FROM IDEA TO MUSICAL DISCOURSE: COMPOSITIONAL OBJECTIVES IN PASCAL BENTOIU’S QUARTETS OP. 27
FROM IDEA TO MUSICAL DISCOURSE: COMPOSITIONAL OBJECTIVES IN PASCAL BENTOIU’S QUARTETS OP. 27

Summary/Abstract: Pascal Bentoiu’s work provides examples of the various degrees of concreteness inthe correspondence between idea and language/sonority/musical discourse, coming not only fromgenres of artistic syncretism, like lieder or opera. The symphonic and chamber works are declared tohave sui generis relationships with extra-musical worlds, either the sibling arts (Symphonies no. VI,VII, VIII) or reflections on the creative ego (Symphonies I-V, Quartets op. 27). Focusing on the lattercycle, I will be formulating a few possible embodiments in sound matter and temporal dramaturgy ofthe intentions the author confessed to in the foreword of the score; the four quartets op. 27 areprogrammed to be “prospecting the composer’s tendencies, […] with a view to the mainpsychological functions, as defined in modern psychology: sensation, feeling, thought, intuition”. Onanalysing the scores, we also discover a quality of total compositional study coming through the widerange of combinational possibilies of every creative technique and parameter: defining modalstructures, categorically differentiated, widely varying instrumental sonorities moving between thesomber/classical and the complex of contemporary effects, plurivocal syntaxes covering the entirerange of writing for the quartet, dynamic formal architectures and macro-forms of the genredisplaying obvious symbolism.

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