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ADRIAN POP - IN SEARCH OF A LONG LOST SMILE
Full text linkAn anniversary, especially in the case of a generation colleague, the renowned composer Adrian Pop, generates the remembrance of a long series of musical events that have become notorious, with works included in the national and international concert repertoire. The avoidance of nostalgic memories made that a stage miniature be chosen for the present paper, an incursion of the author into the naive world of childhood reading. The result was a modern, glamorous musical transposition of a sequence with Max and Moritz, the playful heroes created by the famous humorist and cartoonist Wilhelm Busch in the middle of the 19th century. The musical act Onkel Fritz by Adrian Pop was first performed in Cluj in 2016, on October 22, on the occasion of his previous anniversary, within the Cluj Musical Autumn Festival. The graceful performers of the act, presented under the title “Anniversaries at the Festival, Adrian Pop compositional portrait”, were soprano Mihaela Maxim, in the role of Max and pianist Eva Butean, in the role of Moritz. How did composer Adrian Pop manage to musically enliven a 150 years old humorous story? The author of the following text will try to answer this question.
Rezumat. ADRIAN POP - ÎN CĂUTAREA SURÂSULUI PIERDUT. O aniversare, mai ales în cazul unui coleg de generație, reputatul compozitor Adrian Pop, generează rememorarea unui lung șir de evenimente muzicale devenite notorii, cu lucrări intrate în repertoriul intern și internațional de concerte. Evitarea unor memorii nostalgice au făcut ca sorții acestei comunicări să cadă asupra unei miniaturi scenice, o incursiune a autorului în lumea ingenuă a lecturilor din copilărie. A rezultat o transpunere muzicală modernă, plină de farmec, a unei secvențe cu Max și Moritz, eroii poznași creați de celebrul umorist și caricaturist Wilhelm Busch la mijlocul secolului XIX. Prima audiție clujeană a scenetei muzicale Onkel Fritz de Adrian Pop a avut loc în 2016, la 22 octombrie, cu ocazia precedentei sale aniversări, în cadrul Toamnei Muzicale Clujene. Interpreții plini de har ai scenetei prezentate sub genericul „Aniversări în Festival, portret componistic Adrian Pop” au fost soprana Mihaela Maxim, în rolul lui Max și pianista Eva Butean, în rolul lui Moritz. Oare cum a reușit compozitorul Adrian Pop să însuflețească muzical o poveste umoristică de 150 de ani? La această întrebare va încerca să răspundă autoarea acestor rânduri.
Cuvinte cheie: Adrian Pop, Wilhelm Busch, Max și Moritz, Unchiul Fritz, act muzica
ARCHETYPAL ETHOS: “TRIPTIC (TRIPTYCH)” BY ADRIAN POP
Full text linkImportant personality of the musical life in Cluj, composer and professor Adrian Pop (*1951) is the last of Sigismund Toduţă’s disciples, the great mentor of the Cluj School of composition. He continued his studies under the guidance of Cornel Ţăranu, one of the most representative composers of the Romanian Avant-garde, together with Hans-Peter Türk, Ede Terényi, Vasile Herman and others, who were themselves Toduţă’s students. Adrian Pop’s style reflects his preference for the national ethos, specific to the Eastern European composition Schools, protruded by the composition techniques of Western Avant-garde. The complex musical language is the result of long years of study in Romania, with personalities such as Ștefan Niculescu and Aurel Stroe, as well as in European musical centres, with Dieter Salbert (Bayreuth), Ton de Leeuw (Burgas), Joji Yuasa (Amsterdam). The impact of his works on audiences has materialized in national awards from the Composers’ Union (1978, 1980, 1989), the Romanian Academic Society Award (1996) as well as international ones, in Tours (1978), Arezzo (1979), Trento (1982, 1984, 1986), Roodeport – South Africa (1983), Spittal an der Drau (1986).
His compositions impress both by their variety and themes, of folkloric inspiration, and by their refined polyphonic or heterophonic writing, as learned from his father, Dorin Pop, an excellent choir conductor and specialist in Renaissance music. Actually, his first successful work, Colinda de pricină (Reason Carol), inspired by the folklore in the Sălaj county and introduced to the audiences by Dorin Pop, conductor of the Cappella Transylvanica choir, was loved by the public even from its first performance and remained in the repertoire of all prestigious choirs ever since. This carol also leaves a mark on his future creations of folkloric inspiration. One of the distinctive aspects of his compositional style is the use of folklore in the form of a quoted song later metamorphosed in an ingenious counterpoint weaving. The subject of the present study is the most recent symphonic opus of composer Adrian Pop, the ballet Triptic (Triptych) (1998, rev. 2013). The work continues the series of symphonic creations, Etos I (1976) – on the theme from Mioriţa, a ballad from Sălaj county and Solstiţiu (Solstice) (1979) – a carol of the Sun “which was sung until recently in Bihor county”, as Adrian Pop says. Triptych reunites three different worlds of the 19th century Transylvania, in the three contrasting movements of the “little suite”: the first part evoques a savage world of fantastic realism, with tragic ending, an aspect which preoccupied the composer at the time, as it is also the subject of his doctoral thesis, Recviemul Românesc (Romanian Requiem) (2001). The second part, an idyllic progress of a couple’s life, is the passage to the whirling twirl of a folk song from Ţara Moţilor (the third part). The melodramatic melody treated heterophonically in the picturesque rhythms of Ardeal folklore and spiced up with specific timbres of the semantron and bells, lead the Triptych and its author, composer Adrian Pop, towards success in concert halls and give the audiences the hope for a new choreographic staging
ARCHETYPAL ETHOS: “TRIPTIC (TRIPTYCH)” BY ADRIAN POP
No full textImportant personality of the musical life in Cluj, composer and professor Adrian Pop (*1951) is the last of Sigismund Toduţă’s disciples, the great mentor of the Cluj School of composition. He continued his studies under the guidance of Cornel Ţăranu, one of the most representative composers of the Romanian Avant-garde, together with Hans-Peter Türk, Ede Terényi, Vasile Herman and others, who were themselves Toduţă’s students. Adrian Pop’s style reflects his preference for the national ethos, specific to the Eastern European composition Schools, protruded by the composition techniques of Western Avant-garde. The complex musical language is the result of long years of study in Romania, with personalities such as Ștefan Niculescu and Aurel Stroe, as well as in European musical centres, with Dieter Salbert (Bayreuth), Ton de Leeuw (Burgas), Joji Yuasa (Amsterdam). The impact of his works on audiences has materialized in national awards from the Composers’ Union (1978, 1980, 1989), the Romanian Academic Society Award (1996) as well as international ones, in Tours (1978), Arezzo (1979), Trento (1982, 1984, 1986), Roodeport – South Africa (1983), Spittal an der Drau (1986).
His compositions impress both by their variety and themes, of folkloric inspiration, and by their refined polyphonic or heterophonic writing, as learned from his father, Dorin Pop, an excellent choir conductor and specialist in Renaissance music. Actually, his first successful work, Colinda de pricină (Reason Carol), inspired by the folklore in the Sălaj county and introduced to the audiences by Dorin Pop, conductor of the Cappella Transylvanica choir, was loved by the public even from its first performance and remained in the repertoire of all prestigious choirs ever since. This carol also leaves a mark on his future creations of folkloric inspiration. One of the distinctive aspects of his compositional style is the use of folklore in the form of a quoted song later metamorphosed in an ingenious counterpoint weaving. The subject of the present study is the most recent symphonic opus of composer Adrian Pop, the ballet Triptic (Triptych) (1998, rev. 2013). The work continues the series of symphonic creations, Etos I (1976) – on the theme from Mioriţa, a ballad from Sălaj county and Solstiţiu (Solstice) (1979) – a carol of the Sun “which was sung until recently in Bihor county”, as Adrian Pop says. Triptych reunites three different worlds of the 19th century Transylvania, in the three contrasting movements of the “little suite”: the first part evoques a savage world of fantastic realism, with tragic ending, an aspect which preoccupied the composer at the time, as it is also the subject of his doctoral thesis, Recviemul Românesc (Romanian Requiem) (2001). The second part, an idyllic progress of a couple’s life, is the passage to the whirling twirl of a folk song from Ţara Moţilor (the third part). The melodramatic melody treated heterophonically in the picturesque rhythms of Ardeal folklore and spiced up with specific timbres of the semantron and bells, lead the Triptych and its author, composer Adrian Pop, towards success in concert halls and give the audiences the hope for a new choreographic staging
Creativity and Censorship in Music: ‘Like the Danube Carving Through a Mountain, It Produces Wonders’ – A Dialogue With Adrian Pop
No full textThe article delves into the effects of censorship on artistic expression, drawing on the insights of composer Adrian Pop. In commemoration of the 35th anniversary of the Romanian Revolution, the conversation sheds light on how censorship influenced music during the Communist era and how composers ingeniously maneuvered through its constraints. Adrian Pop highlights that, while censorship enforced strict boundaries, it did not completely suppress creativity, which persisted and thrived, much like the Danube carving its path through mountains. The article explores the dynamic between censorship and self-censorship, illustrating how propaganda often acted as a counterpart to censorship. Additionally, it touches on the significance of folklore in music and the gradual shift of composers toward experimentalism, despite the regime’s restrictive environment
INTERFERENCES BETWEEN TRADITION AND MODERNITY IN THE SYMPHONIC AND CONCERTO WORKS BY ADRIAN POP – (3) SOLSTICE FOR ORCHESTRA
Full text linkThe current study is part of a series of analytical approaches undertaken on the symphonic-concerto oeuvre of Cluj composer Adrian Pop. Following the chronological order of the works and keeping as a reference their common source of inspiration – namely the Romanian folklore –, the conclusion seeks to highlight the way in which the composer’s individuality relates to both the trends of contemporary language and the European cultured musical tradition, without attenuating the signs of the local stylistic matrix. Like the other works under analysis so far, Solstice is based on a melody taken from the Romanian local repertoire, namely that of Pomuț răzmurat, a “Carol of the Sun”. The carol’s ritualic background is linked to the most significant moment in a farmer’s life – the winter solstice – also pointing to the idea of the repeating year, a recurring theme in folklore and mythology. The coordinates of the mioritical space described by Blaga’s philosophy are also present, the undulating motion, the taste for the ornamental and picturesque, the preference for the manifestation of the organic finding their musical correspondences in parameters such as form, writing, tempo, timbre etc. Last but not least, the programmatic dimension of the ideate substratum is captured by the composer Adrian Pop with an extraordinary power of suggestion, through interferences of tradition and modernity
FROM CHOIR TO STRING QUARTET – SOUND METAMORPHOSES IN THE COMPOSITION OF THE WORK “OPT BAGATELE PENTRU CVARTET DE COARDE” BY ADRIAN POP
Full text linkAmong the three string quartets of the Cluj composer, we have chosen to focus on the opus Opt bagatele pentru cvartet de coarde
[Eight bagatelles for string quartet] (1996), awarded with the “George Enescu” Prize of the Romanian Academy, and whose ideational, thematic, and dramatic ground is a previous choral cycle of the author, Galgenlieder-Bagatellen (1987), lyrics from Galgenlieder / Gallows Songs by Christian Morgenstern (1905). Notwithstanding the inherent differences between
the instrumental and vocal versions, the musical attitudes preserve the predilection and appetence for the vocal composition that Adrian Pop holds so dear, including through the use of certain vocal phonemes, the chromatics of the chordophones in the third bagatelle. The instrumental and chromatic refinement of the eight bagatelles confirms the essential role they play in the creation of one of the most important contemporary composers of Cluj and Romania
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
INTERFERENCES BETWEEN TRADITION AND MODERNITY IN THE SYMPHONIC AND CONCERTO WORKS BY ADRIAN POP – (1) THE CELLO CONCERTO
Full text linkThe present study marks the beginning of a series of analytical undertakings focused on the symphonic and concerto works by the Cluj composer Adrian Pop. Following the pieces’ chronological line and keeping as a reference their common source of inspiration – the Romanian folklore – the conclusions aim to reveal the way in which the author’s individuality relates to the tendencies of contemporary language, as well as the European music tradition, without overshadowing our autochthonous stylistic matrix. Starting from a carol taken from Sabin Drăgoi’s collection of 303 Carols, the discourse of the Cello concerto provides a masterly example of how the variational technique is applied in the processing and development of microstructural elements, whose archaic essence is preserved and amplified both at the moment of the explicit exposure of the original melody in the second part (following its “genesis” throughout the first part), and during the effervescent unfolding of the final movement
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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