resident at the Cité Internationale des Arts in Paris (autumn 2007), on a George Enescu grant from the Romanian Cultural Institute. In April 2011 she was an Artist-in-Residence at Villa Sträuli, Winterthur (Switzerland), at the invitation of Ensemble TaG, who performed her music in two concerts during that period (Verborgen in einer Muschel/ Hidden Inside a Shell – Theater am Gleis and Meet the Artist: Diana Rotaru -Villa Sträuli). In April-June 2015 she was Artist-in-Residence in Vienna, with a grant offered by the Austrian Federal Chancellery & KulturKontakt Vienna.

 

Diana Rotaru is currently teaching composition and music analysis at the National University of Music in Bucharest, where she studied with Ştefan Niculescu and Dan Dediu (2000-2005) and where she has a PhD in Composition (with the dissertation The Recent Trance and the Principle of Repetition in New Music, 2012). She also studied composition with Frédéric Durieux at the Conservatoire National Superieur de Musique et de Danse de Paris (2005-2006). She participated at different summer composition courses such as Acanthes (Metz, 2008), Voix Nouvelles-Royaumont (2002 and 2006), or the International Bartok Seminary (Szombathely, 2003), thus working with Jonathan Harvey, Savatore Sciarrino, Brian Ferneyhough or Michael Jarrell, among others. In September 2018 she was invited to be an assistant professor to Toshio Hosokawa at the Takefu International Music Festival in Japan.

Last Cry Of The Unicorn II - Ensemble Reconsil Vienna

dianarotaru

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