Coltea Victor Alexandru
(1986)
Genere: Musica Classica
Biografia
* 1986.
Victor Alexandru Colțea (b. 1986, Romania) is a composer and the artistic director of the ensemble Sargo, a Lausanne based group dedicated to the promotion and creation of contemporary music.
After starting guitar with his father, Vasile Colțea, at an early age, he continued his development moving towards composition.
He studied at the National University of Music – Bucharest with Dan Dediu, Hochschule für Musik und Theater – Hamburg with Fredrik Schwenk, and at the Hochschule für Musik – Luzern where he studied with the composer Dieter Ammann.
He has also participated in composition seminars and master-classes given by composers such as Wolfgang Rihm, Bernhard Lang, Lucian Mețianu, Beat Furrer, Peter Michael Hamel, Octavian Nemescu, Doina Rotaru, Enno Poppe.
He won several prizes and scholarships, among them, the first Prize at the Mendelssohntage Aarau 2017, the prize for musical creation for 2014 given by the Romanian Academy of Science and Arts, the special prize of George Enescu Museum at the "International Composition Competition George Enescu", the prize of the Union of Romanian Composers and Musicologists for the chamber vocal section with the piece "Zori", etc.
He participated also in different Academies and Master-classes such as Composer Seminar during the Lucerne Festival, Impuls | Academy, etc.
His creations include symphonic and chamber music with or with out electronics, music for theatre, short-films, and for interactive installations, such as the one for the Paul Signac Exhibition at the Romanian National Art Museum.
His pieces were performed in different concert halls throughout Europe, by different ensembles and orchestras like Luzern Sinfonieorchester, Thüringer Symphoniker Orchestra, Ensemble recherche, Ensemble Phœnix–Basel, Ensemble Sargo, Lucerne Festival Alumni Ensemble, Ensemble Fractales, CexSaxo duo, etc., but also in different music festivals, such as 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.
His works have been broadcasted by different radios such as Deutschlandfunk, NDR (Germany), Espace 2 – RTS (Switzerland), Radio România Musical, Radio România Cultural (Romania), ORF (Austria) etc.
Victor Alexandru Colțea (b. 1986, Romania) is a composer and the artistic director of the ensemble Sargo, a Lausanne based group dedicated to the promotion and creation of contemporary music.
After starting guitar with his father, Vasile Colțea, at an early age, he continued his development moving towards composition.
He studied at the National University of Music – Bucharest with Dan Dediu, Hochschule für Musik und Theater – Hamburg with Fredrik Schwenk, and at the Hochschule für Musik – Luzern where he studied with the composer Dieter Ammann.
He has also participated in composition seminars and master-classes given by composers such as Wolfgang Rihm, Bernhard Lang, Lucian Mețianu, Beat Furrer, Peter Michael Hamel, Octavian Nemescu, Doina Rotaru, Enno Poppe.
He won several prizes and scholarships, among them, the first Prize at the Mendelssohntage Aarau 2017, the prize for musical creation for 2014 given by the Romanian Academy of Science and Arts, the special prize of George Enescu Museum at the "International Composition Competition George Enescu", the prize of the Union of Romanian Composers and Musicologists for the chamber vocal section with the piece "Zori", etc.
He participated also in different Academies and Master-classes such as Composer Seminar during the Lucerne Festival, Impuls | Academy, etc.
His creations include symphonic and chamber music with or with out electronics, music for theatre, short-films, and for interactive installations, such as the one for the Paul Signac Exhibition at the Romanian National Art Museum.
His pieces were performed in different concert halls throughout Europe, by different ensembles and orchestras like Luzern Sinfonieorchester, Thüringer Symphoniker Orchestra, Ensemble recherche, Ensemble Phœnix–Basel, Ensemble Sargo, Lucerne Festival Alumni Ensemble, Ensemble Fractales, CexSaxo duo, etc., but also in different music festivals, such as 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.
His works have been broadcasted by different radios such as Deutschlandfunk, NDR (Germany), Espace 2 – RTS (Switzerland), Radio România Musical, Radio România Cultural (Romania), ORF (Austria) etc.
Elenco delle opere
Jubal (2005)
Sonata
Strumentazione: for guitar solo
Durata: 13' 00"
Strumentazione: for guitar solo
Durata: 13' 00"
Sonata for violin and piano (2006)
Durata: 15' 00"
Manuscritto
Blind Light (2007)
Strumentazione: for chamber orchestra (1.1.1.1. / 1.1.1.1. / 1 Perc. / 1 Pno. / 1.1.1.1.1.)
Durata: 16' 00"
Manuscritto
The unknown (2007)
Strumentazione: for string quartet
Durata: 16' 00"
Manuscritto
Angelus (2008)
Strumentazione: for piano solo
Durata: 5' 00"
Manuscritto
Tal'az (2008)
Strumentazione: for clarinet and semantron
Durata: 6' 30"
Manuscritto
The song of the monster from Loch Ness (2008)
Strumentazione: for voice and piano
Testo: Edwin Morgan
Durata: 2' 00"
Manuscritto
Placa putin defecta (2008)
Strumentazione: for mezzosopran and piano
Testo: Șerban Foarță
Durata: 2' 00"
Manuscritto
Fabula rasa (2008)
Strumentazione: for mezzosopran and piano
Testo: Șerban Foarță
Durata: 2' 00"
Manuscritto
Mercenarius (2008)
Concerto
Strumentazione: for guitar and string orchestra (6.6.4.4.2)
Durata: 15' 00"
Manuscritto
Strumentazione: for guitar and string orchestra (6.6.4.4.2)
Durata: 15' 00"
Manuscritto
Piano for concert (2009)
Concerto
Strumentazione: for piano and orchestra (2.2.2.2 / 2.2.2.1 / 2 Perc. / 12.10.8.6.4.)
Durata: 25' 00"
Manuscritto
Strumentazione: for piano and orchestra (2.2.2.2 / 2.2.2.1 / 2 Perc. / 12.10.8.6.4.)
Durata: 25' 00"
Manuscritto
Cosmology (2009)
Strumentazione: 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)
Manuscritto
Disturbia and epilogue (2010)
Strumentazione: for solo violin
Durata: 15' 00"
Laut (2010)
Strumentazione: 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
Durata: 15' 00"
Manuscritto
Rinmodezer-freq (2010)
Strumentazione: 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).
Durata: 11' 00"
Carte Noire (2010)
Strumentazione: for orchestra (2.2.2.2 / 2.1.2.0. / 1. Perc. / 1. Harp / 8.6.4.4.2)
Durata: 20' 00"
Manuscritto
Another kind of Davis, for miles (2011)
Strumentazione: 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)
Durata: 6' 30"
Manuscritto
The last Godot (2011)
Strumentazione: for two actors and ensemble (clarinet, bass clarinet, saxophone, horn, trumpet, percussion, piano, 2 cellos, double bass) and live electronics
Testo: Matei Vișniec
Durata: 30' 00"
Manuscritto
Beatus (2011)
Strumentazione: for saxophone quartet and organ
Durata: 9' 00"
Manuscritto
Väinämöinen (2011)
Strumentazione: for solo harp
Durata: 9' 00"
Manuscritto
Voodoo (2012)
Strumentazione: for flute, guitar and tabla
Durata: 12' 00"
Manuscritto
Requiem pentru conventii pierdute (2012)
Strumentazione: for flute, clarinet, violin and cello
Durata: 12' 00"
Manuscritto
Negru (2012)
Strumentazione: for violin and guitar
Durata: 7' 00"
Manuscritto
Sketches of an electric time travel – suite (2012)
Strumentazione: for electric guitar
Durata: 30' 00"
Time Portal (2013)
Strumentazione: for 4 electric guitars
Durata: 10' 00"
Manuscritto
Cântecele Bradului (2013)
Strumentazione: for cello solo and soundtrack
Durata: 13' 00"
Manuscritto
Marele Ingrozitorul Poem (2013)
Strumentazione: for soprano, saxophone and piano
Testo: Ion Cristofor
Durata: 4' 00"
Manuscritto
…vier oder… fünf… gefühle, musik mit .com (2014)
Strumentazione: for ensemble (flute, bass clarinet, trumpet, trombone, electric guitar, drum set, piano and amplified/electric cello)
Durata: 6' 00"
Beast Beats (2014)
Strumentazione: for bass clarinet
Durata: 14' 00"
Manuscritto
…zwei oder… drei… gefühle, musik mit .com (2014)
Strumentazione: 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.
Durata: 6' 00"
Zori (2014)
Strumentazione: 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.
Durata: 5' 00"
Manuscritto
Zorile (2014)
Strumentazione: for two saxophones and two pianos
Durata: 5' 00"
Manuscritto
Soul…Sing!… O, Soul! (2015)
Strumentazione: for voice, oboe, cello and organ
Durata: 6' 00"
Manuscritto
Detonation (2015)
Strumentazione: for tenor saxophone duo
Durata: 13' 00"
Manuscritto
Ruthless (2015)
Strumentazione: 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.).
Durata: 9' 30"
Manuscritto
Zori, calea lungă neîntorcătoare (2015)
Strumentazione: for female voice and piano
Durata: 11' 00"
Manuscritto
Zorile de afară (2015)
Strumentazione: for female voice and flutes (alto and c flute)
Durata: 4' 00"
Manuscritto
Immigrant (2016)
Strumentazione: for flute, saxophone tenor, violin, violoncello, piano
Durata: 8' 00"
Manuscritto
Hyper Atom (2016)
Strumentazione: for flute, clarinet, violin, viola, cello, percussion, piano
Durata: 12' 00"
Blast (2016)
Strumentazione: for saxophone and drums
Durata: 12' 00"
Fractures (2017)
Strumentazione: for flute, clarinet, violin, cello, piano
Durata: 12' 00"
Manuscritto
Carte Rouge (2017)
Strumentazione: for orchestra
Durata: 15' 00"
Manuscritto
Games (2018)
Strumentazione: for flute, saxophone, violin, percussion
Durata: 3' 30"
Manuscritto
Un(i)son (2018)
Strumentazione: for oboe, clarinet, violin, viola, cello, piano
Durata: 6' 00"
Manuscritto
Ultimo aggiornamento: 2020-10-06 16:48:10