Serban Nichifor: Works 2016 (January-August)

File: !HappyNewYearMichele.
mz
Happy New Year, Michele !

Andante Cantabile for Clarinet in B-flat and Piano
- Dedicated to Michele Gingras -
Clarinet
D = 76

R
DDD DDD DDD

TD DD
3
DDDD DDDD DDDD DDDD
DDD DDD DDD

D D D
Serban Nichifor
27-XII-2015
R
DDD
D
I
D
@@ U D D D @
D
4
DDD D
DDD DDD DDD DDD @@ DDD DDD DDD DDD
Pno

Clarinet
C
C
J
D D
D
C
D D

D D D C
%
C
U D D D D@
DDDD
DDDD DDDD DDDD DDDD DDDD DDDD DDDD
B
B
B
B
D
D
M
D@
I @@ BB
D D
D D D C
U D D D D@
DDDD DDDD DDDD DDDD DDDD DDDD DDDD DDDD
Pno
B
B
Copyright 2015 by Serban Nichifor (SABAM, ASCAP)
B
B
D
M
Clarinet
D
D D D D
D D
D
I
D
D
D
D D D D D D
D@

DD
DD
DDD
D

DDC
D
DD
DD
DDD DDD
D D
Pno
C
C
Clarinet
C
C
B
B
C
D DDC
D
M
@
U D D D D

D
U D D D MD D
D
M
D
D D D D D
M
M
DDD DDD DDD DDD

DDDD DDDD DDDD DDDD
BB
B
B
B
B
Pno
Clarinet

?
D
D
D
D
U
M D
DDDD
DDDD
DDDD
D
M
DDDD
B
B
D
?D D
M
DDDD
DDDD
DDDD
D D D
D D
M
DDDD
DDD
D
Pno
B
B
B
B
B
B
DDD
D
DDD
D
D
M
DDD
D
Clarinet
DDDD
D
DDDD
D
DDDD
D
DDDD
Pno

Clarinet
D@
D D
DDDD
D
I
D B
D
B
C
C
DDD DDD
D D
I
D
DD
C
C
D DDC
DDD
D
DDDD
D
DDDD
D
I
D
DD
I D DDC
D
D D D @
U D
D D D D
DDD DDD DDD DDD
D D DDC
M
. DD DD DD DD
DDD DDD DDD DDD
D D D C
Pno
Clarinet
D
D D D D @
D D D D D D D
DDD
D
I B
D B
D D D @ D
U D
M
D
U D D D@
DDDD
D
DDD
DD
U D
DDDD
B
B
BB
DDD
D
B
B
B
B
DDD DDD DDD

D D D
U D
DDD
DD
D D D @
D
M
DDD DDD DDD

D D D
D D D @
DDDD DDDD DDDD DDDD
Pno
B
B
DDD
DD
IB
D B
DDDD DDDD DDDD DDDD
D DDC
DDD
DD
D
M
B
B
D
M
Clarinet
# B
D
D D C
DD DDD DDD
D

D D D D - TD DD
DDD DDD DDD DDD
R
DDD
D
DDDD DDDD DDDD DDDD
@@
R
DDD DDD DDD
D D D
DDDD
DDD
D
DDD
D
DDD
D @@
Pno
B
B
Clarinet
D
C
D D
C
C
$

B

DDD DDD DDD

T D D D
DDDD
J
D D
S
DDDD
DDD
D
%
C
DDD DDD DDD

D D D
DDD
D
D@
I@@
D D
DDD
D
DDD
D
DDD DDDD DDDD

D
.
Pno
Clarinet
J
D
C
D D C
C
C
D D
%D D B
DDD

D

%
D
U
DD D
D
D
DDD
%
D D
C@
D@
D ==40
T R R
CC
CC CC
CC
B
BBB
BB
BB
BB
BB
BB
B
B
C
CC B
B
BB
BB
=
BB
BB
Pno
=
B
B B
27-XII-2015
D
M
File: !Cl.mz
Andante Cantabile
Happy New Year, Michele !

for Clarinet in B-flat and Piano
- Dedicated to Michele Gingras Clarinet Part
D = 76

D D D C

D @
@@ U D D D @
D
4
D
M
U D D D D@
D DDC
D
D D
D
I
D
D
D
D D D D D D
D DD C

U D D D MD D
D
M
DDC
DC
D

D

U D
D D D @
UD
D
M
D D D@
D
M
U D D D @
D
D D D C
D
M
D D D D D @
D
M
@ ID DDC
D
D

D
UD
D
D D D @ D
U D
M
D
M
?D
D
D
D
U
MD
D D D D D
M
M
D D D C
I
D
D D DDD D
M
U D D D D@
D D D
D
D
D
?

D D D D D D
D
DDD DD
M
M
M
Serban Nichifor
27-XII-2015
D D D C
UD
D D D @

R

U
DDD
# B
D D D D C
M
$
B
@@
% D D
D
D
DD
%D D B
D
DDD
C@
D ==40
T R R
Fiddle Dance
Bluegrass
Tempo = 220
4
&4
Serban Nichifor
be
CMaj7/E
_ _q
_q
1a
A7/C#
Ab7
b # n #
Fm7
b b q q q
C7
C9
_ #
C/G
E/G#
Dm7
nq
F6
_q _ _q .
be
CMaj7/E
_ _ _ _ _
_ _
C7
G7
D7
n
n # q b b b
b_
A7/C#
D7
G9
Db13
Ebdim
3
Dm7
Ab7
# n bn b
n
# # n # n #
b b _ _ b_ _ _ _ _ _
_ _q
_
C9
C7
# n b nq b n q
_ _
_
C/G
E/G#
A7b13
_ _ n _
#
#
F6
_
G13
A7b13
#
#
# # n n # q
C6
G9
n e q e q #_ n_ #q__ b_ n_ _ _q _ b_ n_ _ _ _ _ _ _ _
_
_ _ _ _ _
Ebdim
3
D7
F6
G13
b b n n n
b__
Fm7
_ __
__ _
D7 _Q
G7
C6
C7 _
#Q
Q n n Q _ _
b
b_ b _ _ C/E
n_ b_ Ebdim
b Q
_ _ __ _ __ _ Fm6
Ddim
b_
n_ n C9
n
33a
A7
D7
G7b13
__ _ __ _ Gbdim
b _ b _ b C/G
b n
b
_ __ __ _q b n
C
A7/C#
D7
G9
b n
#
#
n
#
n
#
n
# n q
b n
F6 _
Serban Nichifor (SABAM, UCMR-ADA)
CMaj7/E
&
E Q
_ _ Ebdim
b _ _ _ b Dm7
q
E Q
C7
_ _
C9
__ b_ n_ _ q
C/G
F6
3
b _ _ _q
A7b13
#
_ q
C
_h
1a (2)
_ __ _ _

b _ _
_
C7
Ebdim
E/G#
C6

_ __ __q
CMaj7/E
C7
E/G#
b n
33a (2)
G7
C6
#e
q qq e n
q
A7/C#
n
F6
Ab7
G13
b b
Fm7
bb HH
G7
q
#
Dm7
b _ _ _ _ q
b_ n_
C7
G13
b n _ _
_
G9
D7
# n
b b
_
b b
# _ #_ n # n # n n q
C9
_ b_ _ b _
D7
Ebdim
_ _ _ _ _
_ _
F6
A7b13
# #
b q
Dm7
b _ _ _ _ q
b_ n_
C9
D7
bq
G13
Fm7
D7
#_ _ # _
b n b n
C/G
A7/C#
CMaj7/E
C/G
__
_ _q
bq_
Ab7
Db13
bq
F6
n
G13
b__ b_ _ __ n_ __ _
Fm7
b _ b_ _q # n
bb HH
A7b13
D7
G7
C6
C7
Fm6
b_ b_

b Q
C/E
Ebdim
Ddim
C9
n #
b _QQ
G9
Ab7
_ __ _ __ _ _ __ _
# n # q _ _ n
b n
_
q
Fiddle Dance - Page 2
F6
&
C
CMaj7/E
Gbdim
3
b q q q
A7/C#
# # Q .
Ebdim
3
_ _
C7
# b
C/G
E
3
b b q q q
C9
_ __ _ _
A7
D7
n #
_q
D7
_ #
G7b13

n
_
G9
n n
# n q
Dm7
3
n _ _ _ n
_
F6
Ab7
G13
bq
b n
Fm7
# _ _ _ _ _ _ _ _ _
_ b
_
A7b13
_h
C/G
D7
G7
bb nb qq
C6

b_ _ _
G13
#_ n_ #_ _ b_ n_ _ __ __ _ n_ _ __ _ __ b n _ __ __
A7/C#
D7
G9
F6
Fm7
#
n
#
n_
be n #_ _ __q
_q _ _q .
CMaj7/E
Ebdim_
G13
b _Q Q Q Dm7
n # _ n n Ab7
b
b bq

_
1a (3)
C7
C9
q
b_ _ b n _q b n
C/G
E/G#
b n _ n_ b_ _ _ _.
_ _e _q
A7b13
CMaj7/E
_ _
_
C7
_ __
bb_ _ _hh
D7
G7
A7/C#
D7
G9
Ebdim
Dm7
# # #_ n # q
C6
_q
# n
Q
# n #
bQ
C9
b
n
_

n #
F6
C7

e Q
e q
Db13
b b
b b n b
Ab7
_ b _ _ n
G13
b b b n _ n __
Fm7
Q b_ Q _
C6
C7
_ # n _ _ _ D7# n # G7
_E/G#
# _ _ A7b13
n
&
C/G
Fm6
C/E
Ebdim
_
_ _ _ _ b_ b _ _ n_ b_ b Q
F6
Ddim
C9
# n n n
33a (3)
F6
CMaj7/E
_ _ b_
C7
# n b
Q
C/G_
C13
_h .
Gbdim
C/G
A7
D7
b b b
n
_ b__ n__ _ n _ #
A7/C#
D7
Ebdim
Dm7
#Q
# nq
b
Q
b b n
n Q
G7b13
_ n
G9
Ab7
G13
b # Q
C9 _
F6
Fm7
b H
n
b H
b
q
A7b13
D7
G7
C6
Q
G13
n # n
# #
n
_ _
57a (3) end
Serban Nichifor: Fiddle Dance

Tempo = 220
A7/C#
4
&4 { e q
e q
Soloist
44
& {
D7
G9
#_ n_ #q_ _ b_ n_ _ _q _ b_ n_ _ _ _ _ _ _ _
_
_ _ _ _ _
hh
hh
_h
qq
qq
_q
3
5
5
5
3
3
5
5
5
3
A7/C#
#hhh
#e
_ _h
qq
q
_q
D7
nh
#h
e h
q
qq
G9
Guitar
Tab
5
6
5
4
3
5
A7/C#
44 q .
& { _qq ..
44 e Q .
? {
h
_hh
H
Piano
44 C
& {
5
6
5
4
q. .
#q_q ..
4
5
D7
e q.
n_e
A7/C#
4
5
qq
_qq
3
2
3
2
3
2
3
2
G9
#ww
w
D7
h
n_hh
h
G9
n qq ..
hh
Q. .
Q. .
Drums
44
? { #q_ b_qq_
_q
__qq bn__ #q_

_ _
_qq _qq__
_q n#__
A7/C#
Tab
4
8
#q__
q
#_qq__ __qq _qq__
D7
4
#q__
q
G9
#___ __qq _qq__
5
5
Bass
4
?4 { h
#h
CMaj7/E
& _q
_ _q
CMaj7/E
&
Tab
HH
HH
QQ
QQ
3
5
4
5
3
5
4
5
CMaj7/E
_qq ..
Q.
E Q.
&
CMaj7/E
? #q_ b_qq_
_q
b b q q q
Ebdim
bH
HH
Q
QQ
7
5
7
7
5
7
_hh
HH
be
_
__qq bn__ b
CMaj7/E
nq
Dm7
Ab7
_HH
HH
H
_QQ
QQ
Q
Ab7
5
6
5
7
5
5
6
5
7
5
bq
Ab7
q.
q_. .
Q.
e
hh_
Q.
Dm7
be
bq_ nb__ _q bn__ # #q_ n__ _q _qq_

_q
_q
_q # _ _q _
Ebdim
Dm7
G13
bh_ G13 nq
bh
qq
bhbhh
_
_
_
be
_ _h
_q
Dm7
.
bQ bE E Q
Ebdim
Dm7
Ebdim
&
Ebdim
3
4
4
5
4
6
4
5
4
3
3
G13
bqbq ..
_q .
bQ .
ne
nq
E
Ab7
hh
H
G13
bq_ b_qq_ #q_ n__

_q # _
_q
Ab7
G13
5
Tab
6
0
? _h
_q
_q
bH
bh
Serban Nichifor: Fiddle Dance - Page 2
C7
C9
& _ #
C7
&
Tab
h
bhhh
_h
3
5
3
5
3
3
5
3
5
3
C7
&
?e
&
_qq ..
bQQ ..
? #q_ b_qq_
_q
C9

_
_e
3
5
3
5
3
bhh
_hh
qq
_qq
3
3
2
3
3
3
2
3
_hh
HH
bE Q
C9
__qq bn__ #q_

_q nb_qq_
C7
10
hh
hh
qq
qq
6
7
7
8
6
7
7
8
e q
Fm7
bh
bhh
_h
6
6
8
8
q
q
_qq
6
6
8
8
Fm7
bqbq.. .
_q .
w_w
ww
w
Fm7
bq_ nb_qq_
_q
__qq
F6
bn_qq_
bq_ nb_qq_
_q
e q
bQ
E
F6
b
_
_qq bn__
Fm7
__qq
bn_qq_
Fm7
3
8
F6
F6
C9
? h
b # n #
C9
C7
Tab
F6
C/G
E/G#
A7b13
E/G#
A7b13
D7
G7
Db13
n
#
# # n
n # q b b b
n
#
#
&
q
b_
C/G
&
qq
q
_q _ #__
8
C/G
q.
_qq ..
3
?E
&
? #q_ b_qq_
_q
C/G
H
#H
nH
QQ
Q
6
6
5
6
6
5
D7
_H
n#HHH
H
_QQ
QQ
Q
5
7
5
7
5
5
7
5
7
5
E/G#
A7b13
e h
Q # HH
C/G
4
5
4
6
5
5
5
Tab
&
#qq
#qq
_
_q
D7
E/G#
A7b13
__qq #n__
_ #q_
_q
E/G#
hh_
H
D7
#_qq_
_ _
_qq _qq__
A7b13
#q__
q
#_qq__
n qq
qq
q
_
n_q
Db13 bQbQ_
Q
__ b QQ
3
3
4
3
5
3
G7
#q .
nq_. .
Q.
e
#w
_
n www
w
G7
6
4
4
3
4
Db13
qq ..
QQ ..
Q.
nbbe
q
E
G7
hh
Q.
Q
E
Db13
__qq ___ #q__q #_qq__ bq_

_q b__
D7
G7
Db13
Tab
0
3
? h
#Q
#q
nh
bh
C6
A7/C#
be
& _q _ _q .
C6
&
Tab
_HH
HH
_QQ
QQ
5
5
5
5
5
5
5
5
C6
&
C6
? #q_ b_qq_
_q
#HHH
QQ
Q
5
6
5
5
6
5
A7/C#
__qq
bn_qq_
C6
Tab
A7/C#
D7
G9
#q_
_
_q n#_qq_
nh
#hh
3
4
5
q
qq
3
4
5
D7
D7
_
_qq ___ #q__q
A7/C#
h
n_hh
h
qq
_qq
3
2
3
2
3
2
3
2
G9
#q .
nq_. .
Q.
e
#w
_
www
#w
G9
# n bn b
n
# # n # n #
A7/C#
& _ww
w
?
D7
hh_
Q.
e e
G9
#_qq__ __qq _qq__
D7
#q__
q
n qq ..
hh
Q. .
Q. .
Q
E
#_qq__ __qq _qq__
G9
5
3
? h
#h
CMaj7/E
Ebdim
3
& _ _ _ _ _
_ _
CMaj7/E
&
Tab
HH
HH
QQ
QQ
3
5
4
5
3
5
4
5
CMaj7/E
&
? #q_ b_qq_
_q
Ebdim
be
_
__qq
7
5
7
7
5
7
bn_qq_
bq_ nb_qq_
_q
Dm7
_HH
HH
H
_QQ
QQ
Q
5
6
5
7
5
5
6
5
7
5
Dm7
bq
.
bQ bE E Q
q.
q_. .
Q.
e
hh_
H
Dm7
q
_
_q
Ebdim
Tab
? _h
Q
QQ
Ebdim
CMaj7/E
0
bH
HH
Ab7
b b _ _ b_ _ _ _ _ _
_ _q
_
Ebdim
& _ww
w
?
CMaj7/E
Dm7
bn_qq_
__qq ___ b
Dm7
6
_h
Ab7
bhbh_ G13 nq
qq
bhbhh
_
_
bh_
_q
4
4
5
4
6
4
5
4
3
3
Ab7
G13
bhbh
_h
nhh
Q.
bE
bQ Q
bq_ b_qq_
_q
Ab7
G13
#q__ #n_qq__
q
G13
bH
b b n n n
b__
Ab7
#q__ n#_qq__
q
G13
bh
C7
C9
C7
& # n b nq b n q
C7
&
Tab
h
bhhh
_h
3
5
3
5
3
3
5
3
5
3
C9

e
_
C7
&
?e
&
_qq ..
bQQ ..
C7
? #q_ b_qq_
_q
_hh
HH
Fm7
_ _ _ _ _ _
_ _
_
QQ C7 __QQQ
bQ QQ
Q _ _Q
8
7
8
7
__qq
bn_qq_
8
8
9
8
10
8
C7
F6
hh
bHH
H
h
_hh
H
h_. .
ww
w
C7
F6
#q_
_q nb_qq_
C9
b
_
_qq bn__
C7
hh
hh
qq
qq
6
7
7
8
6
7
7
8
b
_ b_
bh
bhh
_h
6
6
8
8
6
8
8
bbq_qq... .
Fm7
bq_ nb_qq_
_q
__qq
bn_qq_
bq_ nb_qq_
_q
bQ
E
__qq
bn_qq_
Fm7
3
e q
3
1
q
q
_qq
? h
Fm7
Fm7
F6
2
F6
C9
C9
C7
Tab
3
5
3
5
3
F6
E/G#
A7b13
C7 _
_ _
_ _ n _ D7#E _Q E G7 n C6
n Q
#
C/G
&
C/G
&
Tab
hh
h
_h
4
5
4
6
& _hhh
H
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File: !SerbanNichifor_Prayer_ShortVersion_version15August2016
Prayerfully
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PRAYER FOR THE VICTIMS OF THE HOLOCAUST

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To Maestro Ivano Ascari
Serban Nichifor
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File: trB
PRAYER FOR THE VICTIMS OF THE HOLOCAUST

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To Maestro Ivano Ascari
TRUMPET IN B-FLAT
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1/19
File: SerbanNichifor_AmericanPioneersSong1
American Pioneers Song 1

- dedicated to Sue and Rich McClellan -
Cantabile
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File: AmericanPioneersSong2

Serban Nichifor
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D D D@ D D D @ @ D@
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D
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D DD DD DD DDD

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D D D D D D@ D@
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D@
DD@
@@
D@ DD@ D DD@ D@ @ D @ D@
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D@ DD@ D DD@ D@ @ D @ D@ @@
@
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4/19
File: AmericanPioneersSong3
D = 70

Flute
S@
S@
=
S@
S@
D DD @@ DI CC
D? C?
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Flute
#%
Flute
Guitar
#+
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D D
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D? D D
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D D D D D D
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Flute
D
I
D C
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4
quasi improvisando
Guitar
Serban Nichifor

Slow Waltz,
lontano e dolcissimo
D D@
?D
D D D D D
I
D
D? D @
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D D
D DD D D
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D C
M
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D D D D D D D D D D D D D D D D
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D
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D
D
D
D
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D D D D D D D
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4
I
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DDDDD
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5/19
%#
Flute
Guitar
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Flute
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DDD
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Guitar
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Flute
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Guitar
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DD @@ D DI
D? @
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D MD D D C
D D D D D D D D D D D
D?
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Guitar
Flute
D@ D
D? D @ M
CC
?D C?
poco a poco calando
I
D @
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D@
T CC
C?
CC @@
C@
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D C
D? D D D D D
D?
D D D D D
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4
C@
=
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CC @@
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=
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CC @@
3-VIII-2016
C? @
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D DD D C
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=
CT
I
D D
D DD
DD @@
D D D D D ?D D
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4

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I I
D
D
D D D C?
D? D @
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D
I
D
D@
D D
D? D D D
S@
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?D ?D D? ?D C @
M
I
@D D?
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6/19
File: Mozart4

Serban Nichifor
Giocoso
D =@ 144
I I
II
@
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T
T

S
T
T
D
D D T

D
4
Flute
'
Flute
*
Flute
##
Flute
#
D T
M
I
DD T
T@
IT
D
T
I
DD U DIDIU DID T
M
Guitar
#&
Guitar
I
DT
DD T
M
T@
DD T
M
DD T D T
D
M
M
I I I I ID
D U D D U D D U D M U D
M
M
DD T
M
DD T
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IT
D
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DT
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T D T @ D T T D T @
T@
R@
D U DI DIU DID U DI IU D
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M D M
DD T
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IT
D
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DD T IT DD T
D
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D U D D U D D U DID U D D U DIDIU DID U DIDIU D DIU DIDIU D D U MD D U D
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M
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DIT
Guitar
DD T
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Flute
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Guitar
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IT
D
DD T
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IT DD T
D
M
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DD T
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7/19
#)
Flute
Guitar
$"
Flute
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D U DID U MD D U DID U MD
M
M
D T
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I
T DD T
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D U I IU I IU D D U D
D D D D D M M M
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D
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M
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D D D D T T @ D T T @ D T T @ T D D U D
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5
D
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T
M
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Vivo (piu mosso)
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MD U D DIU D D U D MD U MD D U DID U MD MD U
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D U D D U D D U DID U D D U DIDIU DID U DIDIU D DIU DIDIU D D U MD D U D
M
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Guitar
I
DT
DD T
M
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5 D
Guitar
Flute
D
D U MD D U MD M U MD D U MD
M
M
M
D D U DI D T T @ S @
MM
M
I
DD T
IT
D
I
DD T
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D
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D D D D T DIT
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D
DD U T @
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D
DD T
M
3-VIII-2016
IT
D
I
D T
D T
M
8/19

Country
Tempo = 140
### 4
& 4
AMaj7
Serban Nichifor
DMaj7
AMaj7
### 44
F7
A/E
E7
E7
E7
nQ
E7
2:Nylon String Guitar
nQ
#Q
D7
b n Q
D7
nQ
#Q
DMaj7
h
AMaj7
nH
E7
nQ
DMaj7
E7
#Q
D7
b n Q
nQ
D7
AMaj7
A/C#
E+
A/C#
A/E
DMaj7
1:Flute
F7
nQ
nQ
E+
A/C#
#H
h
E7
h
A
E7
E7
A/C#
E7
nH
#Q
DMaj7
E7
nQ
DMaj7
E7
2016 by Serban Nichifor (SABAM, UCMR-ADA)
h
A
_DQ
#H
A7
A7
9/19
&
###
D6
A7/E
###
q
A7/E
#Q
DMaj7
b n Q
DMaj7/F# Bm7
nQ
#Q
DMaj7
37a
E7
DMaj7
38a
DMaj7
AMaj7
E7
nQ
DMaj7
A/C#
G/A
Em7
E9
Em7
E9
E+
h
A
A/E
nQ
E+
F7
nQ
A/E
F7
h
Q
A/C#
37a
_Q
DMaj7
AMaj7
nH
G/A
Em7
DMaj7/F# Bm7
Em7
A7/E
DMaj7
_Q
DMaj7/F#
DMaj7
DMaj7/F#
_Q _Q
A7/E
D6
_Q
nQ
E7
E7
h
H
E7
nQ
E7
38a
American Pioneers Song 1 - Page 2
10/19
&
### H
nQ
D7
#Q
###
nQ
#Q
DMaj7
h
AMaj7
nH
E7
#Q
D7
b n Q
nQ
D7
AMaj7
nQ
nQ
E+
E7
nQ
DMaj7
E+
A/C#
D7
b n Q
A/C#
A/C#
#H
E7
h
A
E7
E7
A/C#
E7
nH
#Q
DMaj7
D6
E7
A7/E
h
A
_DQ
_Q
#H
A7
A7
A
DMaj7/F#
_Q _Q
Em7
Em7
DMaj7/F#
nQ
A7/E
D6
E7
nQ
DMaj7
G/A
G/A
11/19
&
###
DMaj7
A7/E
###
nH
#Q
DMaj7
b n Q
DMaj7
Em7
E9
Em7
E9
nQ
#Q
DMaj7
E7
nQ
DMaj7
A/C#
E+
E7
nQ
nQ
E+
A/C#
DMaj7/F# Bm7
DMaj7/F# Bm7
_Q
A7/E
DMaj7
_Q
12/19
Serban Nichifor: American Pioneers Song 2
Serban Nichifor
Tempo = 90
9sus
Gm
Gm D
Gm
bb 44 e #
&
n b q
1:Flute
b4
?b 4
Cm7
Gm7
Gm7
D7
Gm7
D7
Gm7
n .
Gm7
D7 _ _
_ __
Cm7
_
D7
Gm7
Cm7
__
Gm
Cm7
_Cm7
_ _
_ _ Gm
_
Cm7
Gm7
Cm7 _ _
Cm7
D7 _ _
Gm7
_ _
_
_
_
_
Q
Q
n
#
#
#
#
n
n
q
q
8
D7
Gm7
Gm7
Gm
Gm D
Gm
Gm
Gm7
9sus
Gm
Gm
Gm
D7
Gm #_
__
_
Gm7
_
Gm
Gm7
D7
_ n_
_ __ n
_ #_
Cm7
Gm7
D7_
C7
Q
Q
n
n
#
#
n
n
b
n b
q
q
8
Cm7
Gm7
D7
Gm7
C7
13/19
Gm
D7
Q
bb #
&
Gm7
Gm7
D7
Gm
?b
Gm7
Gm7
Gm7
Cm7
_ Gm7
_ _ _
#
#
#
n Q
n
q
q
Gm7
Gm7
Cm7
Gm7
D7
_ _
_ Gm7
_ __ Cm7
n
#
n Q
Cm7
Gm7
Cm7
_
__
Cm7
Gm7
Gm7
Gm7
_ __ _
_C7_ _
_ _ Gm7
Gm7
_
D7 _ _
D7
Gm7
n .
Gm7
D7
Gm7
Gm7
D7
D7
C7
Gm7
D7
Gm7#_
__
_
Gm7
D7
Cm7
Gm7
_ n_
_ __ n Gm7
_ #_
Q
n
#
#
n
b
# q n
q
8
Gm7
Cm7
Gm7
Gm7
Serban Nichifor: American Pioneers Song 2 - Page 2
14/19
D7_
C7
Gm7
D7
n
#
Q
bb #
&
D7
?b
C7
Gm7
Gm7
# Q
n n
D7
Gm7
15/19

Serban Nichifor
Tempo = 70
&
b 34
BbMaj7
Bb6
FMaj7
h
q
F7

F7
F6
F7
F7
Bb
_e
C+
#q
C+
C9
C7sus
Bb
C9
C7sus
h
FMaj7
FMaj7
C+
#q
FMaj7
FMaj7
C+
Bb
C9
C9
C7sus
Bb2
C7sus
Bb
FMaj7
Bb2
Bbm7
Bb6
F6
FMaj7
BbMaj7
Bbm7
1:Flute
3
?b 4
FMaj7
F6
F7
h
_ _ F6
F7
16/19
Bb
&
b Q
?b q
Q
nq
nq
q
F7
F7
BbMaj7
F7
Bb6/C
C+
C+
Bb6/C
C+
_e
#q
C+
_ _
F
Bbm7
Bbm7
F9
C7sus
FMaj7
BbMaj7
FMaj7
Dm7
C7sus
Bb
F7
Dm7
Bb
F6/C
F9
F6/C
Bb6
Bb6
F6/C
Bdim
F6/C
Bdim
H
Bb
Bdim
Bb
Bb
Bdim
17/19
Bb6
FMaj7
b
& h
Bb6
_q
C+
F6

F7
F7
F6
Bb2/F
Bb2/F
F
Bb/C
Bb2/C
q.
FMaj7
h.
h.
FMaj7
Bb/C
h.
FMaj7
#q
C7sus
Bb2
C7sus
FMaj7
C+
C9
Bb2
FMaj7
?b q
C9
Bb2/C
h.
h.
18/19
Serban Nichifor: American Pioneers Song 4
Country
Tempo = 144
44
&
1:Flute
4
?4
Serban Nichifor
m/B
dim
Dm/B
Bbdim D
Bb Dm/B
1a
Dm/B
Bbdim D
Bb Dm/B
G9
Bb/G
Dm6
G7
G9
Bb/G
Dm6
G7
Q.
#e q . be nq . #e b n be n q b
m/B
dim
n b n b n
1a
Dm6
G7
Em7
Ebdim
Em6
CMaj7
Dm7
G7
Dm6
G7
Em7
Ebdim
Em6
CMaj7
Dm7
G7
G7
Ddim
G7
Ddim
G7
# b n n # n b # n # # n
Dm7
G7
Dm7
G7
_ _ Dm
E Q.
CMaj7
CMaj7
b n b n
b
n
b n
G7
Dm
Dm6
G7
Em7
Ebdim
Em
CMaj7
Dm7
G7
Dm6
G7
Em7
Ebdim
Em
CMaj7
Dm7
G7
C7/E
# b n n # n b # n # # n
Dm7
G7
Dm7
G7
C7
C7
C7/E
bq
Dm7b5
b

Dm7b5
19/19
C/E
A7
D7
G7
#
n
#
&
q
C/E
D7
A7
C/E
C7
nH
C/E
q
Q
A7
_Q
A7
G7
D
_Q
G7
CMaj7
G7
C7
Dm7b5
bq
C+
#q
Dm7b5
q H
11
C6
G9
b n b
CMaj7
C+
C6
G9
Dm6
G7
G7
Em7
Eb
Em6
CMaj7
b n Dm7
b
n
# b n n # n b # n # #
Dm6
G7
Dm7
Dm7
G7
Dm7
G7
G7
Em7
Dm7
G7
G7
Em6
CMaj7
Dm7
Eb
_Q
_ _ _
H.
Serban Nichifor: Liberte

Tempo = 90
34
&
34
?
Dm9
G9
F9
1a
Bbm7
A9
Dm9
Dm11
Cm9
G9sus
G9
Cm9
F9
9a
{
Bbm7
b Q
A9
nq
Dm9
#Q
Dm11
G9
_
G9sus
Cm9
G9sus
b Q
17a
Bbm7
&
b Q
A9
#Q
?
Gm9
_
Gm/E
bQ
FMaj7
Bb H
A9
#Q
D9
#
E
Q.
_ _H
_ C9
_Q
Dm11
Dm11
Q.
E #
D9
D9/G#
32b
_ b_ _ Fm9
_ C9# _
n Q
Gm9
_
_Q
Ebm9
b Q
A9
b
_ b_
Fm9/B Bb9
m11/G#
A9/D# Dm11
n # n # n
G9sus Dbm9 Ebm9
b 3X
#
{
40b
Serban Nichifor: Liberte - Page 2
File: I.) UN PORTRAIT DE GEORGE SANDscurt!!!!!PRINT
"1804"
1.) UN PORTRAIT DE GEORGE SAND
Lontano
d
d = 120
Choir 1
& 44
A@
AA
AB
AC
AD
AE
AF
t`
Cel.1
& 44 s
j
u ` +d d d
Glock.1
% 44
s`
v i
d `d
cc
c
+d
d
j C
u ` dd dd
u `n
C ki
dd v v dd dd dd
u` j
vv
d`
d d` d d d`
t t
d d` d`
i
v d`
s
c
i
v d` d
d` d
s`
j
t u` d d d d d`
d d`
d`
i vs
i
dd u i t
d
d
d
d d`
v
d`d
d d`
AG
u s
i
d d`
u d u dd dd t `
m
v +d
u d`
+d `
AH
u i
d c
AI
Cd d
u` v o
B@
BA
t`
Serban NICHIFOR
d d`
m
BB
BC
u t
BD
BE
BF
BG
BIc
BH
C@
CA
u i t
d dd ``
dd u ` u ` dd t
n
d
m t`
d
m t`
d `d d
t v md ` d
i
d u v di`
i
v id u t
d`
d u`
n
j` d
d u m u u d`
v
dd
CD
CE
t v +di` d t
+d ` d
t`
CF
t
i
+d d
s`
i
u -d s `
Cd d `
u ` v o - -dd s
i
d d t t`
d d
CC
t
d
u ` dj c
CB
s`
.d
c
d d
r
+c
t u` d d d`
s`
d
m s`
dd d
u` n
d
Cd d d `
t v vo m
u u
i
u d s
dd
m
u t`
dd
u didi t `
d`
t vm
c
s
+dd `` dd
d`
Music Box 1
% 44
d`
d`
Vibf . 1
% 44
Mba 1
& 44
v jt `
+d
Cd c
u` v o
tC
d
Xy lo 1
% 44 c
d`
Camp. 1
% 44 u d `
Dulcimer 1
% 44
Arpa 1
& 44
d`
d`
d`
dc
c`
d c
m
t`
d`
d`
r
t` m
c`
d`
m t`
u u
d
m
t`
s`
d`
u m
m t`
c`
d c
t` m
Pf .1
d` d
t vm
A.a Tremolo 1
d`
i
d d`
u d`
d
um
d`
u d`
ud
d`
dc
t`
d`
d
m t`
s`
cc
c`
d d c
m
t t`
c
um
c`
d c
m
d`
s`
d` b
vm
i
dd
d
m
d`
& 44 v dd `` u dd dd v d d u +dd d v dd +ddd ``` ddd

d` d d d d
d
dd dd
dd
d
dd dd `` dd dd dd dd dd `` v ddd ``` ddd ddd `` d d

v dd `` dd +dd dd dd `` +dd dd d v dd u
d d` d d d d d`
d d d d` d d d d d
d`
d d d d d `d
m
ddd
d d`
d d d d`
d `
d `d
d d
s`
& 44
& 44
u d`
u c
d
d
s`
d d
m
u d`
t t ` dm d
id
d
d`
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u d`
d u
m d
d
u
d c
m
t`
d`
d c
d c
d
m t`
i
+d -dddd d d . -dd d
+d ` - .dddd ` d d d d `
d d d d`
d i d d
i d ` d -d `
`
d
-d +d ` . dd dd `` -d d d d ` -dddd dddd v d d . --dddd d d ` +dddd dddd d dj. d v v d ` d -d ` + +ddd dd ` dd +dd u d +ddd ddd u v dj dd dd d d
.d
.d
dd
d
+d
i
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d d -d d d d
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v d` d
v d d v d d - -dd d d -dddd ` d d . -dd d d .dd dd ` d
-dd d ` d . +ddd `` dd
d d d -d d +dd d d dddd +dddd ```` . d d ` +ddd ddd d d d d -ddd d d ` dd dd `` d d +d d d ` . dd dd `` d `
d
d `d
.d
dd
d
i
dd `` dd
d ` u +dd d c
dd `` d d d d
d d d dd `` d d d d d
d d d d` d
d
d dc
d`
i
d dd v +d v d d dd v ddd -c
d
+c
d
d
d
dd `` d d d
dd nd
d d d d d . d +d
d
d c
d`
d d`
um
j i
d v d ddd -+dd dd u ` j
d d d` d c
vdv
v d ddd ddd d v
d dd dd dd
dd dd d
d
+d dd dd `` . +dd cc
d ddd ddddddd
d ddd
ddd d ddd
ddd
d d d d d d d d d`
d d d`
dd d
.d d `
i
dd
d`
i
dd d d d u `ddd ddd ddd d dddd ddd v ddd ``` ddd dd ``
dd d d
d
d
dd dd `` dd dd ``
v djd dd +dd `` dd ddd ``` ddd ddd ``` dd dd d v +d ddd +dd dd dd `` dd v
d d
dd d d dd `` d d d d ` d d ` dd dd ``
d d d `d
d
d d d`
d d
d d
u dd u dd dd ddd ddd ddd ``` dd dd +dd dd dd d `

d d d d d d`
d dd dd
d d`
d
d
Sy nth. 1
d`
m
c
d`
d
n u` s
d d`
t` m
s`
v i s`
d` d
d b
j
u` d d
-d
s
d`
t vm
d` d`
v t vm m vt
i
d b
t`
d` d
m
c`
d
m t`
d d
u` n
dd ``
t v
d
um
t`
d`
u d`
d d`
A.b Pizz. 1
& 44
A.c 1
& 44
A.d 1
& 44
d
dd
cc
d`
i
dd
i
d d`
t`
d`
`
ud
d`
m d`
d
m
d`
dd
m t`
& 44
Cel. 2
& 44
d`
d`
& 44 u
d`
Glock. 2
d`
c`
d`
mt m
d d`
d d`
d
s`
d c
d`
d`
cc
dd
d d`
t`
d`
d`
d c
t`
m t`
d`
m t
d d c
dd
u u
cc ``
t`
d c
s`
d
u
d`
d d
u
d`
cc
s`
d`
d`
c`
mu
d c
u m
d`
d`
d d`
m
d
m
d c
c
t
t`
d`
i
d
s`
m t`
t`
d d
i
dt
d`
d
i
d d`
dd d
m
c`
s`
d
mu
d`
s`
dd
m t`
d`
u u
d
d
d
s
d`
d d`
d d
m
dd
m
s`
s`
dc
d`
d
s
dd `
dd
d`
d c
s`
d`
& 44 t
d`
d`
c
Music Box 2
t`
c
Choir 2
d`
m d`
d`
d d`
d d i d
m d d
d`
m t`
c
Vibf . 2
& 44
Mba 2
`
& 44 c
c
c
d d
u dm c
d c
um
i
d d`
d dd
m
i
dc
i
t` d d
id `
d
t ` dm c
d`
i
d d`
ud u
c
t c`
c`
i
d d d d`
d
u d`
d`
d
m
dd
d m
u md d
m d`
d
d`
i
d d`
i
d d`
i
d d`
d`
i
d d`
i
d c
c`
d
c
i
d
d
i
d d`
d
m
i
d c
t`
t`
d d`
m
u d`
c
Xy lo 2
& 44
& 44
t`
dd
m
u di d
c`
s`
u d`
s`
d d`
m
i
d d
u i
d d`
d`
dd
m
t`
d
mt
d c
m
d`
d d
m
c
d`
i
dc
t`
t
d c
t`
u
c
d`
t`
d u di d `
i
d c
t`
d c
s`
d s`
t`
d`
& 44
Arpa 2
% 44 t
d`
d
m t`
t c
Pf . 2
& 44
Sy nth. 2
& 44
A.a Tremolo 2
& 44
d`
u d`
d`
i
d t`
d
d d
t`
s`
s`
i
d d
t`
d`
d c
d c
dd
u
t`
u s
ud i
d c
t`
um
d d
c
s
dd
d`
dd
d c
d`
m t`
m t`
c
u i
d
u
d`
i
d d
i
t` d d`
t` m
u
d
u
d
t`
d d`
d c
d
m t`
c
i
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s`
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d
d`
d`
d d`
d d`
d`
um
u u
d
c`
s
t`
d d`
m
d d`
m
t`
t u
d d`
s`
& 44 u
Cel. 3
& 44
d`
d c`
mt
d`
d
i
d d`
i
d
d d
um
d c`
d c
d
i
um
dd
d`
d d`
b
u
b
r
u m t`
d d c
d`
d`
d d`
d d
u d`
i
d t`
d d`
d`
i
d
i
d`
d
m
d d`
d d`
d`
d d
dd
d`
d d`
d d`
d`
d
m t`
u t`
u u d`
i
d t`
& 44 u
s
d
iu
d
u i
u i
t`
t
d`
i
d c
d
m
m t`
i
d d
t` i
d`
u
d
i
d d`
iu
d
mu
i t`
d
c
d`
c
d
t
d
dd
m
t`
d`
t
u d u
u u d`
iu d
d
d`
d`
t`
dd
m t
t`
d d
m
id
i
d
id `
d d`
d d`
d`
t`
u
d`
dd
d d
d
iu
d
d`
d
d`
Mba 3
& 44
Xy lo 3
& 44
t`
dc
m
Camp. 3
& 44
Dulcimer 3
& 44
Pf . 3
& 44
A.a Tremolo 3
& 44
c
s
t` m
s`
u m
d
d` c
d
m
d d`
m
u d`
i
d t`
d
m d`
u i
dd
d`
c
m
t`
u t`
d
s`
d
d d
m d`
m u
d d
c
m
m
d
i i
d
d d
d d dd
i
d d
c
d
d d
um
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t`
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dd
u m
d
d
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t
c
c`
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d
md
i
d c
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d
d
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c
s
d
s`
c
s
d
m
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d d`
c
d d
d`
d d
m
d`
s
c
t
d d`
d`
c
t`
d`
m t`
d`
d d
m t`
d d`
d
m
d`
d`
d d
m
d`
d`
d
d`
m
d
c
m
d
d`
dc
it `
b
d`
d`
d`
& 44
d d`
dd
s
u
d
c
d
u i
d c
c
d c
d`
u m
d c
d c
dd
d
d`
% 44
d`
i
d d`
d c
c
m t`
d c
c
t
d`
d
m
d d`
d d`
d`
d`
d`
t
d d
d` d
u s
c
t
d c
d
dd
d
d
d d`
d
d
d
m
d`
d
d
i
d d
dd
c
um
d`
d`
u
dd
dd
d d`
d`
c
t
d`
i
d c
t`
um
c
d c
mu
i
c
d d
d`
dd
d
d`
d`
dd
d`
d
m t`
% 44
A.d 2
c`
d`
d
d d`
m
t`
d`
d`
d
m t`
s
c
d`
i
d
m m
d
d d
s`
d`
c
c
A.c 2
c
s`
d`
t
d`
t`
c
% 44 u
Vibf . 3
c`
d`
u d`
d`
d`
u
c
c
Music Box 3
d`
Glock. 3
A.b Pizz. 2
id
d
d`
b
Dulcimer 2
d`
c
d
dd
dd
m t
c
Camp. 2
Copyright (c) 2004 by Serban Nichifor (SABAM)
c
Choir 1
CG
& t`
CH
CI
i t
d d
D@
DA
t c
DB
DC
DD
DE
r
c
DF
d
m
t`
DG
d
t
DH
s`
DI
E@
s
s`
EA
EB
EC
ED
s
EE
EF
EG
EH
EI
F@
u
FA
s
FB
r
FC
s
FD
FE
FF
FG
t
d`
Cel.1
i
& d +dd ``
d`
dd t
d
i
t v d` s
d`
d`
i
d c
d c
u +d
d
u ` nd d
s`
u ` +djdi`
d s
vd
u it
d
i
d dv
t`
iv v ju
d d d`
d
i
d u
d c
s
d
Ck
jv d d `
d d d`
i
d t`
v w Cw k
dd
u ` +dd dd
n
c
c
j
dd
dd
i
i
d
dd `` v u +dd t c
d
u `dd dd
d
d d
i
d d
d ` didit d d
+d t
d d d d
i
d b
+dd bb
t`
v d`
d u` v
d`
vm
d`
m v t`
t ddd
d c
cc
c
t`
FH
FI
G@
t`
GA
i
dd
d`
i
dc
GB
s
GC
u d u s`
GD
GE
GF
t
d
GG
ud u
d
c
d` d
d b
d d
Glock.1
% t
Music Box 1
u` d c
n
d t
t u` d d
n
C +d d
v wwo
d
s`
s`
u ` nd c
t`
sCb
d
d
C dd `` cc
vwn
c
c
s`
u`
s`
d`
d`
t vm
c
c
t
d c
u `n
d b
m
t`
dc
m
t`
i
dc
d` b
Vibf . 1
Mba 1
&
t v
d` b
m
d d`
m
Xy lo 1
Camp. 1
% u d`
Dulcimer 1
% s`
d d`
d`
d
m
c`
d`
d
dd dd `
d d`
m
t`
u d`
i
d t`
i
d t`
u d`
`
ud
t` m
c
d
d d c
m
d`
t
d
mt
d` d d`
m
c
c
d d
m
t`
i
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c
d` u s
d
m
t`
d d`
m
d`
u s
t`
i
d d`
`
u d dm t
d`
d d
m
t`
c
d`
d`
u
d b
m
`
id
d
t ` did `
d
m
d d
m
u s
u d`
t c
d c
c`
d dd d d c
m m
d b
m
t`
dc
t` m
c
s
d d` d
m m t`
um
`
ud
u d` c
t s
d`
d` d
t u
m t`
t c
t c
d b
d c
s`
d`
`
u d dm
t
u d ` did `
dd
udm
s`
c
d t
c`
u d`
t s
d c
d c
d d` d
m m
c
t`
d
d`
t`
u d`
dc
t` m
c
r
id `
d
d` c
m
d
s
d` d
m t`
d`
s`
d d`
t` m u
d d`
Arpa 1
&
Pf .1
& dv
-dd
j
dd `` dd `` dd dd dd dd dd dd `` dd dd
ju ` t +dd +dd dd ddd ``` ddd ddd div +d dd dd `` +dd dd ` d d dd v
d ` d `d d d d d d ` d
d d d ` d d `d d d d d
d d d d` d d
d d d d d d` d
dd
d d`
d` d d
d
d`d`
d d `
j
i
u ` ddd ddd ddd d ddd u dd
dd d
d d d
d
i
d ddd ddd ``` ddd dd `` +dd .ddd `` dd +dd ``
d` d ` d d`
d ` d d ` -d
A.a Tremolo 1
&
d c
m
t`
t`
i
d d
A.b Pizz. 1
&
A.c 1
&
i
d
`
dd `
A.d 1
& i
d d`
iu d
d
Choir 2
&
t`
i
d c
i
d d`
d d d dd dd
j
d u` v i
dd v +dd `` dd v
d dd `` d
u dd
dd v d
d
d d `d
d d d d d d d d`
d
d
d `d d d d d d
dd d d
d d
d` d
d
d `d d d `
d dd dd +ddd
d d d ddd ddd ddd ddd ddd ``` -dd dd
dd
ddddddd
+d d d ` d d
ddddd
Cel. 2
&
s`
u d`
d d`
dd d
m m d`
d
t`
i
du d
d
m
dd
m
t`
id `
d
c
r
dd
d`
i
m d` d d u
m u
d`
i
dc
cc
i
dc
t`
i
d d
u s`
cc
d d` d d
t`
d c
d d`
d d d
u i
dd
um
d d`
m t`
i
d d d`
m t`
t`
t`
t c
id i
d d
d
m
d
i
d` d d`
t`
d c
m
d c
m
i
t` d d`
i
d d`
i
d d`
t`
d d
m
d`
i
u d` d t`
i
u d` d u
Mba 2
i
& d
Xy lo 2
& t
d`
d d` d c
m
m
d` d
i
d c
i
d
d`
d`
s
d`
d d`
d`
d`
i
d d d`
im
d d
i
d d`
d`
u
d`
iu d
d
d d`
m
i
d d`
m t` m
d`
d d
m
t`
um
d d`
t`
d
m t`
c
d
d`
d d`
m
c`
u ud
d
m
iu d
d` d
c
c
i
d d
i
d d
dd dd `
d c
d d`
d d`
dc
d`
d`
u m u
d d d d`
m
t` m
d d`
i d
dd
t d
d d`
m
d um
u t
i
d` d d c
d c
d d
md i
u u
u s
um
r
d`
dd
d d`
t` m
c
d
d d d d`
s
d`
s
i
d`
c`
d cc
i
dd
d`
um
d d` d d`
um
d d`
d
d
c`
d`
d
m
d`
t`
d` d
d c
d d`
d`
t`
m t`
i
d d
d`
s`
t c
t d
d d
m
t`
u s
d`
d`
i
dd t
d d
m
it `
d
i
d d`
t`
i
d d`
d
m t`
i i
d`
d d` d
i
d
i
d c
u d`
s
c
t`
dd
cc
d d d`
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dd
dd
d d
m m
i
d d`
i
d d
t`
t` m
d d`
i
d d d d`
t`
t
d c
d`
d d`
d d`
t` m u s
d d d
d d`
d`
d d d` d
m
m m
u
d
c
u
i
t` d d` u s
u i
d d`
u s
d`
d d
m
i
d d` u t
i id ` d
d d
m
d`
u t
c
d`
d
d m
d d`
d
u
d`
c
c
t
c
c
d d
t` i
d d`
d d` d d
m
m
i
u dd
s
c
d d
m
d
u s
d d
m
c
m
d
d`
d d
u dm
d`
d d`
d u m
d
u
c
r
u u
i
u d u d d` u
u
d
d d`
i
d
c
c
d d`
d
t
d`
d` c
d`
d d`
d`
d d`
i
dd
c
t
d c
u
it m
d` d
c
d d`
d`
dd c
dd
&
d d
u ud um
i
d d d`
d
d c
Vibf . 2
t` m
d d
um
u s
c
d
d d
r
d d
d`
d
dd
d`
d d`
t` m
d
d
i d`
d
s`
i
d d d ddd ddd v ddd ddd ddd ``` -dd dd `` v t
d dd dd d
iu +ccc ``
d` d d
c `
dd `` dd d d d d d dd dd d d
d d
dd ddddddd
d d d d d d d d d +d
d d` d
d d` d d`
d
c `
dd
d c
m
dc
t`
d
m
d d
b
d d`
d d d`
m m
d
m
i i
m u
c
s
d`
t
d
d
d`
s`
s`
v d ddd ddd v dd
d`
d`
d`
d` d
&
d d
c
m
Music Box 2
d d
d`
&
Glock. 2
d`
d
&
i
i
i C iC `
d d d `` d d d
d d`
dd `` dd `` dd dd dd dd
it d v d
dd dd d dd dd `` ddd ddd dd d ddd +ddd `` ddd +ddd ddd ``` ddddd` d v
d ` d ` d d d d d d v dd dd dd ` dd dd dd d ddd dd dd ddd v d
d
.d d
dd dd
d
d
d d d`
d
d` d
d d d `d `
d d
d d
d d d
d `d
c
Sy nth. 1
d d`
t` m
d
u u
u t c
u u d` d u
m d
um
d
c
d
Camp. 2
& s`
d s`
s`
u s
d d`
m
t`
t c
u d d` u t` i
m
dc
c`
d d`
t` m
u
c
Dulcimer 2
&
i
dc
t`
t` m
c
d c
c
d
Arpa 2
Pf . 2
&
Sy nth. 2
& s
s`
d
t`
i
d d c
d c
d c
s`
um
t`
t`
d`
u i
d d
&
A.b Pizz. 2
% u
A.c 2
A.d 2
&
d d`
t`
t` m
d d`
d`
d` d`
d c
i
d d`
u u
m s
s`
u s
t` m
t`
r
c
i
d c
d d
t` m
u i
d
t
c
d d
i
d d
t`
i
d
d d
cc
t` m
d`
u u
d`
t`
it `
d` d
s
c
d` d
d`
d d d`
u m
t`
u s
c
d
t
d
d`
t
c
u
c
i
dc
i m
t`
u
d
d d
i iu u u
d d` d d d`
c
d
dc
c
c
d d` d c
dd
c
d
c
A.a Tremolo 2
u t c
u d
u it
d
s
d` c
m t is
uu
d`
d d`
d`
c
d
d`
d c
c
d`
d d`
d c
d` d
d`
d
u s`
d
m t`
s`
d`
d
s`
s`
t` m
u s
s`
s`
u
d
d
d
c
s`
d
u
d d`
t` m
u
d d`
d
u m
c
r
t` m
d`
u t
d`
d` d d`
d c
c
r
d d`
c
d
i
d
d`
&
&
i
d
d
i
d
d
m
d
d`
dd
ii
d d
d`
u u
i
d d d
d t i
m d c`
d
m
m t`
dd
u m s`
d`
d d`
d c
d`
u m
u dm d
c
d
dc
u d
t d
d d
m d` d u
m
d d`
d
d c
m
i
d d`
i
d d
`
dd `
dd
u i
d d` d d`
i
m
d d`
d`
i
d d
d`
t` m
i u
id `
d d`
d d d
d d
d`
u t
i di d
c
t
d
dd
d
u m
d`
i i d`
d d
i
d d`
i
d
d
m
u i
d
d`
d d
i
d d
d`
u i
d c
i
d d
d`
t`
u m
u m
m
c
i
d`
d d
d` d d
Vibf . 3
&
d` d
i m t`
d
d`
dd d
i i it m
d` d
d u m
t d
i
d
&
Xy lo 3
&
d d d`
u i u u i u u
d d`
d
d d`
u
d
u i
d c`
u d`
d u i
u t
d d`
m
i id `
d d
d`
d d
m u
d c
m
t`
u d
d c
d
t
d d`
`
u md d m
t`
d c
m
u d
d d d c
m
m
d
m
d` d
m t`
dd
d d um
d`
d c
m
t` d d`
m
u u d`
u d`
t`
d c
i um
dd
d
d d`
t` m
u u u
r
c
d c
t` m
dd
d d`
u t` m u t` m d d c
d`
r
d c
d d` d d`
d
m t`
c`
c
u
d c
d
u md d
dd
c
r
c
d c
i um
dd
dd
d`
d`
s
c
c
r
t` i
dd
d`
d
Mba 3
i
d`
d d
d d
d`
u u
c
u u
d d
d d
d d
s
c d`
d
u
d`
t c
ud d
m
c`
c
d
d` d`
% u d
d c
d c
c
Music Box 3
d d
d d`
d d`
u i
dd
d
d c
d d`
d um
d c
d d`
d d c
m
d d
d d
u i
d c
t`
c
t c
d d`
c
d d
m
u
d
d
d d
m
d
d
m
d`
u
d c
t d
c
d`
um
d
c
c
d b
d
d
t` m
d d`
c
u
c
d
m d`
d` d
d
d d
um
d
d
d d`
um
d`
d d`
d d
u m
d d`
d d`
d`
d d
Glock. 3
d d`
d`
Cel. 3
d c
um
d c
t` m
d u d d` u u d` d t`
m
m
c
r
d`
t` m
d`
s`
d`
d`
c
c
d`
s`
u d`
b
c
c
t`
d
m
Camp. 3
&
Dulcimer 3
&
Pf . 3
&
A.a Tremolo 3
&
s`
t c
c
GH
Choir 1
&
GI
s`
H@
d d t
HA
HB
r
HC
s
HD
d
u
HE
c
HF
HG
HH
t
HI
t s`
I@
c
IA
IB
IC
ID
t` d d t
m
IE
r
IF
s
IG
IH
u
II
it `
d` d
d` d
A@@
s
A@A
u
A@B
m t` u
A@C
s
c
A@E
A@D
s`
A@F
A@G
A@H
A@I
AA@
r
AAA
u
d` d
d` d
AAB
AAC
m t` u
t t
AAD
AAE
AAF
s`
AAI
d c
ABB
c
ABA
d AAH
c
t` m
AAG
s
AB@
r
ABC
ABD
ABE
ABF
ABG
s
ABH
ABI
AC@
ACA
ACB
ACC
ACD
ACE
c
d`
d d
Cel.1
&
Glock.1
Music Box 1
Vibf . 1
Mba 1
&
id
u d ` d ud
cc
dd d
t` m
i
t` d b
s`
u d` d`
d b
m
c`
Xy lo 1
% t
Camp. 1
d c
c
s
u d`
dd
t` m t
d` b
d d d c
i
t` d c`
c`
u dm d
d d`
t` m
u b
d d d d` b
m
d` d d
d d` d
mu
m m t` u
i d
t` d d
dd
um t
c
s
i
d` d c
s u
c`
c
t
d d`
m
u d`
t
d` c
d c
d d`
um
d`
u s
d
m d` d d
t u d ` d ` dib
u d` d` u s
ud c
m
d c
d d d d d` u u
d` c
m m
u d` u d u u d` s
`
ud
i
u d` d d` d` i
dc
t c
i
u d` d` d c
u d ` dit `
i
d d` b
t ` did ` u
s`
d u did ` u s `
udd c
m
d c
s`
t s
u
d` b
t d d d u u d` d d c
m
u d` b
t d
d` d d` d d
d
m
m
d c
t` m
d`
d` d`
d d c
md m
u i d t c
d dd d
u u
d c
u u
`
ud c
s t` d c
m
td
d
m
t c`
d d d d`
m
d` c
c c
d c
t` m
s
d`
u t d
c`
Dulcimer 1
t` d d t
m
t ` did ` u
Arpa 1
&
Pf .1
&
Sy nth. 1
dd
& t` m d d t u d` u d i
d d`
A.a Tremolo 1
&
u d`
`
d s
t c`
c
u
uc
i
t` d c
t d
d`
d`
d
s
u d`
u d` s
d c
u u
`
ud
i
ud c
t c
i
t` d d u i
d c
c
d`
u i
d b
d t c
u s
u t
d d u dm d ` u s
s`
d`
s`
t` i
dd d
d c
d
i
d ddu
u
c
u md c s
u u s
d`
d`
d` c
b
A.b Pizz. 1
&
A.c 1
&
c c
d`
r
d d
&t
Choir 2
&
Cel. 2
&u mm
u d`
ud c
m
d c
d`
d d`
d d
c
A.d 1
t` m
dd d
d` m d
u s
d`
d d b
c
c
m d`
u i c
d d
d d
i m
d d
d` d d
d`
c
iu
d` d d
i
d
d d d
mu
c
d
`
u dm d
u c
d
d
d d`
d`
d`
i
d d
t`
i t
dd
d d c
d d c
m
d c
d u dm d ` m
d d`
d
um
t` m
d d` d d` d d
m m
m d dm
t` m
d`
i i it m
d d d` d
d`
d dd d d c
d` d
d d d`
d
c
u u d ` di
u d`
c
s
i
d c
d`
s
id
d c
i
dd
t
d
d c
d d d
d d`
d d`
d
u u t` m u
d`
u
d c
d d c
u id
d
u m t`
d d`
dddd
d`
c
d
d c
d um
c
r
d d`
d` m u c
i
d d
d c
d c
c
r
d`
d`
d d c
d`
c
r
d c
d`
m t`
t` m m
d d
m
d b
d `d d d c
d d`
d` d d
m
i
d c
um
d
d d
u u mtm
um
i
d c
d
c
d c
d`
d` d d`
`
d c
d d d`
d c
d d
d c
d d d d
d`
d d d c`
d d dd d c
d c
c`
d d
d` d d
d d` d d
d`
u i
d c
t` m
i m
d
t
d
t` m
t` m
m m
mu
d c
d` d
mtm
d c
d` d d c
s
d d c
t` m
mu
d`
t` m
`
`
d d` d d d c
d d`
m m
m
m t
dc
d d d`
t` m
d d d d` d
`
d d` d d
d` d
m t`
d d` d c
d`
m t`
d` c
s u
d
d
c
c
d `d
d d`
d d c
Glock. 2
&
t c
t u
d` d
m
d d`
c
t c
t` m
s`
d`
d d`
d d um
d c
c
d
d
u u
d` d
d b
t` m
um
d
d` d
m
m t`
mu
d`
u u
d
t
d c
dd
um
d` d
um
d` d d
d` d d
d c
mt m
mu
d d`
d d`
t t` m
u t` m
c
u
dd cc
d`
s`
d d c
cc
d` d`
d d d`
um
t u
u m
d c
d`
d
u u
u s
s`
d
dd
t` m
d`
d c
c`
d`
d`
t` m
m t`
d`
&
t` m
Vibf . 2
&
dd
d d`
Music Box 2
d`
t ` did t t ` m
c`
c
s`
s`
t ` did t
t`
d d
dd
d d`
u t
s`
s`
t` m
d c
c
u
s`
um
u u s
dd
t` m t
d d`
d d
Mba 2
u i
d d`
u u s
d
mu
d dd
um
d dd i
m dd
d c
d d d`
m
`
d dd
u m
u c t d d
m
i
dc
d d
d c
d dd
id m
m i
d d d d
d` d
c
u d` t` d c
m
&
d`
c
Xy lo 2
d` d
c
dd
d d`
m
m
d
d`
dd
um
d`
c
d d`
& d` m
u c
c
d`
d
c
t
d
d
d
d` d d`
m
dd
d` m
d` d d
u u
mu
dd
um
d` d`
c
m d`
d` d`
d d`
c
`
u d dm d
d
m
u u
d b
dd
d d`
i
u d `d t m
m t
d d d`
m
dc
u s
d um
d c
m
t`
t c
um
b
c
d`
Camp. 2
&s
Dulcimer 2
&
t c
u d` s
d`
t u d` d t`
m
d`
s`
dd
t` m t
Arpa 2
% t
Pf . 2
&
Sy nth. 2
&
s`
t`
uduc
c
d c
d
d`
r
dd
t s
t t` m
u i
d
d c
c
s
um
d d
d` d d`
t`
d
c
&u
A.b Pizz. 2
dd
% t` m m u
u
c
d` d`
s`
u i u i
dd d c
mt i
d c
d` d
mt i
i
d d
d`
t`
d c
m
mu
d c
d c
d c
A.c 2
A.d 2
dd ` dd
d
& m m t`
d d`
d` d
dd d d c
dd
m
&u
&
d d`
d c c
c`
t u s
u iu u u i u i
d dd
d d
d c
u d i u iiu
d d dd d
i
d
d d`
u t` m u
d d um
d
u
d c
t` m
d d
i
m d` d u d
i
d
d
d d` d d
i m
m
u u d`
i
d d
iu
d d`
i m
d
d
i
d d`
i
d d
d c
ud m
Camp. 3
&c
Dulcimer 3
&
t` m
d d d`
u m
d b
dd
t` m t
u c
c c
u u
d
i
dd d
i
d
d d`
d d d d
m d`
c`
dd
um
d
t
t` m
t u
c`
d c
d d
d`
d d`
t` m u t` i
dc
s`
um
um
d d dd
dd
u u
um t
s`
d
mtm
d`
d d dd
d d` d d`
u m t` m
t c
u di di iu d
d` d
u
c
d d
d` d d
d d
d
u u
d` d
d
i i
d
d`
md u
d d` d d
umt
mdd c
m
um
d` d d d d d d` c
d` d
d
d d` d d d d
u m
m
m m t`
d dd d d d d
mu
mtm
d d`
d`
i
dd
d c
d d
d d
d d`
`
m d ` t ` m m m d dm t m
d d d`
ddd d
c
t` m
t t
d` d d
d d d`
dc
d` d d d d d d c
d d
cc
d d
m
mu
d`
d
u i u i
dd
d d`
t` m u
c
d`
dd d
d d
i
d d
u u
t`
d i
d c
d
d`
d
d`
d`
d`
t s
u s
d`
s`
d d d d` d d
m
d c
i
t ` md d ` d d t
d u d d` u
m
cc ``
d` d
d dd
d dd
cc
u u d` d t
u d`
u d u s`
d c
m
d
r
m t`
d
t
d d`
um
&
A.a Tremolo 3
&
d`
d d d`
umm
i
i
`
d d d dm d u d ` d t `
d c
c
i
d d u d d` u
u d u s`
t` m
d` d`
d d d` d` d d`
t
m
m u s`
d`
Pf . 3
d c
m
u s`
d`
r
d`
d c
us
dd
u
d
t` m
it `
d` d
u m
t`
d`
d d d d
t
d`
d` d d d
dd
d d
um
t c
c
&s
d d` d d
d d`
c
d c
Xy lo 3
d d d`
d d`
t`
Mba 3
d c
d
m
dc
dd d
u i um
d d
d d`
udm
u
d`
i
& t ` d d d d u dm d
d`
u
d` d
dt
um
i i d
dd
d d
d
dd
&
c
t`
d d c
d`
d d
d`
m
d
Vibf . 3
d d`
u t` m
d`
Music Box 3
d c
d` d
d d d
m
d`
u i
d c
d d c
t
t`
im
d
d
d
id u u
d` d
u i
d c
iu
d
u
c
d`
i
dd
d`
dd dd
d d`
t
d c
dd
i d d` m
dd
d
d d`
s
dd
i
d d` m
dd
m
dd
d c
Glock. 3
d d`
Cel. 3
s`
i m
d
u
d
d c
d c
d` d
d
t`
t`
d` d
d`
r
d c
d c
um
d c`
t u
u u
d d` d
d`
t
d d
d` d
d d`
t` m
d d
d` d
A.a Tremolo 2
c
s t` i
d c
d`
i
d d u is
d
d b
d b
s
d d d` d d`
m m
d d c
t` m
d` c
u uu
dd
t` m t
i
t d d d` d` d d` u u d`
m
d d`
d`
m
u
t` d d` d c
m m
d` d d c
u mu
c
c
d c
t` m
id ` d c
d d
u d`
ud u
m
dd i
d` d
t ` m u d d u dm d d d m t `
m
m t`
dc
d`
u
d d` d d c
um m
d c
d c
t` m
um
d d `c
m
c
s
c
t
c
s
i
t` d d`
c`
b
t
c
t
c`
t` m
d` d
d c
d d c`
s`
ACF
Choir 1
ACG
&
ACH
r
ACI
t
AD@
t
ADA
t
ADB
ADC
ADD
ADE
ADF
ADG
ADH
ADI AE@
AEA
AEB AEC
AED AEE AEF

AEG
r u v`w s `
c
c
Cel.1
&
u v`w s `
Glock.1
u v`w s `
Music Box 1
u v`w s `
Vibf . 1
u v`w s `
Mba 1
&
u v`w s `
Xy lo 1
% c
d` d c
m
mu
u v`w s `
Camp. 1
% c
u v`w s `
d` d d
u d`
d d
dc
um
d c
t` m
d c
u d` c
d`
Dulcimer 1
` `
ud d u
u v`w s `
Arpa 1
&
u v`w s `
Pf .1
&
u v`w s `
Sy nth. 1
&
u v`w s `
A.a Tremolo 1
&
u v`w s `
A.b Pizz. 1
&
u v`w s `
A.c 1
&
u v`w s `
A.d 1
&
u v`w s `
Choir 2
& t ` dm d t
u v`w s `
c d` d c c
it ` t
u i
d` d
c
u
d`
d` d d d d d d` d c
Cel. 2
&u
Glock. 2
& t` m
d
umt
d d` d
d c
d` d
d d` d d`
d` d` d d` d c
m t`
d `d
u mt m
it `
d d` d
iu
d `d d
d d`
d b
m t` u
u u
d `d
d
us
d d d`
d dd c d d `
d d d d`
u u mu
d`
u s u u s`
um
d`
u v`w s `
Music Box 2
&
u v`w s `
Vibf . 2
&
u v`w s `
Mba 2
&
u v`w s `
Xy lo 2
&
u v`w s `
Camp. 2
&
u v`w s `
Dulcimer 2
&
u v`w s `
Arpa 2
u v`w s `
d d`
t` m u
u v`w s `
u v`w s `
Pf . 2
&
Sy nth. 2
&t
u u
d`
d c
um
s`
s ` u v`w s `
dd
t` m t
su
d c
d
u u s`
t s
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File: II.) JACQUARDIANA 2_4scurtat FB!!!!!PRINT
2.) JACQUADIANA
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ddddd
d d d
E d
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
Church Organ
Harpsichord
cc
cc
cc
T
dddddd
ECdd
& dddddd
dd
R
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
++++
++++
++++
c
% cccc
cT
++++
d d
%
E
d
E
d
d d d
d d d
d d d
E d
Church Organ
20
Harpsichord
dddddd
ED
+ d
&++ ++ dddddd
ddd
R
% ++++
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
d d d
dddddd
ddddd
ddddd
E d
% +++++
Church Organ
Harpsichord
c
% +++++ ccc
ccT
d ddd
d
d
d
EEdddd ddddd
+
+
+
& + + ddddd ddddd
ddd ddd
R
d d
+
+
% + ++
S
Church Organ
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
d d d
d d d
E d
dddddd
ddddd
ddddd
. . . . -.
d ..
. . . --
% +++++
. . . . -.
c
% +++++ ccc
ccT
. . . . -.
21
Harpsichord
E d d EGd d Ed
Edd
E
E
E
E
d d Ed d
EF
d
d
d
d
d
d
d
d
d
dddd
d
d
d
d
d
&d
d
dd ddd
d ddd
T
% -dS
d
d
d
d
d
d
d
d
d
d
d
d
d
d
d
% --
Church Organ
Harpsichord
cc
cc
c
cc
% - - cc
c
S
d d Ed d
EH
d
&- -
E
d d d d
d
E
d d
d d d
E d d
d d d
+
. . ++ ++
% -d
d
Church Organ
+
. . ++ ++
d
d
d
d
d
d
% --
+
. . ++ ++
cc
% - - cc
c
+
. . ++ ++
22
Harpsichord
d d Ed d
EI
+
d
&++ ++
S
E
d d d d
d
E
d d
d d d
E d d
d
d
d
. . . . -.
. . . . -.
% +++++
dS
d
d
d
d
d
d
d
% +++++
. . . . -.
Church Organ
cc
% +++++ cc
c
S
. . . . -.
Harpsichord
d d Ed d
F@
d
&- S
E
d d d d
d
E
d d
d d d
E d d
d d d
. . ++
. . ++
% --
. . ++
cc
% - - cc
cS
. . ++
% -d
dS
Church Organ
d
d
d
d
23
d
d
Harpsichord
FAd d Ed d d
+
+
&+
S
E
d d d d
d
E
d d
d d d
E d d
d
d
d
% +++
. . . -- -
. . . -- d
d
d
Sd
d
d
d
d
% +++
. . . -- -
Church Organ
S
c
% +++ ccc
c
. . . -- -
Harpsichord
d d Ed d
FB
d
&- - - S
E
d d d d
d
E
d d
d d d
E d d
d
d
d
. . . . ++
. . . . ++
% ----
. . . . ++
Sc
% - - - - ccc
c
. . . . ++
S
% ---d
d
Church Organ
d
d
d
d
24
d
d
Harpsichord
FCd d Ed d d
+
+
&+
S
E
d d d d
d
E
d d
d d d
E d d
d
d
d
. . . --
S
. . . --
% +++
d
d
Church Organ
Harpsichord
d
d
d
d
d
d
% +++
. . . --
S
c
% +++ ccc
c
. . . --
d d Ed d
FD
d
&- -
E
d d d d
d
E
d d
d d d
E d d
d d d
d
d
d
d
d
d
% -d
d
% --
Church Organ
% --
cc
cc
c
25
Harpsichord
d d Ed d
FE
d
&- -
E
d d d d
d
E
d d
d d d
E d d
d
d
d
+
. . ++ ++
% -d
d
d
d
d
d
d
d
+
. . ++ ++
% --
ccc
c
c
+
. . ++ ++
Church Organ
% --
Harpsichord
d d Ed d
FF
+
d
&++ ++
E
d d d d
d
E
d d
d d d
E d d
d
d d
. . . . -.
. . . . -.
% +++++
d
d
Church Organ
+
. . ++ ++
d
d
d
d
d
d
% +++++
. . . . -.
. cc
% +++++ . cc
-c
. . . . -.
26
Harpsichord
d d Ed d
FG
d
&- -
E
d d d d
d
E
d d
d d d
E d d
d
d
d
d
d
d
d
d
d
% -d
d
% --
Church Organ
% --
Harpsichord
FH
&- -
cc
cc
-c
d d Ed d
d
E
d d d d
d
E
d d
d d d
E d d
d
d d
% -d
d
d
d
d
d
% --
Church Organ
% --
ccc
c
-c
27
. . ++
. . ++
. . ++
. . ++
d
d
Harpsichord
d d Ed d
d
FI
+
+
&+
% +++
d
d
d d Ed d
d
E d d
d
d
d
d
d
d
d
E d d
d
d
d
d
d
% +++
Church Organ
% +++
ccc
c
-c
Church Organ
...
d d Ed d
d
E d d
d
d
d
d
d
d
d
&
% d
d
...
...
d d Ed d
d
G@
Harpsichord
...
E d d
d d d
---
d
d
---
---
ccc
% c
c
---
28
Harpsichord
GA
&- -
% ---
d d Ed d
d
d d dE d
d
d
d
E d d
d
d d
d
d
d
d
E d d
d
d
d
+
. . . ++ ++++
+
. . . ++ ++++
d
d
+
. . . ++ ++++
% ---
Church Organ
Harpsichord
% ---
+
. . . ++ ++++
cc
cc
-c
dddddd
GBdd
+
&++ ++++ `` dddddd
dd
R
d d
% +++++++ ``
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
% +++++++ ``
c
% +++++++ `` cccc
c
T
29
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
Church Organ
dddddd
ddddd
ddddd
d d d
d d d
E d
dddddd
ddddd
ddddd
Harpsichord
dddddd
ddddd
ddddd
dddddd
++ + GCddddd
+
+
& + + ddd
dd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
% +++++++
dddddd
ddddd
ddddd
d d d
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E d
% +++++++
Church Organ
Harpsichord
% +++++++
cccc
cc
dddddd
+ GDdd
&++ ++++ dddddd
dd
dd
% +++++++
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
E
d
d dd
dddddd
ddddd
ddddd
d dd
d dd
E d
dddddd
ddddd
ddddd
. . . ++
..
d .
. . . . ++
Church Organ
% +++++++
. . . ++
..
c
% +++++++ cccc
c
. . . ++
..
30
Harpsichord
dddddd dddddd
GEdddd dddd
+
+
& ddddd ddddd
d d
R
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddddd
ddd
dddddd
ddddd
ddddd
% ++
d d d
dddddd
ddddd
ddddd
dddddd
ddddddd
ddd
dddddd
ddddddd
ddd
dddddd
ddddd
ddddd
d d d
d d d
dddddd
ddddd
ddddd
E d
++++ ++
+
d
++++ ++
+
++++ ++
+
% ++
Church Organ
Harpsichord
% ++
cccc
cc
T
++++ ++
+
dddddd
+ GFdd
&++ ++++ dddddd
dd
dd
% +++++++
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d dd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
d dd
d dd
E d
dddddd
ddddd
ddddd
.... ..
.
d
.... ..
.
Church Organ
% +++++++
.... ..
.
c
% +++++++ cccc
c
.... ..
.
31
Harpsichord
dddddd
GGddd
& ddddd
dd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
d d d
dddddd
ddddd
ddddd
E d
++++
++++
++++
++++
....
Church Organ
Harpsichord
cccc
cc
d
d
d
d
+ GHddd
&++ ++ dddddd
ddd
% ++++
d d
+
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
d d d
d d d
E d
dddddd
ddddd
ddddd
d ..
. ..
Church Organ
% +++++
....
c
% +++++ ccc
cc
....
32
Harpsichord
dddddd
GIddd
& ddddd
dd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
d d d
d d d
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
`` +++++
d d
`` +++++
`` +++++
Church Organ
Harpsichord
cccc
cc
`` +++++
d
d
d
d
+ H@ddd
&++ ++ dddddd
ddd
% ++++
d d
+
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
% +++++
c
% +++++ ccc
cc
33
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
Church Organ
dddddd
ddddd
ddddd
d d d
d d d
E d
dddddd
ddddd
ddddd
Harpsichord
dddddd
ddddd
ddddd
dddddd
HA
+ d
&++ ++ dddddd
ddd
% ++++
d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
E d
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
% +++++
Church Organ
Harpsichord
c
% +++++ ccc
cc
d
d
d
d
+ HBddd
&++ ++ dddddd
ddd
% ++++
d d
+
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
d d d
d d d
E d
....
d ..
. ..
Church Organ
% +++++
....
c
% +++++ ccc
cc
....
34
Harpsichord
dddddd
HCddd
& ddddd
dd
dddddd
ddddd
ddddd
d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
d d d
dddddd
ddddd
ddddd
E d
++++
++++
++++
++++
Church Organ
Harpsichord
cccc
cc
d
d
d
d
+ HDddd
&++ ++ dddddd
ddd
d d
+
+
% + ++
S
Church Organ
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
d d d
d d d
E d
dddddd
ddddd
ddddd
. . . . -.
d ..
. . . --
% +++++
. . . . -.
c
% +++++ ccc
cc
. . . . -.
35
Harpsichord
dddddd
HE
d
&- - dddddd
ddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
% --
dddddd
ddddd
ddddd
d d d
d d d
dddddd
ddddd
ddddd
E d
. . ++
. . ++
. . ++
. . ++
% --
Church Organ
Harpsichord
% --
cccc
cc
dddddd
HF
+
&++ ddddddd
ddd
d d
% +++
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
dddddd
ddddd
ddddd
d d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
E
d
% +++
% +++
dddddd
ddddd
ddddd
E
d
Church Organ
dddddd
ddddd
ddddd
d d d
d d d
E d
dddddd
ddddd
ddddd
. . . --
. . . --
. . . --
cccc
cc
. . . --
36
Harpsichord
dddddd
ddddd
ddddd
dddddd
HG
d
&- - dddddd
ddd
d d
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
ddddd
dddddd
ddddd
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47
E
d d
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Harpsichord
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Church Organ
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Harpsichord
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Church Organ
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% -----d
d d d d
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S
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d d d
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&- - dddddd dddddd dddddd dddddd dddddd dddddd dddddd dddddd dddddd dddddd dddddd dddddd dddddd dddddd dddddd dddddd - - - - ddd ddd ddd ddd ddd ddd ddd ddd ddd ddd ddd ddd ddd ddd ddd ddd
T
48
Harpsichord
AAAdddd
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d
U
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ddddd
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Church Organ
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dd dd dd dd dd dd dd dd
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c
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49
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Harpsichord
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50
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Harpsichord
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51
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Harpsichord
E
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d
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Church Organ
Harpsichord
c
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E
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d d d . . --&++ d d d d d d d
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c
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dddddd dddddd
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52
dddddd
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B@ d
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Harpsichord
E
E
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d
d
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Church Organ
Harpsichord
c
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dddddd dddddd
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53
Harpsichord
E d d d d Ed
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Harpsichord
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54
Harpsichord
E d d d d Ed
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56
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57
Harpsichord
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58
Harpsichord
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75
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Church Organ
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Church Organ
+
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78
Harpsichord
+ AGD
+
+
&
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Church Organ
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d d d d d d d
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% +++
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Church Organ
+
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79
d d d d
Rd d d d d d d
Harpsichord
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d d d d d d d d d d d d d d d d
Harpsichord
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+
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&
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Church Organ
Harpsichord
+
&++
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Church Organ
+
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Harpsichord
+ AHF
+
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% +++
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Church Organ
Harpsichord
+
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ddd
% +++
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Church Organ
+
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82
Harpsichord
+ AHH
+
+
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% +++
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Church Organ
Harpsichord
+
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Church Organ
+
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dd
Harpsichord
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Church Organ
Harpsichord
+
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% +++
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Church Organ
+
&++
84
ddddd
dddd
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dddd
ddddd
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Harpsichord
+ AIC
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dddd
dddddd
dddd
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% +++
Church Organ
Harpsichord
+
&++
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&++
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Church Organ
+
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85
Harpsichord
+ AIEdd
+
+
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ddd
dddd
ddd
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-. dddd
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ddd
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ddd
dddd
ddd
dddd
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% +++
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Church Organ
Harpsichord
+
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% +++
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Church Organ
+
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86
Harpsichord
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+
+
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ddd
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% +++
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Church Organ
Harpsichord
+
&++
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+ +ddd
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Church Organ
+
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87
Harpsichord
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+
+
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Church Organ
Harpsichord
+
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Church Organ
+
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Church Organ
+
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Harpsichord
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Church Organ
Harpsichord
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+
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90
Harpsichord
ddd
B@E
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Harpsichord
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Church Organ
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92
Harpsichord
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Church Organ
Harpsichord
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93
Harpsichord
BAAdddddd
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94
Harpsichord
BACdddd
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Harpsichord
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15-II-2004
File: SerbanNichifor_Air_score_partBflat.mz
AIR
for Clarinet (or Taragot) in B-flat and Piano
- dedicated to Gerrit Boeschoten -
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AIR
for Clarinet (or Taragot) in B-flat and Piano
- dedicated to Gerrit Boeschoten Clarinet in B-flat Part
Cantabile
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AURARIA DE TURDA
TRIBUTE TO SIMION BALINT
for Organ (ossia Flute & Organ)
My great-grandfather Simion Balint (1810-1880)

https://ro.wikipedia.org/wiki/Simion_Balint
File: SerbanNichifor_AurariaDeTurda
AURARIA DE TURDA
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@
DDD
@
DDD
D D D@ D D D D C
?C @
C? @
R@
C? @
<D <D <D @ <D <D <D <D <D @

<
DDD
U
?C @
R@
@
DDD
DDD@ DDD@ DDD@DDD@

M
C? @
B@
@ @ @ @
DDD DDD DDD DDD

M
M
#'+

@
DDD
D D D@ D D D D D@ U
@
@ @ @ @ @ @
DDD DDDDDD DDDDDD DDD DDD
M
M
C? @
C? @
D D D@ D D D D D@ U D D D@ D D D D D@ U
@ D@ D@ D@ D@ D@ D@ D@ D@
D
DDDD DDDD DD DDDD DD DD
M
M
M

@
@ @ @ @ @ @
DDD DDDDDD DDDDDD DDD DDD
M
M
C? @
C? @
D D D@ D D D D D@ U
23-VIII-2016
@
DDD
C? @
DD@
D
@
DDD
@
DDD
File: flute
AURARIA DE TURDA
FLUTE PART
Estatico
R @
*
Serban Nichifor
C = 55

C = 50=
R@
R@

allargando
#& D = 100 D @ D D D D D D
D
D D
#)
$"
D D@ D D D
D D D
D
D

D D@
D

$(
D @ D D D D D D
D
U D
M

@
D D D D D D D D D D
D D D@ D D D
D D D
D
D
@
D D D D D D D D D
% ?
@ D D D D ?D D? D
D
D D
$%
$+
@
D D D D D D D D D D
B?
D D D@
@
DDD DDDDDDD
D D D D D D D
% ?
@ D D D D ?D ?D D
D
U D
M
D D@ D D D
D D D
D
D
?D @
D
D
D
D@ D D D
D D D D D D D
D D D D D D D
D@
U D
M
D D D D D D D
@
D D D
D D@ D D D
DDD
D
D
5
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D @ D D D D D D
D
U D
M
%'
I
U D D @
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D
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D D@ D D D
D
D D D
D
C
%
C
D %D
D
@
U D D D D D D D D D
M
I ID
DDD
) D D D C
D
D
D
D

%* C = 70

C = 60
&(
&+
)'
D D D D D D D
D D D@
D@
U D
M
D D D D D D D
D D@
D
D D D D D D D
% ?
@ D D D D ?D D? D
D
U D
M

5
?D @
D
D
D
U
D@ D D D
D = 160 Sub. Vivace
D D D @ D D D D D @
U

D D@ D D D
D D D
D
D
D D@ D D D
D D D
D
@
U D D D D D D D D D
M
C % C
C
D %D
D
I
D
D
7
)
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ID D D D D D D
D
D D D @ D D D D D @
U
D D D @ D D D D D @
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D D D D D D D D D D
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I D @ D D D D D D
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U D
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D D D D D D D
D @ D D D D D D
D
U D
M
(%

D D@
D
'$
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@
DDD DDDDDDD
D = 100
allargando
Dramatico
&%
C = 50
D D D@ D D D D D@ U
D D D @ D D D D D @
U
D D D@ D D D D D@ U
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D D D @ D D D D D @
R @
D D D @ D D D D D @
U

D D D@
D D D D D@
I
D D @ C
R@
D = 90

D D D@ D D D D D@ U
D@ D@
C@
R@
D D D D D@
D D D@ D D D D C
D@ D@
B@

S
D D D@
D D D @ D D D D D @
U
I
D D@ D
D D D @ D D D D D @
D D D@ D D D D D@ U

R@
R@
Tempo I
C = 60

R@
C = 55
R@
C ==
50
R@
allargando
#$$ D = 100 D @ D D D D D D
D
D D
D D@
D
D D D D D D D
D@
D
U
M
D D D D D D D

#$'
#$*
#%#
#%&
#%)
#&#
#&&
#&+
#'%
#'+

D D D@
D D D D D D D
% ?
@ D D D D ?D D? D
D
U D
M
D D@ D D D
D D D
D
D
D
5
I
D D
7

?D @
D
D
D D D D
)
D C
ID D D D D D D
D
D = 160 Sub.Vivace
D D@ D D D
D
D D D
D
D D D@ D D D D C
C % C
C
D %D
D
D D D@ D D D D D@ U
D D D D D D D
D D D@ D D D D D@ U

7
@
D D D
6
D D D @ D D D D D @
U
<D <D <D @ <D <D <D <D <D @
D D D D D D D
R@
R@
D D D @ D D D D D @
U
D D@
D
%
ID @ D D D D D D
D
U D
D D D @ D D D D D @
U

D@
D D D D D D D
D @ D D D D D D
D
U D
M
@
U D D D D D D D D D
M

D@
U D
M
D D D @ D D D D D @
U
B@
<D
D
D
)

D
D D D D D
MUT
File: SerbanNichifor_BluesInMemoryJacoPastorius_15aug2016
To Maestro Ivano Ascari with admiration

Blues In Memory of Jaco Pastorius
for Trumpet in C and Organ,
on the A-C#7(#5)-D7-F/G motif
from "Three Views Of A Secret"
Serban Nichifor
Quasi Cadenza, Molto Rubato
S @
S@
S@
%
D = 60
D = 40 rall.
%
%
U D DI %
U I%
D D D D D D D %
D D D ? ? D D D D? D D D
D? D? D D? D?
lento
??
?
S@
T T T
S@
S@
S @
S@
S@
S@
T T T
S@
S@
S @
S@
S@
S@
T T T
S@
S@
D = 60
I ? ?
C U D D @ D
4
??
D? D? U D D ?D D% D
M
D = 80
acc.
' D D ?D @
U
DDD
?D D %
D D D %D
D
*
IU U
D
D? @
S@
IU
D
S
S@
S@
S@
S@
S@
S@
S@
S@
S@
S@
S@
%
D D
D = 60 %
DDD
D = 80
D = 90
D = 100
D
V D D D D D D D D D D
veloce
p.a p. acc.

IPI Name No.46376567
#% D = 110
I
D D D

D D U D D D D D
D D D
D = 120
D D D D D D D
D
J
D D D D D V U V D D D
S@
S@
S@
S@
S@
S@
5
#(
D

D
D

D
D D D D D V V D D D D D D
V D D
N
sempre acc.
S@
S@
D = 130
D D D D D V D D D D D
M
D = 140
D D D D D D D D D D D D
S@
S@
S@
S@
S@
S@
sempre acc.
S@
S@
sempre acc.
S@
$"

S@
D = 70 D = 60
? ?@
D D D D D = 110 D
U D D
D D D D D
D D
6 p. a p. rall.
D = 60
D = 50
JV U U
D
4 D @
I
D D D @
S@
S@
S@
S@
C@
S@
S@
S@
S@
S@
S@
S@
S@
S@
S@
S@
?D
$(

$+

?D @
D?
4
D
D
5 ? ben marcato ?
CC @@
C? @
D @ D D @@
D? @
D
DDD @@@
?
?D
D? ?D
?D @
?D D?
@@
< ' <

D D D D D D
%
5
D@
D?
D@
?D
D D
D D %D D
M
D@
D?
?D
D ?D ?D ?D
D @ D D
?D @
?D
D?
D?
I %
D? U D D D D
D D
D? D @
?D
?D
?D
?D D D % D %
DDD
C@
CC?C @@
D? @ D? D @
D? D?
D D
?D D @
CC @@
C? @
?D @
D D
I
D D
C@
CC?C @@
?D
I ?
D V ND D
?D
D?
U U
?
CCCC @@@
CCCC @@@
@@
?D
%%
?D D D% D %
@
D
D? D D

??
D
?
CCCC @@@
DD @@
D? @
?
D@

@@

x1 - giusto;
x2 - ossia improvisando
Tempo di Blues
D = 60
?D @
D D
D@
D?
D? D?
?D
D D
?D
I? %? ?
D? U D D D D
%
% ?%
?
?
D? D D D D D D? D? D? D? D?
?D
D D D D @ D D D D' D D
CC @@
C @
@
CCC @@
CCCC @@@
D@
D? ?D ?D
D D
D@
C
?D
D?
?D
D D
D@
?D
?D ?D
D D
%
%)
J J % D <D <D <D
DUD DD
5 grido

C@
CCC @@
D?
&#

D@
D?
D D
&&

CCCC @@@@
D@
D? ?D
D D
D?
D D?
D @ D D
D?
D?
#
D@
D?
D D @ D D
D@
D D
D? ?D
D?
D?
%
I I
D D D D D D D
D@
D?
D?
D@
D
D?
D?
S@
S@
CCCC @@@
CCC @@
C @
%
%D
D @ D D D D D D D @ D D
I %
DDDD
D?
D?
D %D D MD
DD
D D D
D D
D@
?D
%
D D % D D% D I
D D D D D D
D D
in rilievo
D?
D?
@
CCCC @@@
D?
D@
%
%
D? D D D D D <D D D (D D
C @
CCC @@
D
<
I
D D D@ D U T
C@
CCC @@
D?
%
%
%
D D D? D D D D
CCC @@
C? @

CCC @@
C @
D@ D D
D
?
%
JU
D D D? D
?
D DD
?D
CCCC @@@

<D
)
V D D D D D D D D
D D
D?
D?
D? ?D
D?
&)
S@
CCC @@@
C@
%
D @ D D %D D D D D D
D D@

D?
D?
'# D = 40

Subito
Organo Pleno

@@
S@
D?
D?
=
C@
=
CCCCC @@@@

6 ?
=
?C @
CC @@
6
=
?C @
@
6 C
C@
CC?C @@
%
%D D D @

D

D

D
D
D D @ D D
D?
D?
S@
S@
S@
S@
January 2, 2014
rev. August 15, 2016
$
D
%
%
D
D D D D
% D ?D

D
D D% D D
6
@@
C@
CC?C @@
CCCC @@@
?
@@
C@
C@
@@
C@
C@
File: trBb

for Trumpet and Organ
TRUMPET IN B-FLAT
Serban Nichifor
D = 60
C U D
4 M
? ?D ? %

D
U MDDD
?D @ ?D D? ?D
( %
%
D D
D
D? D D D
? ?
D = 40
acc.
%
%
%
D D D D D D D
DD
D = 60
U D DI
D ? ?
rall.
U
I %
D? ?D D D? D?
?
#" D = 80
' D D ?D @
D D D
D = 80
D = 90
?D D %
D D D D%
D
#% D = 110
I
D D
D

D D D D D D U D D D D
#(
D D D D D V V D D D D D
N
IU U
D
D? @
D = 120
IU
D
D = 100
V D D D D D D
D D D D D D D
D
5
D D D D V D D D
%
D D
D = 130
D = 60
%
D D D
D D D
D D
J
D D D D D V U VD D D
M
#+ D = 140 D

?D ?D @
D = 70 D = 60
D D D D D = 110 D
D D D D D
U
DD
6 p. a p. rall.
$$ D = 60
JV U U
D
4D @
D = 50
I
D D D @
S
D?
C@
D = 60
Tempo di Blues
S
D

x1 - giusto;
$)
@@
%"

U U% D D
5M
? D
D
D V N
M
D ?D ?D D?
%% D @ ?D D D % D ? %?
D D ?D

%( ?
'
D D D D D @ D D D D D D
&& #
D@
% D ?D %
D
D D D D %
&+ $ %
%
D
D
D D D D
D D %D D
M
D@
?D D D % D
D %D D
?D U D D D% D
M
?D U D ?D ?%D D?
M
?D D% D ?D %D? D? ?D ?D ?D D? % D?
<D <%D <D

D U DJD %D D
N
5 grido
<
D D D@
%
%+
JU
D D D? D
?
D D D
&$

< ' <

D D D D D D D D
%
<D
)
D

D
D
DDD
V
D D D D
%
D U T
M
?D %
D D D D
S@
S@
%D D D? D = 40

D %D D D
6
(
<
D D D D D D
S@
S@
=
C@
S@
?
D D
@@
File: trC

for Trumpet and Organ
TRUMPET IN C
Serban Nichifor
D = 60
I ? ? ?
C U D D @ D D D?
4
? ? ? %
U D D D D D
M
D = 80
acc.
%
%
D D D D D D D %
D D
rall.
D = 40
(
%
%

U I%
DDD DDDD
???
?D D? D? D? D?
## D = 90 ?D D %D D %
D D D

#&
D D D D
D = 120
$( D = 60

D = 130
IU
D
D D
D
V D D D D D D D D D D
D D D D D D D
D
5
#)

D
D
D

D
D
V D D
$"

D = 100
IU U
D
D? @
D = 60 %
M
D = 140
D = 110
D = 70 D = 60 D = 60
?D ?D @
D

D

D

D
D D D
U
D D D D D DJV U U
6 p. a p. rall.
4 D @
x1 - giusto;
Tempo di Blues
S
D
@@
UU
DDD
D = 110
JV U V

D
D
D D D
D D D
% I
DD
5

D = 80
D D D
D = 60
U D DI
D ? ?
' D D ?D @
U
DDD
I
D D D
D D U D
D
D D D
D D D N V V D D D
D = 50
I
D D D @
D@
D D %D D
M
?D C @
'
<
%
D D D D D D
$+

%$

D? D D % D D D% D
<
D
I D? D
D VN
<D
)
D

D
D
D
V
D D D D D
&#
T
#
&&
D@
D D D?
4
$
&+
%
D %
D
D D D D
I? ?% ?
D? U D D D D
%
J J % D <D <D <D
DUD DD
5 grido
?D
D D D D @ D D D D' D D
S@
<
I
D D D@ D U T
%
JU
D D D? D
?
D DD
%
%
%
D
D D D? D D D D
I %
U
D? D D D D
%
@D ?D D D % D D D
? ? D?
%
% ?%
%'
?
?
?
???? ?
%*

D ?D D? D?
S@
%
% < (
D? D D D D D D D D D D D
S@
%D D D? D = 40

D %D D D
6
=
C@
@@
S@
S@
Serban Nichifor
ELIE WIESEL In Memoriam, 3 july 2016
Motto:
"This is what we must do -- not to sleep well when people suffer
anywhere in the world. Not to sleep well when someone's persecuted.
Not to sleep well when people are hungry all over here or there. Not to
sleep well when there are people sick and nobody is there to help them.
Not to sleep well when anyone somewhere needs you. You don't sleep
well. And for this... we are very grateful to you."
Elie Wiesel, 'Don't Sleep Well When People Suffer', 2012 William O.
Douglas Award
File: s
ELIE WIESEL In Memoriam, 3 july 2016

Lontano e Dolce
Serban Nichifor
D = 75
Strings

4 C@
C@
C@
C@
C@
C@
C@
C @
Guitar
T DD DD
4 DD DD
TDD
DD DD
T D D
DD DD
T D D
D D
T D D
DD DD
T DD DD
DDD DDD
TDD
DD DD
C @
4
C@
C@
C@
C@
C @
C@
C@
Piano
DDD DDD
T DD DD
DDD DDD
C @
D D D
D
D
D D D DD D D D D D D DD D D D DD D DD D DD
D
D
D
DD DDD
D
D
D
D
D
D
D
D
D

D
D
DDDDDD
DD D
D
D D
DD DD
DD
DD DD
DDDD DDD
D
D
4 DD D
D

4C
Bass
C@
C @
4
T
C
C@
C@
T
C
C@
C@
C@
C@
C@
T C T
C@
#"

Strings
Guitar
Piano
C@
C@
C @
C @
C@
C@
T DD TDD
DD DD DD DD
T DD DD T DD DD
D D D D
C @
C@
C@
C@
C@
C@
C@
C@
D D D D D D DD D D
D D DD D DD D
D
DD DD
DD D
DD DD
DDDDDDD
DD D DDD DD
D
C @
C@
T
C
C@
C@
C@
C@
D
C@
C@
DD DDD
D
D
C@
C@
C @
T D D T D D T DD DD T DD DD
DD DD
DD DD
DDD DDD DD DD

Bass
C@
C@
DD DD
DD
D D
C
C @
TDD
DDD DDD DD DD
C@
D DD
DDD DD
D D DD
DD D
C@
$"

Strings
Guitar
C@
T DD DD T DD DD
DD DD
D D
C@
C @
Piano
Bass
C@
C@
C@
C@
T D D T DD DD
D D
DD DD DD DD
C@
C @
C @
D
D DD
D
D
DDDD DDDD DD D DDD
DD D

C
T C

C@
C @
C@
T
C
C@
C T C
C @
C@
C @
T DD DD T D D T D D
DD DD DD DD
DD DD
C@
D
DD DD
D D
C@
D D D D
D D DD DDD D D D D
DD DD
DDD DDD
DD D DDD DDD
DD
D
C@
C@
C@
C@
C@
DD D DD DD D D D DD D
D
DD D D D
DDD DD
C@
C@
C@
$+

Strings
Guitar
Piano
C @
C@
C @
C@
T DD DD T D D T
DD DD DD DD DD DD
D D
T DD DD
DDD DDD
T DD DD
DD DD
T DD
DD DD
C @
C @
C@
C@
C@
C@
C@
C @
C @
TD D
DD DD
T DD DD
D D
T DD DD
D D
C@
C@
C@
D
D
D D DD D DD DD D D D D D D DDDD D D D D D D D DD DD D DDD
DD D D D DD DD
DD D
DD DD
DDD DD
DD D
DD D

Bass
C@
C@
C
C @
C@
C@
C @
C@
C@
C@
DD
D
D D
DDD DD
C@
D
DD DD D
D D
C@
%*

Strings
Guitar
C @
T
DDD DDD
C @
Piano
D

Bass
C
C @
D
DDD
DDDD
C @
T DD DD
DD
D D
DD DD
C@
C
DD
D
D
D D
DDDD
C@
5 C@
C@
C @
C @
C@
C @
C@
C@
T D D
DD
5 DD
T D D
DD DD
C@
DDDD
C@
D
5
5 C
C@
5
DD DDD
D
CC @@
C @
C@
DDDD
DDD
D
C@
C @
C@
C@
CC @@
C @
C @
T D D
DD DD
TDD
DD DD
T D D
DD DD
C@
C@
C@
D
C@
C@
DD DDD
D
D
D DDD
D
DDDD
D
C@
C@
DD
D
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3-VII-2016
14
File: SerbanNichifor_EternalUnion_organ
THE ETERNAL UNION

ALBA IULIA, DECEMBER 1, 1918
Variations on "Hora Unirii" / "The Union Hora"
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20-VIII-2016
CC
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1/115
SERBAN NICHIFOR
(2016)
KYRA KYRALINA
- Ballet Computer Music 1.) Sirtaki - page 2
2.) Kiras Theme page 9
3.) Lautareasca - page 18
4) The Port of Braila - page 21
5.) Infinite Waltz page 28
6.) Stavro - page 39
7.) Alla Turca - page 68
8.) Infinite Dance - page 74
9.) Sirtaki - page 109
Dedicated to Liliana Mihaela Moga

Recording:
Duration: cca 2633
Copyright 2016 by Serban Nichifor (SABAM and UCMR-ADA)

IPI Name No 46376567 ; IPI Base No I-000391194-0
File: 1&9Sirtaki.mz
2/115
1.) Sirtaki
(flute & piano)
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D 27-II-2016
File: SerbanNichiforKyra'sTheme.mz
9/115
2.) Kyra's Theme
Serban Nichifor
Doloroso
D = 126
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3-II-2016
File: 3Lautareasca.mz
18/115
3.) Lautareasca
(2 clarinets & piano)
With Spirit
D = 80 (concert pitch - in C)
mid72
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19/115
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21/115
4.) The Port of Braila

Allegro
D = 144
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23/115
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24/115
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26/115
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File: 5InfiniteWaltz.mz
28/115
5.) Infinite Waltz
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File: 6Stavro.mz
39/115
6.) Stavro
Serban Nichifor
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21-II-2016
File: 7AllaTurca.mz
68/115
7.) Alla Turca
(flute & piano)
Moderato
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23-II-2016
IU
D
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File: 8InfiniteDance.mz
74/115
8.) Infinite Dance
Serban Nichifor
Ritmico
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28-II-2016
35
File: 9Sirtaki.mz
109/115
9.) Sirtaki
(flute & piano)
Ritmico
Serban Nichifor
D = 82 flute
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D 27-II-2016
SERBAN NICHIFOR
LOVE / DEATH WALTZES
Copyright 2015 by Serban Nichifor

(SABAM, UCMR-ADA)
OBLIVION WALTZ
for Cello and Harp (or Piano)
Dedicated to AnJoan Grey
Doloroso

= 70

Serban Nichifor

Do#,Re,Mi,Fa#,
Sol,La,Sib


= 84

acc.
= 74

= 90

Appassionato

= 80

= 80

rall.
= 70

= 60

'$

Sub. Poco Piu Animato,

"# = 80 ma sempre dolce e nostalgico

#"

!

$

!

!

rall.

$

(

#

rall.

!

!

!

7 July 2015

File: SerbanNichifor_OblivionWaltz_cello.mz
OBLIVION WALTZ
for Cello and Harp (or Piano)
- Cello Part -
Doloroso
D = 70

S D
4
%
+ D D D D D D D D @

#(
S D
D D D D D
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e nostalgico
&' D = 80 ma sempre dolce

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D = 84
Serban Nichifor
D D D
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ID = 70
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D D? @ D
C D
D@
D @ D MD
?D
D = 60
=
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M
Prayer Waltz
- Midi Orchestration Dedicated to AnJoan Grey
Doloroso
Serban Nichifor
= 60
78Shakuhachi

)

90Pad2warm

33AccousticBass

,

12Vibraphone

)

)
)

90Pad2warm

33AccousticBass

78Shakuhachi
12Vibraphone

) )

)


78Shakuhachi

)
90Pad2warm

33AccousticBass

12Vibraphone

)

)

33AccousticBass

)
)

)

)

)

)

12Vibraphone
)

90Pad2warm

78Shakuhachi

)

78Shakuhachi

)
)

)

90Pad2warm

33AccousticBass

12Vibraphone

78Shakuhachi
"

)

)

)

)

)

)

)
90Pad2warm

33AccousticBass

12Vibraphone

78Shakuhachi
"/

0 0

)

)
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33AccousticBass

12Vibraphone

78Shakuhachi

""
0

)
) 1
)1
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3
3
3
,

)

90Pad2warm

33AccousticBass

12Vibraphone

78Shakuhachi
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)
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33AccousticBass

12Vibraphone
78Shakuhachi
##

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)

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33AccousticBass

12Vibraphone

78Shakuhachi

) 13

) 13

) 13

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3

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3

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12Vibraphone
78Shakuhachi

)

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33AccousticBass

12Vibraphone

)

)

)

78Shakuhachi

)

) ) " )

= 54

)

rall.
grido
90Pad2warm
33AccousticBass

,

(
12Vibraphone

= 40

78Shakuhachi

90Pad2warm

!

33AccousticBass

!

!

12Vibraphone

!

8 July 2015

,

Prayer Waltz
- Solo Flute Part Dedicated to AnJoan Grey
Doloroso
Serban Nichifor
= 60

)

"

)
)

)

/

)
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)

)
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3

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)

rall.

) 13

)

= 54

)

= 40

)
!

File: LontanpWaltz.mz
Lontano Waltz
for Violin (or Viola, or Cello)
and Celesta (or Piano)
Vivo Semplice e Leggiero
= 150
Pizz. or Arco (punta)

Serban Nichifor


/

"/

"

)
)

)
( leggiero

)

)
)

#

)

#

#

)

)
)

)

)

leggierissimo

)

#

)

)

)

)

)

/"

)

= 40

!

!

!

9 July 2015
File: <filename>
Lontano Waltz
for Violin (or Viola, or Cello)
and Celesta (or Piano)
Solo Part
Vivo Semplice e Leggiero
= 150

Pizz. or Arco (punta)

Serban Nichifor

/

"/

"

#

#


#

#

/"

= 40

!

Dedicated to piano virtuoso William Howard

LOVE WALTZ, A SOUVENIR...
for Piano
Duration: cca 1:30

Slow Waltz
Serban Nichifor
?
F?
F?
F
F
F
F
F
F
W F W FF W F
666
ben marcato
?
?
FFF?
G
F
G
F
F ? FF ? GG ?

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666 G
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F
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G
FF
3
lontano e dolce,poco "meccanicamente"
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F
F
F
GC GGC BG GGC B
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B
G
W /
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33
GG
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666 ben marcato
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VC
VC
FC
FC
@ secco
V VC
FC FC
F C F C 3 BGC 10-VII-2016
POUR LE PIANO
FOR PIANO
(easy version)
Slow Waltz
D = 100

Serban Nichifor
S@
S@
CMaj7
C6
@@ S @
D@ DD@ ?D DD@ DD@

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D
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D@ S D S S
? ?@ 10-VII-2016
Serban Nichifor: For Piano

Tempo = 100
34 CMaj7
{C6
1:Acoustic Piano
2a
2:Acoustic Piano
2a
34
CMaj7
C6
G7
C/B
CMaj7
Dm7
Am
D7
D7/G# G7
Dm7
C/E
Dm7
D7/A G7
C/B
Am
D7
D7/G# G7sus
G7
FMaj7
Em7
Am7
G7
CMaj7
Dm7
2/3
Dm7
Em6
C/B
3X
Am
D7
Dm7/G
G7
CMaj7
28a
3X
28a
3/3
Serban Nichifor: For Piano - Page 2
File: FrH&Org
MOUNTAINS PRAYER
for French Horn in F & Organ (ossia Piano)
Pioso e Molto Rubato
Serban Nichifor
D = 90

)

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23-VIII-2016
File: FrH
MOUNTAINS PRAYER
for French Horn in F & Organ (ossia Piano)
FRENCH HORN IN F PART
Serban Nichifor
D D D @ I
D %D D D @ I % B?
D
D
@S S
D DD
D DDD
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File: org1
MOUNTAINS PRAYER
for Organ
Serban Nichifor
D = 90

S@
S
5

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4 C@
4
(

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23-VIII-2016
CCC
C
?C @ C
CCC @@ CCC
C @C
C@ C
File: Tr&Org
To Maestro IVANO ASCARI

MOUNTAINS PRAYER
for Trumpet & Organ
Serban Nichifor
D = 90

C @C C @
4 CC @ CC CC @
4
D D% D D @
D
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23-VIII-2016
File: TrB

MOUNTAINS PRAYER
for Trumpet & Organ
TRUMPET IN B-FLAT PART
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File: TrC

MOUNTAINS PRAYER
for Trumpet & Organ
TRUMPET IN C PART
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for solo timpani
Dedicated to Brent Miller
Vivo, ben marcato
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May 07, 2016
5
7
SAMBA FOR MIKA

- Homage to Mika Yoshida Stoltzman for Marimba and Jazz Band
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x3
gliss.
16-VI-2016
tremolo
Dedicated to David Hernando Vtores

SEPHARDIC PRAYER
for Alto Sax in E-flat
Duration: cca 4'

Estatico, molto rubato
Serban Nichifor
D = 60 quasi Shofar
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9-VII-2016
SLOW WALTZ
Dedicated to my very dear wife Liana Alexandra
(solo instrument part)
Lento e lontano
D = 70
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2 February 2008
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Serban Nichifor: Slow Waltz (2 Feb 2008)
34
&
1:Acoustic Piano
34
?
2:Acoustic String Bass
34
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Dedicated to my Mother
SERBAN NICHIFOR
(2016)
SYMPHONY IX
GOD BLESS ROMANIA
for Pan Flute (or Flute), Strings and Organ
1.) GOD BLESS ROMANIA / DUMNEZEU SA BINECUVANTEZE

ROMANIA page 1/86
2.) NOSTALGY / DOR page 21/86
3.) DANCE / JOC - page 36/86
4.) INFINITE CAROL / COLIND INFINIT - page 60/86
Total Duration: cca 17

[1.) = cca 435; 2.) = cca 440 ; 3.) = cca 225; 4.) = cca 520]

IPI Name No. 46376567 ; IPI Base No. I-000391194-0
File: t
1/86
GOD BLESS ROMANIA
DUMNEZEU SA BINECUVANTEZE ROMANIA
for Strings and Organ
Con Passione
D = 62
Serban Nichifor
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31-VIII-2015, rev. & orch. 6-VIII-2016
File: !!!SerbanNichifor_Dor_Nostalgy_orch_score
21/86
DOR (NOSTALGY)
for Pan Flute (ossia Flute), Strings and Organ (ad lib.)
Lontano e Dolce
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23/86
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24/86
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25/86
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26/86
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27/86
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28/86
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29/86
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30/86
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31/86
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32/86
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7-VIII-2016
15
File: !!!SerbanNichifor_Dance_Joc_2016score
36/86
DANCE
JOC
Serban Nichifor
Con Allegrezza
I
D = 50
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39/86
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9-VIII-2016
24
File: !score_ok!
INFINITE CAROL
COLIND INFINIT
for Pan Flute (ossia Flute), Strings and Organ
60/86
Serban Nichifor
Estatico
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S
10-VIII-2016
PAN FLUTE
1/6
SERBAN NICHIFOR
(2016)
SYMPHONY IX
GOD BLESS ROMANIA

ROMANIA - TACET
2.) NOSTALGY / DOR
3.) DANCE / JOC - TACET
4.) INFINITE CAROL / COLIND INFINIT
PAN FLUTE (ossia FLUTE) PART
File: PanFl
PAN FLUTE
2/6
DOR (NOSTALGY)
PAN FLUTE (OSSIA FLUTE)
Lontano e Dolce
D = 54

Serban Nichifor
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M
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D @ D D %D D
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S@
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?C @
D?
S@
=
C
T S@
D = 64
D?
?C @
D ?D D D %D D
M
M
?D C
C@
File: 4PanFl
INFINITE CAROL
COLIND INFINIT
PAN FLUTE
PAN FLUTE
4/6
Serban Nichifor
Estatico
D = 90

)

#%

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D
D
M
S@
D?
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5/6
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6/6
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??
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4
allargando
D = 60
??
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M
calando
#&% D = 40 ? ? ?
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M
D = 90
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D = 80
T
animando
#&* D = 70 D = 60 D = 50
T
T
T
D = 80
T
7
?D
D?
C@
D = 50
=
C@
S@
D = 50
??
D D D @ D?
M
VIOLIN I
1/11
SERBAN NICHIFOR
(2016)
SYMPHONY IX
GOD BLESS ROMANIA

ROMANIA
2.) NOSTALGY / DOR
3.) DANCE / JOC
VIOLIN I PART
File: vn1
Con Passione
D = 62
?D D? D? @ D? ?D ?D ?D D? ?
D
7
+

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D
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???
#'

Serban Nichifor

'

VIOLIN I
2/11
GOD BLESS ROMANIA

VIOLIN I
?D ? ? ? ? ?D ? ?
D D@ D D D D
#+ <D <D < <D

D

NN
D = 86
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UDDDD
VIOLIN I
3/11
<D < <D

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ritardando
'#

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D = 70

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molto rit. !
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D = 40
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D = 62

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File: Vn1
VIOLIN I
4/11
DOR (NOSTALGY)
VIOLIN I
Lontano e Dolce
D = 54
Serban Nichifor
tremolo
T CC
2
CC DD CC @@
*
CC @@
#&

CC @@
CC @@
D = 60
$&
C@
&#
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&) D = 64

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3
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4
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D D D
D = 70
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D D
C@
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C@
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C
D = 90
C? @
DD
DD
DD
C @
D = 80
C? @
C@
D D
CC @@
C@
C @
CC @@
C D
D DD
CC @@
CC @@
%
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VIOLIN I
5/11
tremolo
'#D = 54
T CC
2 subito
'+
CC @@
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CC @@
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(+

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D? D? D?
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D = 64 non tremolo
CC @@
DD
3 ??
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? ? ?
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tremolo
DD DD DD
???
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non tremolo
?
?D C
C@
C@
DD DD DD
? ? ?
=
C T S@
DD DD DD
? ??
DD D D
?? ?
File: <filename>
Con Allegrezza
D = 70

Serban Nichifor
I
D = 50
=
S
( D = 96
S
D@ D@ D@ D@ D@ D@ D@ D@
<D @ D
## D@ D@ D@ D@

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VIOLIN I
6/11
DANCE
JOC
VIOLIN I
@
@D D@ D@ D@ D D@ D@ D@
@D D@ D@ D@ D <J
MDV
S@
R

VIOLIN I
7/11
&'
R
&*

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R
D?
5
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M
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M
6
U
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D
M
D?
VIOLIN I
8/11
(&

@
() D@ D@ D@ D@ D@ D D@ D@

D D@

D@ D@ D@ D@
<D @ D
@
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D NV
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M
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6
7
@
@D D@ D@ D@ D D@ D@ D@
@ @
@
D
@D D D <D @ D
File: 4vn1
VIOLIN I
9/11
INFINITE CAROL
COLIND INFINIT
VIOLIN I
Serban Nichifor
Estatico
D = 90

D D @ D D ?C
)
D
?D
#%

@ D ?C
D
DD
M
4
D D D@ D D@
M
??
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M
tremolo
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M
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M
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M
VIOLIN I
10/11
'&

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M
5
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M
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M
5
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M
D?
M
?C @
VIOLIN I
11/11
#"'
C@
##"

C@
S@
S@
##&
S@
S@
##+

?D @
?
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M
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M
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M
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M
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M
6
D <D <D @ <D <D @ <D <D
M
M
D = 80
<
#%( ? ? ? ? ? ?
D D D @ D D C
M
#&% D = 40
S@

D = 70
D = 60
S@
MAESTOSO
S@
#&* D = 70?D = 60 ?D = 50 ?D D = 80 C?C @@

DD
D
D
7
D = 90
S@
D = 50
=
CC @@
D = 50
S@
S@
D = 80
S@
CC @@
S@
?D
6
VIOLIN II
1/11
SERBAN NICHIFOR
(2016)
SYMPHONY IX
GOD BLESS ROMANIA

ROMANIA
2.) NOSTALGY / DOR
3.) DANCE / JOC
VIOLIN II PART
File: vn2
GOD BLESS ROMANIA

VIOLIN II
Con Passione
D = 62
+

Serban Nichifor

'

VIOLIN II
2/11
?D D? D? @ D? ?D ?D ?D D? ?
D
7
?D ? ? ? ?
D @ D ?D D D D? ?
UM
D
? D? @ D? ?D ?D D? ?D ?D
D
U
M
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D
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D D@
?
D? D
D = 70
?D D? ?D ?
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??
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D?
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(
D
?D ?D ?D

D DDD
D?
?D ? ?
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? ? ? ?
D? D D D D
??
D D? ?D @ D? ?D D D
D = 86 ?
#(

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D D D D T
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?D ?D D = 100 ?C D
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D

D
U
U
D
M D
N
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N
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VIOLIN II
3/11
%+ <D

<D < <D

<
D
U @ ND
&( <
D
?
(* C @

D D D
DDD
D D DmoltoD rit.
!
?D
D? ?D ? ?D D?
D
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D D D @ D D? D D? D?
?
(&

ritardando
D = 60
?D D? D? @ D? ?D
D = 50
?C @
D D D D
< @ < <

C D D D
7TEMPO I
D@
D = 40
D@
DD
C
<C
D = 62
?D @ ? ? ? ?D ? ? ? ? ? ?
D D D D ? D D D@ D D
D
?D ? ? ? ? ?D ? ?
D D@ D D D D
D@ D@ D D D % D
D
D = 40
?D
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D? D D D? D D D D D D D D
? ? ? ? ? ?
?D ? ? D? ?D ?D ?D D?
D D@
<
C
?D @ D? ? @ D?D = 80
D
D? @
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D D@ D D@ D D@ D
<D <D <D @ D @ D D

N
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("

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<<<
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?D ? ? @
DD
rallentando
U D D D D
File: Vn2
VIOLIN II
4/11
DOR (NOSTALGY)
VIOLIN II
Lontano e Dolce
D = 54
Serban Nichifor
tremolo
T C
2
C D C@
*
C@
#&

C@
C@
D@ D@
C@
C@
%
DD D
C@
3
C@
C@
C@
C@
C@
D C
D = 70
C@
D D
DD DD
C@
7 ?C
DD
C@
D = 90
C? @
DD
C@
D = 80
C? @
D D
C@
C@
C@
C@
C @
C@
C@
%'
C @
4
&) D = 64

6 ?C @
C@
D = 60 liscio (non tremolo)
$&
C@
&#
C
C
C@
C @
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D
C@
D?
D D D

VIOLIN II
5/11
'#D = 54 tremolo
TC
C D C@
2 subito
'+
C@
C@
D@ D@
C @
)(

*'

D? ?D ?D
C@
D? D? D?
C@
C@
C@
D = 64 non tremolo
%
DD DD
D? D? D?
C@
C@
('
D
(+

C@
C@
C@
D? D? D?
3 ?D D?
D? D? D?
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tremolo
D? ?D D?
D? ?D ?D
D? D? D?
D? ?D
D?
D? ?D ?D
D? ?D ?D
non tremolo
?D D? ?D
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D? ?D D?
?
D? C
C@
C@
D? D? D?
=
C T S@
D? D? ?D
D? D? D?
File: <filename>
VIOLIN II
6/11
DANCE
JOC
VIOLIN II
Serban Nichifor
Con Allegrezza
D = 70

I
D = 50
=
S
( D = 96 < < <

D D D V D D
D@ D@ D@ D@ D@
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5
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7/11
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8/11
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File: 4vn2
INFINITE CAROL
COLIND INFINIT
VIOLIN II
VIOLIN II
9/11
Serban Nichifor
Estatico
D = 90

)

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tremolo
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VIOLIN II
10/11
non tremolo
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11/11
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DD DD
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VIOLA
1/11
SERBAN NICHIFOR
(2016)
SYMPHONY IX
GOD BLESS ROMANIA

ROMANIA
2.) NOSTALGY / DOR
3.) DANCE / JOC
VIOLA PART
File: vl
GOD BLESS ROMANIA

VIOLA
Con Passione
D = 62
VIOLA
2/11
Serban Nichifor

'
?D D? ?D @ D? D? ?D ?D ?D ?

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3/11
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4
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File: Vl
VIOLA
4/11
DOR (NOSTALGY)
VIOLA
Lontano e Dolce
D = 54
Serban Nichifor
tremolo
C D C@
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2
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VIOLA
5/11
tremolo
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File: <filename>
VIOLA
6/11
DANCE
JOC
VIOLA
Serban Nichifor
Con Allegrezza
D = 70
I
D = 50
=
S

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7/11
&' <
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8/11
DD? @@
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File: 4vl
VIOLA
9/11
INFINITE CAROL
COLIND INFINIT
VIOLA
Serban Nichifor
Estatico
D = 90

)

#%

#+

$'
CC @@
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&+
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3
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tremolo
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CC @@
C@
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C@
CC @@
C@
CC @@
C@
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C@
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DD
DD @@
DD
DD
M
VIOLA
10/11
non tremolo
'&
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5
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VIOLA
11/11
#"+
S@
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6
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M
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?D @ ? ?
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M
D = 50
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DD? D?D ?D
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M
D = 40
S@
D = 70 D = 60
D?
?D ? ?D @ D?
D
M
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D = 50 ? D = 80 ? @
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D <D <D @ <D <D @ <D <D

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M
D = 80
<
D = 70
?D
S@
D = 90
T D D
D? D?
6
C@
D = 50
=
C@
DDD
?
S@
D?D
DD
?
CELLO
1/11
SERBAN NICHIFOR
(2016)
SYMPHONY IX
GOD BLESS ROMANIA

ROMANIA
2.) NOSTALGY / DOR
3.) DANCE / JOC
CELLO PART
File: vc
GOD BLESS ROMANIA

CELLO
Con Passione
D = 62
+

Serban Nichifor

'

7
CELLO
2/11
?D ?D ?D @ D? ?D ?D ?D ?D ?
D
?D ?D @ D? ?D ?D ?D ?D ?D
UM
?D ?D @ D? ?D ?D ?D ?D ?
D
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D
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D
D D D D D D ?D D D
D DD
?D ? ?
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D = 70
?D ? ?
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?D D? ?D ?D D?
#(

D = 86
?D ? ? ? ?
D D@ D D
?D ?D
<D <D <D <D

NN
$$ <D <D <C

N

6
DECISO
?D D? D = 100 ?C D

MUT
6
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N
?D @ ? ? ? ? ? ? ?
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DD
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D D D
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CELLO
3/11
&# <D

<D <D <D

T
&'

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D D
<C
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D D
U D D
? ?
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&* D @ D ?D @ D D = 80 ?D @ ?D D? @ ?D

<D <D <D @

N
D = 70
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D D@ D D@ D D@ D
D D
D D D D D = 60
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D@
D = 40
D D
D D D D
.
molto rit. !
TEMPO I
'" D = 62 < < <

C D@ D D
<<<
D D D D
<
C
?D ?D ?D @ ?D ?D
V-
?D
?D ?
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7
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D
(
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D@ D@
(+ D = 50 ?
C@

DD
D = 40
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?D @ D? @
D
DD
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C@
DD
M D
rallentando
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DD DDD
( D
DD D
C@
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File: Vc
CELLO
4/11
DOR (NOSTALGY)
CELLO
Lontano e Dolce
Serban Nichifor
D = 54

*

tremolo
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5/11
'#D = 54

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CELLO
6/11
DANCE
JOC
CELLO
Serban Nichifor
Con Allegrezza
D = 70
D = 96
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7/11
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8/11
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File: 4vc
CELLO
9/11
INFINITE CAROL
COLIND INFINIT
CELLO
Serban Nichifor
Estatico
D = 90

%
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10/11
'&

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11/11
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=
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<
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5 ?D
CONTRABASS
1/11
SERBAN NICHIFOR
(2016)
SYMPHONY IX
GOD BLESS ROMANIA

ROMANIA
2.) NOSTALGY / DOR
3.) DANCE / JOC
CONTRABASS PART
File: cb
GOD BLESS ROMANIA

DUMNEZEU SA BINECUVANTEZE ROMANIA CONTRABASS
2/11
CONTRABASS
Serban Nichifor
Con Passione
D = 62

'

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CONTRABASS
3/11
%+
C
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molto rit. !
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?
D?
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File: Cb
CONTRABASS
4/11
DOR (NOSTALGY)
CONTRABASS
Lontano e Dolce
Serban Nichifor
D = 54

*

#&

pizz.
#*
S D
3
$&
D
%"
D
%'

DD
4
D = 60 D
D D
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(sempre pizz.)
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D = 90
D?
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?D
D D D
CONTRABASS
5/11
'#D = 54

'+

('

D = 64
C? @
4
(+
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File: <filename>
CONTRABASS
6/11
DANCE
JOC
CONTRABASS
Serban Nichifor
Con Allegrezza
D = 70
D = 96
< <V <

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CONTRABASS
7/11
&'
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8/11
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File: 4cb
CONTRABASS
9/11
INFINITE CAROL
COLIND INFINIT
CONTRABASS
Serban Nichifor
Estatico
D = 90 pizz.

3
)
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10/11
'&

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11/11
#"'
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=
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5
ORGAN
1/28
SERBAN NICHIFOR
(2016)
SYMPHONY IX
GOD BLESS ROMANIA

ROMANIA
2.) NOSTALGY / DOR
3.) DANCE / JOC
ORGAN PART
File: org
GOD BLESS ROMANIA

ORGAN
Con Passione
?D
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D = 62

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2/28
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4/28
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31-VIII-2015, rev. & orch. 6-VIII-2016
File: Org
DOR (NOSTALGY)
ORGAN
ORGAN
9/28
Lontano e Dolce
Serban Nichifor
Organ ad lib.
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12/28
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19/28
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File: 4org
INFINITE CAROL
COLIND INFINIT
ORGAN
ORGAN
20/28
Serban Nichifor
Estatico
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21/28
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22/28
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23/28
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May 25, 2013
Copyright (c) 2013 by Serban NICHIFOR (SABAM)
2.) Hora
Allegro Vivo
d d d d d +d d d d . d d +d
d = 165d
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Serban NICHIFOR
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3.) Batraneasca
Allegro
Serban NICHIFOR
simile
d = 144
& 44
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bb
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Vn Solo
dddd
Vni I-II
&
c
c
cc
Vle
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Vlc-Cb
% d
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CH
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Vn Solo
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Vn Solo
Vni I-II
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Vlc-Cb
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Vni I-II
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Vni I-II
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Vlc-Cb
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May 25, 2013
attacca subito
13
d = 80
\_
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d d d d d d d d` d d d
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File: 04Csardas_OK
4.) Csrds
Deciso
Serban Nichifor
Lassu
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dd `` u s
5-IX-2014
12
File: 05Landler_OK
5.) Lndler
Serban Nichifor
Tempo di Lndler
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7-IX-2014
T
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u
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May 25, 2013
Serban NICHIFOR
\
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m
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Presto possibile
d = 180
d`
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V
May 25, 2013
Vn Solo 1
Vn Solo 2
Vn Solo 3
Vn Solo 4
File: VnS
4.) Csrds
Deciso
Serban Nichifor
Lassu
d = 70
& 44
u d dC +d
s`
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Vn Solo 6
Vn Solo 7
Vn Solo 8
Vn Solo 9
Vn Ripieni (I & II) 1
File: Vn
4.) Csardas
Deciso
d = 70
& 44
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Serban Nichifor
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d = 40
Copyright 2014 by Serban Nichifor (SABAM, UCMR-ADA) Vn
iu
dd`
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d` u s
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Ripieni (I & II) 5
File: Vn
5.) Lndler
Serban Nichifor
Tempo di Lndler
&+
F +
&
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d
Viola 1
Viola 2
Viola 3
Viola 4
File: Vl
4.) Csardas
Deciso
Serban Nichifor
d = 70
\ \
\ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \
d d d d d d` d d` d d` d d d d` d d d d` d d d d d d d d d +d d d d d` d d +d d
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i
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s
d = 40
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\d `
d` u s
Viola 5
File: Vl
5.) Lndler
Serban Nichifor
Tempo di Lndler
\i
` d` d` _d ` ` `
`
d
`
`
`
`
d
+
d
ddd ddus
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Viola 6
Viola 7
Cello (& Cb) 1
Cello (& Cb) 2
Cello (& Cb) 3
File: Vc
4.) Csardas
Deciso
d = 70
% 44
Serban Nichifor
\ \
\ \ \` \` \ \ \` \ \` \ \ \ \ \` \ \` \ \
dddd dddd dddd dddd dddd dddd dddd dd
` `
`
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CG \ \ \` \ \ \ \ \ \ \ \ \ \ \ \` \ \ \ \ \ \
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DF \ \ \` \ \ \ \ \ \ \ \ \ \ \ \` \ \ \ \ \ \
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d d d
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d d d d
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d` +d` d +d d d` d` d`
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d = 150 \
\\ \
d` d` d` d
`
\
dd `` u s
5-IX-2014
Cello (& Cb) 4
File: Vc
5.) Lndler
Serban Nichifor
Tempo di Lndler
` d` _d
`
d
`
` ` `\
d
d` ` d` d d d diu s
% + : s d` ` d` d
S
G
%+ d
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T
Cello (& Cb) 5
Cello (& Cb) 6
Serban Nichifor: Musical Moment - To Gratiela Nichita
34
&
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SERBAN NICHIFOR
(2016)
TRIBUTE
TO
AVRAM IANCU
AND
SIMION BALINT
Computer Music
1.) MOUNTAINS PRAYER page 1/40

2.) FIRES ON THE HILL page 4/40
3.) AURARIA DE TURDA page 30/40
AVRAM IANCU (1824-1872)
SIMION BALINT (1810-1880)
1/40
File: org1
MOUNTAINS PRAYER
for Organ
Serban Nichifor
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File: SerbanNichifor_FiresOnTheHill
FIRES ON THE HILL

TRIBUTE TO AVRAM IANCU AND SIMION BALINT
for Piano Four-Hands
Serban Nichifor
Rubato
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23-VIII-2016
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1/15
2/15
3/15
4/15
5/15
6/15
7/15
8/15
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11/15
12/15
Born:May 27,1947,Bucharest,Romania
Studies:
1965-1971- Ciprian Porumbescu University of Music, Bucharest,Composition
Department. Awarded the special scholarship George Enescu.
1974,1978,1980,1984 international courses of composition at Darmstadt,West
Germany
1983- an USIA stipendium in USA
PhD in Musicology
At present:
Master in music; Professor at the National University of Music from Bucharest
(teaching orchestration,musical analyses and composition).Member of the Union of
Romanian Composers,Member of GEMA(Germany),Member of Frau und
Musik(Germany),The First Vice-President of the Cultural Association RomaniaIsrael(ACPRI),Member of the Research Board of Advisors(American Biographical
Institute,USA),Member
of
the
Professional
Womens
Advisory
Board(USA),Member of the International Council Research(IBC,England),
Member of LIVING MUSIC FOUNDATION Inc.(USA), Member of
ECPNM(European Conference of Promoters of New Music).
Compositions: she has composed several works (more than one hundred ),7
symphonies, 7 concertos for different instruments and orchestra, 3 operas, 4
cantatas, 1 oratorio, chamber music,choral music,music for children. Her
compositions were published at :Editura Muzicala (Bucharest),Edition Modern
(Mnchen),Edition Furore (Kassel), Score-on-Line (SUA). Its were played in
Romania,S.U.A.,Germany,Holland,France,Israel,Belgium,Poland,Austria,Sweden,
Cehia,Australia,Spain England a.s.o. Liana Alexandra is also the author of the
books:Musical creation an ineffable measure between the fantasy and the
arithmetical and geometrical rigour and Technics of Orchestrations.
Prizes and Awards:
1975,1979,1980,1982,1984,1987,1988 Prize of the Union of Romanian Composers
1979,1980 Gaudeamus Prize (Holland)
1979 First Prize Carl Maria von Weber, Dresden
1980 Prize of Romanian Academy
1982,1983 Diploma from Whos Who in the World Dictionary, USA
1986 Prize of Beer-Sheva, Israel
1989 Second Prize,Mannheim-Gedock, Germany
1991 Third Prize Fanny Mendelssohn,Dortmund-Unna,Germany
Liana Alexandra
Composer
1993 ISCM Prize,Mexico

1995,1997,1998,1999,2000,2001,2002,2003-Woman of the Year,USA
1997,1998 Woman of the Year, Great Britain
1997-Prize ACMEOR, Bucharest
1998 Prize ACMEOR, Tel-Aviv,Israel
2000 International Commendation of Success, USA
2001 International Personality of the Year 2001,Great Britain
2001 Researcher of the year 2001, USA
2003,2004 Prize Bourges (France)
2003- International Peace Prize (United Cultural Convention,USA)
2004-Cultural Order,the 2nd Class,Romania
Like pianist, Liana Alexandra founded in 1990 together with the composer and cellist
Serban Nichifor duo-ul Intermedia-Nuova Consonante,dedicated to promote the
contemporary music.They have had concerts and recordings in
Romania,Italy,Belgium. Duo Intermedia founded also the annual mini-festival
NUOVA MUSICA CONSONANTE(member of ECPNM). From 2003 Nuova
Musica Consonante joined with Living Music Foundation Inc. from U.S.A.
Press Reviews:
Liana Alexandra has proved from many years,that her composition technique is
already well set. Helped by musicality and imagination,this technique allows the
composer
to get
the best
results
with
any
kind
of
musical
groups.(Contemporanul,Bucharest)
Liana Alexandra is regarded as the leading Romanian composer of her generation.
Her compositional vocabulary is wide,ranging from cluster and aleatoric technique to
broad lyric melody based on folk elements from her native culture(Grey Youtz,The
Michigan University,USA)
Liana Alexandra suepasses all her colleagues and annihilates the still alive prejudice
of sexes.(Frankfurter Allgemeine Zeitung,Germany)
Liana Alexandra has been excellent at Gaudeamus.This week, the utmost has been
reached indeed by the Romanian Liana AlexandraEnormously rich fancy,terrible
piquant, a huge existence(N.R.C. Handelsblad,Amsterdam,Holland)
Liana Alexandras music is full of warmth and original melody elements,side by side
with a broad wonderful dramatic spirit. Her ineffable and imaginative orchestration
has been amazing (Arbetarbladet,Gevle,Sweden)
www.geocities.com/lianaalexandra/classic_blue.html
www.geocities.com/novacons2001/classic_blue.html
http://romania-on-line.net/whoswho/AlexandraLiana.htm
lianaalexandra@gmail.com
lianaalexandra@yahoo.com
lianaalexandra@pcnet.ro
13/15
14/15
Born in Bucharest (Romania), 25.08.1954. Studies: National University of Music Bucharest, Doctor in Musicology; University of Bucharest (Theology Faculty).
Internationals courses at Darmstadt, Weimar, Breukelen and Munchen; USIA
Stipendium (USA). At present: Professor at the National University of Music Bucharest (Chamber Music Department);Member of UCMR (Romania), SABAM
(Belgium), ECPMN (Holland); Vice-president of the ROMANIA-BELGIUM
Association; Cellist of the Duo INTERMEDIA and co-director, with Liana
Alexandra,of the NUOVA MUSICA CONSONANTE-LIVING MUSIC
FOUNDATION(USA). Composition prizes at: First Prize Gaudeamus-Amsterdam,
Tours, Athens, Urbana-Illinois, Evian, Toledo, Trento, Roma, Bydgoszcz, Kln,
Karlsruhe, Newtown-Wales, Birmingham-Alabama. Comandor of the "Merit
National Order". Works published at: Editura Muzicala (Bucharest), Edition Modern
(Munchen), "Pro musica Studium"(Roma), "Quadrivium Music Press" (New York),
"Mnemes" (Palermo). Principal works: "Postludium" per Org. (1975); "Sorcova" per
Coro Misto a capella (1995);Quartetto per Archi I - "Anamorphose" (1976);
"Constellations" for Orchestra (1977); Symphony I "Shadows" (1980); Cantata
"Sources" (1977); "Carols" per Trombone e Percussione (1978); Cantata "Gloria
Heroum Holocausti" (1978); Opera "Miss Christina" (libretto by Mircea
ELIADE,1981); "Canto di Speranza" per Fl., Vn, Vn, Vlc. e Pf. (1981);
"Onirophonie" per Fl., Vn.e Pf. (1982);"Chanson d'Antan" per Vn.e Pf.(1983);
"Aprite le porte di questo castel" per Coro Maschile (1984); "Carnyx" per Clarinetto
(1984); "Tango for Yvar" per Pf.(1984); Quartetto per Archi II - "Vallons de l'Oubli"
(1984); Symphony II "Via Lucis" (1985); "6 Melodies Irlandaises d'Amerique" per 2
Ob.,C.i. e 2 Fg. (1985); "Horn Call Rag" per Corno e Pf. (1986); "Czarna Rosa" per
Mezzo-Soprano e Pf. (1986); "7 Canti Rumeni di Natale" per 4 Tbe, 4 Tni ed Org.
(1986); Symphony III "American Symphony - I" (1986); Symphony IV "American
Symphony - II" (1987); Symphony V "Pro Patria" (1987); "AVE MARIA" per
Soprano ed Organo (1987); "Isola di Euthanasios" per Pianoforte (1988); Symphony
VI "Time Archways" (1988); Cantata "Remember" (1988); "Transgressio" per
Fl.,Ob. e Fg. (1989); "Battuta" per Percussione (1989); "Missa da Requiem" (1990);
Missa "Actio Gratiarum Oecumenica" per Coro Misto (1991); "NATALIS DOMINI"
per Coro Misto (1992); "Isihia" per Vlc. (1992); "Epiphania" per Cello e Pianoforte
(1993); "Musica Caelestis" treatise (1994); "Rorate Caeli" per Soprano ed
Orchestra (1994); Chamber-Opera "Talaria" (libretto by Etienne DE SADELEER,
1994); "Medium per Arpa" (1995); "Medium per Flauto" (1995); Cantata "Per
CHRISTUM" (1997); "Concerto GRIEGoriano" for Piano and Orchestra (1997); "3
Christmas German Chorals" for Organ (1997); "Hommage a DEBUSSY" per 2 Pf. ossia Pf. e Nastro Magnetico (1998; "La Nuit Obscure" per Orchestra da
Camera (1998); Chamber-Opera "Le Martyre de Saint Claude DEBUSSY" (libretto
Serban Nichifor
Composer
after Claude DEBUSSY and E.A.POE, 1999); "Turkish Bolero" for 4 Cellos and
Orchestra (2002), Symphony VII Cello-Memoirs (2003); "Introduction to
Computer Music" handbook.
SUNDAY TIMES (London, 18.08.1977) - "The First Prize went to a 22-year-old
Romanian Serban NICHIFOR, for his <Anamorphose>, played by the Gaudeamus
String Quartet in the smaller hall of the Amsterdam Concertgebouw. Its virtually silent
beginning, seemingly addressed to the eye rather than the ear, already hinted at a spatial
element which later furnished a valid and charming feature of its ending. The visual
gradually became audible, and the mosaic of sound soon acquired continuity as a few
folk-tune motifs were set in relief. This innocuous, inextravagant, musically and visually
direct essay in quartet-writing deserved recognition and won an ovation !" (Felix
APRAHAMIAN)
DARMSTADTER ECHO (04.08.1980) - "Das absolute Gegenteil dazu wurde in der
Streichquartett-Komposition <Anamorphose> des Rumanen Serban NICHIFOR
geboten. Komplexe polyphone Schichtungen, vorwiegend mit wisperndern Spiel am Steg
und scharrenden Flageolett-Tone aufgebaut, zeugten von einer ausgesprochen
raffinierten Schreibweise..." (Jo TRILLIG)
THE WHITE HOUSE - WASHINGTON D.C. (01.10.1992) - "Dear Mr. NICHIFOR,
thank you for the beautiful recordings of your Third and Fourth Symphonies, which I
recently received through the U.S.Information Agency. I appreciate your having
dedicated them <to the glory of America> and I am delighted to know that our cities have
inspired you in this uniquely creative way. The recordings have been donated to the
Library Of Congress so that they may be preserved for the people of the United States.
Your thoughtful gift will bring many hours of pleasure to all who come to enjoy them."
George BUSH, The President of the United States of America
LE JOURNAL DE ST-GERMAIN (24.09.1999) - "...C'est pour honorer la memoire de
Claude DEBUSSY que le compositeur Serban NICHIFOR a compose en 1999 , <Le
Martyre de Saint Claude DEBUSSY>, drame lyrique evoquant les dernieres annees du
musicien. Il vient d'adresser au Musee Claude DEBUSSY sa piece pour piano et bande
magnetique. Dans cette piece,on retrouvera tout l'univers debussyste: de la poesie
enchanteresse,a l'appel du lontain... Cet enregistrement vient enrichir le fonds du musee
(en cours de constitution) et devrait s'integrer au projet d'ecoutes musicales." (Jacques
BERLIE)
LUXEMBURGER WORT (23.02.2000) - "...Finalement, c'est <La Nuit Obscure> de
Serban NICHIFOR qui nous impressionna le plus. Concue comme un veritable
<concerto pour percussion>,l'oeuvre surprend par son originalite et sa beaute
intrinseque, mais aussi par la virtuosite qu'elle exige du soliste. Pas de bavardage, pas de
fioriture, rien que de la tres belle musique, fracassante certes, mais tellement vraie !"
(Pierre SCHWICKERATH)
Serban NICHIFOR, Str.Principatele Unite Nr.2,Vila I, Ap.7, Sector 4, RO-040165
BUCHAREST, ROMANIA, Tel.(0040-1)336.13.99. and (0040-1)772.30.29,
http://www.geocities.com/serbannichifor/classic_blue.html
Email serbannichifor@gmail.com , serbannichifor@yahoo.com ,
serbannichifor@pcnet.ro
15/15
Born:May 27,1947,Bucharest,Romania
Studies:
1965-1971- Ciprian Porumbescu University of Music, Bucharest,Composition
Department. Awarded the special scholarship George Enescu.
1974,1978,1980,1984 international courses of composition at Darmstadt,West
Germany
1983- an USIA stipendium in USA
PhD in Musicology
At present:
Master in music; Professor at the National University of Music from Bucharest
(teaching orchestration,musical analyses and composition).Member of the Union of
Romanian Composers,Member of GEMA(Germany),Member of Frau und
Musik(Germany),The First Vice-President of the Cultural Association RomaniaIsrael(ACPRI),Member of the Research Board of Advisors(American Biographical
Institute,USA),Member
of
the
Professional
Womens
Advisory
Board(USA),Member of the International Council Research(IBC,England),
Member of LIVING MUSIC FOUNDATION Inc.(USA), Member of
ECPNM(European Conference of Promoters of New Music).
Compositions: she has composed several works (more than one hundred ),7
symphonies, 7 concertos for different instruments and orchestra, 3 operas, 4
cantatas, 1 oratorio, chamber music,choral music,music for children. Her
compositions were published at :Editura Muzicala (Bucharest),Edition Modern
(Mnchen),Edition Furore (Kassel), Score-on-Line (SUA). Its were played in
Romania,S.U.A.,Germany,Holland,France,Israel,Belgium,Poland,Austria,Sweden,
Cehia,Australia,Spain England a.s.o. Liana Alexandra is also the author of the
books:Musical creation an ineffable measure between the fantasy and the
arithmetical and geometrical rigour and Technics of Orchestrations.
Prizes and Awards:
1975,1979,1980,1982,1984,1987,1988 Prize of the Union of Romanian Composers
1979,1980 Gaudeamus Prize (Holland)
1979 First Prize Carl Maria von Weber, Dresden
1980 Prize of Romanian Academy
1982,1983 Diploma from Whos Who in the World Dictionary, USA
1986 Prize of Beer-Sheva, Israel
1989 Second Prize,Mannheim-Gedock, Germany
1991 Third Prize Fanny Mendelssohn,Dortmund-Unna,Germany
Liana Alexandra
Composer
1993 ISCM Prize,Mexico

1995,1997,1998,1999,2000,2001,2002,2003-Woman of the Year,USA
1997,1998 Woman of the Year, Great Britain
1997-Prize ACMEOR, Bucharest
1998 Prize ACMEOR, Tel-Aviv,Israel
2000 International Commendation of Success, USA
2001 International Personality of the Year 2001,Great Britain
2001 Researcher of the year 2001, USA
2003,2004 Prize Bourges (France)
2003- International Peace Prize (United Cultural Convention,USA)
2004-Cultural Order,the 2nd Class,Romania
Like pianist, Liana Alexandra founded in 1990 together with the composer and cellist
Serban Nichifor duo-ul Intermedia-Nuova Consonante,dedicated to promote the
contemporary music.They have had concerts and recordings in
Romania,Italy,Belgium. Duo Intermedia founded also the annual mini-festival
NUOVA MUSICA CONSONANTE(member of ECPNM). From 2003 Nuova
Musica Consonante joined with Living Music Foundation Inc. from U.S.A.
Press Reviews:
Liana Alexandra has proved from many years,that her composition technique is
already well set. Helped by musicality and imagination,this technique allows the
composer
to get
the best
results
with
any
kind
of
musical
groups.(Contemporanul,Bucharest)
Liana Alexandra is regarded as the leading Romanian composer of her generation.
Her compositional vocabulary is wide,ranging from cluster and aleatoric technique to
broad lyric melody based on folk elements from her native culture(Grey Youtz,The
Michigan University,USA)
Liana Alexandra suepasses all her colleagues and annihilates the still alive prejudice
of sexes.(Frankfurter Allgemeine Zeitung,Germany)
Liana Alexandra has been excellent at Gaudeamus.This week, the utmost has been
reached indeed by the Romanian Liana AlexandraEnormously rich fancy,terrible
piquant, a huge existence(N.R.C. Handelsblad,Amsterdam,Holland)
Liana Alexandras music is full of warmth and original melody elements,side by side
with a broad wonderful dramatic spirit. Her ineffable and imaginative orchestration
has been amazing (Arbetarbladet,Gevle,Sweden)
www.geocities.com/lianaalexandra/classic_blue.html
www.geocities.com/novacons2001/classic_blue.html
lianaalexandra@gmail.com
Born in Bucharest (Romania), 25.08.1954. Studies: National University of Music Bucharest, Doctor in Musicology; University of Bucharest (Theology Faculty).
Internationals courses at Darmstadt, Weimar, Breukelen and Munchen; USIA
Stipendium (USA). At present: Professor at the National University of Music Bucharest (Chamber Music Department);Member of UCMR (Romania), SABAM
(Belgium), ECPMN (Holland); Vice-president of the ROMANIA-BELGIUM
Association; Cellist of the Duo INTERMEDIA and co-director, with Liana
Alexandra,of the NUOVA MUSICA CONSONANTE-LIVING MUSIC
FOUNDATION(USA). Composition prizes at: First Prize Gaudeamus-Amsterdam,
Tours, Athens, Urbana-Illinois, Evian, Toledo, Trento, Roma, Bydgoszcz, Kln,
Karlsruhe, Newtown-Wales, Birmingham-Alabama. Comandor of the "Merit
National Order". Works published at: Editura Muzicala (Bucharest), Edition Modern
(Munchen), "Pro musica Studium"(Roma), "Quadrivium Music Press" (New York),
"Mnemes" (Palermo). Principal works: "Postludium" per Org. (1975); "Sorcova" per
Coro Misto a capella (1995);Quartetto per Archi I - "Anamorphose" (1976);
"Constellations" for Orchestra (1977); Symphony I "Shadows" (1980); Cantata
"Sources" (1977); "Carols" per Trombone e Percussione (1978); Cantata "Gloria
Heroum Holocausti" (1978); Opera "Miss Christina" (libretto by Mircea
ELIADE,1981); "Canto di Speranza" per Fl., Vn, Vn, Vlc. e Pf. (1981);
"Onirophonie" per Fl., Vn.e Pf. (1982);"Chanson d'Antan" per Vn.e Pf.(1983);
"Aprite le porte di questo castel" per Coro Maschile (1984); "Carnyx" per Clarinetto
(1984); "Tango for Yvar" per Pf.(1984); Quartetto per Archi II - "Vallons de l'Oubli"
(1984); Symphony II "Via Lucis" (1985); "6 Melodies Irlandaises d'Amerique" per 2
Ob.,C.i. e 2 Fg. (1985); "Horn Call Rag" per Corno e Pf. (1986); "Czarna Rosa" per
Mezzo-Soprano e Pf. (1986); "7 Canti Rumeni di Natale" per 4 Tbe, 4 Tni ed Org.
(1986); Symphony III "American Symphony - I" (1986); Symphony IV "American
Symphony - II" (1987); Symphony V "Pro Patria" (1987); "AVE MARIA" per
Soprano ed Organo (1987); "Isola di Euthanasios" per Pianoforte (1988); Symphony
VI "Time Archways" (1988); Cantata "Remember" (1988); "Transgressio" per
Fl.,Ob. e Fg. (1989); "Battuta" per Percussione (1989); "Missa da Requiem" (1990);
Missa "Actio Gratiarum Oecumenica" per Coro Misto (1991); "NATALIS DOMINI"
per Coro Misto (1992); "Isihia" per Vlc. (1992); "Epiphania" per Cello e Pianoforte
(1993); "Musica Caelestis" treatise (1994); "Rorate Caeli" per Soprano ed
Orchestra (1994); Chamber-Opera "Talaria" (libretto by Etienne DE SADELEER,
1994); "Medium per Arpa" (1995); "Medium per Flauto" (1995); Cantata "Per
CHRISTUM" (1997); "Concerto GRIEGoriano" for Piano and Orchestra (1997); "3
Christmas German Chorals" for Organ (1997); "Hommage a DEBUSSY" per 2 Pf. ossia Pf. e Nastro Magnetico (1998; "La Nuit Obscure" per Orchestra da
Camera (1998); Chamber-Opera "Le Martyre de Saint Claude DEBUSSY" (libretto
Serban Nichifor
Composer
after Claude DEBUSSY and E.A.POE, 1999); "Turkish Bolero" for 4 Cellos and
Orchestra (2002), Symphony VII Cello-Memoirs (2003); "Introduction to
Computer Music" handbook.
Romanian Serban NICHIFOR, for his <Anamorphose>, played by the Gaudeamus
String Quartet in the smaller hall of the Amsterdam Concertgebouw. Its virtually silent
beginning, seemingly addressed to the eye rather than the ear, already hinted at a spatial
element which later furnished a valid and charming feature of its ending. The visual
gradually became audible, and the mosaic of sound soon acquired continuity as a few
folk-tune motifs were set in relief. This innocuous, inextravagant, musically and visually
direct essay in quartet-writing deserved recognition and won an ovation !" (Felix
APRAHAMIAN)
Streichquartett-Komposition <Anamorphose> des Rumanen Serban NICHIFOR
geboten. Komplexe polyphone Schichtungen, vorwiegend mit wisperndern Spiel am Steg
und scharrenden Flageolett-Tone aufgebaut, zeugten von einer ausgesprochen
raffinierten Schreibweise..." (Jo TRILLIG)
dedicated them <to the glory of America> and I am delighted to know that our cities have
inspired you in this uniquely creative way. The recordings have been donated to the
Library Of Congress so that they may be preserved for the people of the United States.
Your thoughtful gift will bring many hours of pleasure to all who come to enjoy them."
George BUSH, The President of the United States of America
LE JOURNAL DE ST-GERMAIN (24.09.1999) - "...C'est pour honorer la memoire de
Claude DEBUSSY que le compositeur Serban NICHIFOR a compose en 1999 , <Le
Martyre de Saint Claude DEBUSSY>, drame lyrique evoquant les dernieres annees du
musicien. Il vient d'adresser au Musee Claude DEBUSSY sa piece pour piano et bande
magnetique. Dans cette piece,on retrouvera tout l'univers debussyste: de la poesie
enchanteresse,a l'appel du lontain... Cet enregistrement vient enrichir le fonds du musee
(en cours de constitution) et devrait s'integrer au projet d'ecoutes musicales." (Jacques
BERLIE)
LUXEMBURGER WORT (23.02.2000) - "...Finalement, c'est <La Nuit Obscure> de
Serban NICHIFOR qui nous impressionna le plus. Concue comme un veritable
<concerto pour percussion>,l'oeuvre surprend par son originalite et sa beaute
intrinseque, mais aussi par la virtuosite qu'elle exige du soliste. Pas de bavardage, pas de
fioriture, rien que de la tres belle musique, fracassante certes, mais tellement vraie !"
(Pierre SCHWICKERATH)
Serban NICHIFOR, Str.Principatele Unite Nr.2,Vila I, Ap.7, Sector 4, RO-040165
BUCHAREST, ROMANIA, Tel.(0040-1)336.13.99. and (0040-1)772.30.29,
http://www.geocities.com/serbannichifor/classic_blue.html
Email serbannichifor@gmail.com , serbannichifor@yahoo.com ,
Living Music Foundation

P.O. Box 2264 * Birmingham, AL 35201 * USA cmason@bsc.edu * 205-226-4957
California Office173 * Desert Hot Springs, CA 92240-0173 * USA
http://www.e-universe.com/lmfhome
a tax-exempt cultural and educational corporation
Board of Directors
Charles Norman Mason
Executive Director
Dwight Winenger,
Founder and
Webmaster
Rob Voisey
Vice-President of
Programs
George Crumb
Greg D'Alessio
David Del Tredici
Orlando J. Garcia
Dorothy Hindman
Craig Hultgren
Dennis Kam
Hye Kyung Lee
Staff
David Liptak
Tom Lopez
Bruce Reiprich
Andrew Rindfleisch
Gregg Smith
Augusta Reed Thomas
David Vayo
Olly Wilson
Romanian/American
New Music Festival
Liana Alexandra
Serban Nichifor
Carson Cooman
Journal Editor
To whom it may concern,

January 22, 2009
I am writing to verify that Liana Alexandra and Serban Nichifor are the Co-artisic
Directors of Nuova Musica Consonante-Living Music Foundation Inc. for concert series
and conferences, which take place in Romania.
Sincerely,
www.charlesnormanmason.com
cmason@bsc.edu
205-226-4952 USA
10&%LEOLRJUDILH
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Living Music Foundation Concerts
Page 1 of 20
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music
program
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bgsound
recent
Concerts...
Living Music in
Romania...
http://www.dwightwinenger.net/concerts.htm
23.08.2007
Page 2 of 20
Liana Alexandra and Serban Nichifor

sueliaser/friendship
lianaalexandra/classic_blue
serbannichifor/classic_blue
novacons2001/classic_blue
New Attractions:
"Cries from Earth to Heaven" by Serban Nichifor -- dedicated to Holocaust Survivors
and Remembrance Network - iSurvived.org
Copyright (c) by Holocaust Survivors and Remembrance Network, Forget You Not
Project & Network, NatureQuest Publications, PO Box 381797, Cambridge, MA
02238-1797, U.S.A.,
http://iSurvived.org
Email: Contact@iSurvived.org
Midi: http://isurvived.org/SerbanNichifor-music.html
movies sites:
23.08.2007
Page 3 of 20
Video Concerts
Liana Alexandra
Symphony #4
Cristian BRANCUSI - conductor
Romania Radio Orchestra
Video Concerts
Serban Nichifor
Solo Cello
Structural Variations
by Dwight Winenger
ANNOUNCEMENT:
Filharmonica
George Enescu
Johann Sebastian BACH:
DIE KUNST DER

FUGE" / THE ART OF
FUGUE"
the new version for guitars ensemble
at the Romanian Athenaeum in Bucharest (Romania)
on 29 April 2007.
Wikipedia (The Art Of The Fugue"):
.wikipedia.org
"Dr. Serban Nichifor: "The Art of

Fugue" version for 2 guitar quartets;
performers:
Calin Grigoriu,
Gabriel Brosteanu,
23.08.2007
Page 4 of 20
Radu Miculita,
Hanelore Mocanu,
Radu Corbos,
Andra Stanciu,
Zsolt Bara
and Tudor Niculescu-Mizil;
National University of Music Bucharest (Romania),
23.04.2007"
Links - Bach, "The Art of Fugue" - new guitars ensemble version in concert on
YouTube
v=6avz1W8jW7U
v=JXXxGGilpAo
v=ZfKyU_e0OTE
v=vjGJcYsglkk
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v=pfRYjJep8QA
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v=53z4gyJrmeY
v=4gvLSjh3CoM
v=AqGdpNogpVU
Prof.Dr. Serban NICHIFOR, National University of Music Bucharest (Romania) Candidate for the Election of the Chairman - EUROPEAN CHAMBER MUSIC
TEACHERS ASSOCIATION (ECMTA)
Serban Nichifor Composer and Cellist
Born: August 25, 1954, in Bucharest (Romania); Mother: Dr. Livia Nichifor,
physician; Father: Dr. Ermil Nichifor, physician, founder and conductor (1954-1997)
of the Bucharest Physicians` Orchestra; Married to Liana Alexandra, composer
Studies National University of Music, Bucharest, Doctor in Musicology Theology
Faculty, University of Bucharest
International courses of composition at Darmstadt, Weimar, Breukelen and Munchen
USIA Stipendium (USA)
Present Position Professor at the National University of Music, Bucharest (Chamber
Music Department);
Member of UCMR (Romania), SABAM (Belgium), ECPMN (Holland)
Vice-president of the ROMANIA-BELGIUM Association
Cellist of the Duo INTERMEDIA <../general/duointermedia.htm> and co-director of
the NUOVA MUSICA CONSONANTE-LIVING MUSIC FOUNDATION INC.
(U.S.A) Festival, with Liana ALEXANDRA
23.08.2007
Page 5 of 20
Selected Works OPERA, SYMPHONIC, VOCAL-SYMPHONIC AND

CONCERTANTE MUSIC:
"Constellations" for Orchestra (1977)
Symphony I "Shadows" (1980)
Cantata "Sources" (1977)
Cantata "Gloria Heroum Holocausti" (1978)
Opera "Miss Christina" (libretto by Mircea ELIADE,1981)
Symphony II "Via Lucis" (1985)
Symphony III "American Symphony - I" (1986)
Symphony IV "American Symphony - II" (1987)
Symphony V "Pro Patria" (1987)
Symphony VI "Time Archways" (1988)
Cantata "Remember" (1988)
"Missa da Requiem" (1990)
Chamber-Opera "Talaria" (libretto by Etienne DE SADELEER, 1994)
Cantata "Per CHRISTUM" (1997)
"Concerto GRIEGoriano" for Piano and Orchestra (1997)
Chamber-Opera "Le Martyre de Saint Claude DEBUSSY" (libretto after Claude
DEBUSSY and E.A.POE, 1999)
"Un Certain Instant" for Cello and Orchestra (2001)
CHAMBER, CHORAL AND VOCAL MUSIC
"Postludium" per Organo (1975)
"Sorcova" per Coro Misto a capella (1995)
Quartetto per Archi I - "Anamorphose" (1976)
"Carols" per Trombone e Percussione (1978)
"Invocatio" per Flauto e Celesta (1979)
"Canto di Speranza" per Flauto,Violino,Viola,Cello e Pianoforte (1981)
"Onirophonie" per Fl., Vn.e Pf. (1982)
"Chanson d'Antan" per Vn.e Pf.(1983)
"Carnyx" per Clarinetto (1984)
"Tango for Yvar" per Pf.(1984)
Quartetto per Archi II - "Vallons de l'Oubli" (1984)
"Aprite le porte di questo castel" per Coro Maschile (1984)
"Morendo" per Cb. e Pianoforte (1985)
"6 Melodies Irlandaises d'Amerique" per 2 Ob.,C.i. e 2 Fg. (1985)
"Czarna Rosa" per Mezzo-Soprano e Pf. (1986)
"7 Canti Rumeni di Natale" per 4 Trombe, 4 Tromboni ed Organo (1986)
"Horn Call Rag" per Corno e Pf. (1986)
"AVE MARIA" per Soprano ed Organo (1987)
"Isola di Euthanasios" - Sonata "sopra acqua e pietra" per Pianoforte (1988)
"Transgressio" per Fl.,Ob. e Fg. (1989) "Battuta" per Percussione (1989)
"Lacrimosa" per Tenore e Pf. (1989)
"Meditatio"per Organo (1990)
Missa "Actio Gratiarum Oecumenica" per Coro Misto a capella (1991)
"NATALIS DOMINI" per Coro Misto a capella (1992)
"Isihia" per Cello (1992)
"Epiphania" per Cello e Pianoforte (1993)
"Rorate Caeli" per Soprano ed Orchestra da Camera (1994)
"Medium per Arpa" (1995)
"Medium per Flauto" (1995)
"3 Christmas German Chorals" for Organ (1997)
23.08.2007
Page 6 of 20
"Hommage a DEBUSSY" per 2 Pf. - ossia Pf. e Nastro Magnetico (1998)

"La Nuit Obscure" per Orchestra da Camera (1998)
"Invocation a Themis" per Sax.Alto (2001)
"Isihia" for violoncello and tape (2002)
Works published at Musical Publishing House, Bucharest Edition Modern, Munchen
"Pro musica Studium", Roma
"Quadrivium Music Press", New York
"Dohr Verlag", Koln a.s.o.
Edition SCORE-ON-LINE (France) Works played and recorded in Romania,
Belgium, Holland, USA, Italy, France, Spain, Germany, Poland, England, Austria,
Japan, Greece, a.s.o.
Affiliations
Member in good standing of the Research Board of Advisors of the American
Biographical Institute, USA
Member of the European Conference for Promoters of New Music (see Nuova
Musica Consonante)
Member of Living Music Foundation Inc., USA
www.dwightwinenger.net/lmfhome.htm
Prizes and Awards
1977 - First Prize GAUDEAMUS, Amsterdam
1977 - International Prize, Tours, France
1978 - "Press Prize", Evian
1979 - International Prize ISCM, Athens, Greece
1980, 1982, 1988 - Prizes of the Romanian Composers and Musicologists' Union
1980 - "Diego ORTIZ", Toledo
1982 - "George Enesco" Prize of the Romanian Academy
1983 - Urbana-Illinois
1984, 1993 - Trento
1985 - "Valentino BUCCHI", Roma
1986 - "Musica Antiqua Europae Orientalis", Bydgoszcz
1988 - ISCM, Hong-Kong
1994 - Jihlava
1996 - Karlsruhe
1997 - Koln
1998 - Newtown-Wales
1998 - Birmingham-Alabama
1998 - Bourges
2002 - "Man of the Year", American Biographical Institute, USA
PRESS REVIEWS
Romanian Serban NICHIFOR, for his , played by the Gaudeamus String Quartet in
the smaller hall of the Amsterdam Concertgebouw. Its virtually silent beginning,
seemingly addressed to the eye rather than the ear, already hinted at a spatial element
which later furnished a valid and charming feature of its ending. The visual gradually
became audible, and the mosaic of sound soon acquired continuity as a few folk-tune
motifs were set in relief. This innocuous, inextravagant, musically and visually direct
essay in quartet-writing deserved recognition and won an ovation !" (Felix
APRAHAMIAN)
FRANKFURTER ALLGEMEINE ZEITUNG (09.06.1978) - "Die Presse-Jury
bedachte das rumanische Quartet mit einem Preis fur die ausgezeichnete
Interpretation der attraktiven des jungen Komponisten Serban NICHIFOR" (Bernd
23.08.2007
Page 7 of 20
LEUKERT)
SUDDEUTSCHE ZEITUNG (27/28.05.1978) - "...Sein betiteltes Stuck exerziert die
verschidensten technischen Affekte und Effekte auf den vier Instrumenten und
zerfasert den Streicherklang schliesslich auf augenfallige Weise..." (Albrecht
ROESELER)
DIE PRESSE (Wien,26.05.1978) - "...die originelle von Serban NICHIFOR..." (Olga
OBRY)
LA VOIX (11.05.1978) - "...le Quatuor du Roumain Serban NICHIFOR,oeuvre d'une
redoutable complexite, mais d'une indeniable valeur..." (Georges BERNAND)
NRC HANDELSBLAD (Amsterdam,13.09.1977) - "...Serban NICHIFOR,in sijn
strijkwartet - een brok onstuimig muziek maken - integreert hij vijf Roemeense
melodieen uit Transsylvanie en past hij als een soort van harmonische basis evenees
vijf Roemeens-orthodoxe hymnes toe. Let wel: hij doet dat in een uit gespreken
avant-gardistisch klanggemiddelde ! Resultaat hat grootste applaus en de eerste prijde
van den jury." (Ernst VERMEULEN)
Streichquartett- Komposition des Rumanen Serban NICHIFOR geboten. Komplexe
polyphone Schichtungen, vorwiegend mit wisperndern Spiel am Steg und
scharrenden Flageolett-Tone aufgebaut, zeugten von einer ausgesprochen raffinierten
Schreibweise..." (Jo TRILLIG)
MUSICULTURA (Breukelen, II-1980) - "...NICHIFOR's final example was a 1980
cantata . The work deals with the peoples who lived in Romania in the most ancient
times. In this energetic composition one can find a montage of folk materials and
contemporary idioms..." (William P. MALM)
LIVING MUSIC (USA, Fall '93, Vol.11, No.1) - "...NICHIFOR has been active as a
composer, performer, and musicologist. He has won numerous awards and is
performed frequently in his own country and abroad. During the past years he has
been especially active in Bucharest organizing concerts of music by Amarican
composers. NICHIFOR did visit the United States in 1982, so he has a good sense of
musical life in this country." (Rodney OAKES)
dedicated them and I am delighted to know that our cities have inspired you in this
uniquely creative way. The recordings have been donated to the Library Of Congress
so that they may be preserved for the people of the United States. Your thoughtful
gift will bring many hours of pleasure to all who come to enjoy them." George
BUSH, The President of the United States of America
RHEIN-NECKAR-ZEITUNG (Karlsruhe,31.10.1996) - "...Und mit der des
rumanischen Komponist Serban NICHIFOR wurde man dann doch noch
hineingefuhrt in die versunkene Welt der stillen Gebete, des Archaischen, der ruhig
brutenden Fauxbourdon-Klange, die zuweilen die innigen religioso-Harmonien eines
Cesar FRANCK herbeizitieren. Doch dann 4 noch gesprochene lateinische
Gebetformeln - da gab es alles, war die Glaubensseele begluckt. Dass davon
gleichwohl ein subtiler Reiz ausging, blieb unbestritten."(Rainer KOHL)
LE JOURNAL DE ST-GERMAIN (24.09.1999) - "...C'est pour honorer la memoire
de Claude DEBUSSY que le compositeur Serban NICHIFOR a compose en 1999 , ,
drame lyrique evoquant les dernieres annees du musicien. Il vient d'adresser au
Musee Claude DEBUSSY sa piece pour piano et bande magnetique. Dans cette
piece,on retrouvera tout l'univers debussyste: de la poesie enchanteresse,a l'appel du
lontain... Cet enregistrement vient enrichir le fonds du musee (en cours de
23.08.2007
Page 8 of 20
constitution) et devrait s'integrer au projet d'ecoutes musicales." (Jacques BERLIE)

LUXEMBURGER WORT (23.02.2000) - "...Finalement, c'est de Serban NICHIFOR
qui nous impressionna le plus. Concue comme un veritable ,l'oeuvre surprend par son
originalite et sa beaute intrinseque, mais aussi par la virtuosite qu'elle exige du soliste.
Pas de bavardage, pas de fioriture, rien que de la tres belle musique, fracassante
certes, mais tellement vraie !" (Pierre SCHWICKERATH)
LA LETTRE DU HAUTBOISTE (France, No 5/2000) - "...Dans les <6 Melodies
Irlandaises d'Amerique> de Serban NICHIFOR, les nantais, deja nombreux, s'etaient
associes aus messins. Cette musique franche et limpide, se pretait bien a un effectif
hors norme concu pour le plaisir de jouer tout ensemble." CORALITA (Trento,
Nr.6/1985) - "... di Serban NICHIFOR - vivace e scherzoso elaborazione, tessuto su
uno scheletro armonico in cui le tre strofe vengono variamente presentate... una
precipitosa si conclude in un buffo , che sfoncia nel (e ) dei due accordi finali."
KOLNER STADT-ANZEIGER (08.12.1997) - "...der Anhang umfasst 135
Kompositionen... Zweiter wurde Serban NICHIFOR aus Bukarest..." (Claudia
FREYTAG)
LIVING MUSIC (USA, Spring 2000, Vol.17, No.3) - "Serban NICHIFOR himself
turned in some splendid performances of our american cello music, and ensembles of
student performers who are sure to develop technical and professional polish with
experience filled the remaining concert-and-a-half with vibrantly enthusiastic
renditions of chamber works..." (Aaron J. RABUSHKA)
Address Serban NICHIFOR, Str.Principatele Unite Nr.2,Vila I, Ap.7, Sector 4, RO70512 BUCHAREST, ROMANIA, Tel.(0040- 1)336.13.99. and (0040-1)772.30.29,
E-mails: serbannichifor@gmail.com and serbannichifor@yahoo.com
Sites:
www.romania-on-line.
www.geocities.com/serbannichifor
http://serban-nichifor.omg-music.com/
www.geocities.com/novacons2001
www.mozart.co.uk/mzusers
23.08.2007
Page 9 of 20
From: Liana Alexandra

To: Dwight Winenger
Sent: Thursday, March 02, 2006 2:52 PM
Dear Maestro Dwight Winenger,
It is our great pleasure to send you two of our recent presentations
with american and european contemporary music.We would be
very grateful to you if you would announce it on the LMF site.
Sincerely,
Liana and Serban
23.08.2007
Page 10 of 20
UNIVERSITATEA
NATIONALA DE MUZICA
BUCURESTI
Miercuri 1 Martie 2006, ora 15 Sala 54 (Computer Music)
NUOVA MUSICA
CONSONANTE
LIVING MUSIC
FOUNDATION (USA)
LIMBAJE MUZICALE
CONTEMPORANE
- Ipostaze ale Postmodernismului
Pagini antologice din creatia lui
VLADIMIR COSMA
Noi inregistrari realizate de
Orchestre National de Lyon
si de
Paris Philarmonic Orchestra
Dirijor Vladimir Cosma
Solisti: soprana Wilhelmenia Fernandez,
violonistii Jean-Luc Ponty, Vadim Rpine si
Bartek Niziol, chitaristul Philip Catherine,
naistul Simion Stanciu Syrinx,
percutionistul Peter Erskine
Prezinta Conf. univ. Dr. Serban Nichifor
23.08.2007
Page 11 of 20
UNIVERSITATEA
NAIONAL DE MUZIC
BUCURETI
Sala Chopin, Luni 24 Octombrie 2005, ora 16
NUOVA MUSICA
CONSONANTE
LIVING MUSIC
FOUNDATION (USA)
COMPUTER MUSIC
n program lucrri n prim audiie de
BARRY
SCHRADER
(USA)
First Spring
Beyond
Death
Prezint Conf. Dr. erban NICHIFOR
23.08.2007
Page 12 of 20
Date: Fri, 16 Sep 2005 12:07:59

Dear Maestro WINENGER,
It is with pleasure we send You the chronicle of our concert
dedicated to the tragic events from 11 September 2001. We
would be honoured if You will publish the article on the site
of the LIVING MUSIC FOUNDATION although it is written
in the Romanian language, . The repertory and the dedication
are very clear.
With our best wishes,
Faithfully Yours,
Liana ALEXANDRA and Serban NICHIFOR
===========================
Cu dragoste,DUO INTERMEDIA- NUOVA

MUSICA CONSONANTE sub stele
-----Visul unui recital de sublim si muzica de
came ra in aer liber-----... Ca tot atatea exercitii de recucerirea
paradisu lui pierdut- file din calendarul unui
miracol anuntat...Fabuloase afise de
spectacol,invitatii la concert,caiete program
si,cu parca zgomotul unei mas ini de cusut
gigant,tipografia din inima vechilor Bucuresti
patriarhali und e se naste peste noapte
urmatorul numar al Jurnalului dse
Festival,imortali zand clipa pentru eternitate (in
prim-plan:instantanee cu protagonistii aven
turilor sonore ale editiei; pe fundal-mereu
furnicarul lumii elegante). Ma simt privilegiata
sa schitez dara acum si aici,din cuvinte,silueta
orasului devenit feerica boite-a-musique.Sunt
negresit mai mult decat privilegiata sa
consemnez cu - repet- aceleasi cuvinte in albnegru de care nu ma tem decat ca n-ar putea
exprima pe deplin luxurianta paleta cromatica
a evenimentului,-visul recita lului de sublim si
muzica in aer liber-NUOVA MUSICA
23.08.2007
Page 13 of 20
CONSONANTE in memoriam 11 SeptembrieMesaj uman de iubire asupra careia moartea

nu mai are nici o putere!
11 ?! Era duminica seara pe la ceasurile
8.3op.m. s i la finele unui incendiar program
de folclor cu hora romaneasca rotund inc insa
in aplauzele generale, vara indiana isi intindea
inca peste careul Pietei Festivalului
tentaculele. In mod reflex, avertizat ca
urmeaza un recital de muzica contemporana, sare fi presupus ca publicul va bate in retragere.
Surpriza insa--do ar pentru cei ce nu stiu ca,
sfidand desertul cotidian cu atita subjugant
farmec, atita neoconsonanta de frumusete pura
pe axa Orient-Occident, Liana Alexandra si
Serban Nichifor si-au capatat demult locul in
inima melomanilor! --asistenta reunita la
kilometrul "O" al drumurilor care duc toam
na aceasta spre Festival, saluta calduros
prezenta pe scena a tandemului com
pozitorilor-interpreti.
DUO INTERMEDIA- pian si violoncel pret de
o reverie Living Music in Romania- Nuova
Musica Consonante sub stele. In program, mi
nunate creatii semnate de compozitorii
americani Dwight Winenger, Tyler Cas tleton,
Brian Jensen, Mollie Shaffer, Lynn Shurtleff,
Marlyn Collard, Newell Dayley, alaturi de
lucrari de Liana Alexandra, Serban Nichifor,
Boudewijn Buckinx, Doru Popovici, Cor de
Groot si Antanas Kucinkas.
Doi leaderi de generatie din galeria de portrete
a componisticii mondiale, stapanind la
superlativ arta comunicarii , si un sing ur
regal- calatorie de seara, de liniste, si delicata
afectiune, reflectie, privelisti virtuale si
atmosfere...De la valorile noii muzici est si vest
europene citire pana la transcriptii evocand,
precum luna coborata pe Mississippi la vale,
mai mult decat centenarele traditii ale
pionierilor muzicii americane. Ascult. Imi
ascult inima batand de emotie.
ANCA ROMECI
23.08.2007
Page 14 of 20
Living Music recently received the following message from Serban

Nichifor, Romanian composer, who has aided the Foundation on many
occasions over the years:
----- Original Message ----From: Serban Nichifor

Sent: Monday, July 18, 2005 2:29 PM
Subject: TRIBUTE TO JOSEPH SMITH, THE AMERICAN
PROPHET by Serban Nichifor
Dear Maestro Winenger,
I have written a TRIBUTE TO JOSEPH SMITH, THE
AMERICAN PROPHET .
It gives me great pleasure to send you this musical work
in 14 parts on the attachment of this message (in Midi
format).
With the best wishes,
Faithfully Yours,
Serban NICHIFOR
Romanian Composer
Internet: romania-on-line.net/whoswho/NichiforSerban.htm
E-mail : serbannichifor@gmail.com
serbannichifor@yahoo.com
Gentle reader...
Our response, of course, since Ameriphiles are so rare these days, is to
offer this work for your perusal. Click here to jump to another page to
audit any or all of these fourteen MIDI files as you wish.
--the Editor/webmaster
Evenimente - Program Piata Festivalului

Duminica 11 septembrie
23.08.2007
Page 15 of 20
2005
11:00-12:00
Reluare film: DIMENSIUNI ENESCIENE";
SERGIU CELIBIDACHE" (film TVR Media)
13:00-14:00
"Cine stie, cstiga" - concurs spectacol avnd ca tema
viata si opera lui George Enescu
Program realizat de Postul Radio Romania Cultural
19:00-20:00
Program de cntece si jocuri populare - Ansamblul
"Ciuleandra" - Prof. Maria Tanase
20:30-21:00
NUOVA MUSICA CONSONANTE
Interpreteazo Duo INTERMEDIA: SERBAN NICHIFOR
violoncel, LIANA ALEXANDRA pian
n program lucrari de:
Cor de Groot, Boudewijn Buckinx, Dwight Winenger,
Doru Popovici, Liana Alexandra, Serban Nichifor, Brian
Jensen*, Tyler Castleton*, Mollie Shaffer*, Lynn Shurtleff*,
Marlyn Collard*, Newell Dayley*
(*) transcrieri instrumentale
de Liana Alexandra si Serban Nichifor
21:30-22:30
Film: MARTURII DESPRE ENESCU"
ELENA CERNEI" (film TVR Media)
See also: www.festivalenescu.ro/rom/program_piata.html
Societatea Romana de Radiodifuziune

Miercuri 25 Mai 2005,ora
19,00
Sala Alfred Alessandrescu
Recital Cameral
"Armonii pentru Umanitate"
23.08.2007
Page 16 of 20
"Omagiu Pionierilor
Americani"(III)
Susan McClellan(SUA)
flaut
Serban Nichifor -violoncel
Liana Alexandra -pian
In program:prime auditii absolute de:
Brian Jensen,Tyler Castleton,Dennis
Crocket,Mollie Shaffer,Gwen
Cundick,Lynn Shurtleff,Marlyn
Collard,Newell
Dayley,Afterglow,Hilary Week,Tyler
Astleton,Serban Nichifor,Liana
Alexandra.

We have the pleasure to present the extraordinary "60x60" Project at the
National University of Music from Bucharest (Romania) -- in the "Chopin"
Concert Hall, on 9 December 2004, 15:00.
With warmest good wishes for
the future,
Click for Reviews in

Romanian
Yours sincerely,
Liana ALEXANDRA
E-mail:
and
Serban NICHIFOR
and
E-mail:
and
snichifor@yahoo.com
Biographical materials concerning Serban Nichifor and

Liana Alexandra are available online:
http://romania-on-line.net/whoswho/NichiforSerban.htm
http://romania-on-line.net/general/duointermedia.htm
23.08.2007
Page 17 of 20
UNIVERSITATEA NATIONALA DE MUZICA BUCURESTI

Sala Chopin
Joi 9 Decembrie 2004, ora 15

LIVING MUSIC FOUNDATION U.S.A.
VOX NOVUS NEW YORK
COMPUTER MUSIC
60 x 60
In program 60 de lucrari de cate 60 de secunde semnate de:
Riad Abdel-Gawd , Aaron Acosta, Liana Alexandra,

John Allemeier, Christian Banasik, Dennis Bathory- Kitsz, Stephen Betts,
Sandeep Bhagwati, Justin Breame,
Scott Brickman, George Brunner, Robert Carl, Miha Ciglar,
David Claman, Douglas Cohen, Noah Creshevsky,
Leslie de Melcher, Patrick Dorobisz, Moritz Eggert, Karlheinz Essl,
Carlo Forlivesi, David Gamper,
Douglas Geers, Peter Gilbert, Robert Gluck, Daniel Goode, Ramon
Gorgoitia,
James Hegarty, Mark Henry, Erik Hinds, Bernand Hughes, David Jaggard,
Keith Johnson,
Michael Kinney, John Link, David T. Little, Guy Livingston,
Annea Lockwood, Juan Maria Solare, Charles Mason, James McWilliam,
Luis Menacho, David Mooney,
Michael Murphy, Serban Nichifor, Richard O'Donnell, Maggi Payne,
Mark Petering, Morgan Quaintance,
Giuseppe Rapisarda, Laura Reid & Andrew Hudson, Robert Sazdov,
Jacky Schreiber, Alex Shapiro,
Emma Shiffrin, Allen Strange, Thomas Sutter,
Vladimir Tosic, Eldad Tsabary, Robert Voisey.
Prezinta Liana Alexandra si Serban Nichifor
Intrarea libera
More on the 60x60 Concerts around the world.
23.08.2007
Page 18 of 20
UNIVERSITATEA NATIONALA DE MUZICA BUCURESTI

Sala 54
Centrul de Informatica
Sambata 11 Decembrie 2004, ora 14

Editia a VII-a
COMPUTER MUSIC
Intalnire cu compozitorul si informaticianul
Daniel Wojcik
(U.S.A.)
creatorul programului MIDImage

Directori Artistici
Liana Alexandra
si
Serban Nichifor
Intrarea libera
The ASF sound clip cited below, although not immediately available for
audition, may be heard by arrangement with the webmaster.
Sound Clip:
Serban Nichifor: "Epiphany" for cello and piano (1994) [10:53]
Serban Nichifor, cello; Liana Alexandra, piano
clip properties: epiphany.wma [1-min.][125 KB]
23.08.2007
UNIVERSITATEA NATIONALA DE MUZICA

BUCURESTI
Sala 54
Centrul de Informatica
Sambata 11 Decembrie 2004, ora 14

Editia a VII-a
COMPUTER MUSIC
Intalnire cu compozitorul si informaticianul
Daniel Wojcik
(U.S.A.)
creatorul programului
MIDImage
Directori Artistici
Liana Alexandra
si
Serban Nichifor
Intrarea libera
NUOVA MUSICA CONSONANTE ANTHOLOGY

(1990-2003)
on mp3
-1NUOVA MUSICA CONSONANTE - BUCHAREST

NATIONAL UNIVERSITY OF MUSIC
Chopin Hall, 19-X-2000
HOLLAND
- 1.) TON DE LEEUW - Apparences for cello solo (14:34)
- 2.) LOUIS ANDRIESSEN - La Voce for cello solo (6:41)
- 3.) JAN VAN VLIJMEN - Tombeau for cello solo (19:07)
Serban Nichifor - cello
- 4.) ROB DU BOIS - Sketch for cello and piano (7:57)
- 5.) COR DE GROOT - En Ut for cello and piano (3:26)
Serban Nichifor - cello and Liana Alexandra - piano
(c) by NMC-LMF (USA), BUMA

NATIONAL UNIVERSITY OF MUSIC
Chopin Hall, 28-II-2000
JAPAN
- 1.) MAKOTO SHINOHARA - Evolution for cello solo (14:18)
- 2.) SATORU IKEDA - Sonata for cello solo (12:42)
- 3.) KEIKI OKASAKA - Komposition A for cello solo (13:25)
- 4.) REIKO MOROHASHI - Preghiera for cello solo (9:42)
- 5.) KAZU MUNAKATA - Llueve I for cello solo (10:50)
- 6.) JOJI YUASA - Interpenetration for 2 flutes (6:11)
Adrian Buciu and Toma Dan - flutes
- 7.) YORI-AKI MATSUDAIRA - Co-Action I and II for cello and piano (10:55)
- 8.) MICHIO MAMIYA - Chiran Bushi and Ginzuru Bushi for cello and piano (5:33)
Serban Nichifor - cello and Liana Alexandra - piano
(c) by NMC-LMF (USA), JSCM

GOETHE-INSTITUT BUCHAREST
2-XII-1992
GERMANY
- 1.) JOHANN SEBASTIAN BACH - Aria for cello and piano (6:17)
- 2.) PAUL HINDEMITH - Phantasiestck in B-Dur Op.8 Nr.2 for cello and piano (11:51)
- 3.) WOLFGANG RIHM - Grat for cello solo (6:03)
- 4.) HEINO BECKER - Spiel-Zeug Nr.18 for cello and piano (6:09)
- 5.) KARLHEINZ STOCKHAUSEN - Klavierstck Nr.9 for piano solo (5:10)
- 6.) BERND A. ZIMMERMANN - Vier kurze Studien for cello solo (3:11)
- 7.) ANTON WEBERN - Sonate for cello and piano (2:08)
- 8.) ANTON WEBERN - Drei Stcke for cello and piano (2:03)
- 9.) SIEGRID ERNST - Sieben Miniaturen nach japanischen Haiku
for voice, cello and piano (12:05)

Serban Nichifor - cello, Liana Alexandra - piano
and Vladimir Popescu-Deveselu - voice
- 10.) URSULA GORSCH - Carjo Samlero - Drei Duette fr zwei Flten (4:20)
Nicolae Maxim and Constanta Badaluta - flutes
(c) by NMC-LMF (USA), GEMA

U.S.A. (I)
(AMERICAN CENTER - BUCHAREST, 14-X-1992)
- 1.) GEORGE GERSHWIN - Prelude for cello and piano (3:04)
- 2.) GEORGE CRUMB - Dream Images for piano solo (6:09)
- 3.) GEORGE CRUMB - Fantasia for cello solo (3:02)
- 4.) AARON RABUSHKA - Doina for cello and piano (4:12)
- 5.) SAMUEL BARBER - Sonata for cello and piano (excerpts) (3:00)
- 6.) DAVID KOBLITZ - Rigor Vitus for cello, trumpet and piano (1:45)
- 7.) STEPHEN MAYER - Tom Thumb for cello, trumpet and piano (2:51)
- 8.) CHARLES IVES - 2 Songs for cello, trumpet and piano (5:25)
- 9.) BRIAN FENNELLY - Tesserae II for cello solo (11:31)
and Ilie Voicu (trumpet)
ISRAEL
(UNMB, 21-IV-1996)
- 10.) PAUL BEN-HAIM - Canzona for cello and piano (7:31)
- 11.) JOACHIM STUTSCHEWSCHY - 6 Israelian Dances for cello and piano (10:05)
(c) by NMC-LMF (USA), ASCAP
(1995-2002)
BELGIUM (I)
- 1.) CESAR FRANCK - Panis Angelicus for cello and piano (3:04)
- 2.) EUGENE YSAYE - Grave for cello solo (5:08)
- 3.) JACQUES LEDUC - Trois Pices for cello solo (10:34)
- 4.) JACQUES LEDUC - Elgie for cello and piano (5:39)
- 5.) ANDRE LAPORTE - C-isme for cello solo (5:11)
- 6.) ELIAS GISTELINCK - Song for Beatrice for cello and piano (7:04)
- 7.) RAOUL DE SMEY - Reflexie 1 for cello solo ((3:19)
- 8.) RAOUL DE SMET - Log boek 1 for cello solo (15:23)
- 9.) RAOUL DE SMET - Reminiscenties 3 for cello and piano (5:03)
- 10.) RAOUL DE SMET - Nocturne for cello and piano (9:10)
(c) by NMC-LMF (USA), SABAM

(1995-2002)
BELGIUM (II)
- 1.) LUCIEN POSMAN - 22 for cello solo (5:48)
- 2.) WALTER HUS - Cadenza for cello solo (9:00)
- 3.) BOUDEWIJN BUCKINX - Naschrift for cello and piano (4:06)
- 4.) BOUDEWIJN BUCKINX - In de buurt van Neptunus for cello and piano (9:08)
- 5.) BOUDEWIJN BUCKINX - Ex Cello de Coelo for cello and piano (11:34)
- 6.) BOUDEWIJN BUCKINX - Concerto for Cello and Orchestra (20:38)
Arad Symphony Orchestra,
Dorin Frandes - conductor
(c) by NMC-LMF (USA), SABAM

U.S.A. (II)
UNMB (6-XII-1999), American Center (16-X-2001)
and Romanian Athenaeum (26-V-2002)
- 1.) CHARLES NORMAN MASON - The Artist and His Model
for cello and tape (9:39)
- 2.) DOROTHY HINDMAN - drowningXnumbers for cello solo (12:31:)
- 3.) LIANA ALEXANDRA - Incantations III for cello and tape (12:10)
- 4.) DWIGHT WINENGER - Structural Variations on Two Obscure Themes
for cello solo (8:27)
- 5.) SERBAN NICHIFOR - Issyhia II for cello and tape (6:55)
- 6.) AARON RABUSHKA - Les Strophes d'Orphe for cello solo (10:08)
- 7.) RODNEY OAKES - Fantasy for cello and electronics (9:00)
(c) by NMC-LMF (USA), ASCAP

U.S.A. (III)
UNMB, 8-III-2003 (concert-tr.13-14); 22
and 29-III-2003 (recordings-tr.1-12)
- 1.) SAMUEL WARD (arr.L.A.) - America the Beautiful (2:54)
- 2.) SERBAN NICHIFOR - Amazing Grace Echo (3:14)
- 3.) LIANA ALEXANDRA - Welcome Rich (5:54)
- 4.) LIANA ALEXANDRA - Good Morning, Sue (3:07)
- 5.) LUACINE CLARK FOX (arr.L.A.) -Love one Another (3:59)
- 6.) SERBAN NICHIFOR - Four Mormon Songs (3:06)
- 7.) JOHN J. MCCLELLAN (arr.L.A.) - Sweet in the Work (3:15)
- 8.) MORMON FOLKLORE (arr.S.N.) - The Spirit of God (2:35)
- 9.) LAURENCE LAYON (arr.L.A.) - Create an Atmosphere (1:51)
- 10.) GWEN M. CUNDICK (arr.L.A.) - A Family is Forever (2:30)
- 11.) T. CASTETON (arr.S.N.) - Perfect Love (3:46)
- 12.) CHERIE CALL (arr.S.N.) - Promises I Keep (3:28)
- 13.) S. PETERS (arr.S.N.) - Fearless Heart (with voices) (4:04)
- 14.) CHERIE CALL (arr.S.N.) - Promises I Keep (with voices) (4:03)
Susan McClellan - flute, Liana Alexandra - piano,Serban Nichifor - cello (1-12),
T. J. Love - soprano, Mary Lubic - mezzo-soprano (13-14)
(c) by DESERET BOOK (USA), NMC-LMF (USA), ASCAP
(1992-2002)
FRANCE
- 1.) CLAUDE DEBUSSY - Sonate for cello and piano (p.I-II) (8:17)
- 2.) FRANCOIS BOUSCH - Trois Miniatures for cello solo (6:27)
- 3.) MAURICE RAVEL - Habanera for cello and piano (2:54)
VARIA
- 4.) GASPAR CASSADO - Sonata for cello solo (12:10)
- 5.) ANTANAS KUCINKAS - A la Maria for cello and piano (3:09)

- 6.) PIOTR LACHERT - Te ne ricordi ? for cello solo (10:29)
- 7.) MAREK KOPELENT - Karrak for cello and piano (7:41)
- 8.) HEITOR VILLA-LOBOS - Piece for cello and piano (3:08)
- 9.) PIOTR I. TCHAIKOVSKY - Pezzo Capriccioso for cello and piano (6:07)
(c) by NMC-LMF (USA), SACEM, SABAM, UCMR-ADA
- 10 NUOVA MUSICA CONSONANTE - BUCHAREST

(BUCHAREST, GENT, ANTWERPEN - 1999-2000)
ROMANIA (I)
- 1.) LIANA ALEXANDRA - Fantasia for cello and piano (12:43)
- 2.) LIANA ALEXANDRA - Five Sequences for cello and piano (7:55)
- 3.) ADRIAN POP - Cadenza for cello solo (5:30)
- 4.) ADRIAN MOCIULSCHI - Anamnesis for cello and piano (2:58)
- 5.) NICOLAE COMAN - Monodia for cello solo (5:06)
- 6.) NICOLAE COMAN - Canto for cello and piano (2:14)
- 7.) CORNELIU DAN GEORGESCU - Gemini for piano solo (4:12)
- 8.) DORU POPOVICI - In Memoriam Tristan Tzara for cello and piano (7:07)
- 9.) SERBAN NICHIFOR - Conceptofonia for cello and piano (9:42)
- 10.) SERBAN NICHIFOR - Epifania for cello and piano (10:43)
(c) by NMC-LMF (USA), UCMR-ADA
- 11 NUOVA MUSICA CONSONANTE - BUCHAREST
(BUCHAREST, CLUJ, PESCARA, ANTWERPEN - 1996-2002)
ROMANIA (II)
- 1.) LIANA ALEXANDRA - Chant d'amour de la dame la licorne
for soprano, cello and piano (24:23)
- 2.) LIANA ALEXANDRA - The Voice for bass, cello and piano (11:24)
- 3.) SERBAN NICHIFOR - Oration for soprano,cello and piano(6:16)
- 4.) SERBAN NICHIFOR - Invocatio for cello and piano (5:51)
- 5.) SERBAN NICHIFOR - Amazing Grace Echo
for cello and piano (3:16)
- 6.) LIANA ALEXANDRA - Melody for cello and piano (3:04)
- 7.) LIANA ALEXANDRA - Jerusalaim Shel Zahav
for cello and piano (2:51)
- 8.) LIANA ALEXANDRA-SERBAN NICHIFOR - Improvisation
on Byzantine Themes for cello and piano (3:10)
Georgeta Stoleriu - soprano, Pompei Harasteanu - bass,
(c) by NMC-LMF (USA), UCMR-ADA
Page 2 of 6
02.09.2008
Page 3 of 6
Liana Alexandra with Gold Medal for Romania 2008

from American Biographical Institute
Liana Alexandra and Serban Nichifor
02.09.2008
Page 4 of 6
sueliaser/friendship
lianaalexandra/classic_blue
serbannichifor/classic_blue
novacons2001/classic_blue
New Attractions:
"Cries from Earth to Heaven" by Serban Nichifor -- dedicated to Holocaust Survivors
and Remembrance Network - iSurvived.org
Copyright (c) by Holocaust Survivors and Remembrance Network, Forget You Not
Project & Network, NatureQuest Publications, PO Box 381797, Cambridge, MA
02238-1797, U.S.A.,
http://iSurvived.org
Email: Contact@iSurvived.org
Midi: http://isurvived.org/SerbanNichifor-music.html
movies sites:
Video Concerts
Liana Alexandra
Symphony #4
Cristian BRANCUSI - conductor
Romania Radio Orchestra
Video Concerts
Serban Nichifor
Solo Cello
Structural Variations
by Dwight Winenger
The ASF sound clip cited below, although not immediately available for
audition, may be heard by arrangement with the webmaster.
Sound Clip:
Serban Nichifor: "Epiphany" for cello and piano (1994) [10:53]
Serban Nichifor, cello; Liana Alexandra, piano
02.09.2008
Page 5 of 6
clip properties: epiphany.wma [1-min.][125 KB]
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Background music is "Morgana Rag"

for Rhodes Piano by Serban Nichifor 2004
all rights reserved
02.09.2008
2007 Visual Music Marathon
With best wishes,

Dennis Miller, Artistic Director
the original marathon concept in conjunction with a music program for the 2000 Cyberarts
festival.
I would also like to thank Andrew Scott for setting up and maintaining all IT systems for the
Marathon and Anthony DeRitis, Chair of the Music Department at Northeastern, for his early
and invaluable support. Finally, a nod to Eric Chasalow of Brandeis University, who conceived
Thanks also to Maureen Ton, who designed all online and print materials for the event, and
Arthur Rishi, who provided enormous help with the promotion and production of the show.
Cindy Keefer of the Center for Visual Music for her expert advice on the planning and production
of the event.
This event would not have been possible without the efforts of a number of people. I would
like to thank Professors Ann Steuernagel and Isabel Meirelles of Northeastern University for
assisting in the selection of works from the open call. Thanks also to Sung-Joo Kim, director and
programmer of Animpact, Korea, for his programming suggestions. I would also like to thank
Maura McDonnell of Trinity College, Dublin, explores the background of visual music in great
detail.) All of these approaches can result in interesting and compelling compositions, and we
hope that you will nd many works of interestamong the 120 pieces presented today.
The works on the Marathon represent a vast range of approaches to visual music, from pieces
in which the images and music are directly tied by the sharing of parameters, to those in which
the images interpret the music (or vice versa), to works where the visuals are edited in tight
synchrony with cues in the music. (In her excellent article found elsewhere in this booklet,
to the 2007 Visual Music Marathon! The Marathon received over 300
works from 34 countries for its open call, and we are excited to be able to present the very best
of those today. We are also screening works chosen by our two principal guest curators, Bruce
Wands of the School of Visual Arts and New York Digital Salon, and Larry Cuba of the Iota Center,
plus several historic works on 16 mm lm. These will be complemented by other pieces from a
number of invited guest artists and by live video performances by Brian Knoth and Jeff Mission.
Welcome
Hour 5 2pm - 3pm

Hour 6 3pm - 4pm
Hour 7 4pm - 5pm
Hour 8 5pm - 6pm
Hour 9 6pm - 7pm
Hour 10 7pm - 8pm
Hour 11 8pm - 9pm
Hour 12 9pm - 10pm
Guest Curators
33
37
40
42
45
47
48
50
54
Sean Capone, single frame from The

Plain Silvery Side of This Disc (2006)
Schedule
Hour 4 1pm - 2pm
31
56
Hour 3 12pm - 1pm
29
Hour 1 10am - 11am
22
Hour 2 11am - 12pm
Article Citations
19
25
Article Visual Music
Table of Contents
HOUR
2pm - 3pm
Continued
HOUR
3pm - 4pm
HOUR
4pm - 5pm
HOUR
3pm - 4pm
Continued
Thank you so much for sending me your updated Introduction to

Computer Music. It is a great achievement, and will be of much use to
your students and people working in the field. Congratulations.
BARRY SCHRADER
Professor - CALARTS: California Arts School of Music
Dear Serban,
Thank you very much for sending your book. I appreciate it very
much.
BEN BIERMAN
Professor - Center for Computer Music at Brooklyn College
Conf. univ. Dr. Serban NICHIFOR
REPERE
INTR-O ANALIZA HOLISTICA A
POSTMODERNISMULUI
MUZICAL
Synopsis I
UNIVERSITATEA NATIONALA DE MUZICA

BUCURESTI
Octombrie 2006
Prof.Dr. Serban NICHIFOR

National University of Music Bucharest
THE IMPORTANCE OF THE CHAMBER MUSIC GENRE
IN THE PERSPECTIVE OF THE CULTURAL DEVELOPMENT
OF EUROPE
(speech)
- SYLLOGISM
- Major Premise: the complexity of the genre;
- Premise - min.1: the prestigious baroque, classic, romantic,
modern, and postmodern repertory;
- Premise - min.2: the accessibility of the genre a.) in the public
perspective; b.) in the economical perspective (relating to the
production, distribution, and consumption of goods and
services);
- Premise - min.3: the open configuration of the genre a.)
relating to the ensemble structure; b.) relating to the interactive
live-electronic music / live-computer music / Internet chamber
music experiments (for example, the SoundWIRE research
project - http://ccrma.stanford.edu/groups/soundwire/ );
- Premise - min.4: the application in the curriculum of the new
analysis systems : the Schenkerian Analysis, the
Phenomenology-based Analysis, and the Computer Analysis
software projects - for example, MaMuTh
( http://flp.cs.tu-berlin.de/MaMuTh/ ) ,
and Wavesurfer (http://www.speech.kth.se/wavesurfer/ )
see APPENDIX;
Premise - min.5: the interferences with complementary musical

genres (opera, symphonic, choral, vocal, jazz, pop, folk, rock,
new age), with video productions (example: chamber music with
real time visualizations like fractal structures from the
Mandelbrot Set), and with some experimental applications
(therapy, genetic music , etc.).
CONCLUSIONS (E Pluribus Unum )

- C.1 - The application of a synchronized european curriculum in
the field of the chamber music course, leading to graduation and to
the integration of the students in the so abundant musical activities
in connection with the intra- and extra-european experiences.
- C.2 The importance of the contemporary musical styles (in
postmodernism process, minimal, spectral, ambient, new consonant,
new age, visual, fractal, genetic, psybient music, etc.) in the chamber
music repertory of the students (ca 33%) in connection with the
traditional repertory (ca 66%), in a feedback process.
- C. 3 The autonomy of the chamber music professor (his right of
self-government, in connection with the Bologna documents) particularly interested in developing an outstanding curriculum (that
integrates musical instruction/ chamber coaching with creative
presentation/ selected chamber performances) in order to produce
distinguished and - in fact ! - innovative musicians for the future. The
educational chamber music program integrates also master classes of
some important artists.
- C.4 In the evaluation of the musical performance the
purpose is to examine the effects of rating scale instruction on selfevaluation accuracy among student musicians (apud Nathan B.
Kruse, The Effect of Instruction on Sixth Grade Band Students
Abilities to Self-Rate Etude Performance,Michigan State University,
School of Music,
http://www.rider.edu/~vrme/v8n1/vision/VRME_Submission.Kruse.p
df. ). Results indicated that rating scale instruction was more effective
than no rating scale instruction in helping students improve self-rating
accuracy () Rating scale instruction may not only benefit students
self-evaluation accuracy, but may also be a practice strategy toward
improving students independent musicianship.
REFERENCES
- Bergee, M. J. & Roberts, L.C. (2002). Effects of small-group peer interaction
on self- evaluation music performance. Journal of Research in Music Education,
50(3), 256-268.
- Bundy, O. R. (1987). Instrumentalists perception of their performance as
measured by detection of pitch and rhythm errors under live and recorded
conditions. (Doctoral dissertation, Pennsylvania State University). Dissertation
Abstracts International, 48-10A, 2567.
3
- Colwell, C. M. (1995). Effects of teaching setting and self-evaluation on
teacher intensity behaviors. Journal of Research in Music Education, 43(1), 6-21.
- Davidson, L., & Scripp, L. (1992). Surveying the coordinates of cognitive
skills in music. In R. Colwell (Ed.), Handbook of research on music teaching and
learning (pp. 392-413). New York: Schirmer.
- Elliott, D. J. (1995). Music matters: A new philosophy of music education. New
York: Oxford University Press.
- Ericsson, K. A. (1997). Deliberate practice and the acquisition of expert
performance: An overview. In H. Jorgensen & A. C. Lehman (Eds.), Does
practice make perfect? Current theory and research on instrumental music practice
(pp. 9-52). Oslo, Norway: Norges musickkholshole.
- Fiske, H. E. (1978). The effect of training procedure in musical performance
evaluation on judge reliability. Ontario Education Research Council Report.
- Gordon, E. (2002). Rating scales and their uses for measuring and evaluating
achievement in music performance. Chicago: GIA.
- Hewitt, M. P. (2001). The effects of self-evaluation, self-listening, and
modeling on junior high instrumentalists music performance and practice
attitude. Journal of Research in Music Education, 49(4), 307-322.
- Hewitt, M. P. (2002). Self-evaluation tendencies of junior high
instrumentalists. Journal of Research in Music Education, 50(3), 215-226.
Jorgensen, H. (1995). Teaching and learning strategies in instrumental practice:
A report on research in progress. In J. A. Taylor (Ed.), Transatlantic roads of
music education: World Views, 47-51. Tallahassee, FL: Center for Music
Research.
- Linn, R., & Miller, M. D. (2005) Measurement and assessment in teaching (9
th Edition). Upper Saddle River, NJ: Prentice-Hall.
- McPherson, G. E., & Zimmerman, B. J. (2002). Self-regulation of musical
learning: A social cognitive perspective. In R. Colwell & C. Richardson (Eds.),
The new handbook of research on music teaching and learning, 327-347. New
York: Oxford University Press.
- Nicholls, J. G. (1984). Achievement motivation: Conceptions of ability,
subjective experience, task choice and performance. Psychological Review, 91,
328-346.
- Rosenthal, R. K. (1985). Improving teacher effectiveness through selfassessment: A case study. Update: The Applications of Research in Music
Education, 3(2), 17-21.
- Saunders, T. C., & Holohan, J. M. (1997). Criteria-specific rating scales in
the evaluation of high school instrumental performance. Journal of Research in
Music Education, 45, 259-272.
- Zimmerman, B. J. (1998). Developing self-fulfilling cycles of academic
regulation: An analysis of exemplary instructional models. In D. H. Schunk & B.
J. Zimmerman (Eds.), Self-regulated learning: From teaching to self-reflective
practice. New York: Guilford.
- Zimmerman, B. J. (2000). Attaining self-regulation: A social cognitive
perspective. In M. Boekaerts, P. Pintrich, & M. Zeidner (Eds.), Handbook of selfregulation, 13 39. San Diego, CA: Academic Press.
APPENDIX: Example of Computer Analysis

in the Chamber Music Course
JOHANN SEBASTIAN BACH
DIE KUNST DER FUGE

THE ART OF FUGUE
BWV 1080 (1750)
Arrangement for Guitar Quartet

Serban NICHIFOR (2006)
Copyright 2006 by Serban NICHIFOR (SABAM)
Living Music Journal Late-breaking Member News!
the
Page 1 of 19
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[Hard-copy synopses] Latest issue: Vol.20 No.2
R. Murray Schafer issue [Unsolicited Testimonials]
Living Music Journal...

Late-breaking Music News...
Member news
Welcome to New members
The following Member News announcements/opportunities

arrived during the inopportune period between hard-copy issues.
We have put them online so our online visitors will not miss the
opportunities these announcements afford:
1.
The Music of
H. Leslie Adams
News Update-(Thursday, July 31, 2008)
http://www.dwightwinenger.net/journalx1.htm
07.10.2008
Page 2 of 19
Adams, H. Leslie. "Offertory." In: King of Kings. (Anthology of organ works, Vol. I). Comp. and
James Abbington. Chicago: GIA Publications, 2008.
============================
"Love Rejoices: Songs of H. Leslie Adams" [2nd ed.; Darryl Taylor, tenor]
/www.amazon.com
cdbaby.com
MP3 Download:
www.greatindie.com
____________________
www.towerrecords.com
=====================
"Twelve Etudes"
[Maria Corley, pianist]
imaramusic.com
cdbaby.com
MP3 Download: /www.greatindie.com
____________________
www.amazon.com
=======================
HOMEPAGE: www.hleslieadams.com
community.webtv.net/
2.
Vox Novus
&
07.10.2008
Page 3 of 19
Max Shea, Martian Gardens

WMUA 91.1 FM
www.WMUA.org
Chris Pasles of the LA Times writes abo
Rob Voisey and the 60x60 project:
www.calendarlive.com/music
See also: Fly Global Music Culture Mag
written by Anne Cammon:
www.fly.co.uk/fly
and...
MySpace realm:
www.myspace.com/60x60
www.myspace.com/voxnovus60x60proje
www.myspace.com/60x60cd
www.myspace.com/robvoisey
2006 Midwest Minutes includes 60 60-second works by 60 composers:
Count them...sixty (60)
composers
Aaron Acosta
Brian Allen
Dwight Ashley
Jeremy Baguyos
Marita Bolles
Nils Bultman
Nicolas Buron
Christopher Cook
David Cubberly
Lucio Cuellar
Brad Decker
Ian Dicke
Greg Dixon
Mark Eden
Monroe Golden
Arthur Gottschalk
Richard Hall
James Hegarty
Stuart Hinds
Lynn Job
Cory Kasprzyk
Michael Khoury
Gary Knudson
HyeKyung Lee
Patrick Liddell
Stan Link
Don Malone
Deborah Monroe
Sean O'Neill
Thomas Park
Colin Pool
Carmel Raz
Steven Ricks
John Ross
Stephen Rush
Bill Ryan
David Sartor
Brian Schorn
Mozhgan Shahidi
Rachel Slusarczyk
Alex Templ
Balie Todd
Joseph Vogel
07.10.2008
Timothy Dwight Edwards

Ivan Elezovic
Doug Geers
Scott Gendel
Michael P. Geraci
Michele Gillman
David Morneau
Jeff Myers
David Newby
Judith Newby
Lewis Nielson
Page 4 of 19
Robert Voisey
Andrew Walters
Justin Writer
Cherilyn Young
and ~chromatik_d_zabu.tmp (colle
The Opening Concert will also feature [un] wired by Jesse Allison, John Fillwalk and Keith Kothm
=======================
2003 Project premiered:
New York City Premier
UNDER St. Marks
94 Saint Marks Place, between 1st Avenue and Avenue A
basement space, East Village, Manhattan, New York
Composers and their works:
1. Hiromi Abe Guess 01
33. Tom Lopez Moth
2. Aaron Acosta Traffic Under 60
34. Eric Lyon Molten Statues
3. Norman Adams Partial precept
35. Eugene Marlow 48 Rows in One
4. John Allemeier Skrit
Minute
36. David Evan Mooney Ducks in
5. Nery Pedro Bauer Junior Machine
Motion
#01
6. Vladimir Beluntsov A minute weight 37. Samy Mousa Papa
38. Marco Oppedisano The End is Near
7. Charles Berry Passing Gas
8. Scot Brickman Signature: Peace
39. Terry Winter Owens Disclavier-Das
9. George Brunner Radio Play
Klavier
10. David Campbell The Sputnik Diary 40. Maggi Payne 60 Spin
11. Eliot Carson love hurts
41. Mark Petering Life Cycle
12. David Claman Loomings
42. Gene Pritsker Junk Fragment
13. Andy Cohen rim at x (rat mix)
43. Aaron Rogier Going
14. Douglas Cohen Welcome
44. James Romig Fragment
15. Noah Creshevsky Try
45. Josh Ronsen brkekexkoaxkoax
16. Stephen Decesare Moondance
46. Marianna Rosett Two-Part Invention
17. Derek Devore System Activated
18. Michael Edgerton A Little Watter,
47. Philip Schuellser Peptyde
man
Hallucinatione
19. Daniel Eichenbaum Car Accident
48. Coa Schwab Miniature 01
20. Mikado Endo Where am I?
49. Eric Schwartz the electronic music
21. Elaine Fine Imagine Happiness
revolution will most certainly
be televised with the five part harmony,
22. Wesley Fuller Aegean blue
23. Matias Giuliani Un Siglo, un minuto full orchestration, and all the
phenomena
24. Gerado Perez Giusti Mini-A-Tura
50. Andrew Shapiro Coda Piece
25. Gordon Green Birds
51. Judith Shatin Glimmerings
26. David Hahn Goo Mee
52. Juan Solare nice noise
27. James Hegarty Reset: 59.5
28. Norbert Herber Trak News Agency 53. Allen Strange shadow boxer
29. David Evan Jones Writing Out Loud 54. Benjamin Thigpen nous n'avons
qu'un espair au monde
30. Michael Kinney One Minute of
55. Eldad Tsabary Lost-Salvage-Divined
listening pleasure
07.10.2008
Page 5 of 19
31. Mary Jane Leach Dido Remembered

32. Stan Link Cavatina from an
56. Michael Vernusky The Singularity
Imaginary Opera
57. John Villec Glassbur
58. Robert Voisey ripples in sand
59. Christopher McWard Dance,
Truman, Dance.
60. Dwight Winenger rnd.snd.bas
3.
More about H. Leslie Adams

(There may be some repetition from #1 above.)
Opera North, Pennsylvania's only African American Opera Company, cordially invites you
to "Blake", the second presentation of An African American Triptych on Saturday, April
12th at 8:00 pm, at the Trinity Center for Urban Life, 2212 Spruce Street in Philadelphia.
============================
=====================
"Love Rejoices: Songs of H. Leslie Adams"
"Twelve Etudes"
[2nd ed.; Darryl Taylor, tenor]
www.amazon.com
imaramusic.com
cdbaby.com
cdbaby.com
MP3 Download:
MP3 Download:
www.greatindie.com
www.greatindie.com
____________________
____________________
www.amazon.com
=======================
-------------------------------------------------------------------------------africlassical.blogspot.com
BLAKE was given two notable excerpt performances following its VOX Showcase
presentation. On November 7, 2006 THE BLAKE SUITE was featured on the Chamber
Music Live Series at Queens College, Flushing New York, and on January 3, 2007 at the
Schomburg Center in New York City. The latter presentation, by Avava Artists, was the
official opening concert for the 52nd Annual Convention of the National Opera Association
Convention.
The opera tells the story of young love, forced separation and the search for true love in the
antebellum South prior to the Civil War. It also depicts the quest for freedom during those
turbulent times in America. The opera, when performed in its entirety, is in four acts with a
running time of about two and a half hours.
Adams' works are increasingly gaining in visibility and audience and critical acclaim. The
composer recently did a week-long residency at Morehouse College, Atlanta, Georgia,
07.10.2008
Page 6 of 19
(February, 2007) which culminated in a concert of his art songs and music from a new
drama with music, "Slaves." An all-Adams concert was also presented by the East
Cleveland, Ohio Public Library in the Greg Reese Performing Arts Center (January,
2007). ###
On January 7, 2006 the National Opera Association awarded its Lift Every Voice Legacy
Award to Composer H. Leslie Adams.
The event took place in Ann Arbor, Michigan at the Four Points Hilton Hotel, which hosted
NOA's 51st Annual Convention.
Adams was present to receive the award, and earlier in the week participated in a Panel of
Composers and Impresarios discussing the "Future of Opera in America."
His song group, "Daybirth, " on texts of Joette McDonald, was the topic of a scholarly
paper presented by Gail Robinson, with McDonald also present.
Adams accompanied Robinson on "Lullaby Eternal," a song from "Daybirth" at the paper
presentation and again, at the request of the Convention, as a finale to the final session: a
banquet which featured winners of the vocal competitions held during the convention.
Adams award reads, "The National Opera Association presents this 'Lift Every Voice
Legacy Award' to H. Leslie Adams; January 7, 2006." ###
Maestro Aurelio de la Vega presented an illustrated lecture on his music April

19, 2006, at the Institute for Cuban and Cuban-American Studies of the
University of Miami, Florida. The title of the lecture is "A Long Musical
Journey." The illustrated lecture was given in connection with an on-going
international celebration of his 80th anniversary. For reservations, phone (305)
284-2822.
Rodney Oakes In Concert
I am enclosing the announcement of my solo concert on April 29. Although I have

performed off and on over the past few years, I have not presented a solo concert of my
original music in about 14 years. I decided it was time to share some of my more recent
works in an intimate setting.
The room at Alvas is quite nice. It is a small venue, seating only 60. I hope I can fill it for
this performance!
I have created what I believe to be some interesting works recently. I am especially excited
about the Blue Bridge, a work for MIDI trombone and DVD. The material is the Vincent
Thomas Bridge and its recent lights.
07.10.2008
Page 7 of 19
I hope to finish another work for MIDI trombone and DVD, Variations on The Krakow
Fanfare. The material dates back to 1241, and am pleased with the progress I am making
with this piece.
Thanks for letting me share with you information about this event.
Rod Oakes
Original Music for the Trombone and Electronics
April 29, 2006
8:00 PM
Rosalie & Alva's Performance Gallery
1417 W. 8th Street
San Pedro, CA 90732
Ten dollar admission
Tickets and information available at (800) 403- 3447
Irwin Swack's work, "Profiles" for clarinet, violin and cello, was
performed at Weill Recital Hall at Carnegie Hall, Sat., Mar. 4, at 2:00 p.m.
FOR IMMEDIATE RELEASE
February 1, 2006, Verona, New Jersey - Subito Music Corporation has

acquired the catalog of Seesaw Music from the family of the late Raoul Ronson.
Subito will retain the Seesaw name and imprint on the entire catalog, which consists of over
3600 works by more than 300 composers.
Seesaw Music Corporation was founded in New York City by Mr. Ronson in 1964 to create
a place for the serious music being created at the time. Subito President Stephen Culbertson
states: `Seesaw Music was one of the first `print-on-demand` publishers, before that term
became current. There are many works with a long performance history, as well as gems
that we hope to re-introduce to the concert music community. We are pleased to be able to
keep the entire catalog intact and available. We hope to add new works to the catalog as
well as modernize the distribution system by using current technology and adding online
ordering capabilities.`
Acquisition of the Seesaw catalog marks a period of unprecedented growth and expansion
for Subito Music Corporation, which recently assumed distribution for the Subito print
catalog, the CD Sheet Music 2.0 product line, and several other series including Large Print
Music and The Digital Editions.
From its inception in 1980, Subito Music Corporation has been a leader in the concert
music publishing industry. Informed by over 125 years of combined experience, SMC is a
full-service music publisher, featuring a roster of world-class composers among its list of
exclusive artists, and offering typesetting and printing, promotion, rental, sales, distribution
and copyright administration services for composers and publishers. In addition, SMC
07.10.2008
Page 8 of 19
consistently identifies creative and practical uses for digital technology, with initiatives
ranging from digital sheet music delivery and short-run print-on-demand capabilities, to its
innovative distribution and promotion agency services and e-commerce functionality.
###
Subito Music Corporation
60 Depot Street
Verona, NJ 07044
tel: (973) 857-3440
fax: (973) 857-3442
www.subitomusic.com
Subito contacts
Stephen Culbertson, President - sc@subitomusic.com
David Murray, Publishing Manager - dbm@subitomusic.com
Bill Rhoads, Promotion Director - branda@subitomusic.com
Patricia Kotsambas, Customer Service Manager - pak@subitomusic.com
I have the great pleasure to send You my new composition "Song of Mars", inspired by a
very beautiful, a fantastic picture realized by the NASA in this extraordinary American
mission to Mars. In fact, the background of this music (the "objective" like organ sounds) is
a conversion of the attached "jpg image" to "midi sounds" (with the "MIDImage" software),
and the melody is my "subjective" contribution...
Faithfully Yours,
Dr. Serban NICHIFOR
Song of Mars by Dr. Serban Nichifor
(Click the image to audition.)
It gives me great pleasure to send You (on MIDI
file) also a new wonderful composition of Liana
ALEXANDRA : RHYTHMS. I like this music !
Faithfully Yours,
Serban
Reviews about NUOVA MUSICA CONSONANTE - LIVING MUSIC FOUNDATION 2003

(Computer Music from U.S.A., Belgium, Italy, England and Romania), for the Bucharest
magazines "Actualitatea Muzi," (January 2004) and "Observator Cultural" (January 2004).
07.10.2008
Page 9 of 19
With our highest regards,

Liana ALEXANDRA & Serban NICHIFOR
Update: February 1, 2004:

I have the pleasure of sending you my compendium "INTRODUCTION TO
COMPUTER MUSIC" - for my course at the National University of Music in Bucharest. In
fact, this is an INTRODUCTION TO MUSIC OF THE UNITED STATES because
Computer Music - this marvelous genre - is 99 % AMERICAN MUSIC !!!
The text is in Romanian, but with numerous English Expressions. In Chapter A
(Chronology), I have inserted some information about you and the your magnificent
LIVING MUSIC FOUNDATION.
Yours faithfully,
Serban NICHIFOR
Note to the reader: email copies of this compendium in Romanian are available from the
webmaster
Jose' Salazar:
Jose' Salazar was presented in concert in New York City at the Weill Recital Hall,
at Carnegie Hall, on March 26, 2006.
Here is the new program of the Composers Colloquium I am organizing at our UNI
since 1996.
With my regards.
Violeta Dinescu
Carl von Ossietzky Universitdt Oldenburg

Fakultdt III
Musik
Kammermusiksaal (A-11)
Ammerldnder Heerstra_e 114-118
Komponisten Colloquium
SS 2003
Musik unserer Zeit
25.4.2003
- 18.00 Uhr Gertrud Meyer-Denkmann (Oldenburg)
Zur Gleichzeitigkeit verschiedener Musikkulturen
2.5.2003
07.10.2008
Page 10 of 19
.00 Uhr Peter Machajdmk (Bratislava/Berlin)

23.5.2003
- 18.00 Uhr Juliane Klein (Berlin)
- in Kooperation mit Oh-Ton Oldenburg 30.5.2003
- 18.00 Uhr Daniel Rothman (LA/USA)
Gast: David Smeyers (Klarinette)
- in Kooperation mit Radio Bremen 6.6.2003
- 18.00 Uhr Lars Graugaard (Kopenhagen/Ddnemark)
20.6.2003
- 18.00 Uhr Peter Schleuning (Oldenburg)
Schleunings Flvtenzirkus.
F|nf Flvten bilden eine Faust: Musikwissenschaft am Limit
27.6.2003
- 18.00 Uhr Insa Oertel: Der Komponist Gustavo Becerra-Schmidt
(Chile/Oldenburg)
- Vortrag in Anwesenheit des Komponisten Gast: Ljuba Markova (Klavier)
4.7.2003
- 18.00 Uhr Mihaela Vosganian (Bukarest/Rumdnien)
und
-20.00 Uhr Diana Simon und Rucsandra Popescu (Bukarest)
Gesprdchskonzert
Dear Dwight,
I am very happy to send you information about my new opera premiere in Oldenburg and
also the program of the composer colloquium I am organizing at the UNI since 1996.
07.10.2008
Page 11 of 19
With my regards,
Violeta
Info Erindira
Oldenburgisches Staatstheater, Kleines Haus
Erindira
Kammeroper von Violeta Dinescu nach Gabriel Garcia Marquez
Musikalische Leitung: Eric Solin
Regie: Mascha Pvrzgen
Ausstattung: Cordelia Matthes
Erindira: Anja Metzger
Grossmutter: Christina Ascher
Ulysses: Paul Brady
(sowie Marit Risnes, Ute Biniass, Alwin Kvlblinger, Brian Joyce, Toshihiko Matsui,
Anthony Gardner)
Kartenbestellung
Tel.: 0441 / 2225 111
Fax: 0441 / 2225 221
Sa., 16.11.2002, 20:00 Premiere
Do., 21.11.2002, 20:00
Mi., 04.12.2002, 20:00
Mi., 11.12.2002, 20:00
Sa., 21.12.2002, 20:00
So., 12.01.2003, 20:00
Sa., 18.01.2003, 20:00
Do., 23.01.2003, 20:00
Am Sonntag, 3. November um 17 Uhr findet die Einf|hrung in das St|ck und die
Inszenierung statt.
weitere Information unter www.oldenburg.staatstheater.de
W|stenwind, Orangenduft und Gr|nes Blut ERENDIRA

einer Novelle von Gabriel G. Marquez
B|hnenbild-Detail
Oper von Violeta Dinescu nach
Eine phantastische Novelle voller poetischer Bilder und magischer Anspielungen bildet die
Vorlage f|r eine Oper mit einer zwischen Realitdt und Traumwelt oszillierenden Handlung.
Magische Rdume aus s|damerikanischen Bilderwelten werden beschworen. Die Musik des
Kammerorchesters bildet eine eigene Welt. Sie bebildert die Handlung nicht, sondern spinnt
selber verschiedene Handlungsstrdnge fort. Sie symbolisiert das ;Unterwegs-Sein+ von
Erindira, ihr Suchen und die Offenheit des Endes. ;Der Klangraum meiner Musik verdndert
sich stdndig wie Treibsand. Man kann in ihm versinken, wenn man selbst nicht schnell
genug ist.+ (Violeta Dinescu) Eine Musik, die nicht der Untermalung dient, sondern die der
Magie der Geschichte eine eigene, poetische Ebene hinzuf|gt.
Premiere
07.10.2008
Page 12 of 19
16.11.2002
20.00 Uhr
Kleines Haus
David Manson's Indie label isospin labs has released two CDs that you may be
interested in if you like innovative and adventurous music.
Fluid Motion is a jazz quintet featuring saxophonist Sam Rivers, a true legend in the jazz
realm. The recording is a balance between structure and freedom. CD Baby has some
excerpts in mp3. www.cdbaby.com/fluidmotion
Visions is a compilation of performances from the EMIT series. The music ranges from free
jazz to electronic and experimental. It is "music for the strong of ear" featuring Peter
Kowald, Evan Parker, Sam Rivers, Amy Denio, Day & Taxi, Eugene Chadbourne,
Davey Williams, Pamela Z, Daniel Carter and other artists. www.cdbaby.com/cd/emit
The recordings are available via CD Baby, NorthCountry and Wayside.
Thanks for your support of creative music!
David Manson
EMIT
www.emitseries.org
mansond@email.spjc.cc.fl.us
Vivian Adelberg Rudow's full orchestra music SPIRIT OF AMERICA was premiered
on Friday, July 12, 2002, 7:00 PM performed by the Chesapeake Orchestra, Jeffrey
Silberschlag conductor, during a FREE River Concert Series at St. Mary's College, St.
Mary's City, Maryland.
Adelberg Rudow and friends conducted in the audience during audience participation
sections of SPIRIT OF AMERICA.
The River Concert Series, a set of festive high quality outdoor concerts, draws
approximately 4,000 people per concert. The variety of styles of music professionally
performed, good food, the beautiful waterfront setting, create a unique music experience.
For more information about the River Concert Festival and directions, see the web site:
www.smcm.edu/rcs
For more information from the composer: phone 410-889-3939, E-mail:
VivianAR@jhu.edu
Liana Alexandra's paper on the Living Music Foundation, presented on Friday, 5

April 2002, at the National University of Music of Bucharest on the occasion of their
annual festival of the faculty of Composition, Musicology, and Pedagogie was wellreceived and will be published in a cultural review to be reproduced in part here.
07.10.2008
Page 13 of 19
Sent: Friday, May 03, 2002 1:46 PM

Subject: "Living Music" by Liana Alexandra
Dear Sir,
I have the honour to present my article intitled "Living Music" published at the review
OBSERVATOR CULTURAL this week (nr.114). You can see this article on
www.observatorcultural.ro
Sincerely yours,
Liana Alexandra lianaalexandra@pcnet.ro
Member News - Joseph Pehrson - 4/01/08
The Composers Concordance would like to announce a new video on YouTube by our
co-director, Joseph Pehrson.
YouTube
It's a piece called "Spinner" and it is here shown at the Moscow Composers' Union. The
piece is for clarinet, bassoon, viola and cello (2007) and it was also performed in Moscow
as part of the "Jurgenson Salon" on March 22, 2008.
Performers are Alexander Filatov, clarinet, Sergei Grashchenkov, bassoon, Anastasia
Ponochevnaya, viola and Lydia Zinchenko, cello...
Joseph Pehrson recently had two performances of his Spectral Harmony for saxophone
and French horn by Jean Luc Darbellay's group, the "Spectral Ensemble" in Bern
Switzerland and Mulhouse, France March 15 and March 17, 2002.
In addition, his work Three Pianopieces will be performed by pianist Jeffrey Jacob, of
George Crumb notoreity at New York University on April 29, 2002 at Loewe Theatre. Mr.
Jacob will also be recording the piece commercially this Summer.
07.10.2008
Page 14 of 19
Two additional pieces by Pehrson will be featured this Spring which use electronics and
which are in unusual tuning systems. On Saturday, May 25th, 2002 Pehrson's Blackjack for
trombone and electronics in the just intonation "Blackjack" scale will be played by Chris
Washburne, trombone on Johnny Reinhard's American Festival of Microtonal Music at the
Roulette performance space in New York.
The Composers Concordance will be presenting another unusual work in an alternate
tuning for viola and electronics on Thursday, May 30, 2002 with Olivia Koppell, viola.
In addition to these concert works, the Pulse Ensemble Theatre is presenting
Shakespeare's The Tempest using Pehrson's music, and his arrangements of Renaissance
"standards" in a run from April 17, 2002 through May 12, 2002. This is the second time this
theatre company has presented The Tempest with Pehrson's music.
Serban Nichifor presented a recital of Solo Cello music during the International Festival
NEW MUSIC WEEK in Bucharest, Romania, held in May 2002.
"LIVING MUSIC FOR CELLO"

- Interferente Romano-Americane (Serban NICHIFOR - cello)
The program consisted exclusively of music by American and Romanian members
of The Living Music Foundation:
Dwight WINENGER (USA): "Structural Variations on Two Obscure Themes"
pentru violoncel solo (p.a.)
Liana ALEXANDRA: "Incantatii III" pentru violoncel si banda magnetica
(p.a.a.)
Charles Norman MASON (USA): "The Artist and His Model"
pentru violoncel si banda magnetica (p.a.)
Serban NICHIFOR: "Isihia II" pentru violoncel si banda magnetica (p.a.a.)
Rodney OAKES (USA): "Fantasy for Cello & Electronics" (p.a.)
Cellist Craig Hultgren performed a solo program of seven world premieres on a Nov.
18th, 2001 program for Artburst at the Unitarian Church of Birmingham, Alabama.
This contemporary performance featured both acoustic and electronic works created for
him. The works cover a broad panorama of visions and voices from the last three years
surrounding the change of the century.
H7yx a for cello, speaking cellist & tape by Sherban Nichifor (Roumania)
Only Four for solo cello by Charles Knox (Atlanta)
After Hours for violoncello & tape by Kurt Carpenter (Sterritt, AL)
Structural Variations on Two Obscure Themes for solo cello by Dwight Winenger
(California)
The Ninth Wave for cello & computer generated tape by Robert Scott Thompson
(Atlanta)
Lavender Slumber for solo cello by Andy Delikat (Birmingham)
Waltzes for Capone for cello & digital electronics by Matthew Marth (Olympia, WA)
The concert was an enormous success as testified to by the following review:
07.10.2008
Page 15 of 19
Birmingham News/Today
Entertainment News
Hultgren uses novel cello to set surrealistic tone
11/20/01
MICHAEL HUEBNER
News staff writer
Artburst's challenging season of cutting-edge music, dance and theater continued Sunday night at
the Unitarian Universalist Church. Cellist Craig Hultgren, Birmingham's leading cultivator of new
music, provided the acoustic and electronic instruments. Seven composers furnished the
compositions, most of which were world premieres.
Hultgren has networked widely in his quest for innovative music, and for this concert he came up
with some gems. Starting off with Robert Scott Thompson's "The Ninth Wave," Hultgren unveiled
his new electronic cello a bodyless stick figure of an instrument that he used to great effect
accompanying a bed of ghostly sound masses from the two speakers flanking him. Distant voices
and seascapes echoed through the hall in a vaguely melodic, thoroughly engaging framework.
Romanian composer Serban Nichifor's "Hyxa" is steeped in ritual, the cello and vocals (the cellist
is required to sing in Hebrew, Greek, Latin and English), successfully bridging Eastern orthodoxy
and Western Christianity through an evocative array of pre-recorded sounds and cello harmonics.
For "After Hours," Kurt Carpenter resurrected an analog tape piece from the days when Moog, Arp
and Buchla synthesizers ruled the avant-garde, and wrote a cello part for it.
The juxtaposition of the live instrument with the synthesized whistles, bird calls and random bloops
and bleeps worked surprisingly well. Hultgren mimicked, cajoled and otherwise provided a spirited
accompaniment.
Matthew Marth's provocative "Waltzes for Capone," for cello and digital electronics, was the
evening's most tantalizing and technically advanced composition. Crystalline bell tones and quotes
from Strauss waltzes set the taped background for the work, which explored the warped psyche of
the notorious gangster. The result was a surrealistic, sometimes naive and bizarre dialogue with the
live instrument.
Of the three pieces for solo acoustic cello, two lacked the flare of the electronic works. The
exception came from Dwight Winenger, whose Structural Variations on Two Obscure Themes
delighted with its inventive and playful reminiscences on the Pink Panther theme and the hymn "Red
and Yellow, Black and White."
The Calendar for New Music, published monthy by The SoundArt Foundation, Inc.
William Hellerman, Editor

P.O. Box 900
Philmont, NY 12565 USA
The latest information on concerts, CDs, competitions in the New York City area.
Subscribe for $15. Visit their website @ soundart.org
PLEASE NOTE: We now have a web site for "O.T, a Musical Retelling of Othello in Modern
Times": http://otmusical.com. And we have just released a CD of selections, on sale at
Amazon.com, our site, and regular outlets. There was also a Washington, D.C. premiere of O.T. in
February, 2001.
Cordially,
Mirta Mulhare
07.10.2008
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"Musical composition -- an ineffable act between fantasy

and arithmetical and geometrical rigor"
by Liana Alexandra-- NEW!
"The Age They Wanted to Erase" by Aurelio de la Vega-"MUZICA. Living Music" by Liana ALEXANDRA-"What Is Art Music?" by Orlando Jacinto Garcia-"Marco Stroppa : A Visionary of Sound Architecture"
by Marina Zlender
"Nationalismo y universalismo" by Aurelio de la Vega
"Boola Boola Revisited" by Orlando Jacinto Garcia
Boola Boola Revisited

by Orlando Jacinto Garca
This article is reprinted from the June,
2001, issue of 21st Century Music by
permission of the author and
copyright proprietor.
Slightly more than 15 years ago, soon after finishing my doctoral

studies, I had the great fortune of studying with Morton Feldman for 3
intensive weeks. These sessions proved to have a great impact on my
career as a composer and pedagogue and I was fortunate to be able to
count Morty as a friend as a result of those three weeks. One day not
long after his death in 1987, I came across an article he had written
entitled "Boola Boola" published in a collection of his essays by
Berlinger Press, in which he strongly criticized academia. At first this
07.10.2008
Page 2 of 7
seemed a bit contradictory; he was after all a Professor of

Composition at SUNY Buffalo when I met him. However the article
written much earlier was still consistent with the criticisms he
continued making even after he was in academia. Given my own
continual strong criticisms of the composition world in the US (which
consists of large numbers of people involved with academia), I have
been challenged by several colleagues to write a short article
expressing my concerns at the end of the 20th century. The following
is a summary of these concerns.
As we reach the millennium, unbeknownst to many of the participants,
we find the Art music world in the US in a state of disarray and chaos,
mired in a mediocrity few eras have known. Perhaps we the
composers/teachers are at fault; the victim of our efficient technology
where all kinds of information is made available to everyone with an
immediacy not known before. We will try to teach almost anyone just
about anything (after all who needs talent when you have technology).
Unfortunately, the result has been that those without talent,
musicianship, musicality, or imagination, have been invited to join
and subsequently invaded our ranks. This situation is the accumulation
of decades of work by the composer mills around the country
propagating and justifying faculty teaching positions at the expense of
quality while at the same time graduating mediocrity . This situation
has reached a point where the majority of the 20,000-30,000 so-called
composers of Art music in the US (figures compiled by the American
Music Center); many of whom have or have had some affiliation with
a university, are "successfully disseminating" their technically barren,
unimaginative works throughout the university systems of our country
and to some extent even parts of the rest of the "world".
I use the term "successfully disseminating" in quotes because a large
percentage of my colleagues don't live in the real world and, as such,
successful dissemination is a relative term. Unknown to many of my
colleagues, a performance by the university choir or the faculty pianist
at their or another university does not generally constitute a
performance in the real world, pedagogical relevance notwithstanding.
Concerts where the audience consists of composers listening to
composers is not the real world. Concerts where the audience consists
of music students listening to composers is not the real world.
Concerts where students are performing these works, generally, is not
the real world. Unfortunately, due to the overwhelming numbers of
mediocre composers pushing their wares, any university performance
can and is considered successful dissemination by my colleagues since
much of this music would rarely, if ever, be performed outside of the
university system. Please note that by this I am certainly not implying
that music needs to be dumbied down to exist outside of academia, but
more on this later.
When I read the bios of many of the so called relatively successful
university composers in the US, they are chock full of citations about
performances at this university or that university. In short, the Art
music scene in the US has been brought down to amateur standing by
07.10.2008
Page 3 of 7
the university composer.

The university has become the triple A ball, the NCAA of the Art
music world and the composer organizations and their conferences
most often basically provide the tournament or world series.
Unfortunately (or fortunately, depending on your perspective), most
composers never leave the minor leagues. The alternative to being
presented at these events for many is not writing and/or receiving
performances. In some ways this may be preferable given what I am
hearing around the country.
The so called post-modern culture we live in where synthesis, a look
at the past, a plethora of styles, points of view, aesthetics, etc. are all
viable, has also been another catalyst for the opening of a Pandora's
box of mediocrity. There is no better place where this is evident than
in the conferences/festivals of so called Art music (whether it be
acoustic or electro-acoustic or both) around the country where out of
more than 100 "curated works" that are being performed you are
fortunate if you hear 1 or 2 with anything to say. Most of the works
consist of a "gray" blend of aesthetics with each composers presenting
his or her "mix". Professional, high quality soloists and ensembles
who do live in the real world, do not become interested in someone's
works because those works were played at numerous university
conferences.
They often become interested because the music has something to say
(regardless of aesthetics or style). Of course all of the composers that I
am discussing in this article will assume that they have something to
say and that I am addressing someone else. If your music is not
traveling among the professional world, whether it be Festivals abroad
or professional first rate ensembles in the US (and I don't mean the
wind ensemble at a university in Texas or the hand bell choir at some
school in Maine) then I am talking about you. This is not to say that a
composer's music should not be heard at a university. Many of us are
pedagogues and, as such, students should be exposed to our work.
Nevertheless, with extremely few exceptions, if that is where the
majority of a composer's works are being performed, then something
is wrong.
In the age of government cut backs, anti-quality, anti-substance
(whether it be in education, the arts, or elsewhere), many of my
university colleagues are on the pseudo-ethno, pseudo-jazz, pseudoMozart, pseudo-Strauss populist bandwagon. Let's write a music that
will sell to the new NEA or its eventual new version, regardless of
substance, imagination, or craft. Pretty melodies are back. Let's reach
out to the condo-commandos at the retirement home; they do so love
nice chamber music. Let's see what we can appropriate from another
culture-probably Hispanic, Asian, or Native American folk music
since these seem to be a big hit today. How about recent popular
culture? The 50's, 60's, and 70's are quite in vogue today. Let's extract
some tunes/quotes from the Pop Icons, TV shows, etc. of the time and
07.10.2008
Page 4 of 7
try to add a few "twists."

Recently at a national festival one of my colleagues whose music does
travel, exclaimed to me while listening to piece after piece of
mediocre "gray" conglomeration of aesthetics, "haven't any of these
composers ever heard of Stravinsky, Varese, Webern, or Cage." I
briefly replied, "If they have (and who knows), in these composers'
minds those aesthetics won't fly today, that music is not "catchy" or
"pretty" enough, so why should it be considered?" Of course there is
and has been the other side of the coin. The ultra pseudo-sophisticated
technology, pseudo-ultra abstraction folks listening to their own and
their colleagues works since no one else will. Finding solace in their
schematics, diagrams, algorithms, software and hardware, rather than
in their music. Fortunately (or unfortunately, depending on your point
of view), to some extent the post-modern aesthetic climate has more
or less diminished their relevance (except amongst themselves)
although one never knows when the next "New pseudo-ultra
abstraction" movement will flare up.
But let's be honest, an individual with some real imagination and craft
can create a work of Art whether it be by using total serialization,
chance procedures, minimalism, a neo-Strauss, neo-ethnic, avantegarde jazz aesthetic or whatever. The problem is not necessarily in the
style or procedure, but rather by the fact that many composers feel that
the style or procedure that they employ validates what they do,
whether what they create in that style has anything to say musically.
How many times can people write works based on 4'33" or Pierrot
Lunaire? Not many, given that the original version just about said it
all, conceptually and otherwise.
What is lacking in American Art Music? Auto criticism. It doesn't
exist. Why? Because a great many of the composers that I am citing
have been brought up in a period of time where you're okay and I'm
okay and everything is great. We are all just great artists. We can all
do whatever we want, no matter how bad. None of these composers
ever ask themselves if what they do has any merit or benefit. Some
basically just did what they had to do to finish graduate school and
once they got out, kept doing it. For others it was rebel against what
they were doing in graduate school, now that post-modern times are
here, let's let it all go and Rock and Roll no matter how bad the result
may be. Others were having post-modernist fun by letting it go before
they graduated. How many of my colleagues and their students have
ever tried to detach themselves from their work objectively and
rigorously critique it? Few at best and as a result we are all suffering.
To add to the confusion in post-modern times, a tango, a rock tune,
and a Mozart symphony are all the same. Music is Music everyone
says (I'm okay, you're okay). Very few stopped to consider that Art
music may be different due to something other than stylistic
considerations. People stopped asking themselves what is Art (not an
easy question) and decided to take the easy route and say it's all the
07.10.2008
Page 5 of 7
same. The Beatles, the Rolling Stones, Rap tunes, Hip Hop,
Stravinsky, Wynton Marsalis, Cage, Hootie and the Blowfish, the Art
Ensemble of Chicago-it's all the same. Let's all just write nice tunes.
Well friends, I am afraid that it is not all the same. Art music has
always been more abstract and challenging than functional music. It is
not entertainment, although many would like to market it as such, and
those that can't take this fact should get out of the business and focus
on writing arrangements for the Boston Pops (if they have the chops).
Just like Michael Crichton is not James Joyce, neither is listening to
Madonna like listening to Webern, and we as educators are guilty of
not dealing with this and/or challenging our students and ourselves
with these notions. Is it better?
Are apples better than oranges? Probably not, but how many of my
colleagues have discussed these questions with the faculty teaching
music appreciation at their university? From the papers and
presentations I hear around the country relative to this issue, not
many. Elvis and Varese it's all the same. Morty would have loved it
(in fact Morty would have said we need more lame uneducated
composers like the mediocre majority that exist today so his work
would stand out even more).
So, as we head for the twenty first Century, what is in store? More
mediocrity I am afraid. Until composers find a way to be auto critical
and universities find a way to limit the number of student composers
they take in and graduate (and base this on quality and not numbers), I
am afraid that the current state will continue. The word "composer" in
the twenty first century will not mean very much given the current
trend (not that it means much today). There just is not enough of a
need for 20,000-30,000 composers of Art music in the US, especially
when the majority have nothing to say and the US as a country is not
interested in supporting the Arts. It will take a truly concerted effort
by teachers to really think about quality and, if they can, overcome
their own shortcomings.
The greatest thing I received from the composers that had an impact
on my own musical consciousness was the importance of selfcriticism and the great responsibility that the creation of Art brings
with it. Hopefully, this trend will "flare up" somewhere in the future.
[LMJ]
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Musical Composition by Dr. Liana Alexandra
the
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LIVING MUSIC
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"Musical composition an ineffable act

between fantasy and arithmetical and geometrical
rigor"
by Liana Alexandra-- NEW!
"The Age They Wanted to Erase" by Aurelio
de la Vega-"MUZICA. Living Music" by Liana
ALEXANDRA-"What Is Art Music?" by Orlando Jacinto
Garcia-"Marco Stroppa : A Visionary of Sound
Architecture"
by Marina Zlender
"Nationalismo y universalismo" by Aurelio de
la Vega
"Boola Boola Revisited" by Orlando Jacinto
Garcia
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The perception of the contacts

between the two domains, with their
positions, can only enrich the act of
creation. A decline in this act is
present when the inspiration is
missing, when fantasy and lyricism
are incomplete and when there
intervene (out of snobbism) a search
for new laws in composition, other
than the ones specific to the art,
whose final goal is the esthetic
category of the beautiful.
07.10.2008
Page 3 of 19
Musical composition an ineffable act

between fantasy
and arithmetical and geometrical rigor
by Dr.Liana Alexandra
Biographical materials concerning Dr.
Alexandra are available online:
http://romania-online.net/whoswho/AlexandraLiana.htm
http://romania-online.net/general/duointermedia.htm
Rsum
This article is reproduced by
permission of the author who retains
full copyrights.
Motto:
We can reduce all to numbers,
including Beethovens music. But we do
not hear numbers, we hear music.
Pierre Schaeffer
Chapter 1
Link between music and mathematical sciences
always present and proved since Antiquity
The topic of the relation between music (the art of sounds) and exact
sciences is more and more complex in the light of the achievement of
20th century music. Today, the new computer technique and the
electronic devices are intensely present both in the composition act and
in the interpretation and the understanding of the works of art. Until
reaching this level, music had always relations with the sciences, which
were present at an organic level. The perception of the contacts between
the two domains, with their positions, can only enrich the act of creation.
A decline in this act is present when the inspiration is missing, when
fantasy and lyricism are incomplete and when there intervene (out of
snobbism) a search for new laws in composition, other than the ones
specific to the art, whose final goal is the esthetic category of the
beautiful.
The music-mathematical sciences relationship was present early in
Antiquity and was emphasized by a large number of Greek authors:
Pythagoras of Samos (centuries 4-5 BC), Aristoxenos of Tarentum (4th
century BC), Plato (centuries 4-5 BC), Aristotle (4th century BC),
Vitruvius Pollio (1st century BC). During the Middle Ages, the art of
sounds was considered an important subject in education, next to the
07.10.2008
Page 4 of 19
other sciences of the Quadrivium: arithmetic, geometry, music and

astronomy. Severinus Boethius (475-524 AC), Leonardo Fibonacci
(centuries 12-13), Gioseffo Zarlino (1517-1590), Ren Descartes
(Cartesius) (1596-1650), Jean Philippe Rameau (1683-1764), Herman
con Helmholz (1821-1892) are some of the significant authors for Middle
Age, Renaissance and Modern times, who conducted research on the
everpresent connection between music and mathematics, as it was known
from philosophy and from artistic output. Gottfried Wilhelm Leibniz
(1646-1716) wrote: music is an exercise of covert arithmetic and the
one who devotes himself to it is not aware of the fact that he is handling
numbers.
From the above-mentioned authors I kept the following assertions,
which I considered the most significant:
a) From Pythagoras the Pythagorean concept of acoustics
and the theory of figured numbers (triangular numbers,
square and rectangle numbers, applicable in modal
structures)
b) From Plato his discoveries of the golden ratio and on
the heterophonic mode (this acoustic mode is constructed on
the proportions of the numbers 2, 3, 4, 9, 8, 27 and
represents the harmony of the universe)
c) From Aristotle the philosophical implications on the
relation music-mathematics (through the classification he
proposes inside the sciences: theoretical sciences, practical
sciences and poetical sciences). Music, together with poetry
and architecture is in the poetical sciences group.
d) Aristoxenos of Tarentum (considered the greatest
musician of Antiquity) was also interested in the relation
between the art of sounds and mathematics in his studies on
acoustics, researching micro-intervals.
e) From Vitruvius Pollio I took the idea of symmetry of
form, his theory of the tetrachords (diatonic, chromatic and
enharmonic tetrachords), the relationship between theatrical
acoustical ceramic and the tetrachords systems.
f) Leonardo Fibonacci left mankind an interesting arithmetic
equivalent of the golden ratio in the law of organic growth
and the law of Fibonacci series.
g) Gioseffo Zarlino, important theoretician from the
Renaissance, was preoccupied by the acoustic non-tempered
standards and by the definition of the major and minor
scales.
h) Acoustical studies were made by Ren Descartes
07.10.2008
Page 5 of 19
(Cartesius) too, who looked on music aesthetics in

concordance with acoustics and music psychology.
i) Jean Philippe Rameau, an important theoretician, was
considered the founder of classical harmony concepts
j) The relationship between music and mathematical
sciences was studied by Hermann von Helmholz too, who
focused on the theory of physiology and acoustics of music;
in his opinion the musical harmony (the consonances)
creates continuous excitations and the dissonances
discontinue excitations.
The evolution of this strong connection between music and science
and its particularity according to historical periods is the result of
continuous research, which in the 20th century developed into several
aspects connected to the investigation of the artistic conception act, to the
understanding of the works of art, to modern analytic methods. In the
20th century there were some artistic styles which emphasized this
connection (perhaps, some times, not in favor of the lyric expression of
the artistic message): 12 tone music, serial music, atonal music,
stochastic music, random music, minimal music, repetitive music etc.
Musical instruments developed very much, according to the technical and
scientific evolution, next to the traditional sources using electronic
devices and computers. From the aesthetics point of view, semiotic and
semantic theories determined the development of quite an industry of
explanations of the role of graphic sign and of the sound signal,
explanations that are interesting to some extent, but which cannot get
inside the profound mechanism of artistic creation and cannot establish
precise rules of how to compose. The relationship between music and the
exact sciences must not have a forced effect, coming from outside human
creativity. In this line, I express some reserve towards those styles and
those composers which have no talent to create a lyric expression and
which transforms the art of sounds into a master craft of mixing
uninteresting frequencies and rhythmic impulses, without coming to
something expressive and clearly constructed.
I see expressiveness and the national character of the music as being two
essential and eternal coordinates of any work of art, regardless the
historic moment when it was created. In my opinion, the presence of
rigor in the construction of music is capable on generating beautiful
music even in this century, when technology competes with the
sentiment; so the rigor of construction is not a characteristic of the ugly
and anti-human music only. In fact, from another angle, my interest is
directed toward a plea for the presence of consonance in music, this
being not an old-fashioned concept, but an essential way of expressing
the harmony, the beautiful, the light, the most beautiful arithmetic
relations which human intelligence can produce, of expressing the human
soul and spirit.
07.10.2008
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Chapter 2
The magical squares and their presence in music
A. Definition of the magical square
We call magical square a square of numbers where there are n2
numbers, aligned consecutively or not, so the sum of the numbers placed
on each of the two diagonal lines is equal to the sum of the numbers on
each column or row. This constant sum is named the magical number
of the square.
B. History of the magic square

Astrologists of Antiquity, for instance the Chinese, in the 7th century
BC, then the Arabs, were building talismans to which they were giving
magical powers. These squares were popular in Europe in the
Renaissance for instance Albrecht Drer, in his painting The
Melancholy, painted a magic square with the magic number 34. In the
same period (14th century) the Greek mathematician, Manuel
Moscopoulos wrote about the magical squares, which he named
arithmetic squares (tetragonon arithmon). He was first to present a
general method of building a square of odd squares and double even
squares. The issue of magical squares, seen as arithmetic fun, became a
delight during those times, being of interest to great mathematicians like
Euler or like Benjamin Franklin. Magical squares remain an attractive
domain until our day, without the magical attribute, of course.
C. Rules of making magical squares

The odd magical squares may be made following the method of
Bachet de Mziriac, who published in 1612 the book Nice and
delightful problems which may be solved by numbers, or following the
method of Philippe de la Hire (1700).
D. Applications in music of the odd magical

squares
Those arithmetic squares can be used in music, their numeral
equivalence creating very interesting modal systems, frequently used by
composers, during the centuries.
If we connect an interval to each figure, in ascendant order, starting with
the semitone, we can trace the following parallelism:
07.10.2008
Page 7 of 19
In this chapter, I presented a demonstration of modes applicable to the

arithmetic squares of the 3,5,7,9 order and to the square named
hypermagical square, from which results constant rules of forming
chords:
1) The reading of the figures in rows gets the intervallic sum
of the 2 diagonal lines.
2) The reading of the figures in columns gets the result of the
substraction of the 2 diagonal lines
3) Both the chords in rows and in lines are disposed
symmetrically
4) There is a symmetry also in the plan of the modal
structures
5) Each arithmetic square presents 2 intervallic constants of
the 2 diagonal lines, by which the whole modal system may
be built, which will have as symmetrical axes the numeric
correspondence given by its magical sum.
6) The system may be repeated indefinitely and is applicable
also to arithmetic squares made of random figures
Making a numeric equivalence in the plan of durations too,
there will often appear rhythmic imitation structures, both
when reading rows and columns.
Example:
The square of the 5th order used for rhythmic structures, with the basic value of
the 16th note.
07.10.2008
Page 8 of 19
Horizontal reading (rows)

Vertical reading (columns)
07.10.2008
Page 9 of 19
Chapter 3
The relationship between musical forms and
geometric forms
In art everything is made up after three
fundamental geometrical forms: sphere,
cube, and cylinder. You have to learn to
draw those very simple forms, and
afterwards you can draw whatever you
want.
Paul Czanne
The music-mathematical sciences relationship has always been present and

proved since Antiquity not only in acoustics but also in the field of musical
architecture. Making musical forms often has to do with geometrical forms. It
was not incidentally said that music is an architecture which evolves in time.
This relation may be seen and proved from various angles, which seems to have
been fundamental during the ages.
A. The relation between the five solids of Plato and

musical form
The five convex regular solids (three-dimensional geometrical shapes) are:
the tetrahedron, the hexahedron (the cube), the octahedron, the dodecahedron
07.10.2008
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and the icosahedron. What can be the link between the shape of a musical
construction (form) and those Plato solids? It exists organically, can be proven,
and one can show the close connection between space geometrical thinking and
musical creative thinking. It is a known fact that in the art of sounds there are
few fundamental construction schemes, which have generated over the
centuries various specific forms and genres like
A (single-part form)
AB (binary form)
ABA (the ternary form)
AAB or ABB (bar-form)
ABACABA (rondo-form)
If we associate the above-mentioned regular tetrahedrons with the reading of a
mathematic Hamiltonian circuit, we will have succeeded in discovering the
presence of musical construction schemes used in all styles. The basic circuit
imagined by Hamilton on a regular polyhedron is the one which forms a closed
circuit, along the edges, passing only once through each peak.
1) If this circuit is made along the edges of a hexahedron (cube),
having the coordinates A, B and C, the road to be taken is
ABACABA, which is the classical rondo-form.
2) Following the same principle, the relationship between a
tetrahedron and musical architecture generates the scheme ABA or
AAB (bar-form)
3) Reading by the same rules, an octahedron develops the
following musical pattern: ABBBA or ABCBA.
4) The relationship between musical form and the dodecahedron
(considered the measure of the Universe) is a unit: A.
5) The icosahedron, consisting of 20 equilateral triangles will
suggest a mono-part form also, replicable to infinity: A.
Concluding, we may observe that:
a) the octahedron and the hexahedron are 2 Plato solids which
generate musical forms of the same family (ABCBA or
ABACABA)
b) the icosahedron and the dodecahedron give the same musical
pattern (A)
c) the tetrahedron has a unique form (AAB or ABB)
07.10.2008
Page 11 of 19
B. The relation of symmetry present in sounds

architecture Symmetry is an essential coordinate in composition and a
rigorous geometric concept. Both in geometry and music there are several types
of symmetry:
1) Bilateral symmetry (plane symmetry) which exists in music in
palindrome canons in which the melody which imitates is the
recurrence of the first melody. Many composers, among them
Joseph Haydn, Johann Sebastian Bach, Ludwig van Beethoven,
Paul Hindemith, Arnold Schnberg, Alban Berg etc., used this
kind of schemes for obtaining effects in counterpoint.
2) Translational symmetry. This can be of two kinds:
a) rhythmical translation symmetry
b) cylindrical translation symmetry
Both types are used in music, in various composition processes.
For instance, rhythmical translational symmetry (of infinite ratio)
can be frequently found in all repetitive music, and cylindrical
translational symmetry (of finite ratio) is present in the typology
model sequence cadenza.
3) Plane rotating symmetry. This can be of two kinds:
c) rotating cyclic symmetry (rotation without
reflection)
d) rotating dihedral symmetry (with reflection)
The rotating cyclic symmetry has equivalence in musical composition in the
articulation of the architecture, a characteristic example being the exposition of
the fugue. The musical equivalent of the dihedral rotation may be considered
the palindrome type structures, transposed n times.
4) Rotating symmetry in space. This can be of three kinds:
e) symmetry made of a rotation in plane and an
orthogonal translation in plane
f) symmetry made of a rotation in plane accompanied
by dilatation
g) symmetry made of a rotation, a translation and a
dilatation
All these kinds of rotating symmetries are frequently used in the musical
creation process. The Theme and variations form clearly belongs to the
07.10.2008
Page 12 of 19
typology of rotating symmetry with translation and dilatation in space because

the periodic replay of an initial theme asks for a cyclic re-evaluation, and its
more and more ornamented shape suggests a dilatation of this symmetry.
C. Structural rhythm dynamic symmetry

logarithmic spiral
In musical scores, rhythm is present both as a succession of equal or
different values and as a succession of structures, which ends uniformly or
asymmetrical in the fields of an architectural configuration. Musical forms in
their articulation, both at the micro-structural and macro-structural levels,
present somewhat interior symmetries, which by their continuous projection
during the piece suggests the existence of a logarithmical spiral. Structural
cadenzas in musical language may be grouped on binary or ternary periodicity
bases, which are present both at the level of primary configurations and at the
level of large surfaces. The archetype of construction model-sequence-cadenza
is also a translation of the logarithmical spiral from geometry to the art of
sounds. The structural binary and ternary rhythms present in music, generated
some typologies of architectural organic articulation such as the verse-rhythm
relationship established early in Antiquity two large groups of rhythms:
dissyllabic and trisyllabic.
Therefore, the structural binary rhythms may have their roots in the antic
rhythms of spondees (
) and pyrrhic (
rhythms in the antic rhythms of the dactyls (

amphibrach
), and the structural ternary

), anapests (
) and
(
). Also, the rhythms molos (
) and tribrachic (
) may
be found in music, but their uniformity converge more towards static cadenzas.
The rhythm anapest (
) presents 2 short values and a third long value.
This sequence is identical to the architectonic form AAB which I mentioned
before regarding the relationship between Platonic solids and musical
architecture and regarding the typology model-sequence-cadenza. Cornel
Ailinci, in his book Introduction to the grammar of the visual language
concludes: If we think of rhythm in the most general meaning, its existence
requires a continuous, uninterrupted movement of extension (the Greek word
rhythmos comes from reo to flow), but at the same time requires a division of
the infinite extension in periods to be repeated by a rule. Therefore, rhythm is
different from ordinary movement by a succession of phases whose
discontinuity ensures the reconstruction of the movement.
Chapter 4
The relation between the mosaic and musical
architecture
Geometrically, the mosaic is built up of pre-defined elements, like squares,
rhombs or triangles. Inside the mosaic one can make original shapes, using
07.10.2008
Page 13 of 19
various combinations of the above mentioned elements. Mosaic has been

frequently used since Antiquity in the decorative arts, using its fundamental
elements which made an homogeneous field paved with squares, equilateral
triangles and hexagons. The Romans, the Persians, the Chinese, and the
Japanese were masters of ornamentation, and they made all kinds of mosaic
surfaces, using repeated elements.
The mosaic may be used in music architecture, at the micro-structural level,
as well as at the macro-structural level. It can be found, for instance, in the
technique of collage where music entities apparently dissimilar may give,
together, a nice ensemble impression. We can take Gustav Mahlers
symphonies as a characteristic example of this. Also, we can easily disclose
mosaic in the juxtaposing of micro-forms, differently repeated in two
dimensions. For this, the typical example is the passacaglia form. Here we meet
the phenomenon of figure background, where the perception discovers two
simultaneous aspects of the same image. One is the background, the rhythm
and the melody of the passacaglia, which remains unchanged, which forms the
homogeneous pavement, and the other is the figure, built up of different
polyphonic variations, laid over the background.
The ostinato form (which may have found its equivalent in mosaic
decoration) is frequently found in music. Among the famous examples there are
the 32nd C minor Beethoven variations, the 4th Hindemith string quartet op. 32
(last movement), the 3rd Bartok quartet (first movement), J. S. Bachs
Crucifixus from the D minor Mass, D. Buxtehudes E minor Ciaccona for solo
organ, M. Regers Introduction, Passacaglia and Fugue for 2 pianos op. 96, J.
Brahms Variations on a Haydn theme op 56a (last movement) and his 4th
Symphony (last movement), I. Strawinskis Psalms symphony, A. Weberns
Passacaglia op. 1 for orchestra, A. Honeggers Pacific 231 etc.
Chapter 5
A. The notation of the parlando rubato sections
used in my own compositions
Around 1977-78, when I elaborated Incantations I and II, inspired by
manuscripts of Filothei Sin Agi Jipei, which I analyzed, focusing on their
rhythmic and temporal aspect, I was more and more preoccupied with finding a
more rigorous way of writing what we call parlando rubato. It may seem
strange to want to write exactly a parlando rubato music, but I wanted to
create a type of music consisting of rhythmical configurations at the microstructural level, to be used by each of the interpreters, so that each concert
variant is as close to my psychological tempo and, especially, to the refined
waves I imagined in the creational process. I used the first attempts of this kind
in the cycle Incantations, and after I introduced that writing with consistency in
all slow tempo music that followed (3rd, 4th, 5th and 6th Symphonies, the
Concerto for flute, viola and chamber orchestra, opera The Snow Queen, ballet
The Little Mermaid, the Concerto for strings etc.), this writing is nowadays a
constant method of imagining rhythmic rows for various texts or polyphonic
07.10.2008
Page 14 of 19
layers (some technique may be applied also in homophonic music).

Starting from the well-known Fibonacci series (1, 2, 3, 5, 8, 13, 21 etc.),
including its translations (like 1, 3, 4, 7, 11, 18, 29, 47 or 0, 2, 2, 4, 6, 10, 16,
26, 42, 60 etc. or 0, 3, 3, 6, 9, 15, 24, 39 etc. or 1, 4, 5, 9, 14, 23, 37) I started to
imagine various non-demoting series applied to a time unit (for example the
quarter note) and to its equal divisions in 2, 3, 4, 5, 6. Those rhythmic
structures resulting from the use of non-demoting, above-mentioned partitions
present some constant characteristics:
1. Each configuration has a certain phrasing, both at the microstructural and macro-structural levels, given by the sum of the
terms used in those series
2. The usage of simultaneous series (Fibonaccis series
translations) may give the same pattern on the vertical plane
(regardless of the subdivision of the main unit), if sum of the terms
is the same
Example: the superposing of the series 3, 2, 3, 1, 3, 2,
3, 1 and 1, 3, 1, 4, 1, 3, 14,
3+2+3+1=9
1+3+1+4=9
3. It becomes clear that by applying Fibonacci series to 5, 6, 7 etc.,
equal impulses subdivisions of the main value, the result is
rhythmic structures with refined waving, which are not always
very strict (especially if they are used in combinations, like
quintuplet and sextuplet); but if they are written in this technique,
they may become a pattern to which each interpretation is close,
with no major difference from the initial structure had in mind by
the composer.
4. The Fibonacci series is the most pure type of the two-beat
accumulational series, but the infinite reproduction of the initial
series is the Pascal triangle, the richest diagram in algebric and
geometric properties. This diagram includes figurative numbers
series triangular, tetrahedric, pentagonal etc., often present in the
rhythmic configuration of musical pieces.
B. The notation of some rhythmic structures based

on the accumulational series of triangular numbers.
The series of the triangular numbers is 1, 3, 6, 10, 15, 21, 36, 45 etc. From
their various combinations (taken in row or by one, two or several leaps), by
their application to various basic time units or to subdivisions of these units, by
their use in various partitions of non-demoting series, one can creat endless
rhythmic combinations. These rhythmic structures always have the same
07.10.2008
Page 15 of 19
invariable, which is the sum of the terms used in the numeric loops gives
always the periodicity of the rhythmic figures at the micro-structural or macrostructural level. This phenomenon may be the explanation of the frequent
assertion of the musicologists that micro-structure generates macro-structure.
Example:
The periodicity is of 20 impulses (1+3+6+10=20)
Example of notation of rhythmic structures based on Fibonacci series numbers:
Liana Alexandra 3rd Symphony, Editura muzicala, 1985, 2nd movement,

page 69.
Chapter 6
Epilogue
The complex relations between the art of sounds and mathematic sciences
which I tried to investigate in this study and to demonstrate in musical
examples, with which creative thinking operates frequently, may define, to a
certain extent, the rational aspect of artistic creation. But in addition to these
investigations and demonstrations there must always be inspiration, the
ineffable aspect of human creativity, which constantly provides connexions and
original ways of expressing the beautiful in art. Together with the intellect,
inspiration is that which gives aesthetic value to a work of art. When
inspiration is not present, one may produce abstract schemes, inventive charts,
07.10.2008
Page 16 of 19
and scholarly written explanations, but these totally lacking that warmth
specific to any creative act.
In order to emphasize these assertions, I cited in the final part of my study
some words of wisdom written by great individuals in the history of mankind,
which stress the aesthetic dimension of the work of art, without which no final
product of human fantasy, harmoniously knitted with brainpower, may exist.
These words were written by Democritus, Heracles, Simylus, Plato, Pascal,
Michelangelo, Shakespeare, J. J. Rousseau, Nicolae Iorga, Barbu tefnescu
Delavrancea, Tudor Vianu, Arthur Honegger, Anton Webern, George Enescu,
Abraham Moles, P. A. Michelis and Confucius. For this rsum I have chosen
fragments from the ideas of Arthur Honegger, George Enescu and Confucius.
Arthur Honegger:
Writing music is like putting a ladder without fixing it. With no
scaffolding, a building in construction may stay in place only by a
miracle, a miracle of the internal logic, of an inner sense of proportion. I
am in the same time the architect and the spectator of my works; I work
and I analyze my work
George Enescu:
It is true that music is related with mathematics. But the great
composers were no mathematicians; or, if you like better, they were, but
in an unconscious way. Bach, with his genius, sensed the superior
connection between the fragments of his works. His pieces may disclose
mathematical ratio and proportions, but Bach himself has not created
them by logical, deductive thinking. The composer is a mathematician, or
more precisely, the mathematical spirit dominates him like the profound
intelligence.
Confucius:
If you want to know if a country is well governed, you have only to
listen to its music.
Bibliography
Ailinci, Cornel. Introducere n gramatica limbajului vizual (Introduction
to the grammar of visual language). Editura Dacia, Cluj-Napoca, 1982.
Berry, Wallace. Form in music. Prentice Hall, New Jersey, 1966.
Banu, Ion. Platon heraclitul (Plato Heraclitus). Editura tiinific i
Enciclopedic, Bucureti, 1972.
Birkoff, George David. Aesthetic measure. Cambridge, Massachusets,
1933.
Cmpan, Florica T. Povestiri cu proporii i simetrii (Stories with
07.10.2008
Page 17 of 19
proportions and symmetries). Editura Albatros, 1985.

Descartes. Colecia texte filosofice (A Collection of Philosofical texts).
Editura de Stat pentru Literatur i tiin, Bucureti, 1952.
Dumitru, Anton. Teoria logicii (The theory of logic). Editura Academiei,
1973.
Domoread, A. P. Jocuri i probleme distractive de matematic (Games
and funny maths problems). Biblioteca de tiine matematice din
Romnia, Editura Didactic i Pedagogic, Bucureti, 1969.
Eco, Umberto. Opera deschis (The open oeuvre). Editura pentru
literatur universal, Bucureti, 1969.
Giuleanu, Victor. Principii fundamentale n teoria muzicii (Fundamental
principles of music theory). Editura muzical, Bucureti, 1981.
Giuleanu, Victor. Tratat de teoria muzicii (Music theory treatise). Editura
muzical, Bucureti, 1986.
Giuleanu, Victor. Ritmul muzical (Musical rhythm). Editura muzical,
Bucureti, 1968, 1969.
Ghica, Mattila. Estetica i teoria artei (Aesthetics and the theory of art).
Editura tiinific i Enciclopedic, Bucureti, 1981.
Georgescu, Corneliu Dan. Semnale de bucium (Bucium signals). Editura
muzical, Bucureti, 1987.
Gardner, Martin. Amuzamente matematice (Mathematical amusements).
Editura tiinific, Bucureti, 1988.
Helmholz, Hermann von. Despre semzaiile de ton (On the sensations of
the tone). Braunschweig, 1863.
Joja, Athanasie. Istoria gndirii antice (History of the thinking in
Antiquity). Editura tiinific i Enciclopedic, Bucureti, 1982.
XXX. Maxime i cugetri (Expressions of wisdom). Editura tineretului,
Bucureti, 1968.
Matei, Dumitru. Originile artei (The origins of art). Editura Meridiane,
Bucureti, 1968.
Messiaen, Olivier. Technique de mon langage musical (The technique of
my musical language). Paris, Leduc, 1944.
Michelis, P. A. Estetica arhitecturii (The aesthetics of architecture).
07.10.2008
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Editura Meridiane, Bucureti, 1982.

Moutsopoulos, Evanghelos. La musique dans loeuvre de Platon (Music
in Platos writings). Paris, 1959.
Moles, Abraham. Creaia artistic i mecanismele spiritului (The artistic
creation and the mechanisms of the spirit). Estetic, informare,
programare. Editura tiinific, Bucureti, 1972.
Moles, Abraham. Art i ordinator (Art and computer). Editura
Meridiane, Bucureti, 1970.
Platon. Opere (Oeuvres). Editura tiinific i enciclopedic, Bucureti,
1976.
Pohonu, Eugen. Iniiere n artele plastice (Initiation in visual arts).
Editura Albatros, Bucureti, 1980.
Radian, H. R. Cartea proporiilor (The book of proportions). Editura
Meridiane, Bucureti, 1981.
Roman, Tiberiu. Simetria (The symmetry). Editura tehnic, Bucureti,
1963.
Read, H. Originile formei n art (The origins of the form in art). Editura
Univers, Bucureti, 1971.
Stancovici, Virgil. Logica limbajelor (The logic of the languages).
Editura tiinific, Bucureti, 1972.
Schillinger, Joseph. The mathematic basis of the arts. Philosophical
Library, New York, 1948.
Vianu, Tudor. Estetica (The aesthetics). Editura Minerva, Bucureti,
1968.
Todu, Sigismund. Formele muzicale ale barocului n operele lui Johann
Sebastian Bach (The forms of the baroque music in
Johann Sebastian Bachs music), vol. I-III. Editura muzical, Bucureti,
1969, 1973, 1978.
Vitruvio Pollio. Despre arhitectur (On architecture). Editura Academiei,
Bucureti, 1964.
Webern, Anton. Calea spre muzica nou (The way towards new music).
Editura muzical, Bucureti, 1988.
---------NB: Titles of the books of Romanian authors were translated for the
understanding of English-speaking public. The books were printed in
07.10.2008
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Romanian.
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The following Member News announcements/opportunities

arrived during the inopportune period between hard-copy issues.
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opportunities these announcements afford:
1.
The Music of
H. Leslie Adams
News Update-(Thursday, July 31, 2008)
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Adams, H. Leslie. "Offertory." In: King of Kings. (Anthology of organ works, Vol. I). Comp. and
James Abbington. Chicago: GIA Publications, 2008.
============================
"Love Rejoices: Songs of H. Leslie Adams" [2nd ed.; Darryl Taylor, tenor]
/www.amazon.com
cdbaby.com
MP3 Download:
www.greatindie.com
____________________
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imaramusic.com
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2.
Vox Novus
&
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Max Shea, Martian Gardens

WMUA 91.1 FM
www.WMUA.org
Chris Pasles of the LA Times writes abo
Rob Voisey and the 60x60 project:
www.calendarlive.com/music
See also: Fly Global Music Culture Mag
written by Anne Cammon:
www.fly.co.uk/fly
and...
MySpace realm:
www.myspace.com/60x60
www.myspace.com/voxnovus60x60proje
www.myspace.com/60x60cd
www.myspace.com/robvoisey
2006 Midwest Minutes includes 60 60-second works by 60 composers:
Count them...sixty (60)
composers
Aaron Acosta
Brian Allen
Dwight Ashley
Jeremy Baguyos
Marita Bolles
Nils Bultman
Nicolas Buron
Christopher Cook
David Cubberly
Lucio Cuellar
Brad Decker
Ian Dicke
Greg Dixon
Mark Eden
Monroe Golden
Arthur Gottschalk
Richard Hall
James Hegarty
Stuart Hinds
Lynn Job
Cory Kasprzyk
Michael Khoury
Gary Knudson
HyeKyung Lee
Patrick Liddell
Stan Link
Don Malone
Deborah Monroe
Sean O'Neill
Thomas Park
Colin Pool
Carmel Raz
Steven Ricks
John Ross
Stephen Rush
Bill Ryan
David Sartor
Brian Schorn
Mozhgan Shahidi
Rachel Slusarczyk
Alex Templ
Balie Todd
Joseph Vogel
07.10.2008
Timothy Dwight Edwards

Ivan Elezovic
Doug Geers
Scott Gendel
Michael P. Geraci
Michele Gillman
David Morneau
Jeff Myers
David Newby
Judith Newby
Lewis Nielson
Page 4 of 19
Robert Voisey
Andrew Walters
Justin Writer
Cherilyn Young
and ~chromatik_d_zabu.tmp (colle
The Opening Concert will also feature [un] wired by Jesse Allison, John Fillwalk and Keith Kothm
=======================
2003 Project premiered:
New York City Premier
UNDER St. Marks
94 Saint Marks Place, between 1st Avenue and Avenue A
basement space, East Village, Manhattan, New York
Composers and their works:
1. Hiromi Abe Guess 01
33. Tom Lopez Moth
2. Aaron Acosta Traffic Under 60
34. Eric Lyon Molten Statues
3. Norman Adams Partial precept
35. Eugene Marlow 48 Rows in One
4. John Allemeier Skrit
Minute
36. David Evan Mooney Ducks in
5. Nery Pedro Bauer Junior Machine
Motion
#01
6. Vladimir Beluntsov A minute weight 37. Samy Mousa Papa
38. Marco Oppedisano The End is Near
7. Charles Berry Passing Gas
8. Scot Brickman Signature: Peace
39. Terry Winter Owens Disclavier-Das
9. George Brunner Radio Play
Klavier
10. David Campbell The Sputnik Diary 40. Maggi Payne 60 Spin
11. Eliot Carson love hurts
41. Mark Petering Life Cycle
12. David Claman Loomings
42. Gene Pritsker Junk Fragment
13. Andy Cohen rim at x (rat mix)
43. Aaron Rogier Going
14. Douglas Cohen Welcome
44. James Romig Fragment
15. Noah Creshevsky Try
45. Josh Ronsen brkekexkoaxkoax
16. Stephen Decesare Moondance
46. Marianna Rosett Two-Part Invention
17. Derek Devore System Activated
18. Michael Edgerton A Little Watter,
47. Philip Schuellser Peptyde
man
Hallucinatione
19. Daniel Eichenbaum Car Accident
48. Coa Schwab Miniature 01
20. Mikado Endo Where am I?
49. Eric Schwartz the electronic music
21. Elaine Fine Imagine Happiness
revolution will most certainly
be televised with the five part harmony,
22. Wesley Fuller Aegean blue
23. Matias Giuliani Un Siglo, un minuto full orchestration, and all the
phenomena
24. Gerado Perez Giusti Mini-A-Tura
50. Andrew Shapiro Coda Piece
25. Gordon Green Birds
51. Judith Shatin Glimmerings
26. David Hahn Goo Mee
52. Juan Solare nice noise
27. James Hegarty Reset: 59.5
28. Norbert Herber Trak News Agency 53. Allen Strange shadow boxer
29. David Evan Jones Writing Out Loud 54. Benjamin Thigpen nous n'avons
qu'un espair au monde
30. Michael Kinney One Minute of
55. Eldad Tsabary Lost-Salvage-Divined
listening pleasure
07.10.2008
Page 5 of 19
31. Mary Jane Leach Dido Remembered

32. Stan Link Cavatina from an
56. Michael Vernusky The Singularity
Imaginary Opera
57. John Villec Glassbur
58. Robert Voisey ripples in sand
59. Christopher McWard Dance,
Truman, Dance.
60. Dwight Winenger rnd.snd.bas
3.
More about H. Leslie Adams

(There may be some repetition from #1 above.)
Opera North, Pennsylvania's only African American Opera Company, cordially invites you
to "Blake", the second presentation of An African American Triptych on Saturday, April
12th at 8:00 pm, at the Trinity Center for Urban Life, 2212 Spruce Street in Philadelphia.
============================
=====================
"Love Rejoices: Songs of H. Leslie Adams"
"Twelve Etudes"
[2nd ed.; Darryl Taylor, tenor]
www.amazon.com
imaramusic.com
cdbaby.com
cdbaby.com
MP3 Download:
MP3 Download:
www.greatindie.com
www.greatindie.com
____________________
____________________
www.amazon.com
=======================
-------------------------------------------------------------------------------africlassical.blogspot.com
BLAKE was given two notable excerpt performances following its VOX Showcase
presentation. On November 7, 2006 THE BLAKE SUITE was featured on the Chamber
Music Live Series at Queens College, Flushing New York, and on January 3, 2007 at the
Schomburg Center in New York City. The latter presentation, by Avava Artists, was the
official opening concert for the 52nd Annual Convention of the National Opera Association
Convention.
The opera tells the story of young love, forced separation and the search for true love in the
antebellum South prior to the Civil War. It also depicts the quest for freedom during those
turbulent times in America. The opera, when performed in its entirety, is in four acts with a
running time of about two and a half hours.
Adams' works are increasingly gaining in visibility and audience and critical acclaim. The
composer recently did a week-long residency at Morehouse College, Atlanta, Georgia,
07.10.2008
Page 6 of 19
(February, 2007) which culminated in a concert of his art songs and music from a new
drama with music, "Slaves." An all-Adams concert was also presented by the East
Cleveland, Ohio Public Library in the Greg Reese Performing Arts Center (January,
2007). ###
On January 7, 2006 the National Opera Association awarded its Lift Every Voice Legacy
Award to Composer H. Leslie Adams.
The event took place in Ann Arbor, Michigan at the Four Points Hilton Hotel, which hosted
NOA's 51st Annual Convention.
Adams was present to receive the award, and earlier in the week participated in a Panel of
Composers and Impresarios discussing the "Future of Opera in America."
His song group, "Daybirth, " on texts of Joette McDonald, was the topic of a scholarly
paper presented by Gail Robinson, with McDonald also present.
Adams accompanied Robinson on "Lullaby Eternal," a song from "Daybirth" at the paper
presentation and again, at the request of the Convention, as a finale to the final session: a
banquet which featured winners of the vocal competitions held during the convention.
Adams award reads, "The National Opera Association presents this 'Lift Every Voice
Legacy Award' to H. Leslie Adams; January 7, 2006." ###
Maestro Aurelio de la Vega presented an illustrated lecture on his music April

19, 2006, at the Institute for Cuban and Cuban-American Studies of the
University of Miami, Florida. The title of the lecture is "A Long Musical
Journey." The illustrated lecture was given in connection with an on-going
international celebration of his 80th anniversary. For reservations, phone (305)
284-2822.
I am enclosing the announcement of my solo concert on April 29. Although I have

performed off and on over the past few years, I have not presented a solo concert of my
original music in about 14 years. I decided it was time to share some of my more recent
works in an intimate setting.
The room at Alvas is quite nice. It is a small venue, seating only 60. I hope I can fill it for
this performance!
I have created what I believe to be some interesting works recently. I am especially excited
about the Blue Bridge, a work for MIDI trombone and DVD. The material is the Vincent
Thomas Bridge and its recent lights.
07.10.2008
Page 7 of 19
I hope to finish another work for MIDI trombone and DVD, Variations on The Krakow
Fanfare. The material dates back to 1241, and am pleased with the progress I am making
with this piece.
Thanks for letting me share with you information about this event.
Rod Oakes
Original Music for the Trombone and Electronics
April 29, 2006
8:00 PM
Rosalie & Alva's Performance Gallery
1417 W. 8th Street
San Pedro, CA 90732
Ten dollar admission
Tickets and information available at (800) 403- 3447
Irwin Swack's work, "Profiles" for clarinet, violin and cello, was
performed at Weill Recital Hall at Carnegie Hall, Sat., Mar. 4, at 2:00 p.m.
FOR IMMEDIATE RELEASE
February 1, 2006, Verona, New Jersey - Subito Music Corporation has

acquired the catalog of Seesaw Music from the family of the late Raoul Ronson.
Subito will retain the Seesaw name and imprint on the entire catalog, which consists of over
3600 works by more than 300 composers.
Seesaw Music Corporation was founded in New York City by Mr. Ronson in 1964 to create
a place for the serious music being created at the time. Subito President Stephen Culbertson
states: `Seesaw Music was one of the first `print-on-demand` publishers, before that term
became current. There are many works with a long performance history, as well as gems
that we hope to re-introduce to the concert music community. We are pleased to be able to
keep the entire catalog intact and available. We hope to add new works to the catalog as
well as modernize the distribution system by using current technology and adding online
ordering capabilities.`
Acquisition of the Seesaw catalog marks a period of unprecedented growth and expansion
for Subito Music Corporation, which recently assumed distribution for the Subito print
catalog, the CD Sheet Music 2.0 product line, and several other series including Large Print
Music and The Digital Editions.
From its inception in 1980, Subito Music Corporation has been a leader in the concert
music publishing industry. Informed by over 125 years of combined experience, SMC is a
full-service music publisher, featuring a roster of world-class composers among its list of
exclusive artists, and offering typesetting and printing, promotion, rental, sales, distribution
and copyright administration services for composers and publishers. In addition, SMC
07.10.2008
Page 8 of 19
consistently identifies creative and practical uses for digital technology, with initiatives
ranging from digital sheet music delivery and short-run print-on-demand capabilities, to its
innovative distribution and promotion agency services and e-commerce functionality.
###
Subito Music Corporation
60 Depot Street
Verona, NJ 07044
tel: (973) 857-3440
fax: (973) 857-3442
www.subitomusic.com
Subito contacts
Stephen Culbertson, President - sc@subitomusic.com
David Murray, Publishing Manager - dbm@subitomusic.com
Bill Rhoads, Promotion Director - branda@subitomusic.com
Patricia Kotsambas, Customer Service Manager - pak@subitomusic.com
I have the great pleasure to send You my new composition "Song of Mars", inspired by a
very beautiful, a fantastic picture realized by the NASA in this extraordinary American
mission to Mars. In fact, the background of this music (the "objective" like organ sounds) is
a conversion of the attached "jpg image" to "midi sounds" (with the "MIDImage" software),
and the melody is my "subjective" contribution...
Faithfully Yours,
Dr. Serban NICHIFOR
Song of Mars by Dr. Serban Nichifor
(Click the image to audition.)
It gives me great pleasure to send You (on MIDI
file) also a new wonderful composition of Liana
ALEXANDRA : RHYTHMS. I like this music !
Faithfully Yours,
Serban
Reviews about NUOVA MUSICA CONSONANTE - LIVING MUSIC FOUNDATION 2003

(Computer Music from U.S.A., Belgium, Italy, England and Romania), for the Bucharest
magazines "Actualitatea Muzi," (January 2004) and "Observator Cultural" (January 2004).
07.10.2008
Page 9 of 19
With our highest regards,

Liana ALEXANDRA & Serban NICHIFOR
Update: February 1, 2004:

I have the pleasure of sending you my compendium "INTRODUCTION TO
COMPUTER MUSIC" - for my course at the National University of Music in Bucharest. In
fact, this is an INTRODUCTION TO MUSIC OF THE UNITED STATES because
Computer Music - this marvelous genre - is 99 % AMERICAN MUSIC !!!
The text is in Romanian, but with numerous English Expressions. In Chapter A
(Chronology), I have inserted some information about you and the your magnificent
LIVING MUSIC FOUNDATION.
Yours faithfully,
Serban NICHIFOR
Note to the reader: email copies of this compendium in Romanian are available from the
webmaster
Jose' Salazar:
Jose' Salazar was presented in concert in New York City at the Weill Recital Hall,
at Carnegie Hall, on March 26, 2006.
Here is the new program of the Composers Colloquium I am organizing at our UNI
since 1996.
With my regards.
Violeta Dinescu
Carl von Ossietzky Universitdt Oldenburg

Fakultdt III
Musik
Kammermusiksaal (A-11)
Ammerldnder Heerstra_e 114-118
Komponisten Colloquium
SS 2003
Musik unserer Zeit
25.4.2003
- 18.00 Uhr Gertrud Meyer-Denkmann (Oldenburg)
Zur Gleichzeitigkeit verschiedener Musikkulturen
2.5.2003
07.10.2008
Page 10 of 19
.00 Uhr Peter Machajdmk (Bratislava/Berlin)

23.5.2003
- 18.00 Uhr Juliane Klein (Berlin)
- in Kooperation mit Oh-Ton Oldenburg 30.5.2003
- 18.00 Uhr Daniel Rothman (LA/USA)
Gast: David Smeyers (Klarinette)
- in Kooperation mit Radio Bremen 6.6.2003
- 18.00 Uhr Lars Graugaard (Kopenhagen/Ddnemark)
20.6.2003
- 18.00 Uhr Peter Schleuning (Oldenburg)
Schleunings Flvtenzirkus.
F|nf Flvten bilden eine Faust: Musikwissenschaft am Limit
27.6.2003
- 18.00 Uhr Insa Oertel: Der Komponist Gustavo Becerra-Schmidt
(Chile/Oldenburg)
- Vortrag in Anwesenheit des Komponisten Gast: Ljuba Markova (Klavier)
4.7.2003
- 18.00 Uhr Mihaela Vosganian (Bukarest/Rumdnien)
und
-20.00 Uhr Diana Simon und Rucsandra Popescu (Bukarest)
Gesprdchskonzert
Dear Dwight,
I am very happy to send you information about my new opera premiere in Oldenburg and
also the program of the composer colloquium I am organizing at the UNI since 1996.
07.10.2008
Page 11 of 19
With my regards,
Violeta
Info Erindira
Oldenburgisches Staatstheater, Kleines Haus
Erindira
Kammeroper von Violeta Dinescu nach Gabriel Garcia Marquez
Musikalische Leitung: Eric Solin
Regie: Mascha Pvrzgen
Ausstattung: Cordelia Matthes
Erindira: Anja Metzger
Grossmutter: Christina Ascher
Ulysses: Paul Brady
(sowie Marit Risnes, Ute Biniass, Alwin Kvlblinger, Brian Joyce, Toshihiko Matsui,
Anthony Gardner)
Kartenbestellung
Tel.: 0441 / 2225 111
Fax: 0441 / 2225 221
Sa., 16.11.2002, 20:00 Premiere
Do., 21.11.2002, 20:00
Mi., 04.12.2002, 20:00
Mi., 11.12.2002, 20:00
Sa., 21.12.2002, 20:00
So., 12.01.2003, 20:00
Sa., 18.01.2003, 20:00
Do., 23.01.2003, 20:00
Am Sonntag, 3. November um 17 Uhr findet die Einf|hrung in das St|ck und die
Inszenierung statt.
weitere Information unter www.oldenburg.staatstheater.de
W|stenwind, Orangenduft und Gr|nes Blut ERENDIRA

einer Novelle von Gabriel G. Marquez
B|hnenbild-Detail
Oper von Violeta Dinescu nach
Eine phantastische Novelle voller poetischer Bilder und magischer Anspielungen bildet die
Vorlage f|r eine Oper mit einer zwischen Realitdt und Traumwelt oszillierenden Handlung.
Magische Rdume aus s|damerikanischen Bilderwelten werden beschworen. Die Musik des
Kammerorchesters bildet eine eigene Welt. Sie bebildert die Handlung nicht, sondern spinnt
selber verschiedene Handlungsstrdnge fort. Sie symbolisiert das ;Unterwegs-Sein+ von
Erindira, ihr Suchen und die Offenheit des Endes. ;Der Klangraum meiner Musik verdndert
sich stdndig wie Treibsand. Man kann in ihm versinken, wenn man selbst nicht schnell
genug ist.+ (Violeta Dinescu) Eine Musik, die nicht der Untermalung dient, sondern die der
Magie der Geschichte eine eigene, poetische Ebene hinzuf|gt.
Premiere
07.10.2008
Page 12 of 19
16.11.2002
20.00 Uhr
Kleines Haus
David Manson's Indie label isospin labs has released two CDs that you may be
interested in if you like innovative and adventurous music.
Fluid Motion is a jazz quintet featuring saxophonist Sam Rivers, a true legend in the jazz
realm. The recording is a balance between structure and freedom. CD Baby has some
excerpts in mp3. www.cdbaby.com/fluidmotion
Visions is a compilation of performances from the EMIT series. The music ranges from free
jazz to electronic and experimental. It is "music for the strong of ear" featuring Peter
Kowald, Evan Parker, Sam Rivers, Amy Denio, Day & Taxi, Eugene Chadbourne,
Davey Williams, Pamela Z, Daniel Carter and other artists. www.cdbaby.com/cd/emit
The recordings are available via CD Baby, NorthCountry and Wayside.
Thanks for your support of creative music!
David Manson
EMIT
www.emitseries.org
mansond@email.spjc.cc.fl.us
Vivian Adelberg Rudow's full orchestra music SPIRIT OF AMERICA was premiered
on Friday, July 12, 2002, 7:00 PM performed by the Chesapeake Orchestra, Jeffrey
Silberschlag conductor, during a FREE River Concert Series at St. Mary's College, St.
Mary's City, Maryland.
Adelberg Rudow and friends conducted in the audience during audience participation
sections of SPIRIT OF AMERICA.
The River Concert Series, a set of festive high quality outdoor concerts, draws
approximately 4,000 people per concert. The variety of styles of music professionally
performed, good food, the beautiful waterfront setting, create a unique music experience.
For more information about the River Concert Festival and directions, see the web site:
www.smcm.edu/rcs
For more information from the composer: phone 410-889-3939, E-mail:
VivianAR@jhu.edu
Liana Alexandra's paper on the Living Music Foundation, presented on Friday, 5

April 2002, at the National University of Music of Bucharest on the occasion of their
annual festival of the faculty of Composition, Musicology, and Pedagogie was wellreceived and will be published in a cultural review to be reproduced in part here.
07.10.2008
Page 13 of 19
Sent: Friday, May 03, 2002 1:46 PM

Subject: "Living Music" by Liana Alexandra
Dear Sir,
I have the honour to present my article intitled "Living Music" published at the review
OBSERVATOR CULTURAL this week (nr.114). You can see this article on
www.observatorcultural.ro
Sincerely yours,
Liana Alexandra lianaalexandra@pcnet.ro
Member News - Joseph Pehrson - 4/01/08
The Composers Concordance would like to announce a new video on YouTube by our
co-director, Joseph Pehrson.
YouTube
It's a piece called "Spinner" and it is here shown at the Moscow Composers' Union. The
piece is for clarinet, bassoon, viola and cello (2007) and it was also performed in Moscow
as part of the "Jurgenson Salon" on March 22, 2008.
Performers are Alexander Filatov, clarinet, Sergei Grashchenkov, bassoon, Anastasia
Ponochevnaya, viola and Lydia Zinchenko, cello...
Joseph Pehrson recently had two performances of his Spectral Harmony for saxophone
and French horn by Jean Luc Darbellay's group, the "Spectral Ensemble" in Bern
Switzerland and Mulhouse, France March 15 and March 17, 2002.
In addition, his work Three Pianopieces will be performed by pianist Jeffrey Jacob, of
George Crumb notoreity at New York University on April 29, 2002 at Loewe Theatre. Mr.
Jacob will also be recording the piece commercially this Summer.
07.10.2008
Page 14 of 19
Two additional pieces by Pehrson will be featured this Spring which use electronics and
which are in unusual tuning systems. On Saturday, May 25th, 2002 Pehrson's Blackjack for
trombone and electronics in the just intonation "Blackjack" scale will be played by Chris
Washburne, trombone on Johnny Reinhard's American Festival of Microtonal Music at the
Roulette performance space in New York.
The Composers Concordance will be presenting another unusual work in an alternate
tuning for viola and electronics on Thursday, May 30, 2002 with Olivia Koppell, viola.
In addition to these concert works, the Pulse Ensemble Theatre is presenting
Shakespeare's The Tempest using Pehrson's music, and his arrangements of Renaissance
"standards" in a run from April 17, 2002 through May 12, 2002. This is the second time this
theatre company has presented The Tempest with Pehrson's music.
Serban Nichifor presented a recital of Solo Cello music during the International Festival
NEW MUSIC WEEK in Bucharest, Romania, held in May 2002.
"LIVING MUSIC FOR CELLO"

- Interferente Romano-Americane (Serban NICHIFOR - cello)
The program consisted exclusively of music by American and Romanian members
of The Living Music Foundation:
Dwight WINENGER (USA): "Structural Variations on Two Obscure Themes"
pentru violoncel solo (p.a.)
Liana ALEXANDRA: "Incantatii III" pentru violoncel si banda magnetica
(p.a.a.)
Charles Norman MASON (USA): "The Artist and His Model"
pentru violoncel si banda magnetica (p.a.)
Serban NICHIFOR: "Isihia II" pentru violoncel si banda magnetica (p.a.a.)
Rodney OAKES (USA): "Fantasy for Cello & Electronics" (p.a.)
Cellist Craig Hultgren performed a solo program of seven world premieres on a Nov.
18th, 2001 program for Artburst at the Unitarian Church of Birmingham, Alabama.
This contemporary performance featured both acoustic and electronic works created for
him. The works cover a broad panorama of visions and voices from the last three years
surrounding the change of the century.
H7yx a for cello, speaking cellist & tape by Sherban Nichifor (Roumania)
Only Four for solo cello by Charles Knox (Atlanta)
After Hours for violoncello & tape by Kurt Carpenter (Sterritt, AL)
Structural Variations on Two Obscure Themes for solo cello by Dwight Winenger
(California)
The Ninth Wave for cello & computer generated tape by Robert Scott Thompson
(Atlanta)
Lavender Slumber for solo cello by Andy Delikat (Birmingham)
Waltzes for Capone for cello & digital electronics by Matthew Marth (Olympia, WA)
The concert was an enormous success as testified to by the following review:
07.10.2008
Page 15 of 19
Birmingham News/Today
Entertainment News
Hultgren uses novel cello to set surrealistic tone
11/20/01
MICHAEL HUEBNER
News staff writer
Artburst's challenging season of cutting-edge music, dance and theater continued Sunday night at
the Unitarian Universalist Church. Cellist Craig Hultgren, Birmingham's leading cultivator of new
music, provided the acoustic and electronic instruments. Seven composers furnished the
compositions, most of which were world premieres.
Hultgren has networked widely in his quest for innovative music, and for this concert he came up
with some gems. Starting off with Robert Scott Thompson's "The Ninth Wave," Hultgren unveiled
his new electronic cello a bodyless stick figure of an instrument that he used to great effect
accompanying a bed of ghostly sound masses from the two speakers flanking him. Distant voices
and seascapes echoed through the hall in a vaguely melodic, thoroughly engaging framework.
Romanian composer Serban Nichifor's "Hyxa" is steeped in ritual, the cello and vocals (the cellist
is required to sing in Hebrew, Greek, Latin and English), successfully bridging Eastern orthodoxy
and Western Christianity through an evocative array of pre-recorded sounds and cello harmonics.
For "After Hours," Kurt Carpenter resurrected an analog tape piece from the days when Moog, Arp
and Buchla synthesizers ruled the avant-garde, and wrote a cello part for it.
The juxtaposition of the live instrument with the synthesized whistles, bird calls and random bloops
and bleeps worked surprisingly well. Hultgren mimicked, cajoled and otherwise provided a spirited
accompaniment.
Matthew Marth's provocative "Waltzes for Capone," for cello and digital electronics, was the
evening's most tantalizing and technically advanced composition. Crystalline bell tones and quotes
from Strauss waltzes set the taped background for the work, which explored the warped psyche of
the notorious gangster. The result was a surrealistic, sometimes naive and bizarre dialogue with the
live instrument.
Of the three pieces for solo acoustic cello, two lacked the flare of the electronic works. The
exception came from Dwight Winenger, whose Structural Variations on Two Obscure Themes
delighted with its inventive and playful reminiscences on the Pink Panther theme and the hymn "Red
and Yellow, Black and White."
The Calendar for New Music, published monthy by The SoundArt Foundation, Inc.
William Hellerman, Editor

P.O. Box 900
Philmont, NY 12565 USA
The latest information on concerts, CDs, competitions in the New York City area.
Subscribe for $15. Visit their website @ soundart.org
PLEASE NOTE: We now have a web site for "O.T, a Musical Retelling of Othello in Modern
Times": http://otmusical.com. And we have just released a CD of selections, on sale at
Amazon.com, our site, and regular outlets. There was also a Washington, D.C. premiere of O.T. in
February, 2001.
Cordially,
Mirta Mulhare
07.10.2008
Page 16 of 19
Member, Living Music
DID YOU KNOW?

Did you know that you can make a donation
to the United Way and earmark it for Living
Music Foundation? If you wish the donation
to go to one of the following projects, tell
United Way to send it to Living Music
Foundation and ask for a thank you note.
We will contact you and ask which project
you would like to help out:

General Support
DID YOU NOTICE?

That members of The Living Music
Foundation get triple exposure on our web
site in addition to promotion in Living Music
Journal, which is distributed to all our
members, which including numerous
colleges, universities, and music

libraries around the world.
Get your name out there where it will be
noticed!
Join now! and avail yourself of our many
benefits:

Publisher affiliation with Broadcast Music Inc.
Non-profit, tax-exempt assistance
07.10.2008
Page 17 of 19
Return to Index.
Living Music's advertising prices have not increased in over ten

years.
Very affordable...$15 per column-inch.
Your ad will reach hundreds of members as well as other
hundreds of musically-alert gift subscribers, performers,
performing groups, music libraries, and radio stations.
You may advertise directly on the net with Living Music as well.
Check it out.
LIVING MUSIC is the official publication of The Living Music Foundation, Inc.
Dwight Winenger 2000
February 1
August 1
Announcements,
Opportunities, Competitions,
and Calls for Scores must be
postmarked by one of the
above dates prior to
publication dates to be
considered for inclusion in
Living Music Journal. Please
send information to:
Living Music
07.10.2008
Page 18 of 19

Box 549033
cmason@bsc.edu
LIVING MUSIC is published two times each year (September 30 and March 30).
The deadlines for submissions for performance notification, competitions, and
advertisements are four weeks before each date of publication or thereabouts.
Advertising rates are $15 per column inch.
To join LIVING MUSIC and receive the journal, send $20 (US residents)
or ($25 [US funds] all others) to the new General offices:
Box 549033
Return to Index.
the Living Music Foundation, inc.

Membership Dept.
Executive Director
Box 549033
email: Dr. Charles Norman Mason
Tel: 205-226-4957
(make checks payable to Living
Music)
You may put your own Professional Web Page online

very quickly and easily for as little as $5.
Contact us NOW!
Put our link on your site, and we will reciprocate:
07.10.2008
Page 19 of 19
Background music is "Extremes" for strings by Dwight Winenger [BMI] 1996
all right reserved

Performed by the Desert Hot Strings with the composer at the sequencer.
3,295 bytes (1:59 min.) Extremes.MID was orchestrated by D. Winenger
on Trax for Yamaha CBX-T3 synthesizer
Web Site Offices:

e-mail Livng Music at dwight@dwightwinenger.net
or overland...
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Membership is only $20.00 per year (USA) and includes our quarterly publication,
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07.10.2008
Date-sensitive Concert Announcements--Part III--Late-breaking Music News!
Page 1 of 16


Late-breaking Music
News...
Concert Announcements
The following date-sensitive Concert announcements arrived during
the inopportune period between hard-copy issues. We have put them
online so our online visitors will not miss the opportunities these
announcements afford:
8. The 60x60 Canadian Mix launches this weekend!

An alternate 60x60 mix of Canadian composers lead by Eldad Tsabary is debuting this
weekend in Toronto and Halifax, Canada
"60x60 was initiated in 2003 and his since grown into one of the planet's most coveted
contemporary music events.... its success can be explained by the sheer wealth of different
approaches on display and its capacity of organically integrating them underneath the roof of
"New music". It is important to note that there is not one definitive version of the piece, as
different regional mixes cohabitate with the all-encompassing international mix.
- 60x60: Wellington welcomes New Music's fastest-ticking clock By Tobias Fischer,
published 2008-09-01
Saturday October 4th 4:00 AM,
Nuit Blanche, Walter Hall, Edward Johnson Building,
University of Toronto
Toronto, Canada
www.utoronto.ca/tmu_dpatr/DejaPresqueJamais.pdf
and
Sunday October 5th 7:30 PM,
Oscillations,
Saint Mary's University Art Gallery,
http://www.dwightwinenger.net/journalxb.htm
08.10.2008
Page 2 of 16
Halifax NS
www.oscillationsfestival.ca
Canadian composers included in 60x60 (Canadian mix)
Asoma, Zorina Bacchus, Adam Basanta, Sandeep Bhagwati, Adrian Borza, Christian
Calon, David Campbell, Matt Campbell, Raylene Campbell, CDZabu, Gustav Ciamaga,
Patrick Sbastien Coulombe, Ian Crutchley, Dancers, Leslie de Melcher, Debashis Sinha,
Richard Dsilets, Francis Dhomont, Nicolas Dion, Patricia L. Dirks, Carey Dodge, The
Dry Heeves, Troy Ducharme, Jean-Michel Dumas, Philippe-Aubert Gauthier, Franois
Girouard, Philip Gosselin, Martin Gotfrit, Tim Hecker, Bryan Jacobs, Bentley Jarvis,
Yota Kobayashi, Shaw-han Liem (I am Robot and Proud), Sylvi macCormac, Florence
Masson, David McCallum, Andra McCartney, Diana McIntosh, Dustin Molicki, Steven
Naylor, Raphal Nron-Baribeau, David Ogborn, John Oliver, Sean O'Neill, David Parfit,
Lia Pas, Sarah Peebles, Scott Peterson, Michael Pinsonneault, Ambrose Pottie, Hlne
Prvost, Jean Routhier, Frederick Schipizky, Zuzana Sevcikova, Laurence Stevenson,
Nancy Tobin, Roxanne Turcotte, Steve Wadhams, Matthew Wood, Kamen Zenov.
______________________________________________
VoxNovus mailing list
VoxNovus@voxnovus.com
seven.pairlist.net/mailman/listinfo
9.
Uncommon Voices!
Music by composers from the Americas and the World
Ten free admission concerts featuring the North/South Chamber Orchestra
and distinguished guest artists
at Christ & St Stephens Church (120 W 69th St & #8211; New York
City)
29th Season (1980-2009)
www.northsouthmusic.org
NORTH/SOUTH CONSONANCE Inc. is pleased to announce plans for

its 2008-09 concert series featuring music by composers from Asia, Europe
and the Americas.
The upcoming season will mark the 29th consecutive year of activities by
this non-profit organization devoted to the promotion, performance and
recording of music by living composers.
Ten free-admission events will be presented at the auditorium of
Christ and St. Stephens Church (120 West 69th St) in New York City. The
08.10.2008
Page 3 of 16
concerts will feature the acclaimed North/South Chamber Orchestra and

distinguished soloists including Patricia Caicedo and Stela Brandao,
sopranos; Mioi Takeda, violin; John Pickford Richards, viola; the
Basso Moderno Duo; Munir Beken, Turkish ud; Lisa Hansen, flute;
Setsuk o Akizawa, oboe; David Krakauer and Richard Goldsmith,
clarinet; Susan Jolle s, harp; Helen Lin, piano; and
pianist/conductor Max Lifchitz.
Recent works by three generations of composers representing diverse
aesthetic orientations and hailing from throughout the US, Argentina,
Brazil, China, Colombia, Greece, Italy, Israel, Japan, Korea, Mexico,
Spain, Turkey and Venezuela will be performed.
They include: Ofer Ben-Amots, Brian Banks, Dwight B anks,
Elizabeth Bell, Munir Beken, Richard Brooks, Canary Burton, Patrick
Ca stillo, Jordi Cervello, Carson Cooman, Stephen Feigenbaum,
Bernardo Feldman, Daniel Haldar, Lee Hoiby, Nikolas Allen
Jeleniauskas, Dennis Kam, Yoshihiro Kanno, Daniel Kessner, Leo
Kraft, Max Lifchitz, Tudor Dominik Maican, Patri cia Morehead,
David Patterson, Andrea Reinkemeyer, Ned Rorem, Ma nuel Sosa,
Gabriele Vanoni, Rain Worthington, & Stephen Yip.
Many of the featured composers will be present at the concerts to
introduce their music and meet with the public. They will wor k closely with
the musician members of the North/South Consonance Ensemble to insure
befitting performance of their works.
NORTH/SOUTH CONSONANCE's 2008-09 season is made possible in part
with public funds from the New York State Council on the Arts and the New
York City Department of Cultural Affairs. Additional support for these free
admission events is being provided the American Federation of Musicians
(Local 802); the Alice M. Ditson Fund at Columbia University; and many
generous individual donors.
For more information about this exciting concert series please visit
www.northsouthmusic.org
10.
60x60
Broadcasts:
The new double album release of the 60x60 project is being aired regularly on WMUA,
WKCR, and WOBC.
Our oldest supporter, Max Shea with his radio program, "Martian Gardens" has been playing
selections of the 60x60 for the past 4 years. He has been playing one or more selections on his
08.10.2008
Page 4 of 16
show airing on: WMUA FM 91.1 Amherst, Massachusetts. with web simulcast
at: /www.wmua.org MARTIAN GARDENS is on Sundays 21:00-24:00 Eastern Standard
Time online playlists can be found at: weblogs/martian
Next is Anne Cammon's "Art Waves," a literary radio program, featuring poetry, fiction,
radio drama, and experimental literature. Miss Cammon uses the 60x60 project as refreshing
interludes between the literary works.
"Art Waves" airs on Fridays 9:00-10:00 pm Eastern standard time. Tune in at 89.9 FM or
listen on-line at /www.wkcr.org. Feel free to learn more about WKCR shows at
www.wkcr.org/wkcrarts
Anne Cammon's show airs about once a month, including this Friday October 5th which
features another exciting literary journey combining music and the spoken word. With sizzling
works by Palestinian-American poet Natalie Handal, portraits of Bombay and New York City
by poet Jeet Thayil, a novel-excerpt on the life of a junior cartographer by Reif Larson, and
text-sound adaptation of poems from Anne's collection India Songs, by composer Robert
Voisey. Not including works from the 60x60 (2004-2005) CD.
Most recently 60x60 has been airing on Tom Lopez's "Foldover" airing every Monday from
3:00-4:00 pm (Eastern Standard Time) on WOBC 91.5 FM in Oberlin, Ohio (just outside
of Cleveland). The show can also be heard over the Internet at: www.wobc.org Last Monday he
featured 25 works from the 60x60 project. A web site with information about FOLDOVER can
be found at: www.timara.oberlin.edu It includes playlists and information on how to find
recordings of the music.
I hope you are in the area to tune in to one of these programs or have the time to listen to their
simulcast over the World Wide Web.
_______________________________________________
VoxNovus mailing list:
listinfo/voxnovus
Composers featured in 60x60 (2006 / International Mix) include:

Aaron Acosta
Serban Nichifor
David Fenech
Liana Alexandra
Rodney Oakes
Monroe Golden
John Allemeier
Ronald Parks
David Gunn
Dwight Ashley
Maggi Payne
David Hahn
Marc Barreca
Erdem Helvacioglu
Samuel Pluta
Dennis Bathory-Kitsz Tony Higgins
David Shannon
Gina Biver
Stuart Hinds
Alan Shockley
Lynn Job
James Bohn
Scott Smallwood
Julian Jonker
Marita Bolles
Laurie Spiegel
Yasushi Kamata
Asha Srinivasan
Ann Cantelow
Nicolas Chausseau Nicole Kim
Alex Temple
Joan La Barbara
Andrew Cole
Balie Todd
Stan Link
Christopher Cook
Eldad Tsabary
08.10.2008
Cindy Cox
Antonino Cuscina
Robert Dick
Ian Dicke
Greg Dixon
Aaron Drake
Ivan Elezovic
Page 5 of 16
Don Malone
Kubilay Uner
Dylan Mattingly
Mark Vernon
Maurilio Cacciatore Katrina Wreede
Andra McCartney
Xiting Yang
Anastasio Mitropoulos Ivan Zavada
Annele Nederberg
Oded Zehavi
and ~chromatik_d_zabu.tmp (collective)
David Newby
Composers featured in 60x60 (2007 / International Mix) include:

Risto Holopainen Alex Nadjarov
Henri Algadafe
Alphons Izzo
John Allemeier
Helen Nattras
Thomas Bailey
Michiko Kawagoe Serban Nichifor
Joel-Aime Beauchamp Joelle Khoury
Blas Payri
Panayiotis Kokoras John Pitts
Benjamin Boone
Gene Pritsker
Gintas Kraptavicius Tim Reed
Monique Buzzarte
Stephen B. Rothman
Adam Caird
Gregory Chatonsky
Sophie Lacaze
Jesse Clark
Anne van Schotholst
Micky Landau
Cindy Cox
Tuan Hung Le
Noah Creshevsky
Laurie Spiegel
Graziano Lella
David Cutler
Ken Steen
Meng-chia Lin
Tilman Dehnhard
Oliver Tache
Drake Mabry
Robert Dick
Eldad Tsabary
Chris Mann
Andrew Eckel
Andrea Vigani
Al Margolis
Iris Garrelfs
Daniel Visconti
John Maters
Thierry Gauthier
Christian McCleer Jane Wang
Marcel Gehrman
Rodney Waschka II
David McIntire
Thomas Gerwin
Simon Whetham
David Morneau
Tomer Harari
Sabrina Pena Young
Jeff Morris
Tim Mukherjee
and Cynthia Zaven
_______________________________________________
listinfo/voxnovus
Composers included in 60x60 (2006) International Mix:

Aaron Acosta
Rodney Oakes
David
Fenech
Liana Alexandra
Ronald Parks
Monroe Golden
John Allemeier
Maggi Payne
David Gunn
Dwight Ashley
Samuel Pluta
David Hahn
Marc Barreca
David Shannon
Erdem
Helvacioglu
Dennis Bathory-Ktitsz
Alan Shockley
Tony Higgins
Scott Smallwood
Gina Biver
Stuart Hinds
Laurie Spiegel
James Bohn
Lynn Job
08.10.2008
Marita Bolles
Ann Cantelow
Nicolas Chausseau
Andrew Cole
Christopher Cook
Cindy Cox
Antonino Cuscina
Robert Dick
Ian Dicke
Greg Dixon
Aaron Drake
Ivan Elezovic,
Julian Jonker
Yasushi Kamata
Nicole Kim
Joan La Barbara
Stan Link
Don Malone
Dylan Mattingly
Maurilio Cacciatore
Andra McCartney
Anatasio Mitropoulos
Annele Nederberg
David Newby
Serban Nichifor
Page 6 of 16
Asha Srinivasan
Alex Temple
Balie Todd
Eldad Tsabary
Kubilay Uner
Mark Vernon
Katrina Wreede
Xiting Yang
Ivan Zavada
Oded Zehavi
and ~chromatik_d_zabu.tmp (collective)
Composers included in 60x60 (2006) New York Minutes Mix:

Sara Ayers
Daniel Goode
Annea Lockwood
Kenneth Babb
Seth Gordon
Glenn Marsala
Ernst Bacon
Andy Graydon
Paula Matthusen
Eve Beglarian
Gordon Green
Kevin McCoy
Benjamin Bierman
Jordan McLean
Melissa Grey
Benjamin Bierman
Jake Merkin
Jennifer Griffith
Jeremiah Bornfield
Christopher North
Franz Hackl
George Brunner
Frank J. Oteri
Jeffrey Harrington
Monique Buzzarte
Jonathan Pieslak
Noah Haverkamp
Doug Cohen
Emiko Hayashi
Timothy Polashek
Noah Creshevsky
Ray Levitt
Gene Pritsker
Douglas DaSilva
Peter Heller
Martin Simon
John de Clef Pineiro
Sean Hickey
David Snow
Robert Dick
Brian & Eugene Kim House
Laurie Spiegel
Robert Fanelli
Daniel Iglesia
Patrick Stacey
Mary Feinsinger
Travis Johns
Hans Tammen
Roger Fife
Richard Kostelanetz
Francisco Toro
Roger Fife
Briggan Krauss
Samuel Tymorek
Jason Freeman
Joan La Barbara
Robert Voisey
Evan Gallagher
Mary Jane Leach
Charles Waters
David Gamper
John Link
David Wolfson
Bob Gluck
Composers in the 60x60 (2004-2005) CD Release:
Riad Abdel-Gawad
J.Ryan Garber
Aaron Acosta
Douglas Geers
Liana Alexandra
Peter Gilbert
John Allemeier
Robert Gluck
Lydia Ayers
Daniel Goode
Kenneth Babb
Ramn Gorigoitia
Jethro Bagust
David Gunn
Mike Hallenbeck
Christopher Bailey
David Hamill
Christian Banasik
Pat Hanchet
Greg Bartholomew
Richard O'Donnell
Cezary Ostrowski
Ronald Parks
Maggi Payne
Alexis Perepelcia
Mark Petering
Samuel Pluta
Kevin Ponto
Giuseppe Rapisarda
Malcom Rector
08.10.2008
Dennis Bthory-Kitsz
J.C. Batzner
Eve Beglarian
Stephen Betts
Sandeep Bhagwati
Benjamin Bierman
John G. Bilotta
Jason Bolte
Benjamin Boone
Justin Breame
George Brunner
Benedikt Brydern
Paul Burnell
Julian Cartwright
Elvio Cipollone
David Claman
Paul Clouvel
Douglas Cohen
Ray Cole
Andrew Cormier
Noah Creshevsky
Lucio Cuellar
Aaron Drake
Moritz Eggert
Ivan Elezovic
Travis Ellrot
Karlheinz Essl
Carlo Forlivesi
Justin Freeman
Larry Gaab
David Gamper
David Handford
Marihiko Hara
Jason Heald
James Hegarty
Erdem Helvacioglu
Mark Henry
Dorothy Hindman
Bernard Hughes
David Jaggard
Lynn Job
Solange Kershaw
Killick Merivon
KleinSmid
Gary Knudson
Igor Korneitchouk
Myroslava Lashkevych
John Link
Stan Link
Tom Lopez
Don Malone
Mike McFerron
David McIntire
James McWilliam
Leslie Melcher
James Miley
Polly Moller
David Mooney
Serban Nichifor
Julia Norton
Rodney Oakes
Page 7 of 16
Steven Ricks
Mark Rose
Robert Sazdov
John Schappert
Heike Schmidt
Jacky Schreiber
Alex Shapiro
Martin Simon
Adam Sovkoplas
Kenneth Steen
Paul Steenhuisen
Jonathan Stone
Allen Strange
Dirk Johan Stromberg
Thomas Sutter
Peter Swanzy
Peter Swendsen
Mike Swinchoski
Piotr Szewczyk
Norman Teale
Robert Scott Thompson
Vladimir Toic
Eldad Tsabary
Mike Vernusky
Rene Veron
Joseph Vogel
Robert Voisey
Chris Ward
Straiph Wilson
Katrina Wreede
11.
08.10.2008
Vox Novus
Page 8 of 16
&
"60x60 showcases a wealth of brief, contemporary compositions. There are

no live performances, so you can't really call it a concert. Maybe it would
better be described as a listening party. ... It's like a Whitman's sampler of
the contemporary new music scene. " - Sound Sampler Greg Haymes,
Times Union, Albany New York February 9, 2006
"60x60 features 60 back-to-back pieces that are each under 60 seconds
long, each by a different modern composer. ... It's like channel surfing
through experimental music." Geeta Dayal, Village Voice, New York, New
York March 16-22, 2005 Vol. NO. 11
"... The idea of commissioning sixty pieces each a minute long has elements
of both ingenuity combined with madness: ... A minute can be ample time to
express a whole gamut of imaginative sounds, or it can be a constraint which
forces an artist to isolate what is the most important element of a work. The
point of the project is that it enables an audience to take in and enjoy a cross
section of different approaches to new music within a reasonable duration.
And the purpose of Robert Voisey is to promote new music ..." - Ingenuity
08.10.2008
Page 9 of 16
and madness? Malcolm Miller, Music & Vision, London UK December 24,
2005
60 Composers in this year's Pacific Rim Mix include:
Nicholas Baldwin
Marc Barreca
Lembit Beecher
John Biggs
Betty Breath
Darren Buhr
Brigid Burke
Rosalinda Carlson
Sharon Cheslow
Lut Yun (Lucinda) Chiu
Foster Clark
Jared Commerer
Cindy Cox
Michael Dawson
A.L. Dentel
Aaron Drake
Alex Eddington
Jessica Gardiner
Kara Gibbs
David Hahn
Yuko Hamura
Jason Heald
Sungji Hong
Jeffrey Hunkin
Celeste Hutchins
David Evan Jones
Yasushi Kamata
Koji Kawai
Donald Kepple
Anton Killin
Nicole Kim
Tuan Hung Le
Cheryl Leonard
James Mason
Beryl Matete
Deeann Mathews
Dylan Mattingly
Polly Moller
Julia Norton
Rodney Oakes
Robert Parker
Maggi Payne
Peggy Polias
Carlos Rafael Rivera
Stephen C Ruppenthal
Simon Munro Rycroft
Margaret Schedel
Jacky Schreiber
Alex Shapiro
Frank Sprague
Phillip Stearns
Sarah Taylor
Kubilay Uner
John Villec
Robert Voisey
Shane Watters
Katrina Wreede
Hajime Yabe
Carolyn Yarnell
and Ivan Zavada
The concert program can be found at the following link:

www.voxnovus.com/60x60/2006_Pacific_Rim_Concert_Program.htm
"60x60 is a one hour listening experience containing 60 works, each 60
seconds or less. Most likely you have never heard music like this before, or
at the very least you haven't heard in a format like this: 60 works varying in
style and aesthetic from today's composers living all around the world. You
will love at least one piece. You will probably hate one piece. But whether
you love or hate what you are listening to, within 60 seconds you will be
listening to something different." - Robert Voisey
Robert Voisey is a composer and impresario of new works; he seeks
innovative and creative approaches to promote the music of today's
composers. Voisey is the Artistic Director of the 60x60 project, the
Composer's Voice concert series, Vice-President of Programs for the Living
Music Foundation and Founder and Director of Vox Novus. 60x60 Project California Premier of the 60x60 Pacific Rim Mix
Thursday Night Special @ Mills College 8pm. Ensemble Room, Mills College
5000 Mac Arthur Boulevard Oakland, California < a
08.10.2008
Page 10 of 16
href="http://www.voxnovus.com/60x60.htm">www.voxnovus.com/60x60.htm
www.mills.edu/maps/campus_map.pdf
Robert Voisey
RobVoisey@VoxNovus.com
Artistic Director of the 60x60 project
Vice-President of Programs, Living Music Foundation
Founder of Vox Novus
www.VoxNovus.com
______________________________________________
:VoxNovus@voxnovus.com
seven.pairlist.net/mailman/listinfo/voxnovus
Live internet broadcasts are available. Go to this URL:

www.wobc.org
There is a web site with information about FOLDOVER
www.timara.oberlin.edu); it includes playlists and information on how to find
recordings of the music.
FOLDOVER is organized by - Tom Lopez
Oberlin Conservatory of Music, Oberlin, Ohio 44074 USA
"60x60 showcases a wealth of brief, contemporary compositions ... It's like a
Whitman's sampler of the contemporary new music scene.
- Sound Sampler Greg Haymes Times Union February 9, 2006
FOLDOVER is on WOBC 91.5 FM in Oberlin, Ohio (just outside of

Cleveland).
Live internet broadcasts are available. Go to this URL:
www.wobc.org
There is a web site with information about FOLDOVER
www.timara.oberlin.edu
Robert Voisey
08.10.2008
Page 11 of 16
Artistic Director of the 60x60 project

Vice-President of Programs, Living Music Foundation
Founder of Vox Novus
www.VoxNovus.com
COME LISTEN TO 60X60, a circle of sound, a slice of the scene, one hour
of new music.
"60x60 features 60 back to back pieces that are 60 seconds long, each by a
different modern composer...it's like channel-surfing through experimental
music!" -Village Voice
"Andy Warhol gave us 15 minutes to bask in glory, but Rob Voisey has cut to
the chase; state your case in 60 seconds or less." -Noah Creshevsky
"Not since John Cage's "Indeterminacy" has the flow of time from one minute
to the next been so significant." -Doug Cohen
"[Vox Novus offers] the presentation of serious works by established and
emerging composers. Those voices should be heard, and can even be
reheard on the Vox Novus website (www.voxnovus.com). -New Music
Connoisseur
Updated information will be posted at: www.voxnovus.com/60x60/Concerts.htm
Vox Novus
========================
The 60x60 project is designed for flexibility for growing and expanding. One of the
missions is to perform as many works possible.
This year we are doing something new. We are picking the participants for our
regional selection of the 60x60 project before the main selection. This year we
received a tremendous number of submissions from the Midwest and immediate
central regions of the United States. We have endeavored to produce a regional
concert for this region in the past and this year we will be able to accomplish this
goal.
Following are the participants in the American Heartland who have been included
in the concert:
Greg Allen,
J. Anthony Allen,
Timothy Flood,
Ryan Garber,
Mike McFerron,
David McIntre,
08.10.2008
Christopher Bailey,
Stacey Barelos,
J.C. Batzner,
Robert Berg ,
Michael Berkowski,
Kari Besharse,
Timothy Brace,
Pui-Shan Cheung,
Greg Chmura,
Daniel Clem,
John Consiglio,
Zachary Crockett,
Lucio Cuellar,
Matthew Davidson,
John Dribus,
Ivan Elezovic,
Travis Ellrott,
Andrew Estel,
Doug Geers,
John Gibson,
Jacob Gotlib,
Jason Gresl,
Mike Hallenbeck,
James Hegarty,
Norbert Herber,
David Heuser,
Dorothy Hindman,
Gregory Hoepfner,
Craig Hultgren,
Lynn Job,
Kanniks Kannikeswaran,
Noah Keesecker,
Gary Knudson,
Sabin Levi,
Stan Link,
Tom Lopez,
Don Malone,
Page 12 of 16
Michael John Mollo,

Laurie Lee Moses,
Michael Murphy,
Curt Nordgaard,
Richard O'Donnell,
Sean O'Neill,
Samuel Pluta,
Steve Ricks,
James Romig,
Phillip Schroeder,
Mozhgan Shahidi,
Adam Sovkoplas,
Thomas Sutter,
Michael Taylor,
Fred Tompkins,
Mike Vernusky and
Joseph Vogel
Click the following link for the concert program: Concert_Program_Midwest.htm

(Selections for the International 60x60 coming soon)
_______________________________________________
VoxNovus mailing list:
seven.pairlist.net/mailman/listinfo/voxnovus
Robert Voisey
www.VoxNovus.com
12.
LETTER FROM MOZART

by Michael Colgrass
2006 marks the 250th birthday of Wolfgang Amadeus Mozart. Pulitzer Prize winning composer, Michael
Colgrass' orchestral homage to the great master, LETTER FROM MOZART is a light, colorful piece,
popular with audiences, and a unique and entertaining contribution to the repertoire, based on a fictional
letter to the composer from Wolfgang himself.
Mozart's letter, complete program notes, and selected reviews are below. For perusal scores, recordings,
and more information about Michael Colgrass and LETTER FROM MOZART, please visit
www.brhoadsandassociates.com or www.michaelcolgrass.com.
LETTER FROM MOZART
08.10.2008
Page 13 of 16
Dear Michael:
I would like to be your inspiration for a piece of music. I have been watching the development of music
since my time and am especially interested to see how an idea of mine would come out when filtered
through the mind of a twentieth-century composer. Let me give you a typical Austrian-type folk melody
(I'll think up an original one), and you apply to it techniques of contemporary music in any way you like.
Now, you may wonder why I chose you for this task. First, I know I'm your favorite composer and that
counts a great deal with me. Second, you are a percussionist, and one of my secret dreams has always been
to write something for percussion, but in my day it wasn't dignified. But perhaps my primary reason for
choosing you is that your name would have been Migele Colagrossi, had you been born in Italy like your
father. I loved Italy more than any other country.
Getting back to this new piece, may I suggest that it be a work of light quality, not superficial, Mozartian!
Many artists today seem to feel their work must express the age they live in, and cite war, corruption and
crime as reason for creating bitter and angry work. My God, if only you could have experienced some of
the miseries of the age I lived in, disease, oppression, poverty! And corruption! Life wasn't all bad, of
course, and there was much beauty in my age, but so there is in yours, and why not try to capture that
spirit, too?
One last word: don't quote any of my existing music, just use this melody I send you (Goodness, I've
written so many pieces I hope I didn't use this tune and forget having done so!).
Good luck to you, and I hope you have fun with it.
Your friend,
Mozart
PROGRAM NOTES
As the music begins, the "Mozart" tune is played on a piano or a toy piano. The contemporary techniques
that are applied to it in the course of the work are many and varied, but the attentive listener will hear
older, familiar ones too, as the composer meditates and muses on his subject and sometimes transforms it
beyond recognition.
From time to time, small groups of musicians play music of their own in separate ensembles that are
independent of the others. At a particularly complex moment just before the work comes to an end, there
are six separate groups. The score is organized so that two conductors lead all the players through their
parts.
PRESS
"The work is as fanciful as the title, which refers to a fictional letter the composer claims to have received
from the Viennese master, exhorting Colgrass to write a work using a Mozart-like theme. Musically,
Colgrass creates a kaleidoscope effect by embedding a straightforward eight-bar theme on a constantly
shifting aural background. The theme passes from piano to viola to woodwind, but never in its entirety,
and always mocked by the orchestra with frigid sustained chords in the strings, or the virulent sound of an
oompah band, or a sudden explosion of accordion.
"The effect is like watching a Federico Fellini movie set in a freak carnival, faces leering in and out of
focus in the camera, the feral sound of a calliope and human screeches penetrating your ears. Colgrass
deliberately creates an unstable listening experience... A delightful contemporary work."
08.10.2008
Page 14 of 16
Willa J. Conrad, Toledo Blade

Bill Rhoads & Associates
60 Depot Street
Verona, NJ 07044
t: 973-857-3440
f: 973-857-3442
e: branda@subitomusic.com
13.
Click for
Upcoming
Concerts
14.
RON FEIN
20 BOOMBOX TOUR
Join internationally acclaimed composer, and Pioneertown area resident, Ron Fein,
for the first stop on the West Coast Tour, of his sound installation works for 20
boomboxes!
These concerts will benefit Dreams for Kids, through a sub-committee of the Basin
Wide Foundation. Your donation will admit you to the event.
For more information contact Max Thomas at 760.369.YOGA
Or www.ronfeinmusic.com
15.
Click for Performance Calendars
16.
...and others
17.
08.10.2008
works
process
Guggenheim M U S E U M
&
Page 15 of 16
Click the logo for

schedule of events
The Juilliard Theater - 155 West 65th St - New York City - USA
$20, $10 for students and seniors
Free for Guggenheim members and Juilliard, Mannes College
and Manhattan School of Music students. Call for details.
Ticket Central 212 279 4200 - 1-8 pm
www.ticketcentral.org
e-mail: boxoffice@guggenheim.org
internet: www.worksandprocess.com
18.
UCDavis
Events.....
19.
Calendar of Events
20.
NEW MILLENNIUM CONCERT SERIESSPRING 2006

Department of Music
School of the Arts
California State University,
Sacramento
Calendar of
Events
Click the CSUS logo for more data
21.
Click the logo for more data
22.
New Music
L.A.
american composers forum
Events
08.10.2008
Page 16 of 16
los angeles
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Michelle Pearl, Vice
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John Williams
September 19, 2008

On behalf of the Daniel Pearl Foundation, we invite your participation in the 7th Annual Daniel
Pearl World Music Days. We believe you would be an ideal candidate to join in our mission of
promoting unity, tolerance and cross-cultural understanding through music. Participation in
World Music Days involves no financial consideration.
New Honorary Committee member Alison Krauss, Herbie Hancock, Itzhak Perlman, REM,
Elton John and more welcome your involvement as we continue the international legacy of
journalist-musician Daniel Pearl - using the universal language of music to transcend
intolerance and inspire unity. Since its inception, more than 2,000 performances in 75
countries have been dedicated and with your help we hope to extend this outreach even
further. Participating musicians make a simple dedication from the stage, or in the printed
program in the theme of Harmony for Humanity.
World Music Days happens every year October 1-31 so we would particularly like to include
any or all of your October performances. Your participation in World Music Days will help
unite audiences around the world by transforming your stage into an instrument of peace and
shared humanity.
Background
Danny was murdered in 2002, shortly after 9/11, by extremists in Pakistan; he was the Wall
St. Journal South Asia Bureau Chief and an accomplished musician (classical, bluegrass
fiddle, mandolin and jazz violin) who used his music to spread friendship across cultural
divides. World Music Days commemorates his October 10 birthday in a united stand against
the culture of violence.
We genuinely appreciate your taking the time to consider our request. We sincerely hope
you will help us ring the world with sanity and humanity by registering an upcoming
performance for the 7th Annual Daniel Pearl World Music Days. We look forward to hearing
from you.
Sincerely,
Judea and Ruth Pearl
Daniel Pearl Foundation
Contact: Paul Karlsen
Paul@danielpearl.org
(310) 441-1400
www.danielpearl.org
www.danielpearlmusicdays.org
Los Angeles Office

Tel: 310-441-1400
Fax: 310-441-1404
The Daniel Pearl Foundation is a tax-exempt 501(c)(3) nonprofit organization, Tax-ID 03-0393564.
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We hope this letter finds you well. We looked further

at your myspace page and would like to formally invite
you to participate this year in the 7th Annual Daniel
Pearl World Music Days. We have included the text of
the message below as well as an attachment of the
formal invitation to participate from Ruth and Judea
Pearl. As this is solely an awareness raising program,
there is no financial obligation to participate.
Best Regards,
Paul Karlsen
Liana Alexandra
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Operations and Programs Manager
Basso Moderno ...

Andrada-Ioana V...
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CSI RRDO
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Serban Nichifor
de.miller@neu.edu
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nicoemanuel

310.441.1400
paul@danielpearl.org
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What is World Music Days?

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"Music must serve a purpose, it must be part of

something larger than itself, a part of humanity." Pablo Casals
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September 19, 2008
Preview Invite
Dr. Liana Alexandra

Bucharest, Romania
Dear Liana,
On behalf of the Daniel Pearl Foundation, we invite

your participation in the 7th Annual Daniel Pearl World
Music Days. We believe that you would be an ideal
candidate to join in our mission of promoting unity,
tolerance and cross-cultural understanding through
music.
New Honorary Committee member Alison Krauss,

Herbie Hancock, Itzhak Perlman, REM, Elton John and
more welcome your involvement as we continue the
international legacy of journalist-musician Daniel
Pearl- using the universal language of music to
transcend intolerance and inspire unity. Since its
inception, more than 2,000 performances in 75
countries have been dedicated and with your help we
hope to extend this outreach even further.
World Music Days happens every year October 1-31 so

we would particularly like to include any or all of the
October performances you may have. For any events
that fall outside the official October window, we would
be honored to include as Tribute events. Your
08.10.2008
Page 3 of 6
participation in World Music Days will help unite

audiences around the world by transforming your
stage into an instrument of peace and shared
humanity.
Participation in World Music Days is

simple and involves no financial
consideration:
1. Respond with the time and location of
concert(s) you would like to dedicate.
2. Read a dedication from the stage, or
printed program, in the theme of
Harmony for Humanity. (see sample
dedications).
Background
Danny was murdered in 2002, shortly after 9/11, by
extremists in Pakistan; he was the Wall St. Journal
South Asia Bureau Chief and an accomplished
musician (classical, bluegrass fiddle, mandolin and
jazz violin) who used his music to spread friendship
across cultural divides. World Music Days
commemorates his October 10 birthday in a united
stand against the culture of violence.
We genuinely appreciate your taking the time to

consider our request. We sincerely hope you will help
us ring the world with sanity and humanity by
registering an upcoming performance for the 7th
Annual Daniel Pearl World Music Days. We look
forward to hearing from you.
Sincerely,
Judea and Ruth Pearl

Contact: Paul Karlsen
Paul@danielpearl.org
(310) 441-1400
08.10.2008
Page 4 of 6
www.danielpearl.org
"Together with a diverse group of Honorary

Committee artists, we celebrate and support the
Foundation's mission of using the power of music to
promote cross-cultural understanding and remind
people of all cultures and religions that we share a
common humanity." - R.E.M.
World Music Days Invitation.pdf

70K View as HTML Download
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Liana Alexandra
Dear Paul KarlsenSep 26 (12 days ago)
Paul Karlsenshow details Sep 27 (12 days ago)
Reply
Dear Liana,
Thank you for your email. We are honored with your

participation this year in the 7th Annual Daniel Pearl World
08.10.2008
Music Days. We have registered this event under your

username lianaalexandra that you registered with last year
and attached the poster to this event on the listing.
We look forward to hearing more about this event. If there are

any photos or audio from the event you would like to send us
after the event, we would love to see them.
United we can make a difference.
Paul Karlsen
paul@danielpearl.org
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Melody at United Nations !!!

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Basso Moderno Duo to meshow details Apr 20
We just wanted to let you know that we performed

your Melody at the United Nations in New York City
a few days ago. It was a fantastic performance and
you would have been very happy with the response
from the audiences.
Unfortunately there was no program. We had twenty
five minutes to perform during the festivities for the
Pope Benedict XVI ( he was not in attendance).
The performance took place in the Dam
Hammarskjold Auditorium with a very nice Steinway
Grand, which had the United Nations seal carved
on the side.
Liana Alexandra
Set status here
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de.miller@neu.edu
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Liana Alexandra
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Dear Liana,
Here is the program we selected:
Chat
New window
Pop Set
Tango No. 2
Dialogue
Melody
Nocturne
Hope you are well,
Turn off high

Sponso
New Orchestratio
Professional Orch
w/MP3 audio pack
www.TrueSpec.co
Steinway D Occ.
Agr Steinway S
Garanti 10 ans Te
pianos-prestige.co
Roger Williams
Roger Williams is
pianist. 18 gold &
www.MrPianoToD
Classical Music's
Changing Cultura
Return of the Ama
PaulBreer.com
More about...
Classical Music R
Orchestral Music
Baroque
Classical Concert
About th
Allan
Basso Moderno Duo

Allan Von Schenkel
Kristen Williams
bassomoderno@gmail.com
www.solobass.org
08.10.2008
Conf. Univ. Dr. Serban NICHIFOR

Universitatea Nationala de Muzica Bucuresti
Comandor al Ordinului National Pentru Merit (2000)
Ofiter al Ordinului Coroanei Regale Belgiene (2008)
Compozitor, membru titular al SABAM (Belgia) si al Vox Novus (SUA)
ATACURI ANTISEMITE IN MUZICA

ROMANEASCA DE AZI
ANTI-SEMITIC ATTACKS IN THE ROMANIAN

CONTEMPORARY MUSIC
Cazuri relevante analizate in teza mea de abilitare SHOAH HOLOCAUSTUL
REFLECTAT IN CREATIA MEA COMPONISTICA
Motto:
Never shall I forget that night, the first night in camp, which has turned my life
into one long night, seven times cursed and seven times sealed....
Never shall I forget those moments which murdered my God and my soul and
turned my dreams to dust.
Never shall I forget these things, even if I am condemned to live as long as God
Himself.
Never.
Elie Wiesel, Night
- I.) Subliniez in primul rand faptul ca in elaborarea tezei mele de abilitare intitulate
SHOAH THE HOLOCAUST REFLECTED IN MY MUSICAL COMPOSITIONS
(COMPUTER-ASSISTED ANALYSIS / SYNTHESIS) am aplicat toate dispozitiile
legale in vigoare.
- II.) Constatand ca tema HOLOCAUSTULUI DIN ROMANIA a generat reactii

violente de natura antisemita si negationista, precizez totodata faptul ca resping
fermitate orice afirmatii si/sau actiuni cu caracter - explicit sau implicit - antisemit,
defaimator, discriminatoriu, rasist si xenofob, invocand in acest sens dispozitiile
legale nationale si internationale in vigoare, inclusiv art. 4, 6, 16, 20 si 21 din
CONSTITUTIA ROMANIEI ; OUG 31/2002 si LEGEA 107/2006 ; LEGEA
105/2009; art. 6, 9, 10, 14 si 17 din CONVENTIA PENTRU APARAREA
DREPTURILOR OMULUI SI LIBERTATILOR FUNDAMENTALE document
juridic oficial al COMISIEI EUROPEI si al CURTII EUROPENE A DREPTURILOR
OMULUI, ratificat de Romania prin Legea nr. 30 din 18 mai 1994 publicata
in Monitorul Oficial nr. 135 din 31 mai 1994.
- III.) Ampla sectiune finala a tezei (COMPUTER-ASSISTED ANALYSIS /

SYNTHESIS - pag. 180-238) ilustreaza tocmai procesul de conceptualizare si,
implicit, de abstractizarea si de esentializarea prin reductie fenomenologica a temei
abordate - din perspectiva unei analize muzicologice computerizate, elaborate in
lumina standardelor stiintifice actuale, aplicate in ultra-performantele universitati din
Statele Unite ale Americii si din Anglia. (conform, de pilda, si lucrarii Modern
Methods for Musicology / Prospects, Proposals, and Realities Edited by Tim
Crawford and Lorna Gipson, Ashgate Publishing Company, USA, 2009). Sectiunea
cuprinde urmatoarele date specifice ce apar clar expuse in teza de abilitare - toate
documentele fiind publicate si, totodata, postate la link-urile:
http://www.free-scores.com/partitions_telecharger.php?partition=59509
http://www.youtube.com/watch?v=n3A5qvtRcps
- The Analysis / Synthesis Algorithm anamorphotic poly-modular structure (pag.

181);
- The Principal Audio Patterns apud Abraham Zevi Idelsohn, HebraischOrientalischer Melodienschatz, 10 Bande, Leipzig 1914-1932, vol. II, Gesange der
Babylonishen Juden exemplele fiind incluse si in lucrarea mea de doctorat Musica
Caelestis Anamorfotica Sacrului in arta sunetelor (Tratat de Muzicologie
Comparata), Editura UNMB, 2000, pag. 31, ISBN 973-0-02102-3 (pag. 182);
3
- Analiza digitala Sound Forge (pag. 183);
- Analiza digitala comparata Acid Pro 4.0 (pag. 184); mentionez ca sunt autorul
acestei noi tehnici de analiza comparata expuse si in studiul meu Method of
Comparative Analysis of Musical Performances Based on Acid Pro Software;
- Analiza spectrala realizata cu aplicatia Sonic Visualiser (pag. 185-186);
- Analizele Fast-Fourier-Transform-Algorithm (FFT) realizate cu aplicatia FFT
Properties (pag. 187-195);
- Analiza armonica realizata cu aplicatia Chordata (pag. 196-204);
- Analiza armonica realizata cu aplicatia Band-in-a-Box (pag. 215-213);
- Analiza melodica realizata cu aplicatia jMelo (pag. 214-223),
- Analiza metro-ritmica realizata cu aplicatia jMetro (pag. 224);
- Analiza formala realizata cu aplicatia jMorph (pag. 225);
- Analiza formala realizata cu aplicatia Music Animation Machine (pag. 226-235); - Evidentierea procesului componistic de transformare a imaginilor vizuale (The
Principal Visual Patterns pag. 236) in imagini sonore (MIDImage pag. 237 si
Cinescore pag. 238).
Referitor la conceptualizarea unei teze de abilitare in specialitatea Muzica,

determinanta este fundamentarea ei pe elementelele caracteristice respectivului
domeniu: partitura muzicala si analiza muzicologica intr-o perspectiva eminamente
evolutiva, uzand de cele mai noi tehnici de cercetare muzicologica.
In cazul in speta, analiza asistata de calculator eficientizeaza in mod indubitabil
complexul proces al conceptualizarii al abstractizarii, formalizarii si obiectivarii
cercetarii muzicologice - prin definirea si cuantificarea exacta a parametrilor
constitutivi in configuratia lor pluri-dimensionala - asa cum, mutatis mutandis, o
lucrare din domeniul matematicii face apel la coordonatele proprii analizei numerice,
la limbajul si la semiografia de stricta specialitate.
Prin adoptarea tehnicilor proprii muzicologiei asistate de calculator, schimbarea

paradigmatica este radicala, cu efecte directe in planul campului morfogenetic. Imi
exprim convingerea ca specialistilor din aceasta comisie le este accesibila si
metodologia caracteristica analizei muzicologice computerizate, pe care am aplicat-o
in teza mea de abilitare si pe care am expus-o, asa cum am mentionat mai sus, in
sectiunea finala a tezei (pag. 180-238).
De altfel elementele definitorii ale analizei muzicologice computerizate aplicate in

teza mea de abilitare au fost detaliat expuse si in volumul Introduction to Computer
Music (Editura Stephanus, Bucuresti, 2009) elaborat si utilizat curent de Prof. Univ.
Dr. Liana Alexandra Moraru si de subsemnatul la cursul Limbaje Muzicale
Contemporane infiintat si sustinut de noi la Universitatea Nationala de Muzica
Bucuresti, in perioada 2003-2009.
Reprezentand o prioritate absoluta in muzicologia romaneasca, acest volum foarte
apreciat si in mediul universitar american este inclus (in format pdf) in DVD-ul
anexat tezei de abilitare.
- IV Cea mai mare parte a creatiilor mele muzicale citate in teza de abilitare
(Cries from Earth to Heaven-2007, Summer Memories-2008, Siemens
Werken-2008 , Monsters Souvenir 1-2007, Monsters Souvenir 2-2009 si
5
Monsters Souvenir 3-2013) a fost elaborata dupa 1994. Citarea celor doua lucrari
realizate anterior (Gloria Heroum Holocausti-1979 si Remember-1988)
ilustreaza tocmai continuitatea preocuparilor mele legate de tema
HOLOCAUSTULUI, pe care am abordat-o prioritar in contextul operei mele
componistice.
- Repere ale tezei mele de abilitare ilustrand importanta ei in plan

educational
- a.) In Romania fascista, in timpul Statului National Legionar (14 septembrie
1940 14 februarie 1941) si al dictaturii militare a generalului pro-hitlerist Ion
Antonescu (4 septembrie 1940 23 august 1944) Holocaustul a fost marcat prin
uciderea a 380.000 de cetateni romani evrei si a 11.000 de cetateni romani romi.
In acest sens, este edificator exemplul Pogromului de la Iasi, care s-a soldat cu
moartea a peste 14.000 de evrei un capitol zguduitor si prea putin cunoscut din
istoria suferintei umane, preludiul asasinarii in masa a evreilor din Basarabia si
Bucovina de catre fortele Armatei si Politiei romanesti, actiune desfasurata in
cadrul unei politici dirijate al carei scop era lichidarea evreilor din Romania. Jean Ancel : Preludiu la asasinat Pogromul de la Iasi, 29 iunie 1941 , Editura
Polirom,2005. ;
- b.) In Octombrie 2003 Presedintele Romaniei Ion Iliescu a infiintat Comisia Wiesel
The International Commission on the Holocaust in Romania coordonata de
reputatul scriitor si filosof umanist Elie Wiesel, distins in 1986 cu Premiul Nobel
pentru Pace.
- c.) Prin Hotrrea de Guvern nr. 902 din 4 august 2005 a fost infiintat Institutul
National pentru Studierea Holocaustului din Romania Elie Wiesel (INSHR).
Institutul are ca obiect de activitate identificarea, culegerea, arhivarea, cercetarea
i publicarea documentelor referitoare la Holocaust, n rezolvarea unor probleme
tiintifice, precum i elaborarea i implementarea de programe educaionale
privind acest fenomen istoric. - http://www.inshr-ew.ro/obiect-de-activitate
Importanta activitatii INSHR este de prim ordin inclusiv a programelor
educationale elaborate la cel mai inalt nivel stiintific, in cadrul carora se
integreaza si prezentul proiect abordat in teza mea de abilitare, prin extinderea
in domeniul muzicii a programului "Holocaustul, combaterea rasismului i
xenofobiei". Asa cum sublinia si redutabilul istoric Michael Shafir,
negationismul, mturarea sub pres a crimelor din Holocaustul local au fost
adoptate de aproape toate statele eliberate de comunism, ntr-un fel de globalizare
a falsificrii istoriei> - Shafir, Michael: Outright Holocaust Negation in
Postcommunist East Central Europe: The Unexpected Globalization, East
European Perspectives RFE, 12 iunie 2002; Shafir, Michael: Between Denial
and Comparative Trivialization, Hebrew University of Jerusalem, 2002.
In acest sens, condamnabilele derapaje anti-semite si pro-naziste din Romania
contemporana sunt binecunoscute, de la recrudescenta legionarismului (inclusiv in
spatiul B.O.R., prin cultul legionarilor martiri , al unor luptatori din munti si al
6
unor sfinti ai inchisorilor quasi-canonizati, la parastasele carora se canta Sfanta
tinere legionara, etc.) la manifestarile profund antisemite ale lui Corneliu Vadim
Tudor (fondatorul partidului neo-fascist Romania Mare ), Ion Coja (un virulent
antisemit, dat n judecat in pentru negarea Holocaustului de ctre Federaia
Comunitilor Evreiesti din Romnia si de catre Asociatia Evreilor Romni Victime
ale Holocaustului), Gheorghe Buzatu (notoriu negationist si denigrator al
Holocaustului), Lucian Bolcas (apologetul criminalului de razboi Ion Antonescu mentionat intr-un raport al centrului Elie Wiesel privind atitudinile antisemite in
perioada 2005 2006), Radu Mazare (promotorul sinistrelor uniforme si insemne
naziste), Dan Sova (notoriul negationist al Holocaustului) si ale altora. Asa cum se
subliniaza si in documentele Centrului pentru Monitorizarea si Combaterea
Antisemitismului MCA Romania coordonat de distinsul filolog si economist
Maximillian Marco Katz, in Romania moderna, antisemitismul este omniprezent.
Intr-o tara in care minoritatea mozaica (evreiasca) constituie mai putin de 0.1% din
populatie, antisemitismul se manifesta adeseori la aceleas nivel la care a ajuns
atunci cand minoritatea mozaica constituia peste 4% din populatie. http://www.antisemitism.ro/ro/cavant-inainte/
Pe deplin edificator este si acest articol publicat pe site-ul MCA Romania http://www.antisemitism.ro/ro/monitorizare-si-combatere/negationism/negationistiromani.htm
In Romania, negarea Holocaustului Romanesc este tratata cu toleranta si chiar cu
intelegere: negationismul este justificat ca fiind o dovada a respectarii dreptului la
libera exprimare. Societatea romaneasca traumatizata de faptul ca in timpul
regimului comunist dreptul la libera exprimare era o crima capitala, devine astfel
victima propriei sale traume: in Romania de astazi oricine poate spune orice despre
oricine, in modul cel mai ofensiv posibil, in modul cel mai grosolan posibil fara ca
cineva sa ii cheme pe cei care abuzeaza de dreptul la libera exprimare, la ordine si la
decenta.
Abuzand de un drept constitutional, negationistii romani calca in picioare dreptul
victimelor Holocaustului Romanesc la prezervarea memoriei lor ca parte din istoria
poporului roman din care au facut parte. Negationistii isi bat joc de suferinta
supravietuitorilor inca in viata. Ei au transformat negationismul intr-o sursa de
venituri: ei publica carti, scriu in publicatii si tin conferinte care ii transforma in
personalitati mondene si lideri politici notorii.
Crizmatici si educati, negationistii romani se bucura de politica duplicitara a
autoritatilor romanesti:
In fata forurilor internationale, autoritatile romanesti se mandresc cu legislatia
adoptata pentru a combate rasismul, antisemitismul si negationismul.
Acasa, in fata cetatenilor romani, aceleasi autoritati, nu fac absolut nimic pentru a
pune capat negarii Holocaustul Romanesc.
Pozand in patrioti, negationistii exploateaza din plin cateva elemente care ii fac atat
de populari incat raman nepedepsiti chiar daca ei incalca legislatia in vigoare, in
mod deliberat si repetat:
Exploateaza repulsia pe care poporul roman il are fata de comunism si ii acuza pe
evrei ca ei au adus comunismul in Romania.
Exploateaza trauma prin care poporul roman a trecut in cei 60 de ani de comunism si
ii arata pe evrei ca fiind vinovati de instaurarea regimului iudeo-bolsevic care a
omorat milioane de romani.
7
Ii ridica la rang de eroi nationali pe cei care, in timpul celui de al doilea razboi
mondial, s-au alaturat nazistilor si au luptat impotriva sovieticilor chiar daca ei sunt
responsabili pentru exterminarea a sute de mii de evrei.
Combinand aceste elemente cu faptul ca in Romania moderna, capitolul
Holocaustului Romanesc este exclus din educatia pe care tinerii o primesc la scoala,
negationistii reusesc sa recruteze discipoli din toate clasele si paturile sociale mizand
pe ignoranta acestora.
Faptul ca ei sunt profesori universitari si politiceni, dizidenti care s-au opus
regimului comunist, face ca teoriile veninoase si tendentioase pe care le emit sa fie
asimilate de multi tineri.
Din cei peste 740000 de evrei care traiau in Romania, intre cele doua razboaie
mondiale, in prezent mai traiesc circa 6000 de evrei. Acestia sunt, in marea lor
majoritate, batrani asistati atat fizic cat si financiar.
Antisemitismul din timpul celui de al doilea razboi mondial cat si comunismul care a
urmat, au gonit evreii din Romania sau i-au transformat, pe cei care nu au plecat, in
oameni fara indentitate religioasa si etnica.
In lipsa unor evrei romani cu constiinta si identitatea bine conturate, in lipsa unor
institutii de stat bine pregatite si gata sa implementeze legislatia in vigoare, in lipsa
unei dorinte sincere de a combate prejudecati, negationisti precum Paul Goma,
Corneliu Vadim Tudor, Profesor Gheorghe Buzatu si Profesorul Ion Coja, neaga
Holocaustul Romanesc fara ca nimeni sa ii traga la raspundere pentru revizionismul
istoric si denaturarea istoriei romanesti.
- d.) In domeniul muzicii se remarca implementarea unor tehnici subliminale in

procesul de propagare a criminalei doctrine naziste in Romania contemporana.
CAZUL COLINDULUI ANTISEMIT DIFUZAT PE

POSTUL NATIONAL TVR 3 :
Arhetipul melodic - avand o configuratie modala pentacordica (CDEFG) - al
binecunoscutului colind Coborat-a coborat :
8
Doua dintre versiunile autentice ale textului specific colindului Coborat-a
coborat :
1.) Coborat-a coborat / Ingeru Domnului sfant / Pentru lumini se incing / La
icoana Precistii // Precista l-a intrebat: / Ce veste ne-aduci in sat? / Veste buna vaduc iara /Ca maica sfanta fecioara // I-a venit vremea sa nasca / Si umbland din
casa-n casa / Printre garne pan' la brau / Prin livezi, pe langa rau // La tarna de boi
soseste / jos in iesle poposeste / Pe la cantatori tarziu / Prea slavita naste fiu // Mama
trandafir la fata / Cuprinzandu-si pruncu-n brate / Saruta de-s iertatoare / Obrajorii
rupti de soare // Ieslea cea cu fan pe jos / Se facu un rai frumos / Iara tarla oilor / Can palatul domnilor // Si acum pentru colinda / Sa ne scoata gazda-n tinda /O vatra si
colacei / Ca la Cana Galile / /
2.) Cobort a cobort / Ziurel de ziu / ngerul Domnului Sfnt / Ziurel de ziu // La
pstori n Viflaim / Ziurel de ziu / Aproape de Ierusalim / Ziurel de ziu // Pstorii lau ntrebat / Ziurel de ziu / Ce veste ne-aduci din sat /Ziurel de ziu // Veste bun voi
vesti / Ziurel de ziu / De voi toi vi-s veseli / Ziurel de ziu // Pe la cnttori trziu /
Ziurel de ziu // Maica Sfnt-o nscut fiu / Ziurel de ziu // Cobort a cobort /
Ziurel de ziu / ngerul Domnului Sfnt / Ziurel de ziu //
In textul pervertit al colindului antisemit difuzat de postul public TVR 3 pe data
de 6 decembrie 2013 extrem de violentul mesaj este difuzat pe fondul eufonic al
binecunoscutei melodii a colindului Coborat-a coborat , in conditiile aplicarii
ritmului prozodic [cu structura mixta dipiric (----) + anapestic (-->) = ------>] al
textului original la cel al textului pervertit. Chiar si cu sensuri radical opuse, versurile
sunt reductibile din punct de vedere metro-ritmic la aceeasi structura mixta
mentionata mai sus.
Gratie notorietatii sale, dar si caracterului tranchilizant, anestezic , ultraconsonantul traiect sonor faciliteaza penetrarea barierei constientului (cu atat mai mult
cu cat este difuzat in atmosfera feerica, quasi-onirica a perioadei Adventului,
strecurat printre celelalte colinde inofensive), devenind astfel vehiculul ideal al
mesajului virusat in procesul de infestare a auditoriului la nivelul subconstientului.
Cobort-a cobort (bis)/ ngeru Domnului sfntu(bis)/ El de cine o fost
trimesu(bis)/ De Fecioara Maria (bis)/ I-o venit vremea s nasc (bis)/ Nimeni n
Viflaim n-o las (bis)/ Cnd de colo ctr sar (bis)/ ntr-o iesle se aezar (bis)/ i-o
nscut un fiu frumos (bis)/ Anume Isus Hristos (bis)/ Tt lumea i se-nchin (bis)/
Numai jidovii l-ngn (bis)/ Jidovan afurisit (bis)/ Nu l-ar rbda Domnul sfnt
(bis)/ Nici n cer, nici pe pmnt (bis)/ Numai la corlan la fum, (bis)/ Acolo-i jidovul
bun, (bis)/ S ias far n drum (bis).
Este un tipic caz de utilizare - intr-o actiune terorista de factura antisemita - a tehnicii
mesajului subliminal un mesaj conceput s fie transmis sub limitele normale ale
perceptiei. Acesta se afl dincolo de nivelul contient, dar excit foarte bine
simurile. cf. http://ro.wikipedia.org/wiki/Mesaj_subliminal
In urma acestei condamnabile actiuni coordonate de unii factori de decizie ai TVR3
Ambasada Statului Israel la Bucuresti si-a exprimat profunda ingrijorare legata de
difuzarea unui colind care contine versuri evident antisemite in cadrul unei emisiuni a
postului public TVR 3. "Avand in vedere eforturile prezente ale guvernului
Romaniei si ale statului Israel pentru combaterea xenofobiei, rasismului,
9
antisemitismului si a discriminarii de orice fel, ar trebui sa fim alarmati de astfel de
manifestari care ar putea alimenta sentimentele antisemite din Romania", se arata
in comunicatul Ambasadei, care isi exprima speranta ca autoritatile romane vor lua
masurile adecvate pentru ca astfel incidente josnice sa nu se repete.
http://www.hotnews.ro/stiri-esential-16184964-ambasada-israelului-condamnadifuzarea-unui-colind-antisemit-intr-emisiune-televiziunii-publice.htm
Totodata, Consiliul National al Audiovizualului a emis Decizia nr. 673 din
12.12.2013 privind amendarea cu 50.000 lei a SOCIETII ROMNE DE
TELEVIZIUNE cu sediul n BUCURETI, Calea Dorobani nr. 191, sector 1,
CUI R 8468440 pentru posturile de televiziune TVR 3 i TVR Cluj :
ntrunit n edin public n ziua de 12 decembrie 2013, Consiliul Naional al Audiovizualului a
analizat raportul ntocmit de Direcia Monitorizare n baza unor reclamaii privind emisiunea Apas
pe Verde! difuzat de posturile de televiziune TVR 3 i TVR Cluj n duplex, n data de 6 decembrie
2013.
Postul de televiziune TVR 3 aparine SOCIETII ROMNE DE TELEVIZIUNE (licen audiovizual
nr. S-TV 213/26.02.2008, decizia de autorizare iniial nr. 1521.0/02.10.2008). Postul de televiziune
TVR CLUJ aparine SOCIETII ROMNE DE TELEVIZIUNE (licen audiovizual nr. TV
259.1/20.11.2003
decizia
de
autorizare
audiovizual
nr.
1133.0/22.06.2006)
n urma analizrii raportului de monitorizare membrii Consiliului au constatat c radiodifuzorul a
nclcat prevederile art. 3 alin. (1) din Legea audiovizualului nr. 504/2002, cu modificrile i
completrile ulterioare, i pe cele ale art. 47 alin. (1) din Decizia nr. 220/2011, privind Codul de
reglementare a coninutului audiovizual, cu modificrile i completrile ulterioare.
Potrivit dispoziiilor Legii audiovizualului:
Art. 3 (1) Prin difuzarea i retransmisia serviciilor de programe se realizeaz i se asigur
pluralismul politic i social, diversitatea cultural, lingvistic i religioas, informarea, educarea i
divertismentul publicului, cu respectarea libertilor i a drepturilor fundamentale ale omului.
Conform dispoziiilor Codului de reglementare a coninutului audiovizual:
Art. 47 (1) Este interzis difuzarea n programele audiovizuale a oricror forme de manifestri
antisemite sau xenofobe. n fapt, postul de televiziune TVR 3 a difuzat, n data de 06.12.2013, de la ora
16.00, emisiunea Apas pe Verde!. Pe ecran, n partea dreapt, sub sigla TVR 3, a fost titrat:
DIRECT, iar n partea stng a ecranului: Cluj.
Potrivit informrii Serviciului Inspecie, n data de 6 decembrie 2013, n intervalul orar 16.00-18.00,
TVR Cluj a preluat, n timp real, de pe TVR 3 emisiunea Apas pe verde ! . Pe tot parcursul
emisiunii n partea dreapt sus a ecranului a aprut sigla TVR CLUJ i specificarea PRELUARE TVR
3 (cu sigla acestuia).
n cadrul emisiunii a fost difuzat un colind interpretat de ansamblul Dor Transilvan, colind care a
avut urmtorul coninut: Cobort-a cobort (bis)/ ngeru Domnului sfntu(bis)/ El de cine o fost
trimesu(bis)/ De Fecioara Maria (bis)/ I-o venit vremea s nasc (bis)/ Nimeni n Viflaim n-o las
(bis)/ Cnd de colo ctr sar (bis)/ ntr-o iesle se aezar (bis)/ i-o nscut un fiu frumos (bis)/
Anume Isus Hristos (bis)/ Tt lumea i se-nchin (bis)/ Numai jidovii l-ngn (bis)/ Jidovan afurisit
(bis)/ Nu l-ar rbda Domnul sfnt (bis)/ Nici n cer, nici pe pmnt (bis)/ Numai la corlan la fum, (bis)/
Acolo-i
jidovul
bun,
(bis)/
S
ias
far
n
drum
(bis).
n urma analizrii acestui coninut, Consiliul a apreciat c versurile colindului prezentat de
radiodifuzor constituie o form de manifestare antisemit, o atitudine vdit ostil, violent, la adresa
evreilor, de natur s afecteze liberti i drepturi fundamentale ale omului. Astfel, membrii
Consiliului au constatat c radiodifuzorul a nclcat dispoziiile legale care interzic difuzarea n
programele audiovizuale a oricror forme de manifestri antisemite.
De asemenea, membrii Consiliului au apreciat c o astfel de prezentare a fost de natur s contravin
prevederilor Legii audiovizualului conform crora, prin difuzarea i retransmisia serviciilor de
programe se realizeaz i se asigur pluralismul politic i social, diversitatea cultural, lingvistic i
religioas, informarea, educarea i divertismentul publicului, cu respectarea libertilor i a
10
drepturilor fundamentale ale omului. Potrivit prevederilor art. 3 alin. (3) din Legea audiovizualului,
rspunderea pentru coninutul serviciilor de programe difuzate revine, n condiiile legii, furnizorului
de servicii media audiovizuale, iar norma nu distinge dup cum transmiterea emisiunii este n direct
sau este vorba despre un program nregistrat.
Fa de aceste considerente, n temeiul art. 90 alin. (1) i (2) i 91 alin. (1) i (3) din Legea
audiovizualului nr. 504/2002, cu modificrile i completrile ulterioare, cu respectarea prevederilor
art. 15 i art. 90 alin (4) din aceeai lege,
Consiliul Naional al Audiovizualului adopt urmtoarea
DECIZIE:
Art. 1. Radiodifuzorul SOCIETATEA ROMN DE TELEVIZIUNE, avnd licena audiovizual nr. STV 213/26.02.2008 i decizia de autorizare iniial nr. 1521.0/02.10.2008, pentru postul de televiziune
TVR 3 i licena audiovizual nr. TV 259.1/20.11.2003 i decizia de autorizare audiovizual nr.
1133.0/22.06.2006, pentru postul de televiziune TVR CLUJ, se sancioneaz cu amend n cuantum de
50.000 lei pentru nclcarea prevederilor art. 3 alin. (1) din Legea audiovizualului nr. 504/2002, cu
modificrile i completrile ulterioare, i a art. 47 alin. (1) din Decizia nr. 220/2011, privind Codul de
reglementare a coninutului audiovizual, cu modificrile i completrile ulterioare
Art. 2. n conformitate cu prevederile art. 93 alin. (3) din Legea audiovizualului, prezenta decizie
poate fi atacat direct la secia de contencios administrativ a curii de apel, fr a fi necesar
formularea unei plngeri prealabile, n termen de 15 zile de la comunicare.
Art. 3. Potrivit dispoziiilor art. 931 alin. (1) i (2) din Legea nr. 504/2002, cu modificrile i
completrile ulterioare, radiodifuzorul are obligaia de a transmite n urmtoarele 24 de ore de la
comunicare, sonor i vizual, de cel puin 3 ori, n intervalul orar 18.00-22.00, din care o dat n
principala emisiune de tiri a fiecruia dintre cele dou posturi, urmtorul text:
Consiliul Naional al Audiovizualului a sancionat Societatea Romn de Televiziune cu amend de
50.000 lei, ntruct n cadrul unei transmisiuni duplex a posturilor de televiziune TVR 3 i TVR CLUJ a
difuzat un material de natur s ncalce dispoziiile legale care interzic difuzarea n cadrul emisiunilor
audiovizuale
a
oricror
forme
de
manifestri
antisemite.
Potrit Legii audiovizualului, prin difuzarea i retransmisia serviciilor de programe se realizeaz i se
asigur pluralismul politic i social, diversitatea cultural, lingvistic i religioas, informarea,
educarea i divertismentul publicului, cu respectarea libertilor i a drepturilor fundamentale ale
omului.
- e.) Tot in domeniul muzicii relevant este faptul ca au existat multi

artisti romani evrei ce au fost victime ale Holocaustului, ca de pilda ilustrii
compozitori Alfred Mendelsohn, Matei Socor, Dan Mizrahi si Leib Nachman.
In prezent aceste nume ilustre sunt fie (1) defaimate cu vadita rea-credinta (Alfred
Mendelsohn si Matei Socor)
in baza unor argumente pseudo-stiintifice ce
asimileaza antifascismul (in realitate, politica USA si a tuturor statelor democratice a
fost, este si va fi eminamente antifascista !) cu comunismul, falsificand astfel
realitatea istorica, fie (2) total ignorate, inclusiv la nivelul cursurilor universitare.
Referitor la denigrarile acestor mari creatori romani evrei, este edificator si faptul ca
ele sunt subsumate unor actiuni globale coordonate si sponsorizate de entitati cu un
notoriu trecut nazist, precum Fundatia Toepffer si Fundatia Siemens din Germania.
Mark
Musser :
The
Green
Nazi
Tycoon
Alfred
Toepfer
,
http://www.americanthinker.com/2012/04/the_green_nazi_tycoon_alfred_toepfer.html ; Dr.
Shimon Samuels, Simon Wisenthal Center : Siemens should know better... This is a
major, major scandal; Jewish groups have condemned the move, in particular
because Siemens used slave labour during the Nazi period. http://news.bbc.co.uk/2/hi/business/2233890.stm
11
CAZUL DEFAIMARII MARELUI COMPOZITOR

EVREU-ROMAN ALFRED MENDELSOHN
ALFRED MENDELSOHN (1910-1966)
12
Iata un exemplu concludent referitor la defaimarea ilustrului compozitor evreu roman

Alfred Mendelsohn, ce este astfel descris intr-o recenta lucrare de muzicologie ce se
doreste a fi si un reper in studierea muzicii romanesti din perioada 1944-2000 :
Exista si pozitia de integrare in politica comunista a lui Alfred Mendelsohn, care,
initial influentat de studiile sale vieneze in experimentarea politonalului sau chiar
a muzicii dodecafonice, va deveni din 1947 un prolific cronicar al evenimentelor
contemporane. Adica va canta conducatorii comunisti (cantata " Glasul lui
Lenin ), va cita in simfoniile sale cantecul de mase, semnificand elanul constructiv
al oamenilor muncii s.a.m.d. (s.n.) Ulterior, nici el nu va rezista tentatiei de a se
reintoarce spre tehnicile moderne abandonate mult timp. (citat din Muzica
romaneasca intre 1944-2000 , carte aparuta cu sprijinul Ministerului Culturii si
a Fundatiei Ernst von Siemens , Munchen, Editura Muzicala, Bucuresti, 2002,
ISBN 973-42-0298-7, pag. 15) ; Intr-o evolutie asemanatoare cu cea a lui Matei
Socor, Mendelsohn incepe ca tanar compozitor cu studii vieneze sa se plaseze
intr-o avangarda romaneasca interbelica, prin folosirea unor combinatii politonale
si a unor teme seriale, pentru ca dupa 1946 sa se incadreze fara sovaiala in estetica
realismului socialist. (s.n.) V.S.D. (op. cit, pag. 245-246).
Textele de mai sus falsifica adevarul istoric prin :
1.) tehnica diversionista a omisiunii - in realitate 99% din opera distinsului creator
(inclusiv splendidele sale simfonii, drame lirice, balete si oratorii Spinoza ,
Mesterul Manole , Eminescu , Michelangelo , Bolnavul inchipuit dupa
Molire, Anton Pann , Harap Alb , Calin pe versuri de Mihai Eminescu,
Horia , 1907 pe versuri de Tudor Arghezi - toate anticipand in fapt
postmodernismul neo-consonant) neavand nicio tangenta cu doctrina comunista;
2.) prin includerea abuziva a lui Alfred Mendelsohn ce a fost in realitate colonel al
Armatei Romane, Sef al Muzicilor Militare in perioada de dinainte de instalarea
dictaturii fasciste in Romania - in randul propagandistilor comunisti. Inlaturand orice
prezumtie normala de nevinovatie, sintagma fara sovaiala ilustreaza capacitatea
paranormala a criticului nascut in 1966 de a stii exact ce a fost in sufletul victimei
sale evreul Alfred Mendesohn - in 1947, in plina perioada stalinista marcata si de
binecunoscutele asasinate comise de Stalin impotriva populatiei evreiesti in numele
luptei impotriva spionajului sionist . Emis cu o reprobabila aseitate elitista,
textul defaimator are evidente conotatii anti-semite (in respectivul text personajele
negative fiind reprezentate exclusiv de evrei !) si este intr-o perfecta consonanta cu
unele articole din presa ceausista, dar si cu pozitia oficiala a legionarilor ce l-au
defaimat, l-au concediat si l-au amenintat cu moartea pe distinsul Maestru Alfred
Mendelsohn!
Pentru restabilirea adevarului voi prezenta in continuare fragmente din materialul
muzicologic pe care l-am utilizat (1) la Simpozionul International Alfred
Mendelsohn (organizat de Prof.Univ.Dr. Liana Alexandra Moraru si de subsemnatul
la UNMB, pe data de 19 mai 2010), (2) in articolul pe care l-am semnat in revista
Realitatea Evreiasca publicatie a Federatiei Comunitatilor Evreiesti din Romania,
13
Septembrie 2010, precum si (3) in realizarea emisiunii de 120 dedicate lui Alfred
Mendelsohn si difuzate pe data de 26 ianuarie 2014 de Radio Shalom Romania Centrul Comunitar Evreiesc Bucuresti - JCC Jewish Community Center
Producatori Natan Neta, Iancu Tucarman, si Alecs Brucher.
Organizata din initiativa Prof.univ.Dr. Liana Alexandra, pe data de 19 Mai 2010 s-a
desfasurat la Universitatea Nationala de Muzica din Bucuresti o sesiune de
comunicari stiintifice dedicata lui ALFRED MENDELSOHN, acestui redutabil
exponent al scolii romanesti de compozitie.
Alfred Mendelsohn s-a nascut la Bucuresti in 5/17 Februarie 1910 si s-a stins din
viata la numai 56 de ani, pe data de 9 Mai 1966. Tatal sau Leon Mendelssohn a fost
un eminent muzician foarte admirat atat ca interpret (prim-violist al Orchestrei
Filarmonicii din Bucuresti si colaborator apropiat al Maestrului George Enescu in
numeroase concerte camerale), cat si in calitate de compozitor - autor al unor lucrari
simfonice si camerale distinse cu Premiul George Enescu instituit de genialul nostru
creator. Mama sa era de asemenea o remarcabila pianista, cu o bogata activitate
concertistica.
Manifestandu-si inca din adolescenta exceptionalul talent componistic admirat si de
Maestrul Enescu, Alfred Mendelsohn si-a desavarsit studiile la Akademie fur Musik
und darstellende Kunst din Viena (1927-1931) absolvite ca sef de promotie. La
aceasta prestigioasa institutie europeana el a beneficiat de indrumarile unor ilustri
profesori, precum Franz Schmidt si Joseph Marx (compozitie), Franz Schtz
(contrapunct si orga), Egon Wellesz si Robert Lach (istoria muzicii), Walter Bricht si
Franz Salmhofer (teoria muzicii si armonie), Rudolf Nilius (dirijat). Este de remarcat
si faptul ca, in paralel, Alfred Mendelsohn a urmat si cursurile Facultatii de Medicina
si ale Facultatii de Filosofie din Viena (1928-1931).
Reintors in tara, el si-a continuat studiile la Conservatorul din Bucuresti (19311932) cu distinsul compozitor Mihail Jora, fiind totodata extrem de apreciat si de
Maestrul George Enescu, ce i-a conferit Premiul I la atat de importantul sau concurs
de compozitie, pentru o tulburatoare Suita comemorativa cuprinzand si un
cutremurator Kaddis ce a fost dedicata memoriei tatalui sau si interpretata in
prima auditie la legendatul Teatru Baraseum din Bucuresti. In acest context trebuie
mentionat si faptul ca, asa cum se subliniaza si in esentiala monografie ALFRED
MENDELSOHN scrisa de ilustrul pianist, profesor si muzicolog Radu Negreanu,
activitatii de artist si profesor a lui Alfred Mendelsohn din perioada anilor grei de
razboi si dictatura fascista i s-a alaturat din ce in ce mai mult una cu caracter politic
antifascist. Potrivit imprejurarilor in care isi petrecea viata, el a putut aduce variate
contributii pe teren politic, de pilda, ajutoare materiale directe, manifestari muzicale
al caror venit era daruit organizatiilor de sprijinire a detinutilor politici; apoi lectura
si discutarea in grup a presei ilegale si chiar gazduirea la domiciliul sau a unor
ilegalisti urmariti de politia statului fascist. Fireste, in vremurile foarte aspre de
atunci, o astfel de activitate nu se putea desfasura decat in conspirativitate, si cel ce o
infaptuia isi asuma riscul vietii.
Implicat plenar in viata muzicala, Maestrul Alfred Mendelsohn a sustinut o
prodigioasa activitate concretizata si prin functiile de profesor la Conservatorul
Egizio Massini (1932-1936), ofiter al Armatei Romane Seful Muzicilor Militare
(1936-1940 relevant fiind si faptul ca el si-a pierdut aceasta inalta functie in urma
epurarilor rasiale, impuse de fascisti in timpul sinistrului stat national legionar),
profesor la Scoala de Arte pentru Evrei din Bucuresti (1941-1944 institutia fiind
infiintata din initiativa sa si a altor mari personalitati culturale, precum M.H. Maxy,
14
Beate Fredanov, Al. Finti, Radu Negreanu, B. Bernfeld, Ludovic Feldmann si Hilda
Jerea), corepetitor si apoi dirijor la Opera Romana din Bucuresti (1945-1954), secretar
si ulterior vicepresedinte al Uniunii Compozitorilor din Romania (1946-1966),
profesor de compozitie, orchestratie si contrapunct la Conservatorul din Bucuresti
(1949-1966). Si in acest context trebuie relevat faptul ca, in perioada comunista,
Maestrul Alfred Mendelsohn nu s-a dezis de crezul sau profund umanist, avand o
influenta providentiala, exclusiv benefica, - si in salvarea unor tineri muzicieni grav
persecutati de autoritatile comuniste, precum Vladimir Cosma, Costin Miereanu,
Mihai Mitrea-Celarianu si Lucian Metianu toti emigrand ulterior si devenind
personalitati de seama ale culturii europene.
Sunt relevante in acest sens marturiile facute recent de ilustrii muzicieni Costin
Miereanu, Lucian Metianu si Vladimir Mendelsohn ultimul fiind chiar fiul ilustrului
creator, el insusi un compozitor si violist de inalt prestigiu.
Costin Miereanu: Tin sa particip, din pacate de la distanta, cu o imensa bucurie si
gratitudine la comemorarea centenarului de la nasterea Maestrului Alfred
Mendelsohn, compozitor de o prima importanta pe un plan european pentru generatia
sa, din nefericire foarte putin cntat astazi si din pacate denigrat n mod injust si
insultant, pentru asa zisul stalinismului-jdanovist al sau de prin anii 50-60. Din
generatia sa este poate unul sin singurii care au reusit sa supravietuiasca fara
compromisuri grave, att pasuniste ct si agresiv comuniste.
Om de mare cultura muzicala si filosofica, datorita studiilor sale la Viena,
Mendelsohn a stiut sa insufle studentilor lui de la compozitie, cunostinta si respectul
pentru marea literatura muzicala occidentala, inaintea meterhanelelor turcesti,
ghiveciului la Anton Pann si tematicii oportunist-ultra comuniste prin titluri
programatice de un grav oportunism
Dupa un an preparator pentru admiterea definitiva la clasa de compozitie n anul
patru al Conservatorului Ciprian Porumbescu , an preparator facut cu Dan
Constantinescu, cu care lucrasem de mai multi ani n privat (la sugestia maestrului
Mihai Jora), si caruia i datorez imens in ceea ce priveste armonia, contrapunctul
tonal, analiza si compozitia, am fost admis mpreuna cu Smaranda Georgescu
(Oteanu-Bunea) n anul 1964 n clasa Maestrului Alfred Mendelsohn al carui asistent
era pe atunci tnarul Tiberiu Olah.
Au fost trei ani de o capitala importanta pentru studiile mele n compozitie, att prin
imbogatirea culturii mele muzicale, prin corectarile precise si pertinente ale
Maestrului. Trei ani de asemenea de un contact uman, extraordinar, aproape de la
coleg la coleg, de la prieten la prieten. Lucru de o capitala importanta, Freddy
Mendelsohn nu mi-a interzis in nici un moment devierile mele stilistice, lasndu-mi o
totala libertate de a cauta propriul meu stil, chiar si n lucrarile de scoala .
Pe un plan uman i datorez mult, m-a aparat si protejat n ciuda originii mele
nesanatoase (tatal meu, ofiter de cariera , colonel si comandant de rgiment refuznd
sa se inscrie in partidul comunist, a fost detinut politic ntre 1953 si 1955 opt luni n
beciurile securitatii din piata palatului + 12 luni la nchisoarea din Pitesti).
Un alt element, pentru mine de o importanta capitala : fiind nca student (din 1963)
m-am lansat intro activitate intensa de critic muzical Viata studenteasca , apoi
Contemporanul (sef al rubricii muzicale alaturi de JVP) , Amfiteatru
(responsabil al paginilor de arte impreuna cu Dinu Chivu), Scnteia (impreuna cu
Iosif Sava).
Am ncercat, cu toata energia si furia anilor de tinerete, sa contribui la o schimbare
spre o reala deschidere a peisajului muzical romanesc, combatind pasunismul si
15
oportunismul pro-comunist si promovnd modernismul occidental. Am intrat n mod
evident, si foarte repede, n conflict cu mai multi din profesorii mei pe care i-am
judecat in modul critic musical, fiecare dupa meritele si defectele lui. Am devenit
dintr-o data la bte noire a omnipotentului Ion Dumitrescu, care a cerut pur si
simplu excluderea mea de la Conservator. Devenisem n plus, n mod subit, pederast,
francmason, evreu sau vndut evreilor, promoator al unei muzici capitaliste
decadente si vndute imperialismului american.
Gratie exclusiv ajutorului si sustinerii ferme din partea Maestrului Freddy am reusit
sa-mi termin studiile de compozitie n anul 1966 (din pacate la doua luni dupa
moartea Maestrului meu)
Mi-a cerut sa vin sa-l vad la spital, unde era aproape intre viata si moarte, dar, ca de
obicei afabil, surzator, calm si calduros. I-am multumit atunci foarte emotionat si
comotionat pentru tot ce mi-a adus in muzica si in viata.
Scriu aceste cteva rnduri din inima, emotia de atunci va fi nestearsa n vecii
vecilor
Lucian Metianu: Cnd am dat examenul de admitere la Conservatorul Ciprian
Porumbescu din Bucuresti pentru a intra n clasa de compozitie, nu stiam nca pe
cine o sa am ca profesor. Dupa doi ani de teorie (armonie, contrapunct,
solfegiu,etc) petrecuti cu clasele de instrumente sau muzicologie, a venit timpul sa
ma confrunt cu dificultatile materiei pe care o alesesem. Eu am urmat clasa
maestrului Alfred Mendelsohn, care avea ca asistent pe tnarul compozitor Tiberiu
Olah.
n acea vreme nu stiam ce-mi va rezerva viata si ce sansa voi avea mai trziu
facnd aceasta alegere. Din 1957 si pna n 1963, cnd am terminat conservatorul, sau petrecut o multime de transformari pe plan politic si cultural. Realismul socialist
sufoca ori ce dorinta de nnoire a limbajului muzical, taxad-o ca decadenta si
contrara intereselor de "puritate ideologica", faimoasele teze jdanoviste!
n acele momente dificile, maestrul Alfred Mendelshon ncerca sa ne puna
la curent cu o parte din lucrarile importante ale secolului XX, dar si sa ne apere de
furia ideologilor zelosi. Maestrul gasise o metoda extraordinara pentru a studia si
asculta pe "decadentul Stravinski" spunndu-ne ca trebuie sa cunoastem "Sacre du
Printemps" pentru a sti cum nu trebuie sa compunem.
Nu rareori ne facea cu
ochiul, n mod conspirativ, n timp ce ascultam lucrarile. Oamenii din afara nu
puteau sa-l cunoasca cu adevarat, pentru ca nu se dezvaluia oricui. Acei ani au fost o
mare sansa pentru mine, ca viitor compozitor, prin temeinica pregatire pe care am
obtinut-o n domeniul compozitiei. n acea perioada, tot ce faceai sau spuneai, putea
sa te duca direct la pieire. Cum tatal meu a fost nchis ntre anii 1958 - 1963 pentru
ca fusese Prim Procuror Militar al Ardealului, eu riscam sa nu termin coservatorul,
ca fiu al unui dusman al poporului. Datorita maestrului Alfred Mendesohn am putut
finaliza cu bine studiile.
Aceste fapte trebuiesc mentionate, pentru ca, n perioada
aceea, nu stiu cti oameni ar fi avut curajul.
mi amintesc de un moment dramatic prin care a trecut clasa de compozitie la
nceputul anilor 60. Cineva, nu se stie cine, zvonea ca la Conservatorul din Bucuresti,
clasa de compozitie este formata din copii de burghezi, care se inspira din muzica
decadenta occidentala si ca ncearca s-o impuna prin lucrarile lor. Aceasta afirmatie
era absolut o condamnare la moarte fara apel.
Maestrul Mendelsohn a intrat ntr-o zi n clasa si mi-a spuns pe un ton aproape
soptit :
16
- "Hai sa iesim si sa facem ctiva pasi, pentru ca am ceva foarte important sa-ti
spun.
Eu, aproape speriat de aceasta atitudine neobisnuita a Maestrului, credeam ca este
in legatura cu mine si cu tatal meu. Adevarul era ca o comisie formata din specialisti
de la Moscova venea sa ancheteze cele auzite despre neconformitatea studiilor si
lucrarilor viitorilor compozitori de la Conservatorul din Bucuresti. O adevarata
catastrofa care trebuia sa fie evitata printr-o serie de lucrari conforme, scrise n stil
ct se poate de clasic. Cum eram un bun improvizator n diferite stiluri, Maestrul mi
propune sa scriu o sonata n stil Brahms. Eu nu eram prea ncntat de aceasta idee.
Tocmai terminasem primul meu cvartet scris pe o serie care trecea ntr-o armonie
atonala si nu aveam nici un gnd sa scriu o lucrare n stil romantic. Pna la urma am
cazut de acord sa compun ct se poate de repede o sonata n stil Prokofiev. n scurt
timp faimoasa comisie a sosit la Bucuresti si noi, "responsabilii", am fost chemati n
fata acestui juriu, condus de Aram Haciaturian, pentru a ne prezenta compozitiile.
mi amintesc ca am cntat sonata cu o dezinvoltura remarcabila, impresionnd n
mod deosebit comisia si n special pe Haciaturian, care mi-a facut o dedicatie pe
prima pagina a manuscrisului. Si asa am scapatclasa de compozitie a continuat sa
existe. Astazi putem rde, dar n epoca aceea nu era de glumit. Port pna astazi o vie
si mare gratitudine profesorului si aparatorului meu, maestrului Alfred Mendelsohn.
Vladimir Mendelsohn: Acum 100 de ani a venit pe lume Alfred Mendelsohn...
In mod sigur nu in cea mai frumoasa perioada din istoria Europei.
Daca primul razboi mondial l-a crutat si timpul i-a dat bucuria copilariei fericite in
loc de tristetea conflictului, voi saluta acest nepretuit cadou asa cum se cuvine.
Anii de studiu la Viena - ani paradoxali, in care Alfred Mendelsohn nu s-a apropiat
de profesorul Schoenberg, ci de Josef Marx - au intarit pregatirea profesionala si
umana a tatalui meu.
Ani paradoxali , in care Josef Marx clama ,,meine schueller sinnt keine Marxisten,
aber Marxianen'' ( elevii mei nu sunt Marxisti, ci Marxieni).
Ani paradoxali, in care Marxianul Marx l-a tinut in inalta stima pe Alfred
Mendelsohn ...
Reintors in Romania prebelica , inceputul carierei sale de muzician si compozitor nu
a fost deloc usoara..
Din contra chiar as putea zice, dar decenta ma impiedica sa subliniez greutatile si
jignirile profesionale si rasiale la care a fost supus.
Daca a supravietuit , din cate imi povestea Vera Mendelsohn , a fost si datorita unui
colonel din armata Romana care s-a interpus intre el si o banda de legionari, care in
mod sigur nu venisera pentru o vizita de curtoazie cu rangi si cutite la usa sa.
Urmeaza pentru mine ( Vladimir Mendelsohn ) cea mai paradoxala perioada din
viata sa.
Dupa izgonirea din Romania a leprei fasciste a urmat lunga maladie Stalinistcomunista.
Ma simt OBLIGAT sa mentionez MODUL in care Alfred Mendelsohn si-a utilizat asazisa putere de influenta. In primul rand - sa dea o demnitate meseriei de compozitor ,
sa sugereze si sa obtina, impreuna cu Ion Dumitrescu, ca FIECARE CONCERT SA
CONTINA O PIESA ROMANEASCA de preferinta noua.
Sa se lupte cu succes pentru ca vulnerabilii ( si extraordinarii ) compozitori ai
timpului sa isi gaseasca un demn acoperis in superba cladire actuala a uniunii
17
compozitorilor ( de unde, azi, parfumul insultelor nu foarte voalate se ridica
impotriva sa).
Sa le dea o DEMNITATE profesionala care ar lasa pe ganduri un compozitor
American sau Brazilian la ora actuala..
Si sa incerce sa pacifice delirul jdanovian , piruetele esentiale pentru supravietuirea
intregii sale generatii ( Prokofiew , Sostakovici, Haciaturian si altii ) cu onoarea
substantiala de a crea , compune , a se exprima , a lasa o mostenire artistica si
pedagogica.
La 100 de ani de la nasterea sa, eu , fost ,,transfug politic'' si rusine a disciplinei
UTC-iste, ma uit la ceea ce Alfred Mendelsohn a scris , predat , compus si ajutat in a
sa viata si imi spun:
- Am de 100 de ori mai multa libertate, dar de 100 de ori mai putine mijloace sa ajut
pe un tinar compozitor sau contrabasist sau muzicolog ...
Ma inclin si recunosc in el o dimensiune si o valoare pe care nu cred sa pot vreodata
sa o pot egala.
Referitor la aprecierile legate de marele compozitor Alfred Mendelsohn, ne limitam
la doua interventii apartinand unor personalitati cu valoare de simbol in istoria muzicii
secolului XX. Astfel, marele virtuoz David Oistrah afirma despre minunata Partita
pentru vioara solo de Alfred Mendelsohn urmatoarele: Am avut bucuria de a canta
aceasta minunata lucrare in Statele Unite, la Londra, Paris, in Tarile Scandinave, la
Roma, si peste tot ea s-a bucurat de mare success, atat din partea publicului, cat si a
presei.
In acelasi timp, distinsa noastra muziciana Cella Delavrancea profund
impresionata de inaltatoarea muzica a Oratoriul Horia ii marturisea autorului:
Maestre Mendelssohn, am fost entuziasmata De mult n-am fost atat de cucerita si
nadajduiesc sa se mai redea aceasta mareata fresca. As asculta-o cu integrala
bucurie !.
In fapt, deosebit de fecunda creatie componistica semnata de Alfred Menndelsohn
include efectiv capodopere ale genului liric, simfonic, vocal-simfonic si cameral,
alaturi si de alte lucrari de referinta in domeniul muzicologiei.
Voi mentiona in acest sens operele Mesterul Manole (pe libretul lui Alexandru
Jar), Michelangelo (pe libretul compozitorului), Eminescu (pe libretul lui Mircea
Stefanescu), Spinoza (pe libretul lui Paul Sterian), Bolnavul inchipuit (dupa
Molire), opereta Anton Pann (libretul de Ion Roman si Radu Albala), baletele
Harap Alb, Calin, Cantata Bucurestiului (pe versuri de Nicolae Labis si Stefan
Iures), oratoriile Horia (pe versuri de Vlaicu Barna) si 1907 (pe versuri de Tudor
Arghezi), cele 5 Nachtlieder pentru voce mijlocie si orchestra (pe versuri de
Sperber), numeroasele lieduri pe versuri de Rosen, Sperber, Eminescu, Cosbuc si
Mariana Dumitrescu, suitele pentru orchestra, cele 8 simfonii, Simfonia concertanta
pentru orga si orchestra, Simfonia de camera, Simfonietta, Concertul pentru orchestra
mare, cele Cinci Dansuri Simfonice, Epitaful pentru orchestra, cele 2 concerte
pentru pian si orchestra, concertino-ul pentru pian si orchestra, cele 3 concerte pentru
vioara si orchestra, concertul pentru 2 viori si orchestra, cele 2 concerte pentru
violoncel si orchestra, concertul pentru orga si orchestra, concertul pentru 2
violoncele si orchestra, concertul pentru viola si orchestra, concertino-ul pentru harpa
si orchestra de coarde, concertul pentru tuba si orchestra de coarde, partita concertanta
pentru vioara, cello si orchestra de camera, divertismentul pentru corn si orchestra de
coarde, partita pentru trompeta si orchestra de coarde. In genul cameral mentionam
cele 3 sonate pentru vioara si pian, Sonata Brevis pentru vioara si orga (sau pian), cele
10 cvartete de coarde si cele 2 triouri cu pian autentice bijuterii muzicale -, alaturi
18
de alte numeroase lucrari instrumentale pentru cvartet, cvintet (cu pian si, respectiv,
cu harpa), diferite ansambluri de suflatori, 2 piane, pian solo, 2 viori, vioara solo,
septet, si octet de violoncele, violoncel solo, violoncel si pian Si in sfera exegezei
muzicologice abordate de acest extraordinar creator remarcam numeroasele studii
dedicate unor coordonate esentiale ale artei sunetelor (raportul consonanta/disonanta,
agogica ca trasatura de unire intre interpretarea si creatia muzicala, actualizarea unor
concepte ale teoriei fundamentale a muzicii) si, nu in ultimul rand, monumentalul
tratat Melodia si arta invesmantarii ei, reprezentand o contributie originala si
totodata perena in contextual literaturii de specialitate romanesti si universale.
In concluzie, putem asadar afirma ca unanim apreciata,

vasta si, in acelasi timp, extrem de valoroasa opera
componistica si muzicologica a Maestrului Alfred
Mendelsohn reliefeaza o personalitate artistica de inalt
prestigiu, dedicata celor mai nobile idealuri ale
Umanitatii pacea, armonia -, sublimate intr-un univers
sonor elevat, ilustrand atat amprenta inconfundabila a
folclorului romanesc cultivat in spiritul nobilei traditii
enesciene, cat si de elementele specifice spiritualitatii
europene determinate de cei trei principali vectori:
iudaismul, elenismul si latinitatea.
Serban NICHIFOR
Bucuresti, 7 Martie 2014
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26
27
28
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30
31
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UPDATE:
Uniunea Compozitorilor si Muzicologilor din Romania (UCMR) il
reabiliteaza
pe
autorul
"Sfintei
tinereti
legionare"
!
Este absolut condamnabila propaganda legionara in cel mai recent numar
al revistei "Actualitatea Muzicala" (publicatia oficiala a UCMR), unde o
nulitate ca Nelu Manzatu - principalul autor al imnurilor legionare !
- este ridicat la rangul de "elita a muzicii romanesti" (articolul de
fond, pag. 1). In schimb, nici un cuvant despre genialul George Enescu !
:
http://www.ucmr.org.ro/Texte/AM-2015-03.pdf
Din repertoriul legionar compus de Nelu Manzatu pot fi amintite
mizerabilele "cntece" (pe versuri de Radu Gyr, alt legionar notoriu):
Imnul biruinei, Imnul Moa-Marin, Imnul muncitorilor, Sfnta
tineree
legionar,
Vnt
de
sear,
Razbunare.
http://ro.wikipedia.org/wiki/Nello_Manzatti
Pozitia semnatarului acestui blamabil articol publicat in oficiosul UCMR
este astfel in "perfecta consonanta" cu cea a exponentilor criminalei
miscari
legionare:
http://www.miscarea.net/libertatea-manzati-livezeanu.htm

Serban Nichifor: Works 2016 (January-August)

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File: !HappyNewYearMichele.

Happy New Year, Michele !

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Copyright 2015 by Serban Nichifor (SABAM, ASCAP)

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Happy New Year, Michele !

Copyright 2015 by Serban Nichifor (SABAM, ASCAP)

Serban Nichifor (SABAM, UCMR-ADA)

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Serban Nichifor: Fiddle Dance

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PRAYER FOR THE VICTIMS OF THE HOLOCAUST

Copyright 2015 by Serban Nichifor (SABAM, UCMR-ADA)

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