STIL, STRUCTURĂ ȘI SEMNIFICAȚIE ÎN SIMFONIA NR. 3 „OFRANDĂ LUI BRÂNCUȘI (QUASI UNA FANTASIA)” DE VIOREL MUNTEANU
STYLE, STRUCTURE AND MEANING IN SYMPHONY NO. 3 "OFRANDĂ LUI BRÂNCUȘI (QUASI UNA FANTASIA)" BY VIOREL MUNTEANU

Summary/Abstract: Constantin Brâncuși is rightfully considered a pioneer of modern sculpture, an artist who succeeded in reconciling the old with the new, the ancient with the modern, naivety with wisdom, transcending cultural movements to establish himself through simplicity, perfection, and universality. His work, characterized by pure forms and archetypal symbols rooted in folk art, became a source of inspiration for many Romanian composers, directly influencing their approach to musical creation, encouraging them to abandon unnecessary complexity and seek the essence of sound and musical emotion. A significant work in this regard is Symphony No. 3 Ofrandă lui Brâncuși (Quasi una Fantasia) by Viorel Munteanu – one of the creators who, like Brâncuși, managed to concentrate a wide range of original ideas and innovative compositional techniques in his artistic portfolio without breaking away from national spiritual roots. Symphony Ofrandă lui Brâncuși is a mature opus, well-conceived and well-proportioned, masterfully written and orchestrated, full of both new and old ideas (as we recall Eminescu's "all that is old is new again") embodied in five movements linked by a unique concept, highlighting techniques used by the composer in other works, but in this special context, they are enhanced and combined to achieve an impressive sound effect that is both innovative and restorative. The symphony's music embraces the word with a tightly woven sonic fabric, releasing the profound meanings of Brâncuși's aphorisms, Blaga's poetic language, and sacred verses from the Bible. The symphony impresses with several elements: the control of pitch organization, rhythmic and dynamic diversity, the ingenuity of orchestral writing, the natural flow of its formal structure, meticulous notation, and an expression that is both universal and national, where modalism and atonality meet influences from folklore, church music, and the great European symphonic tradition.

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