FOREWORD
My evolution as a composer followed several distinct – though interrelated – stages.
Early in the '70s, I was involved in mathematical researches concerning the shaping of sounding masses by means of probabilistical procedures. Actually, I gradually stepped from most deterministic processes (i. e. for example, the Fibonacci sequences) to more elastic and free-of-precise-algorithms methods, in order to design complex and mobile forms. From here on, I made the discovery of the generative grammars (Chomsky sensu) – especially of those so-called free-of-context grammars – and I built, with them, a series of musical architectures based on a deep analysis of the heterophonical syntax (HETEROSYNTHESIS I; II ).
On the other hand, working in several electroacoustical laboratories, I was tempted to try to give a regular, formalised shape to a – in my opinion possible – translation of some techniques, usually met in electroacoustics (the frequency modulation, the re-injection loop, and so on), in the field of pure instrumental music.
For example, a concerto for solo instrument and orchestra (i. e. "CLARINET CONCERTO") could be regarded as a piece, basically composed for this instrument, while the orchestra plays the role of an electronic device, that transforms, disturbs the sonorities of the soloist, by means of precise methods simulating the electroacoustics.
At the beginning of the '90s, I made the discovery of the recent theories about complexity. These theories show how a highly densified web of connections is, in fact, directed by a few set of initial rules. By means of such processes as the feed-back these rules determine a sophisticated strategy of impredictible relations; the patterns issued from such a method give a complex conceptualised image of what might be the musical form thought as a process.
More recently, I felt myself mostly attracted by the concept of de-construction (which, genuinely, belongs to the French philosopher Jacques Derrida). This concept is based on the idea that the work of the past might be considered neither as a source of nostalgic inspiration nor as an adversary to be put down by all means, but rather as a non-finite source of dialogue between different levels of mobile articulated structures, mirroring both the past and the present.
Biography
1948 – Born on the 27
th of July in Brăila (România).
1972 – Graduated from the Academy of Music in Bucharest.
Studies in composition with
Ştefan Niculescu and
Aurel Stroe.
1978 -1982 – Participant in the
Darmstädter Kurse für Neue Musik studying, there, among others, with
Cristobal Halffter, Helmut Lachenman, Brian Ferneyhough
1983 – Invited to the
Institute for Electroacoustical Researches in Berlin.
1990, 1993, 1996 – Three stages at
IRCAM, Paris.
1993 – Lectures at the
TECHNISCHE UNIVERSITÄT in Berlin.
Invited by
Centre "Yannis Xenakis" (
Les Ateliers UPIC),
Massy, to write a work for string quartet and electronic sounds (collaboration with Gerard Pape, Curtis Roads, Brigitte Robindoré).
1995, 1996, 2001 – Member of the
VALENTINO BUCCHI International Competition, Rome
1996, 1997 – Lectures at the
LONDON UNIVERSITY.
OPERAS
"...G..." (based on a short story by Mircea Eliade). / 1987 - 1988.
First performance: Bremmen, May 1988, Pro Musica and Bucharest Radio Orch.
Duration: 1h 30' ca.
ORCHESTRAL WORKS
Sinfonietta (1972 – 1973)
First performance: Constanţa, Aug. 1998, Black Sea Philharmonic
Duration: 20' ca.
SEQUENCIES (for 11 strings) (1977)
First performance: Bucharest, Jan. 1979, Radio Chamber Orchestra
Duration: 11' ca.
MELOS III (for violin; string quartet; orchestra) (1976-1979)
First performance: Bucharest, Jan. 1980, Radio Symphony Orch.
Duration: 11' ca.
HETEROSYNTHESIS II (for wind orchestra +_el. tape) (1979-1980)
First performance: Bucharest, Mar.1980, Radio Symphony Orch.
Duration: 13' ca.
MELOS IV (IVth piece from "Introduction a l’anatomy du son") (1985)
First performance: Bucharest, Jun. 1985, "George Enescu" Philharmonic
Duration: 11' ca.
D'AL UN CONCERTO GROSSO (for solo wind instrument, concertino, orchestra and electronics) (1986-1989)
First performance: Timişoara, May 1996, "Banatul" Symphony Orch.
Duration: 20' ca.
TRIANGOLO, APERTO (for 3 Soloists and 3 Chamber Ensembles and Electronics) (1999)
First performance: Bucharest, Nov. 2001, Trio APERTO & "George Enescu" Chamber Orch.
Duration: 16' ca.
Part of SCORE
CONCERTOS for SOLOIST(S) & ORCHESTRA
CLARINET CONCERTO (1980-1982)
First performance: Bucharest, May 1987, Leontin Boanţă & the Radio National Orch.
Duration: 17' ca.
Concerto for DoubleBass / Violoncello & Orchestra (1982-1984)
First performance: Bucharest, Sep. 1985, Fernando Erilla & HYPERION Ensemble
Duration: 16' ca.
Violin Concerto no. I (1988-1989)
First performance:
Duration: 19' ca.
Flute Concerto (1990)
First performance: Bucharest, May 1997, Cécile Zaroux & the Academy of Music Bucharest Orch.
Duration: 18' ca.
Triple Concerto (1995)
First performance: Bucharest, Mar. 1998, Trio CONTRASTE & the Radio National Orch.
Duration: 17' ca.
Trombone Concerto (with electronics) (1998)
First performance:
Duration: 15' ca.
Violin Concerto no. II (2000)
First performance: Bucharest, May 2002, Marius Lăcearu & the Radio National Orch.
Duration: 17' ca.
CHAMBER MUSIC
Solo Instrument
Piano Sonata (1973)
First performance: Bucharest, Mar. 1984, Ilinca Dumitrescu
Duration: 10' ca.
MELOS I for violin (1977)
First performance: Bucharest, Jun. 1983, Ion Georgescu
CONCENTRICS for Piano (1978)
First performance: Bucharest
Duration: 10' ca.
"Soupir d’un son" I for Violin (1983)
String Quartet
Three pieces (1974)
First performance:
Duration: 12' ca.
MELOS II (1978-1979)
First performance: Bucharest, Jun.1979, Philharmonic String Quartet
Duration: 11' ca.
String Quartet no. I (1985-1986; new version: 1995)
First performance: Bucharest, Nov.1998, APERTO String Quartet
Duration: 13' ca.
String Quartet no. II (1989)
First performance: Bucharest, Oct.1989, Classic String Quartet
Duration: 16' ca.
lvbeet@op135.com (String Quartet no. III with electronics) (1999)
First performance: Bucharest, May 2000, APERTO String Quartet
Duration: 17' ca.
lvbeet@op130/133dec.fr (String Quartet no. IV with percussion quartet 1999)
First performance: ???
Duration: 17' ca.
Chamber Ensemble
HETEROSYNTHESIS I (1979)
First performance: Berlin, Dec.1981, ARS NOVA Ensemble
Duration: 13' ca.
"Introduction a l’anatomy du son"
(with or without electronics) (1983-1984)
I for Solo Doublebass
II for 8/10 Instrumentalists
III for 10 Strings
First performance: Bucharest, Nov.1983, TRAIECT Ensemble
Duration: ???
Chamber Symphony (1988-1989)
First performance: Bucharest, Feb.1989, Radio Chamber Orchestra
Duration: 15’ ca.
"Itineraires a l’interieur du son" I (1990)
First performance: ???
Duration: 19’ ca.
TRAJECT(ART)AU(D)RE (2002)
First performance: Bucharest, Dec.2002, Pierre-Yves Artaud & TRAIECT Ensemble
Duration: 11’ ca.
CHOIR MUSIC
"Soupir d’un son" II (1988)
First performance: Brenan, May 1988, Madrigal Choir
Duration:10’ ca.
