Violeta Dinescu



Saiten, nach dem gleichnamigen Gedicht von James Joyce ist gleichzeitig Kommentar und Spiegelung des Textes. Die Stimme ist wie ein Instrument, das in Verbindung mit den anderen Klangfarben ständig den eigenen Klangcharakter verwandelt.

Saiten im Feld, in den Höhn
Rührt der Lüfte Kuß,
Saiten mit süßem Getön
Im Weidicht am Fluß.

Liebe wandert am Wasser
Spielend wunderbar,
Blasse Blumen auf ihrem Mantel,
Dunkles Laub im Haar.

Ihre Scheitel im Schreiten
Neigt die Träumerin,
Ihre Finger gleiten
über die Laute hin.

                              (James Joyce)

Violeta Dinescu

About the works

Suita (1973) and Con Variazioni (1974) are two compositions originating from Dinescu's student years. In contrast to her later works for piano, these pieces lean stylistically towards George Enescu and Bela

Bartók Neither composition demonstrates as yet the free? flowing rhythmic style so characteristic of her later works, even though the melody is already inspired by 'parlando rubato'.

SUITA (1973) consists of three movements. The first, Akanua, is based an a set of pre?determined intervals, which repeat in cycles and which in turn create new material. The rhythmic motives alternate between asymmetrical pulsations and flowing motions and allow for a flexibility of form. The title 'Akanua' is freely invented and suggests an imaginary archaic ritual. The second movement, Lento, affords a contemplative point of repose prior to the last movement, Allegro, a Perpetuum Mobile with symmetric and asymmetric rhythms.

CON VARIAZIONI (1974) contains three sub?cycles, each of which consists of a theme and set of variations. Even the themes themselves are developed as variations from each other. The contours of the first and the third theme have the most in common. Whereas the opening of the theme of the first cycle of variations is treated homophonically, however the beginning of the third theme begins canonically. The theme of the second cycle creates a stark contrast with the remaining of the movements with its agitated character and a greater degree of dissonance. In the course of the variations, Romanian folk elements and post?modern elements co?exist each being assigned equal importance.

TORRE DI SI (1994) was first performed an the occasion of an official birthday celebration. Although the pitches of this piece contain symbolic references to the name of the person whose birthday it was, the work is at the same time an homage to the Torre di Si' (Torre' is the Italian word for 'towei and the Italian 'si' stands for 'b natural' in the English musical alphabet) ? a pitch suggesting an unstable sound location. The pitches surrounding the'si' (b) express themselves in quasi impressionistic ornamentation: the pitch 'si' (b) is surrounded, or'mirrored' in sound and space and undergoes sound transformations with a dramatic inner life all of its own.

ECHOES I AND II (1980) are the first pieces in a three?part cycle, each section of which is based an a pre?selected number. Violeta Dinescu 'translates' them into intervals, 'directional motion' and proportions. At the same time the music tries to break out of the rigidity of the sequence. The composer accomplishes this by using modes, the pitches of which return and function like clockwork. Just before the end of each of the three'Echoes' there appears a phrase in which the characteristic elements of the mode are clearly heard.

ECHOES II was originally composed for piano and percussion, the pianist simultaneously playing the surrounding percussion instruments. The percussion should be regarded as an extension of the piano sound and also represents the idea of clocks.

DIES DIEM DOCET (1987) means 'one day teaches another'. This work contains a reference to the "Années de Pélérinages III" by Franz Liszt with a special section from "Les Jeux d'Eau de Villa d'este". Musical structures of thematic elements are linked and continuously re?composed, undergoing changes an various levels. This results in an imaginary journey back through history of music. A complex web of influences, echoes, reminiscences, obstacles, detours, labyrinths and dreams is created. The material undergoes transformations of proportions with mirror images, which turn this piano composition into a pilgrimage to Liszt's "Années de Pélérinage". The composer has described this Asta pilgrimage through an imaginary garden full of asymmetrically distorted mirrors' Like the composition by Liszt, this work is also very virtuosic.