Werkbetrachtungen
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Saiten 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)
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.
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