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Headphones and sheet music

COMPOSER WINS AWARD

February 11, 2023

Sheet music on music stand

COMPOSERS COLLABORATE FOR A CAUSE

February 11, 2023

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FRANÇOIS-XAVIER ROTH /
LONDON SYMPHONY ORCHESTRA:
THE PANUFNIK LEGACIES

MAISTOROVICI: Halo for symphony orchestra

London Symphony Orchestra
François-Xavier Roth, conductor
LSO Live, 2013

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MARK SIMPSON:
NIGHT MUSIC

SIMPSON: Ariel

The Mercury Quartet:
Vlad Maistorovici, violin
Harry Cameron-Penny, basset horn
Antoine Françoise, piano
Colin Alexander, cello

MORITZ ERNST:
BIRD IN SPACE

MAISTOROVICI transScent

Moritz Ernst, piano

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THE MERCURY QUARTET:
MERCURY ACOUSTIC

MERCURY QUARTET: Mercury Acoustic album

The Mercury Quartet:
Vlad Maistorovici, violin
Harry Cameron-Penny, basset horn
Antoine Françoise, piano
Colin Alexander, cello
Nonclassical Recordings

OMAGGIO A EUGÉNE YSAŸE

with pianist Dario Bonuccelli

This recording has become a favorite among fans, as it has various pitch ranges paired with amazing instrumental melodies. I worked incredibly hard on all of the arrangements, and I’m proud to be able to present the fans with this amazing piece.

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PROJECTS

Maistorovici serves as musical director or artistic partner in international collaborations reaching out to niche and mainstream audiences.

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CONCERTS AND EVENTS

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ION BOGDAN ȘTEFĂNESCU

flute(s)

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DIANA IONESCU

piano

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VLAD MAISTOROVICI

violinist & composer

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Description:

I was fascinated by the story of the Codex Caioni manuscript since I was a kid. The 9 Romanian pieces extracted and published for the first time in the 1940s, seemed to me a time capsule, sent to the future by a Romanian Renaissance composer. The mythology of their journey across centuries is made of reincarnations brought about by masters both Romanian and European. Because, as composer John Adams puts it, "There is nothing particularly new about one composer internalizing the music of another and 'making it his own'. Composers are drawn to another's music to the point where they want to live in it, and that can happen in a variety of fashions, whether it's Brahms making variations on themes by Handel or Haydn, Liszt arranging Wagner or Beethoven for piano, Schoenberg crafting a concerto out of Monn or, more radically, Berio 'deconstructing' Schubert". But the pieces in the Codex are so disarmingly simple, that in order to reincarnate them you need a clear and relevant perspective. The lack of such a perspective prevented me for many years to "touch" them.

Until one day, when I spontaneously started to cue them up in a rhapsodic suite. The whole structure of the piece materialised intuitively, in a musical idiom that was very clear to me, although I did not immediately know what it was. Some time later I have discovered a similar concept already existed, reading an article about skeuomorphy. In computer design, a skeuomorph retains design elements from structures that were necessary in the physical reality, even if in the virtual reality they do not have any functionality. Thus, in Concert Transilvan, the themes are organised in a concerto grosso inspired by multicultural Transylvania of the 17th Century, virtualised for the 21st Century.

The concerto starts with an Andante da chiesa ("Cântecul Voievodesei Lupul"): upon a virtual pedal of cymbalom textures, the transilvanian medieval violinist improvises a prelude. Inspired from the future by Bartok and Ravel, he turns his violin and musicians into a folk band comprising of flute, accordion and fiddles: Moderato hungarico ("Alt dans valah"). In Allegro saxonico ("Dansul lui Mikes Kelemen") he becomes a British fiddler, moving towards a climax in Maestoso inglese ("Dansul lui Lazar Apor"), inspired by Purcell in aksak rhythm. Suddenly the virtual cymbalom strikes back and turns him into a klezmer fiddler: Moderato iudaico (again "Cântecul Voievodesei Lupul"). The pedal settles down into a halo of light, when deep down a double bas murmurs a lullaby Con moto: 'Colinda' ("Dans valah"). Inspired by Vivaldi, the violinists start a fugue in Allegro italiano ("Dans din Nires"). A viola howls and the orchestra reverberates like in an American minimalist musical canvas: Allegro zingaro ("Dans"), with the violinist improvising in "haidouk" style, à la Roby Lakatos. In Allegro tedesco ("Dans al cincelea în sase"), Brandemburg-like polyphony blossoms, superimposed with "Dans din Nires" and then also with "Cântecul Voievodesei Lupul". The last remaining tune is left trying to catch up with the others in Presto finale ("Dans"), and then disappears in the halo of light.

Vlad Maistorovici

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BIOGRAFIE

Română
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