Adrian  Iorgulescu

Adrian Iorgulescu (1951, Romania) – After having graduated with an MA from the University of Music in Bucharest, Adrian Iorgulescu was awarded a PhD in musicology in 1990 and became a professor of composition and musical forms at the same institution. He combined his career as a composer with consistent cultural and political activity. Following a term as vice-president (1990-1992), he has been the president of the Union of Composers and Musicologists of Romania for several terms, and currently holds tht position. He was also the Chair of the National Alliance of the Creators Unions and the president of the Romanian Musical Performing and Mechanical Rights Society (ADA. He was also a member of the Parliament of Romania (1996-2000) and later the Minister of Culture and Religious Affairs (2005-2008). Adrian Iorgulescu has authored a vast number of musical works (including four symphonies and four instrumental concerts), numerous chamber music pieces, film music and the opera „Revolution” (on the well-known text of I.L.Caragiale), and received many national and international awards. He has written studies on musicology and aesthetics, and published several volumes on aesthetic and political issues, as well as poetry and essays.

Composed in 1976, the Four Inscriptions for Piano build together a unitary work, despite the distinct profile of the component pieces. These may also be played separately. The first one is of anticipative character, and presents the germs of the following three parts, as far as expression, also as constructive pattern and materials. The second one contins a dynamic development and reaches a high point within the entire work as a result of accumulating tensions. The third is lyrical, more precise: ecstatic -meditative, while the fourth and last part brings a scherzo character, being at the same time a continuation, a replica and a conclusion of the former parts of modal extraction, the sonorous material has been treated with (relatively) strict serial techniques that observe rules of symmetry in generating intervals, melodic sequences or chords. As the piece has a modular structure the pianist may choose among 24 possibilities of assembling the modules. The interpretation should put into light the different planes of this construction with accuracy and velocity.