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Musical Romania and the Neighbouring Cultures

Traditions – Influences – Identities- Proceedings of the International Musicological Conference- July 4–7 2013, Iaşi (Romania)


Edited By Laura Vasiliu, Florin Luchian and Loredana Iatesen

This book represents the volume of the International Musicological Conference «Musical Romania and Neighbouring Cultures. Traditions, Influences, Identities», which took place in Iaşi (Romania) and was organised by the George Enescu University of Arts Iaşi in collaboration with the International Musicological Society. The volume includes 35 papers of 38 authors who represent academic centres in Croatia, Bulgaria, Serbia, Greece and Romania. The diverse topics include ancient Romanian, Balkan or East-European music, music iconography, Byzantine and folkloristic traditions, as well as modern and contemporary music. The articles propose theoretical and methodological documentation on the interactions between liturgical, folkloric and academic works within this multicultural space.
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Pascal Bentoiu’ Symphony no. 8, Images. The originality, the poetic and philosophical expressiveness of the orchestral textures


Laura Otilia VasiliuDepartment of Theoretical Music Studies“George Enescu” University of Arts IaşiStr. Horia, no. 7–9, Iaş


A Romanian composer of global profile, Pascal Bentoiu conceived his last symphony (1987) as an image of life and the universe closely connected to five world poetic masterpieces: Virgil’s Aeneid, Dante’s Divine Comedy – Inferno, Shakespeare’s The Tempest, Goethe’s Faust and Romanian poet Mihai Eminescu’s Coborîrea apelor. Stele’n cer (The Waterfall. Stars in the sky). The author’s conceptual and philosophical background, his long and diverse experience as a symphonist are united in ← 283 | 284 → Symphony no. 8 in the virtuosity of his ornate orchestral writing, aiming to achieve a veritable cosmogony of sound. Long pedals marked by apparently random flashes induce static and ecstatic suggestions, a petrifying, implacable feeling; group and mass cumulative/regressive polyphonies lead to images of growth, multiplication, blossoming or, quite the opposite, to withdrawal, dissipation, dissolving, death; the dialogue between orchestral textures of opposing colouring creates a correspondence to the battle between worlds; accompanied by orchestral complexes, the melody brings forth an the expression of plenty and hymnic greatness. This paper also underlines the originality of the polyphonic and timbral techniques created by Pascal Bentoiu by combing traditional and modern mixtures (pedals, heterophonic writing, orchestral accumulation, heterogeneous timbral polyphonies) with decidedly avant-garde layering framed by orchestral textures of a global effect.


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