Flöte (Hasya)

The choice of the title in Sanskrit is due to the multiple meanings that the ancient languages had. The symbolic character, the ambivalence, a certain mystery held by these ancient languages create bridges of the spoken language with music. The term hasya refers to one of the nine primary emotions - called rasas in Indian philosophy, namely the comic; the term has multiple meanings, involving the idea of movement, energy, vitality. These characteristics will be manifested in the first and in the final part of the work. The playfulness can also be detected in the field of the musical structures, through the presence of formal surprises. An example can be identified in the final part of the work, a "classicizing" moment being interrupted by the improvisational play of the soloists. The second part, contrasting, is under the incidence of the shanta rasa, designating calm.

The unitary aspect of the work is tried to be achieved by the presence of musical segments that cross all parts of the work. The most striking example in this sense is offered by the ascending musical trajectory that concludes the first part of the work; it appears in the cello pizzicatos at the end of the second part and reappears fully in the third part. However, this melodic formula also appears in less obvious forms, as we find in the second part of the work, the prolonged notes of the flute describing the same melodic contour.

In order to understand the work, it can be useful to follow the relationship established between the soloists and the orchestral group, which alternates states of dependence (first part), independence (second part) and interdependence (the end of the final part).

Hasya was dedicated to Trio CONTRASTE, which performed it for the first time on May 14, 2010 with the string orchestra of the Banatul Philharmonic, under the direction of Radu Popa.