ISCM

C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Iorgulescu, Adrian: Second Symphony 

 

 

Basic information

 

Notes

  • Program notes: 

    Started in 1980, the symphony was completed in the summer of 1981 and is a synthesis of the author’s experience as a composer up to that moment, expressed both in the form, as well as in its direct and indirect content.

    The work is structured in four movements played without interruption, the last movement being a coda. The symphony is based on a a continuous evolution of all the creative parameters as well as that of the general ethos. It is about a gradual transformation from static to dynamic, from discontinued elements to a continuum, from pure sound to clusters, from simplicity to complexity.

    The composer’s style is ample and extends over the whole ensemble like a dynamic arch. The unity of structure is the reflex of an all-encompassing esthetic conception.
    During the symphony, apear in continuous transformation the expressive elements of a fundamentally tragic vision.
    Each of the four movements presents another dimension of this tragic character.
    Meditative and intimate in the first movement, full of tension in the second, with grotesque and absurd accents in the third and finally in a spiritually meditative manner in the last movement.

    While the general structure of the work presents an obvious architectural idea and a strong emotional content, the elements of detail are a mozaic of musical techniques used with virtuosity and utmost efficiency.
    It is clear that Iorgulescu is in full command of the orchestra and knows how to combine the intelectual and emotional elements in order to achieve a clear and strong artistic impact.

    The symphony is an important and very rewarding musical challenge for the orchestra and the public and introduces brilliantly one of the most accomplished composers active in Europe today.

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