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03.05.2014
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. Why is Mozart the best known and most popular of all the great Western classical composers?
The Faber Pocket Guide to Mozart ePub (Adobe DRM) can be read on any device that can open ePub (Adobe DRM) files. April’s object of the month is the ancient papyrus the Book of the Dead of Ramose, on display in the Death on the Nile exhibition.
Go beyond the images of mummies, pharaohs and mystery often associated with ancient Egypt, and see how coffin design developed over 4,000 years. Discover how these remarkable objects were constructed and what this information can reveal about the craftsmen who made coffins and the clients who bought them. Works by artists who sought to make a new art responding to the modern world are brought together in this second display from Kettle’s Yard.
Running throughout 2016, this exhibition will explore the Fitzwilliam’s past, present and future. Spiders, snails, beetles, butterflies, moths, frogs and lizards are just some of the living creatures painted amongst the flowers in the Museum’s botanical paintings and drawings. Between the 15th and 18th centuries the riches of new worlds saw explorers and adventurers travel to new continents in search of new lands and wealth. A look across Europe at three series of prints by major artists published in 1816, the year of the founding of the Fitzwilliam.
In this evening's concert, members of the Northern Early Music Collective present a programme inspired by Titian's Venus and Cupid with a lute player (1555-65). Enjoy a special tour of the exhibition Death on the Nile: Uncovering the afterlife of ancient Egypt, and explore some of the themes as a springboard for writing creative poetry and prose on the first Saturday with tutor Helen Taylor. Join trained Museum staff from the Polar Museum and explore their interactive textile map of Antarctica.


Unless otherwise stated, talks are free, take place in the seminar room (35) and admission is by token, 1 per person, available at the Courtyard Entrance desk from 12.45 on the day. Julie Dawson, Head of Conservation, and Dr Tom Turmezei, Wellcome Trust Clinical PhD Fellow, Cambridge University Department of Engineering. Discover new ways of working at this artist led workshop inspired by Museum exhibitions and collections, with different themes each month.
Join us in our art studio for a printing workshop inspired by the works of Rembrandt, with artist Caroline Wendling from Wysing Arts Centre. Inspired by unprecedented access behind the scenes this exhibition features over 80 major works by nineteen members of the OuseLife group of artists. 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 the 250th anniversary of his birth approaches, his reputation stands higher than ever before.
The display brings together for the first time, paintings and sculptures by pioneering modern artists who are represented in both collections. The objects in this display illustrate the changes that occurred in this period, which paved the way for the modern global economy. This marvellous painting is of particular interest from a musical point of view, in that it presents clear and realistic depictions of mid 16th century instruments and musical part books.
Then return on the following Saturday to refine and share your work with the rest of the group.
Tickets may be bought from the Guide or in advance through Cambridge Visitor Information Centre, tel.
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. This lively new Pocket Guide assesses what Mozart means to us today, and explores why his music is so enduringly valued by listeners. The programme takes these elements as a starting point, and centres on Italian (mainly Venetian) secular music of the 16th century, with special emphasis on love songs (Venus is, after all, the painting's subject) and on the repertoire of the middle of the century, the time in which the painting was created. 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.


The Guide aims to tell the general reader and listener in concise form all they need to know in order to listen to and enjoy Mozart's music - it will introduce a new generation of concert-goers and record-listeners to all his key works in forms from opera to symphony, concerto to song. With Faye Newton (soprano), Pamela Thorby (recorder), Susanna Pell (viol) and Jacob Heringman (lute).
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. In a crisp, sharp style, with extensive recommendations of good performances and recordings, Nicholas Kenyon shows how Mozart has turned a different face to every age that has performed his music and has communicated with unique. The orchestra is a relatively limited one (couples of winds, strings in Mozart formula), but with an important percussion section. Separating the Mozart myth and the Mozart industry from the realities of his superb music, the book also asks key questions: How did Mozart compose? 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.
There will also be a brief calendar of Mozart's life, a musical glossary and a who's who of key figures in his life. 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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