About the Authors

Nicolae Brânduș studied piano and composition at the National University of Music in Bucharest. He attended the summer courses for new music in Darmstadt (1969-1980) and Aix-en-Provence (1979). In 1985 he worked in the Musical Research Department at IRCAM (Paris) and realized electronic music at GMEB (Bourges) in 1996. He was a soloist pianist at the Philharmonic of Ploiești (1960-1969); professor of chamber music at the National University of Music in Bucharest (1969-2005); editor at the Muzica journal; member of the executive committee (1991-1993) and president of the Romanian section of the ISCM (1994-2002). He has received the Honorary Mention at the International Competition Prince Pierre de Monaco, and the George Enescu Prize of the Romanian Academy. Among his compositions, the most known are the opera Tarr & Fether, the Ballad Symphony, the symphonic works as Phtora, SinEuphonia II, two piano concertos. Brânduș wrote the book Interferences, published articles and was on lecture tours as visiting composer in the USA, Germany, Israel, Greece, Hong Kong.

Anamaria Calin graduated musicology by professor Grigore Constantinescu, works as an assistant lecturer at the National Music University of Bucharest. She is a member of the Union of Romanian Composers and Musicologists and PhD in music since 2003.
Published books: Claude Achille Debussy – the opera and the ballet, Canada, 2005; Carl Orff: Trionfi Trittico Teatrale, Canada, 2006; co-author (with Vasile Iliuț) of A book of Musical Styles. Bucharest, 2011; Editor of the book Remembering a musician: Vasile Iliut, Bucharest, Glissando, 2009; contributor for the collective volume Musical Aesthetics: Another Kind of Manual. Bucharest, Glissando, 2007. She wrote articles and studies on various themes, published in academics journals and in magazines as Acord, Actualitatea muzicala, Muzica.

Alexandru Leahu is one of most important Romanian musicologists, spe- cialized in the field of aesthetics. He studied in Bucharest, but also in Rome (Conservatory of Santa Cecilia). Since 1965 he teaches aesthetics at the National University of Music, Bucharest, nowadays as a doctoral supervisor. Among his writings, quite remarkable are the books about Domenico Scarlatti (1965), Maeștrii claviaturii [The Masters of Keyboard, 1976], and also the translation into Romanian of Friedrich Nietzsche’s Der Fall Wagner.

Octavian Nemescu, born in Pascani (Romania, 1940), studied composition with Mihail Jora at the National University of Music in Bucharest (1956-1963), where he works as a composition professor and doctoral advisor. He imposed himself (still being a student) as part of avant-garde movement in Romanian music composition. After 1965 he writes works of the open creation type, of conceptual and environmental music. He involves himself after 1967 into the Romanian spectral trend. Starting with Concentric (1969), his creation has got archetypal vocation by cultivating an aesthetic of the essence. In the 70ies, Octavian Nemescu was part of a group of composers which launched a new avant-garde setting, as their ideal was not the denial of tradition (as previous avant-garde movements did), but reclaiming the origins lying at the base of every musical tradition, aiming to achieve a new artistic universality. Later, Nemescu developed a musical concept based on a non-spectacular, ritual atmosphere, as a chance to revigorate the old mysteries and as a modality of awakening from the biological, mental and spiritual sleep.
His honors include the Aaron Copland Prize (USA, 1970), six prizes from the Romanian Composers Union (1970, 1981, 1984, 1987, 1992, 1995) and two prizes from the Concours International de Musique Électroacoustique de Bourges (1980, 1982). He has also earned the Prize of the Romanian Academy of Arts and Sciences (1981) and the Prize of the International Confederation for Electroacoustic Music (ICEM) (1985).

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