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(\u201cDoina Rotaru \u2013 CRYSTALS\u201d \u2013 Stradivarius \u2013 CD booklet)[\/vc_column_text][vc_empty_space height=”50px”][vc_column_text]\u201cI knew the name Doina Rotaru very well, but I didn\u2019t know her music, which many described to me as hypnotic and irresistibly inspired. Thus, when the wonderful Greek flautist Chryssi Dimitriou announced that \u201cTempio di fumo\u201d by Doina Rotaru was among the pieces of the repertory on which she intended to work during the course, my curiosity was notably aroused. When the time of the lesson came, Chryssi performed the piece from beginning to end. Due in part to her inspired and vibrant reading, an astonished silence followed the execution, and also a sensation of amazement in the eyes of all those fortunate enough to attend the lesson. Where did that music come from? For how long had it existed? Why had the music and I continued in parallel for so many years, without ever meeting? The moment had certainly come to end this sad void, this distance, too great, between this music and my flute!<\/p>\n
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Very quickly, this distance was bridged, resulting in a long series of new compositions that Doina decided, as was in her deepest nature, to give to me. The first of the series was the vast triptych \u201cMithya\u201d (after hearing the first ever performance, also in Metz, in 2008, even Sciarrino spoke of an epiphany), followed by \u201cCantus Austerus\u201d, \u201cEpistrophe\u201d culminating in the astonishing flute concerto \u201cL\u2019Ange avec une seule aile\u201d, which already reaches the summit of literature for flute and orchestra in inspiration, density and dramatic quality, and the amazing and rarefied \u201cSalcia\u201d. […]<\/p>\n
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The archetype remains the most pregnant basic element in Doina\u2019s music. An archetype both symbolic and simply referential, sometimes obliquely, but always present. The titles, much less cryptic than the average in contemporary production, almost always indicate the archetypal element underlying the piece in question.\u201d[\/vc_column_text][vc_empty_space height=”50px”][vc_separator type=”normal”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”50px”][vc_empty_space height=”50px”][vc_column_text]<\/p>\n
(EIKON, Bucharest 2018)[\/vc_column_text][vc_empty_space height=”50px”][vc_column_text][ENG]<\/p>\n
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\u201cBy assimilating the archetype as a manner of creation, Doina Rotaru has outlined for herself, through the consistency of her compositional writing, an individual style, integral to the archetypal orientation for both the modeling action of a paradigmatic aspect common to several oriental folklore traditions – the Glissando Archetype<\/strong><\/span>, as and for its investiture […] it can therefore be said that the archetypical analysis of a single work by Doina Rotaru offers broadly the image and the key to understanding all the works of a similar pattern belonging to the composer. Thus, in addition to the presence of the Glissando Archetype […], we can find in her works archetypal elements such as folkloric ornamentation, micro-repetitions, essentializing sonic minimalism, heterophonic writing, symbolic forms and numbers \u2013 constants that ensure the universality of style of the author in multiple hypostases of materializing his fecund imagination.\u201d (p. 210-211)<\/p>\n <\/p>\n \u201cThus we can see in Doina Rotaru a very subtle action of decanting the referential folkloric melos<\/strong><\/span>, of absorbing only its essence by treating the patterns that have several origins – present everywhere and always. Related to this observation is also Doina Rotaru’s concern for the recovery of timbral archetypes<\/strong><\/span> […]\u201d (p. 211-212)<\/p>\n <\/p>\n [RO]<\/p>\n <\/p>\n \u201cAsimil\u00e2nd arhetipalitatea ca pe o manier\u0103 de crea\u021bie, Doina Rotaru \u015fi-a conturat, prin consecven\u021ba scriiturii sale componistice, un stil individual, integrabil orient\u0103rii arhetipale at\u00e2t pentru ac\u021biunea de modelare a unui aspect paradigmatic comun mai multor tradi\u021bii folclorice orientale \u2013 Arhetipul Glissando<\/strong><\/span>, c\u00e2t \u015fi pentru \u00eenve\u015fm\u00e2ntarea acestuia […] se poate spune deci c\u0103 analiza din punctul de vedere arhetipal a unei singure lucr\u0103ri a Doinei Rotaru ofer\u0103 \u00een linii mari imaginea \u015fi cheia de p\u0103trundere a tuturor celorlalte opusuri de atare factur\u0103 apartenente compozitoarei. Astfel c\u0103, pe l\u00e2ng\u0103 prezen\u021ba Arhetipului Glissando […], \u00een respectiva crea\u021bie se mai \u00eent\u00e2lnesc elemente arhetipale ca: ornamentica de tip folcloric, micro-repeti\u021biile, minimalismul sonor esen\u021bializant, scriitura eterofonic\u0103, formele \u015fi numerele simbolice \u2013 constante ce asigur\u0103 universalitatea de stil a autoarei \u00een multiple ipostaze de materializare a imagina\u021biei sale fecunde.\u201d (p. 210-211)<\/p>\n <\/p>\n \u201cSe remarc\u0103 astfel la Doina Rotaru o ac\u021biune foarte subtil\u0103 de decantare a melosului folcloric referen\u021bial<\/strong><\/span>, de absorb\u021bie doar a esen\u021bei acestuia prin tratarea modelelor care au mai multe origini \u2013 prezente pretutindeni \u015fi dintotdeauna. Conex\u0103 acestei observa\u021bii este \u015fi preocuparea Doinei Rotaru pentru recuperarea arhetipurilor timbrale<\/strong> <\/span>[…]\u201d (p. 211-212)[\/vc_column_text][vc_empty_space height=”50px”][vc_separator type=”normal”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”50px”][vc_empty_space height=”50px”][vc_column_text]<\/p>\n (Editura Muzical\u0103, Bucharest, 2003)[\/vc_column_text][vc_empty_space height=”50px”][vc_column_text][ENG]<\/p>\n <\/p>\n \u201cThe rigor of the construction, but also the taste for improvisation<\/em>, the maximum stylization of the symbolic forms<\/em><\/strong><\/span>, but also their pigmentation with ornaments, as in a \u201cpolyphony of decoration\u201d<\/strong><\/span>, as well as the rhythmic recourse to geometric figures<\/strong> <\/span>such as the square<\/em>, the circle<\/em>, the triangle<\/em>, the spiral,<\/em> the pillar<\/em> \u2013 \u00a0are just a few of the leitmotifs that ensnare us, inviting us to discover the mysterious beauty of a world in perpetual evolution, as well as the \u201cascension of thought in prayer\u201d \u2013 \u00a0as suggested by the sounds of the flute in most of Doina Rotaru’s works. Titles like Trojets<\/em>, Magic Circles<\/em>, Florilegium<\/em>, Lights from a Rainbow<\/em>, etc. have a visual sonority<\/strong><\/span> […]\u201d (p. 138)<\/p>\n <\/p>\n \u201cConsistent with the vision of ascension and inward illumination; with the spiritual evolution from the stage of darkness, of penumbra<\/em>, to that of light<\/em>; with the conquest of transcendence through incantation and prayer, Doina Rotaru continues, with each new opus, her \u201cinvestigations\u201d in the \u201calchemy\u201d of light<\/strong> <\/span>[…]\u201d (p. 149)<\/p>\n <\/p>\n \u201cin Doina Rotaru\u2019s work, [the geometry of forms] is deduced<\/em> from the very graphic aspect<\/em> of the score<\/strong><\/span>: ascending, descending, horizontal, vertical, intersecting or parallel lines, converging or divergent, double symmetrical as refractions in multiple mirrors, they dissipate and coagulate in increasingly complex combinations […]\u201d (p. 162)<\/p>\n <\/p>\n [RO]<\/p>\n <\/p>\n \u201cRigurozitatea construc\u021biei, dar \u015fi gustul pentru improviza\u021bie<\/em>, stilizarea maxim\u0103 a formelor simbolice<\/em><\/strong><\/span>, dar \u015fi pigmentarea lor cu ornamente, ca \u00eentr-o \u201cpolifonie a decor\u0103rii\u201d<\/strong><\/span> \u015fi, de asemenea, recursul ritmic la figuri geometrice<\/strong><\/span> precum p\u0103tratul<\/em>, cercul<\/em>, triunghiul<\/em>, spirala<\/em>, st\u00e2lpul<\/em> sunt doar c\u00e2teva dintre leitmotivele ce ne atrag \u00een mrejele lor invit\u00e2ndu-ne s\u0103 descoperim singuri frumuse\u021bea misterioas\u0103 a unei lumi \u00een perpetu\u0103 devenire, aidoma \u201cascensiunii g\u00e2ndului \u00een rug\u0103ciune\u201d \u2013 ca cea sugerat\u0103 de sunetele flautului din majoritatea lucr\u0103rilor Doinei Rotaru. Titluri ca Troi\u021be<\/em>, Cercuri magice<\/em>, Florilegium<\/em>, Lumini dintr-un curcubeu<\/em> etc. au o sonoritate vizual\u0103<\/em><\/strong><\/span> […]\u201d (p.138)<\/p>\n <\/p>\n \u201cConsecvent\u0103 viziunii asupra ascensiunii \u015fi ilumin\u0103rii l\u0103untrice; asupra evolu\u021biei spirituale de la stadiul de \u00eentuneric, de penumbr\u0103<\/em>, spre cel de lumin\u0103<\/em>; asupra cuceririi transcenden\u021bei prin incanta\u021bie \u015fi rug\u0103ciune, Doina Rotaru \u00ee\u015fi continu\u0103 \u201cinvestiga\u021biile\u201d \u00een \u201calchimia\u201d luminii<\/strong><\/span>, cu fiecare nou opus<\/em> […]\u201d (p. 149)<\/p>\n <\/p>\n \u201c[…] la Doina Rotaru [geometria formelor] se deduce<\/em> din chiar aspectul grafic<\/em> al partiturii<\/strong><\/span>: linii ascendente, descendente, orizontale, verticale, intersectate sau paralele, convergente sau divergente, dublu simetrice ca ni\u015fte refrac\u021bii \u00een oglinzi multiple se disipeaz\u0103 \u015fi se coaguleaz\u0103 \u00een combina\u021bii din ce \u00een ce mai complexe […]\u201d (p. 162)[\/vc_column_text][vc_empty_space height=”50px”][vc_separator type=”normal”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”50px”][vc_empty_space height=”50px”][vc_column_text]<\/p>\n (Editura Muzical\u0103, Bucharest)[\/vc_column_text][vc_empty_space height=”50px”][vc_column_text]\u201cThe recognizability<\/strong><\/span> of the music signed by Doina Rotaru is \u00a0equally due to the continuous, transformational, rubato, melodic style of the instrumental solos, to the arc or spiral forms (cyclical evolutions, in sound loops, possibly starting and ending in unison), to the insistence on certain intervals (such as the Bart\u00f3k-like inverted chromatic formula), generators of melismatic constructions, abundant in glissandi, grace notes etc.\u201d (p. 118)<\/p>\n <\/p>\n \u201cRecognoscibilitatea<\/strong><\/span> muzicii semnate de Doina Rotaru se datoreaz\u0103 \u00een egal\u0103 m\u0103sur\u0103 varia\u021biei continue, transforma\u021bionale, stilului rubato, melopeic al solo-urilor instrumentale, formelor de arc sau de spiral\u0103 (evolu\u021bii ciclice, \u00een bucle sonore, debut\u00e2nd \u015fi sf\u00e2r\u015find eventual \u00een unisonuri), insisten\u021bei pe anumite intervale (bun\u0103oar\u0103 semitonul cromatic \u00eentors, bart\u00f3kian), generatoare de construc\u021bii melismatice, abundente \u00een glissandi, apogiaturi etc.\u201d (p. 118)[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”100px”][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”normal”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”50px”][vc_column_text] Mario Caroli \u201cEpiphanies of the Archetype\u201d (\u201cDoina Rotaru \u2013 CRYSTALS\u201d \u2013 Stradivarius \u2013 CD booklet)[\/vc_column_text][vc_empty_space height=”50px”][vc_column_text]\u201cI knew the name Doina Rotaru very well, but I didn\u2019t know her…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-139","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/doinarotaru.ro\/index.php\/wp-json\/wp\/v2\/pages\/139","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/doinarotaru.ro\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/doinarotaru.ro\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/doinarotaru.ro\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/doinarotaru.ro\/index.php\/wp-json\/wp\/v2\/comments?post=139"}],"version-history":[{"count":0,"href":"https:\/\/doinarotaru.ro\/index.php\/wp-json\/wp\/v2\/pages\/139\/revisions"}],"wp:attachment":[{"href":"https:\/\/doinarotaru.ro\/index.php\/wp-json\/wp\/v2\/media?parent=139"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Despina Petecel-Theodoru<\/strong><\/span><\/h3>\n
\u201cDe la mimesis la arhetip\u201d<\/strong> \/ \u201cFrom Mimesis to Archetype\u201d<\/strong><\/h4>\n
Valentina Sandu-Dediu<\/strong><\/h3>\n
\u201cMuzica rom\u00e2neasc\u0103 \u00eentre 1944-2000\u201d \/ \u201cRomanian Music between 1944-2000\u201d<\/strong><\/h4>\n