The intention of this cycle of works is to familiarize the young musician with issues that are common in today's scores. From the time of their youth, they should acquire a taste for experimentation and then this spirit of sonic adventure should be preserved when they study scores from the traditional repertoire.
Within the series, there will be composed works for all the instruments of the orchestra, including the piccolo, english horn, bass clarinet, contrabassoon, timpani, marimba, vibraphone and accordion; works will also be written for the four types of voices (soprano, alto, tenor, bass). In each part the focus will be on several elements that are found in contemporary works, all done in an accessible, playful way, so that the young musician gets a taste for experimentation, approaching a language that he may not have known before. In line with the educational character, the works will not be too long, each part comprising two pages, so there will be no problem with turning the pages. The cycle is primarily addressed to experienced high school pupils and students, but the works may also be performed in concert by professional musicians.
Allegriolino for violin
In his first piece, ROBO-SCRATCH, the musician would briefly abandon the "aesthetics of beautiful sound" in favour of a harsher sound. Other problems raised by this piece relate to the use of harmonic sounds in glissando, percussive sounds made by tapping the fingerboard with the fingers.
The second piece, TRULLY-TREMENDULLY, focuses on the use of tremolo technique in various poses, bow glissando as well as glissando on the natural harmonics of the sound.
The third piece, GLISSTORTONE, draws attention to the glissando technique.
The fourth piece, HYDRO-ROMANCE - SINGING IN THE RAIN, proposes familiarisation with proportional notation - a notation in which improvisational freedom is present to a greater extent, but also with a tremolo technique between a natural sound and an artificial harmonic sound.
The last piece, PIZZ. BARTOCHITZ, highlights the pizzicato technique, both the standardised version and a harder form of this technique often used by Béla Bartók.
Allegriolino is revised by Cristina Malancioiu, violin lecturer at the West University of Timisoara, Faculty of Music and Theatre, member of the Atem Ensemble.
Alles klar(inett)! for clarinet
During the first piece, SLAPIOLA WITH GRANOLA, the musician will come into contact with a technique often encountered in the clarinet literature of the last century: slap tongue.
The second piece, BARLENTANDO, highlights the creative side of the musician, allowing for greater flexibility in agogics.
In the third part, HAI - HUI, À VASLUI, the musician will come into contact with a new form of notation of repeated formulas, while practising the frullato technique.
The fourth part of the work, VOCES-NOCES BIFURCANDIS, opens up a zone of a mythical, ancestral sound world; ritual reverberations are signalled by the use of the voice superimposed over the sound of the clarinet and by the use of multiphonic sound.
In the last part of the work, JOY.ZIP, the use of the glissando completes the sense of joy given by the continuous movement.
Alles klar(inett)! is revised by Walter Ifrim, former member of the Aventure Ensemble.
Aulino for piccolo flute
In the first piece, PICO-DICO, AGOGICO, the musician will encounter challenges in the field of agogics and irregular accents.
The second part, TREMO-GOULASH, will test the musician's ability to make fine transitions between tremolos and trills.
Part III, UPS & HICKUPS, will test stepping out of the comfort zone, using elements of instrumental theatre, along with practicing the frullato technique.
In part IV, PASTORALIX, the glissando technique and the use of proportional notation will be the main challenges.
In the last part, GLANCE + DANCE = CROMANCE, the simultaneous use of played and sung pitches, irregular rhythms and the birth of a richly ornamented dance will complete the picture of the five miniatures.
Aulino
is revised by Haika Lübcke, Piccolo solo at Tonhalle Orchester Zurich, lecturer
at Zurich University of the Arts.
"Aulino is like fireworks for piccolo, written pleasantly for the piccoloist as well as interestingly thought out for the audience, inspiring and joyful to both player and listener. Four movements, each with different modern playing techniques, sometimes familiar, sometimes unfamiliar, finally lead into an exuberant folk dance that brings the cycle to an energetic close. In a playful way Gabriel Malancioiu introduces aspiring piccolo players of young and old age to the instrument as well as to today's playing techniques and lets us embark on a journey of novel sounds.." Haika Lübcke
Bascantado, lusingando for bass voice
In the first piece, JOYPEGGIOS, the singer will face the challenge of conducting large musical ideas interrupted by audible breaths.
In the second part, TEGEROHAGIA, slow glissandi, the use of both speaking and singing will challenge the musician to find the right solutions.
Part III, CON-FUSIONE, CON MOTO, the playful use of "wrong" note names, is completed with theatrical elements.
In Part IV, HARMOMYTHS, the use of diphonic singing becomes the central element.
Laughter together with a modified quote from Giuseppe Verdi's Falstaff will be the spice of the last part, LAUGH & FALSTAFF.
Bascantado, lusingando is revised by Nicholas Isherwood, described by George Crumb as „one of the finest baritones of the international scenes”.
Bascelerando for bassoon
In the first piece VIBRANDOUR - AZNAVOUR, the musician will use different types of vibrato; two short musical figures are derived from Charles Aznavour's hit Hier encore.
The second part, EARTHY VIBES, highlights the beauty of the instrument's low register, the use of glissando and also of the multiphonic sounds.
In part III, TOUGH & BRASSY, the musician's endurance will be put to the test, rapid changes in articulation and sonority presenting challenges throughout the piece.
In part IV, PIS, PIS, PIS - PIECE FOR BIS, using the pissicato technique (from the Romanian word for cat) the musician is guided to find the right sonority and intuit the character of the work in accordance with the slippery nature of the cat.
In the last part of the work, BASCELERANDO, the ever-changing agogic will probably become the greatest challenge for the musician.
Bascelerando is revised by Pascal Gallois, former member of the Ensemble Intercontemporain, conductor of the Ensemble Orchestral Contemporain.
Curly myths for double bass
In the first piece, ARTEMIS CALLED MISS GLISSANDO, DOESN'T LIKE THE ALLARGANDO, the musician will be challenged to perform tremolos, trills, glissandos, irregular accents, while maintaining a stable tempo.
In the second part, SNORKELING WITH HEFAISTOS, the bow glissando between tasto and ponticello becomes the most important structural element.
The third part, HERCULES' KALIMBA, focuses on the pizzicato technique; a new sonority, close to the sound of the kalimba, is obtained by playing pizzicato behind the bridge.
The fourth part, AFRODITA'S SECRET: BIO HARMONICS SCRUB, is based on the sensual sonority of harmonic sounds.
In the last part, DIONISOS LOVES BURRITOS, the timbral layer is spiced up with harsher, scratchy tones; the middle section, OUZO TIME ON NAVAGIO BEACH, involves more freedom given to the performer through the use of proportional notation.
Curly myths is revised by Arthur Balogh, double bass lecturer at the West University of Timisoara, Faculty of Music and Theatre, former member of the Stuttgart Philharmonic.
“Curly myths features a wide palette of sound colours. The mythological characters featured in these miniatures are highlighted not by perfection but by character traits, personality and temperament. Thus Gabriel Mălăncioiu brings out the performer's expressiveness with much humour, giving him a clear, attractive and versatile score.” Arthur Balogh
Joyflix for flute
In the first piece, FROOLISH, the musician will come into contact with the frullato technique and proportional notation.
The second piece, THE ESTIMABLE MR. RAM, focuses on the use of the Tongue Ram technique and harmonic sounds.
The third part, THE SHAMAN FROM THE WARDROBE, explores areas close to mysticism through the simultaneous use of played and sung pitches; as in some mystical traditions, the use of multiphonic sounds is linked to the aspiration towards spirituality.
The fourth part, DANDELION'S MICRODANCE, brings the microtonal world to the performer's attention in a music that has dance-like characteristics.
In the fifth part, GLISSANDELLO, the glissando technique will become the central structuring element of the sonic material.
Joyflix is revised by Matei Ioachimescu, Vienna based flute soloist, lecturer at the West University of Timisoara, Faculty of Music and Theatre.
Oh, boy for oboe
In the first piece, TRILLOPHILOU, the focus will be on the use of the trill, both in the conventional form and the double trill, specific to the oboe.
The second piece, FANCY KISSES, focuses on a special technique - "smacking tone" - generating a funny sonority.
The third piece, CIOCCOLIANDO CROMOLATA, proposes familiarisation with proportional notation - a notation in which improvisational freedom is present to a greater extent, but also with a technique to obtain a timbral trill, called „bisbigliando”.
The fourth piece, BIRDOLINO, is reminiscent of birdsong through the use of the lip glissando technique.
The last piece, MULTI-FRULLTY, proposes the use of the "frullato" technique and introduces the young musician to the fascinating world of multiphonic sounds.
Oh, boy is revised by Alexander Ott, former member of the Aventure Ensemble.
Amazeus
AMAZEUS wants to capture the playful spirit of Mozart. In the first part, MOZIGLIANDO, the performer will come into contact with the bisbigliando technique, quickly changing between slide positions while playing the same pitch. In the second part, TROMBO NIRUM, he will play by shaping the sound by changing the oral cavity; the title of the part is justified by the use of a modified quotation from Mozart's Requiem , Tuba mirum section.
Trexpresso for trumpet
In the first work, SIGNOGLICIUS, the focus will be on the use of a "glissando" on harmonic sounds.
Part II, WA-WA, WA-WA, WA-WA, OHURGITERBA, focuses on the use of the mute in a musical discourse with ritualistic connotations.
Part III, ARTICOULEUR, proposes familiarization with a type of "glissando" involving the use of valves, in a sonic context where articulation changes frequently.
Part IV, ANCESTRAL ECHOES, involves the use of multiphonic sounds, creating an environment with ancestral resonances.
The final part, TRENERGY, proposes the use of the "frullato" technique and introduces the young musician to the fascinating world of instrumental theatre.
Trexpresso is revised by Sergiu Carstea, former first trumpeter of the National Opera from Timisoara, lecturer at the West University of Timisoara, Faculty of Music and Theatre.
“The group of five pieces for solo trumpet are of particular interest in terms of technical skills and interpretative language, typical of contemporary music, very useful for young trumpeters who want to approach this repertoire.
Each of the pieces focuses on certain performing issues, the study of which will help students in their conceptual approach to modern music - an important and increasingly requested repertoire segment - and not least, in the development of their technique. I consider the publication very important from a didactic point of view, but also from a musical point of view, and I will recommend students to approach these miniatures, being convinced that the result will be very good.” Sergiu Carstea
This series is continuously expanded by Gabriel Malancioiu!