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Coltea Victor Alexandru

(1986)

Coltea Victor Alexandru
Coltea Victor Alexandru


Internet: www.victoralexandrucoltea.com

Genre: Musique Classique
Biographie
Victor Alexandru Colțea (geb. 1986, Rumänien) Komponist und künstlerischer Leiter des Ensemble Sargo, ein Ensemble mit Sitz in Lausanne, welches sich der Förderung und Schaffung der zeitgenössischen Musik widmet.
Nach erstem Gitarrenunterricht bei seinem Vater, Vasile Colțea, wendete er sich dem Komponieren zu.
Er studierte an der National University of Music – Bukarest mit Dan Dediu, an der Hochschule für Musik und Theater – Hamburg mit Fredrik Schwenk, und an der Hochschule für Musik Luzern, wo er bei Dieter Ammann Kompositionsunterricht nahm.
Weiter nahm er an Kompositionsseminaren und Meisterkursen bei Wolfgang Rihm, Bernhard Lang, Lucian Mețianu, Beat Furrer, Peter Michael Hamel, Octavian Nemescu, Doina Rotaru und Enno Poppe teil.

Er ist Preisträger mehrerer Wettbewerbe und Stipendien, darunter der 1. Preis an den Mendelssohntage Aarau 2017, den Preis für musical creation 2014 von der Romanian Academy of Science and Arts, den Spezialpreis des George Enescu Museums am "International Composition Competition George Enescu", den Preis der Union of Romanian Composers and Musicologists für das Kammermusikalische Gesangswerk "Zori" etc.
Weiter nahm er an verschiedenen Akademien und Meisterkursen teil, wie dem Composers Seminar des Lucerne Festivals, der Impuls | Academy, etc.

Sein Schaffen umfasst unter anderem Symphonische Werke und Kammermusik mit und ohne Elektronik, Musik fürs Theater, Kurzfilme, und interaktive Installationen wie das Werk für die Paul Signac Ausstellung am National Art Museum in Rumänien.
Seine Werke wurden in Konzerthallen in ganz Europa aufgeführt. Darunter Aufführungen von verschiedenen Ensembles und Orchestern wie dem Luzerner Sinfonierorchester, Thüringer Symphoniker Orchestera, Ensemble recherche, Ensemble Phœnix–Basel, Ensemble Sargo, Lucerne Festival Alumni Ensemble, Ensemble Fractales, CexSaxo duo, etc. Unteranderem an verschiedenen Festivals wie dem Lucerne Festival, Blurred Edges (Hamburg); EuropArt (Bruxelles); Impuls Academy | Festival (Graz); International Week of New Music (Bucharest), Innersound International Festival (Bucharest); Saxopen World Festival and Congress for Saxophone (Strasbourg); Cully Classique (Cully), New Music Days, Szenenwechsel (Lucerne), etc.
Übertragen wurden seine Werke von verschiedenen Radiostationen wie dem Deutschlandfunk, NDR (Deutschland), Espace 2 – RTS (Schweiz), Radio România Musical, Radio România Cultural (Rumänien), ORF (Österreich) etc.


Liste des oeuvres
Jubal (2005)
Sonata
for guitar solo
Durée: 13' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
info@musinfo.ch
www.musinfo.ch
CHF: 16.00
Sonata for violin and piano (2006)
Durée: 15' 00"
Manuscrit
Blind Light (2007)
for chamber orchestra (1.1.1.1. / 1.1.1.1. / 1 Perc. / 1 Pno. / 1.1.1.1.1.)
Durée: 16' 00"
Manuscrit
The unknown (2007)
for string quartet
Durée: 16' 00"
Manuscrit
Angelus (2008)
for piano solo
Durée: 5' 00"
Manuscrit
Tal'az (2008)
for clarinet and semantron
Durée: 6' 30"
Manuscrit
The song of the monster from Loch Ness (2008)
for voice and piano
Texte: Edwin Morgan
Durée: 2' 00"
Manuscrit
Placa putin defecta (2008)
for mezzosopran and piano
Texte: Șerban Foarță
Durée: 2' 00"
Manuscrit
Fabula rasa (2008)
for mezzosopran and piano
Texte: Șerban Foarță
Durée: 2' 00"
Manuscrit
Mercenarius (2008)
Concerto
for guitar and string orchestra (6.6.4.4.2)
Durée: 15' 00"
Manuscrit
Piano for concert (2009)
Concerto
for piano and orchestra (2.2.2.2 / 2.2.2.1 / 2 Perc. / 12.10.8.6.4.)
Durée: 25' 00"
Manuscrit
Cosmology (2009)
for orchestra (4.Flutes,1.&2. also Picc., 3.Oboes, 1.Engl Hn., 2.Cl. 1. Bass Cl, 1.Counter Bass Cl., 4.Bsn.,1. Cbsn, 2.Sax/ 6.3.3.2. / 6.Perc / 1.Harp / 1.Celesta / 1.Piano / 1.Mandolin / 1.Guitar / 16.14.12.10.8)
Manuscrit
Disturbia and epilogue (2010)
for solo violin
Durée: 15' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
info@musinfo.ch
www.musinfo.ch
CHF: 21.00
Laut (2010)
Version 1 – for 1 clarinet (also Eb cl & Bass cl), 1 tenor saxophone, 3 horns, 3 trumpets, 2 trombones, 1 tuba, and 1 percussionist; Version 2 – for 2 clarinets (1 doubling also Eb cl & Bass cl), 2 oboes, 2 bassoons, 3 horns, 3 trumpets (one doubling picc. trumpet), 2 trombones, 1 tuba
Durée: 15' 00"
Manuscrit
Rinmodezer-freq (2010)
for solo prepared guitar and live electronics
The guitar has a wooden bridge (similar with the cello bridge) under the strings, which gives a strange color to the sound (comparable to the indian sitar or the japanese koto). The tuning is not tempered. Because of the wooden piece, which divides the guitar in two parts, there are only a limited number of pitches that can be produced. This is why I decided to add live electronics to the piece. The title is a combination of words made from the names of the effects that I used. (Rinmo = ring modulation, De = delay, Zer = harmonizer, Freq = frequency shifter).
Durée: 11' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
info@musinfo.ch
www.musinfo.ch
CHF: 16.00
Carte Noire (2010)
for orchestra (2.2.2.2 / 2.1.2.0. / 1. Perc. / 1. Harp / 8.6.4.4.2)
Durée: 20' 00"
Manuscrit
Another kind of Davis, for miles (2011)
for flute, bass clarinet, saxophone tenor, horn, drum set, viola and cello (also for trumpet, bass clarinet, saxophone tenor, trombone, drum set, cello, double bass)
Durée: 6' 30"
Manuscrit
The last Godot (2011)
for two actors and ensemble (clarinet, bass clarinet, saxophone, horn, trumpet, percussion, piano, 2 cellos, double bass) and live electronics
Texte: Matei Vișniec
Durée: 30' 00"
Manuscrit
Beatus (2011)
for saxophone quartet and organ
Durée: 9' 00"
Manuscrit
Väinämöinen (2011)
for solo harp
Durée: 9' 00"
Manuscrit
Voodoo (2012)
for flute, guitar and tabla
Durée: 12' 00"
Manuscrit
Requiem pentru conventii pierdute (2012)
for flute, clarinet, violin and cello
Durée: 12' 00"
Manuscrit
Negru (2012)
for violin and guitar
Durée: 7' 00"
Manuscrit
Sketches of an electric time travel – suite (2012)
for electric guitar
Durée: 30' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
info@musinfo.ch
www.musinfo.ch
CHF: 37.00
Time Portal (2013)
for 4 electric guitars
Durée: 10' 00"
Manuscrit
Cântecele Bradului (2013)
for cello solo and soundtrack
Durée: 13' 00"
Manuscrit
Marele Ingrozitorul Poem (2013)
for soprano, saxophone and piano
Texte: Ion Cristofor
Durée: 4' 00"
Manuscrit
…vier oder… fünf… gefühle, musik mit .com (2014)
for ensemble (flute, bass clarinet, trumpet, trombone, electric guitar, drum set, piano and amplified/electric cello)
Durée: 6' 00"
Manuscrit
Beast Beats (2014)
for bass clarinet
Durée: 14' 00"
Manuscrit
…zwei oder… drei… gefühle, musik mit .com (2014)
for saxophone tenor, electric guitar, drum set and piano
The ideas, the concepts and meaning of the piece "...zwei Gefühle..." by Lachenmann, I find them today, for myself, far away. That is why I took the last sentence from the Da Vinci's text used by and transformed it to fit into our present daily life. I find in Lachenmann's piece another aspect, the hypostasis of the Plato's "Cave Parable" – the effect of education and the lack of it on our nature (Plato: Book 7 of The Republic-514a); only knowledge of the Forms constitutes real knowledge – now developed as finding the mystery in the obscure world and also the fear of what we might discover. This is what it represents for me.
Therefore, I have taken this situation and put into another context, we are now, in a way, "tight up to our chairs" in a "cave", were we are obliged to look at thousands of commercials, to receive thousands of information per minute, as a brainwashing machine which keeps going on and on forever. It's in a way a similar image with the one from the movie Clockwork Orange by Stanley Kubrick, when Alex – the main character – is tied up to his chair and obliged to watch on and on violent images in order to change his behavior.
That is why in the first 3 minutes of the piece there is a continuous change of the musical material. After, the images will become more connected to each other creating a new texture, much harsher, full of rage and power, leaving us - the people - no chance to survive.
There is also a comment to the musical language, to the very ingenious world of sounds in Lachenmann's work; I have tried to imagine a completely different sound world, in a way against it. That is why the title - paradoxically - could be interpreted on one hand parodical, but on the other hand, it expresses all of our feelings crashed in this absurd world.
The word .com, in this context, should be read as commercial.
Durée: 6' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
info@musinfo.ch
www.musinfo.ch
CHF: 31.50
Zori (2014)
for two sopranos and two pianos
The cycle of pieces "Zori" (which includes Zorile, Cântecele Bradului, Soul…Sing!… O, Soul!, Zori, calea lungă neîntorcătoare, Zorile de afarã) is inspired by two of the oldest funeral songs from Romania (both having pre-Christian origins).
First one is The Song of the dawn, a song, which initiates the defunct for the hereafter world. The singers used to call the deceased and give him advices about how to behave and what to do in the after-life.
The second one, the Song of the Pine tree was sang at the young & unmarried man or woman's funeral service, it was a custom to decorate a pine tree, symbolizing a hypothetical partner in marriage. Young lads used to look in the woods after the dead person's pine tree. It was a common belief that each person has its unique pine tree, hidden somewhere in the forest, which it shall be identified and brought over young person's grave, otherwise the deceased will not rest in peace. When the pine tree has made it's way inside the deceased courtyard, women start singing the Song of the Pine Tree and decorating it with sweets, fruits, ribbons, handkerchiefs, etc. Then it was carried at the cemetery and stuck on the grave, near the cross, symbolizing the just passed away young person's replacement in the real world.
Being inspired by these songs and by their musical aspects, I bring up, in my cycle, the two facets of death – death as a tragedy, but also as a continuation in another type of life – a metamorphosis, seen through the eyes of the Romanian peasants.
Durée: 5' 00"
Manuscrit
Zorile (2014)
for two saxophones and two pianos
Durée: 5' 00"
Manuscrit
Soul…Sing!… O, Soul! (2015)
for voice, oboe, cello and organ
Durée: 6' 00"
Manuscrit
Detonation (2015)
for tenor saxophone duo
Durée: 13' 00"
Manuscrit
Ruthless (2015)
for orchestra (2 (1 and 2 also picc.).2.2 (2 also Bass Clarinet). 2 (2 counter bassoon)/ 2.2.2.1. / 3. Perc. / 12.10.8.6.4.)
Ruthless is a wild, brutal, musical description. The musical forms and gestures that would represent this savageness attracted me. This roughness can be seen throughout the whole piece, in the orchestration, in the formal aspect of the piece, in the construction of the musical material (for example the "beast chords" from the beginning of the piece that suppress any kind of movements or gestures of others, or moments when nothing can be constructed or continued because of another force that keeps taking them apart, etc.).
Durée: 9' 30"
Manuscrit
Zori, calea lungă neîntorcătoare (2015)
for female voice and piano
Durée: 11' 00"
Manuscrit
Zorile de afară (2015)
for female voice and flutes (alto and c flute)
Durée: 4' 00"
Manuscrit
Immigrant (2016)
for flute, saxophone tenor, violin, violoncello, piano
Durée: 8' 00"
Manuscrit
Hyper Atom (2016)
for flute, clarinet, violin, viola, cello, percussion, piano
Durée: 12' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
info@musinfo.ch
www.musinfo.ch
CHF: 52.00
Blast (2016)
for saxophone and drums
Durée: 12' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
info@musinfo.ch
www.musinfo.ch
CHF: 29.00
Fractures (2017)
for flute, clarinet, violin, cello, piano
Durée: 12' 00"
Manuscrit
Carte Rouge (2017)
for orchestra
Durée: 15' 00"
Manuscrit
Games (2018)
for flute, saxophone, violin, percussion
Durée: 3' 30"
Manuscrit
Un(i)son (2018)
for oboe, clarinet, violin, viola, cello, piano
Durée: 6' 00"
Manuscrit