Musiventurous series by Gabriel Malancioiu II

In the first part, ABURA KORI, frequent metric changes, the use of special sonorities through the "dead stroke" or "on the rim" technique will become the main characteristics. In the second part, HORO HORO TO, different procedures will be used to emit sounds, only as a result of the contact of the timpano’s membrane with the hand; another challenge will be to follow a fluctuating agocic. The third part, KAZAIRO YA, requires an intense use of the timpano’s pedal, along with elements of instrumental theater. In the fourth part, FURU IKE YA, Basho's spoken text will find its echo in the rhythmic patterns of the timpano, in a dialog that also involves the unusual sonority of a Japanese Singling Bowl placed on the timpano. The energy of the last part, KIMI HI O TAKE, is the result of the uninterrupted movement and irregular accents of the musical text.

Pophorn for horn in F

In the first piece, SALTY POPHORN, the horn player will test different sonorities, realized by hand muting; he will be challenged by the numerous changes of accents, will try the new sonority realized by striking the mouthpiece with the palm of the hand. In the second piece, DYNAMIC HORNTRASTS, the change of sonority realized by emphasizing the dynamic changes will become the primary factor. The third part, ALPINE HORNSCAPE WITH FLIES, recalls in some sections the sound of the Alphorn, heard in the Swiss Alps; the mastery of the frullato technique together with the agogic changes will challenge the musician throughout the piece. In the fourth part, HORNICE, the instability of the multiphonic and half-valve sounds will contrast with a melodic discourse closer to tradition. The last part, BUZZHORN, will surprise by its unusual sonority due to the horn directing the bell towards a Snare Drum, with the snares engaged; the horn player will also have to be concerned with the realization of glissandos and an exaggerated vibrato.

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Mathuba for tuba

Famous mathematicians such as Thales, Pythagoras, Euclid, Gauss, Bernoulli become musical characters throughout the work. In the first part, WHAT IS THALES LOOKING FOR?, the challenges of rhythm and dynamics are doubled by achieving a focused sonority in the lower register. In the second part, BERNOULLI'S HYDROAGOGICS, agogic flexibility will become a very important element. In the third part, PYTHAGORAS LOOKING FOR IDEAL PROPORTIONS IN THE FISH MARKET, besides asymmetrical measures the musician will come into contact with a glissando realized through the harmonic series. In the fourth part, HOW TO GET EUCLID OUT OF THE CREVASSE?, the challenge will be to control new sonorities: multiphonic sounds and frullato. In the last part, SANTA GAUSS IS BACK IN TOWN!, a form of lip glissando will become an important structural element.

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Cellobatarian for cello 

In the first part, EVERYTHING'S FINE, EXCEPT THE HICCUP, the energy built up from continuous movement is interrupted by funny hiccups. In the second part, ALONE. ONLY BIRDS, ANDRENAL SERENITY AND MOSQUITOES, musical gestures in the high register suggest the sounds of nature. In the third part, TRAIN OF LIFE, SLAP ONE FIVE! the glissando on double strings will become the most important structural element. In the fourth part, TENDER, BLENDER, LAVENDER..., the cello's floral melody is interrupted twice by a contrasting, harsh sound; the harmonic sounds give more gentleness to this part. In the last part, MY KIDNEYS FEEL PIZZFUL!, pizzicato in various forms will create a sound environment permeated by cheerfulness.

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Reverberano for soprano 

In the first piece, GLOWING RESONANCE, the singer will have to cope with numerous dynamic changes, to highlight the irregular accents. In the second part, INNER ECHOES, the purity of the vocal emission will become very important; also, the freedom associated with a proportional notation will have to be channeled tastefully. Part III, THE RITE OF SPRING (HARIBO VERSION), involves emphasizing the body movement in accordance with the ritualistic sonorities, a constantly changing metric, mastery of the glissando technique. In the fourth part, DARK GREEN REFLECTION, the low register of the voice will be exploited; sound continuity and the creation of static surfaces will be the challenges of this part. The euphoria of the last part, SUNNY SHADES, is due to the constantly changing dynamics and metrics; the singer will also have to manage timbral and intonational aspects less common in the traditional repertoire. Reverberano is revised by Laura Tatulescu, a soloist known on the great stages of the world.

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Mbruzz for brass mouthpiece alone Version for horn 

The title MBRUZZ is a combination of three words: mouthpiece, brass and buzzing. In the first part, MBARPPÉ, arpeggiation and the glissando technique become central elements. The second part, MKISS, proposes two less common sounds: a whistling sound and a more romantic one - the sound of kissing. In the third part, SIREN ON BOARD, fluid dynamics and the song of an imaginary siren will be the structural elements developed throughout the part. Part four, MDU-WA, MDU-WA, will challenge the musician in realizing timbral shifts akin to the use of the Wah-Wah Mute. In the last part, MOBUTU TUKU TUKU, the musician will practice a technique often found in brass writing, the striking of the mouthpiece with the palm of the hand, peppered with elements of instrumental theater.

This series is continuously expanded by Gabriel Malancioiu!