Confidence mendelssohn piano works,secret service band ye si ca,how to develop confidence on stage - For Begninners

02.07.2014
Iancu Dumitrescu (born 1944) is one of the leading personalities of contemporary music, embracing both composition and interpretation. Dumitrescu received a master's degree in composition in Bucharest; Alfred Mendelssohn was among his teachers. Dumitrescu has composed a large body of works for acoustic instruments and ensembles as well as works combining acoustic and electronic sounds and works composed entirely using tape or computer.
His compositions are based on ultraspectralism and acousmatics from a phenomenological point of view, in which sound is subject to analysis and dissociation, processes which confer a genuine force of suggestion and penetration. His music is edited by Editions Salabert (Paris), Escargot-CBS (Paris), ReR Megacorp (London), Gerig Musikverlage (Koln), Generation Unlimited (New York) etc. The composer under discussion here however, hails from Romania and is the creator of some of the most radical and inventive music.
Born in 1944, it"s obvious that the political and social climate in Romania had profound influence on his perception of music, and later after studies with one Sergiu Celibidache, he began to experiment with aesthetics of sound creation, manipulation, and harmonic mutilation. These early orchestrated works are quite reminiscent of Ligeti"s similar dissonant ensemble pieces, often sounding as electronic as orchestral. A major step forward in his realisation of truly bombastic sonic disintegration was realised by the co-operation of the experimental bassist Fernando Grillo ( also known for an album on the Cramps label ), who seems capable of coaxing the most impossible sounds out of his instrument.
Since 1988, Ana-Maria Avram has mentained a close collaboration with Iancu Dumitrescu, but she has also continued to forge her own direction in music. She was performed in New York, Los Angeles, Boston, Standford, in Vienna ( in the Wien Modern Festival in 1992 and 1994 ) at Paris ( several times at Radio France and Theatre de la Ville ) in London ( several times at Royal Festival Hall ) Nancy, Allicante, Lisbon, Baden-Baden, Darmstadt, Moscow, Belgarde, Istanbul etc. Her works has been commissioned by prestigious ensembles such as Kronos Quartet ( San Francisco ) A« 20 Jahrhundert A» from Vienna, soloists from l'Orchestre National de France, orchestras as Bucharest Philharmonic Orchestra, Romanian National Orchestra, Romanian Radio Chamber Orchestra, L'Orchestre de Chambre de Roumanie, etc. A« On the Abolition of the Soul A» - a Radio France commission was released on a double CD- Radio France, an anthology of Prix Italia since 1949.
Romanian composer IANCU DUMITRESCU and his associate, ANA-MARIA AVRAM, leading figures in the Eastern European school of modern classical music have issued many stunning works through the years, but this is the first to be issued in America. A« Of the three CD's issued thus far, one also contains three excellent works by a pupil of his: ANA MARIA AVRAM, whose compositional style is every bit as fascinating and innovative, and is certainly a talent to look out for. Both Avram and Dumitrescu are convinced that if they have been able to open new doors in music, it is because they have made or found precisely those connections between musical activity and inner life that remain unarticulated in conventional musical training. Pour feter le retour et la suite de la saga Star Wars, nous vous avons concocte une selection par instrument des meilleurs moments musicaux.
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Later, he studied conducting and philosophy with Sergiu Celibidache; Celibidache led Dumitrescu to an engagement with the philosophy of Edmund Husserl and an effort to apply the principles of phenomenology to music.
At forty, he has confirmed himself in the triple role of composer, conductor and producer, and finally of writer, as a vital force in new music, not only in Romania but on the international scene. From the beginning of his career, Iancu Dumitrescu made himself known through orchestral pages of amazing novelty, where most of his nowadays achievements were more than prefigured. In the realms of the avant-garde ( red: serious, weird and innovative clasical music ) the countries of Eastern Europe have been notorious as burgeoners of the most experimental and creative talents.
After graduating from the National Conservatory of Music in Bucharest, she obtained a degree from Paris Sorbonne in 1992. She represents with Iancu Dumitrescu the Hyper-Spectral trend in contemporary avant-garde music. It's an uncompromising piece with a tendency to noise throughout, drawing blizzards of pizzicato, high - pitched sounds and lots of glissandos from the panoply of avant garde string effects. Wonderful to hear music where textural innovations aren't employed to colour pre-existing structures, but evolve form in process.
As leader of the Hyperion Ensemble, which he founded in 1976 and has run ever since - a group comprising some of the most brilliant instrumentalists of Romania - he has expounded throughout Europe not only his own most important works but also those of other representatives of the most forward looking wing of Romanian music. Probably best known of all is GyA¶rgy Ligeti, along with innumerable other Hungarian and Czechoslovakian talents in the realms of electronic music. Many of the works from this era came to light via releases on the German Edition RZ label , revealing to the world a sonic creator of unique talent. As leader of the Hyperion Ensemble, which he founded in 1976 and has run ever since - a group comprising some of the mostA  brilliant instrumentalists of Romania - he has expounded throughout Europe not only his own most important works but also those of other representatives of the most forward looking wing of Romanian music. The psychological reality if their music is directly grounded in a conception of the acoustic reality of sound.
On Zodiaque she plays prepared piano opposite Dumitrescu, a percussionist and magnetic tape.
For a music that uncompromisingly addresses the future, opening us to an entirely new and unheard universe of sound, Iancu Dumitrescu's art is nonetheless grounded in tradition, and nourished on the fertile resources of the Romanian land. For a music that uncompromisingly addresses the future, opening us to an entirelyA  new and unheard universe of sound, Iancu Dumitrescu's art is nonetheless grounded in tradition, and nourished on the fertile resources of the Romanian land.
He exemplarily embodies a school, unique in the world, which has found in its own ancestral roots the means to go forwards in the spirit of the utmost adventure. The orchestra is a relatively limited one (couples of winds, strings in Mozart formula), but with an important percussion section. A bit of electro-acoustics, some amplification, a synthesizer or two, very little surely, alongside the work being done here on the radical renewal of the instrumental sound itself. Due to the composer's acousmatic conceptions, this so familiar and traditional ensemble is renoveled through a total denaturation of timbres and sonorities, whose strangeness rivals with the double bass solo.


The latter gathers the technical and sonorous conquests of the performer and of the composer in effects of extraordinary novelty.
The Romanians, working for so long in relative isolation, are in right to claim a certain seniority in this approach that lead with Iancu Dumitrescu's to a real spectral analysis of the interior of the sound, equivalent to a kind of nuclear fission. The great predecessor in this direction, whose importance is just beginning to be recognized as he celebrates his eightieth birthday, is the Italian composer Giacinto Scelsi.
And that because the folk instruments also elude the compromise of the temperate scale in order to render the natural scale of the harmonics. The spectre thus contains thousands of virtual melodies that fleeting embody themselves according to the meeting or the crossing of the harmonic columns. Starting with the brilliant forerunner George Enescu, the whole Romanian school has used its pure resources, fructifying and transfiguring them. This was the case with Iancu Dumitrescu's masters: Stefan Niculescu and Aurel Stroe, while Alfred Mendelson inculcated him the basic classical craft and Sergiu Celibidache's pre-cious advices helped him to clarify his phenomenological conception of musical composition. Iancu Dumitrescu's works situate themselves far from the traditional concepts, not only regarding sound, but also form and structure. His main works introduce the concept of acousmatic, Socratic term designing the art of hiding the essence of the sound source, of disguising its origin.
Based on the intimate exploration of the secret, hidden, parameters of the sonorous phenomenon, his music extracts its formal models out of the inner structure of the sound, in a perfect correspondence of micro- and macrostructure. This phenomenological approach of the compositional proceeding implies both a great confidence in the intuitive dimension of the invention and a permanent, indispensable, intellectual lucidity. Composing becomes thus a surgeon or biologist-like attitude, working directly on the sonorous plasma, on the living and mobile substance. This attitude extends to the several parameters of the sound, especially to a system of duration organization that confers each number a rhythm that bears its own aesthetics, ethics and poignancy. As Time, the only sonorous parameter also existing outside the sound, is equally the one who implies all the rest: pitches, timbres and intensities are evaluated by means of vibrations, periods, and, thus, time. Iancu Dumitrescu's predilection for grave instruments (double bass, bassoon, trombone, tuba etc.) is explained by the fact that they possess the most complete column of harmonics, the richest and most beautiful spectrum.
The acoustical principles evoked above otherwise permit rendering almost unrecognizable the instrumental sources.
Additionally, the instrumentalists must play with the upper part of the instrument stuck to the membrane of the big drum, which prolongs and modifies the harmonics. Some of Iancu Dumitrescu's important works exist in several variants which differ by their instrumentation.



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