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Playlist of Ana-Maria Avram

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  • Ana-Maria AVRAM: Orbit of Eternal Grace

    19:18

    Live in LSO St' Luke's Jerwood Hall, London, 21.11.2011
    with Yoni Silver, Tim Hodgkinson (bass clrinets), Stephen O'Malley (electric guitar), Steve Noble, Haggai Fershtmann (percussion), Hyperion International string ensemble. Conductor Ana-Maria Avram

  • x
  • Ana-Maria Avram - Voices of the Desert

    15:08

    I decided to upload this piece with a video of the performance to get an idea how these scores are performed.
    Ana-Maria Avram is conducting.



    Just for promotion.
    Please write me a direct message if you have complaints about this upload concerning copyright issues. In that case, I will delete the video immediately.

  • x
  • Ana-Maria AVRAM : Textures Liminales - for ensemble and electronics

    16:59

    live from Paris, le Centquatre, Spectrum XXI festival, 2011
    Hyperion International conducted by the composer

  • Ana-Maria Avram - Orbit of Eternal Grace

    17:24

    remembering Ana-Maria ...

    used this recording:


    Live in LSO St' Luke's Jerwood Hall, London, 21.11.2011
    with Yoni Silver, Tim Hodgkinson (bass clrinets), Stephen O'Malley (electric guitar), Steve Noble, Haggai Fershtmann (percussion), Hyperion International string ensemble. Conductor Ana-Maria Avram

    Just for promotion.
    Please write me a direct message if you have complains about this upload concerning copyright issues. In that case, I will delete the video immediately.

  • x
  • Ana-Maria Avram: PARHELION for ensemble and computer sounds

    14:16

    Hyperion International ensemble in SPECTRUM XXI festival, Berlin, November 2014. Ana-Maria Avram - conductor.

  • Ana-Maria AVRAM : Swarms for string orchestra.

    10:16

    Romanian Radio Chamber Orchestra. Rec 1996

  • x
  • Iancu Dumitrescu & Ana Maria Avram at the GRM Paris performed by Stephen O’Malley

    1:15:39

    A ghostly visage on a cosmic scale, these remains of shocked, glowing gas haunt planet Earth’s sky toward the constellation of Cygnus and form the Veil Nebula. The nebula itself is a large supernova remnant, an expanding cloud born of the death explosion of a massive star. Light from the original supernova explosion likely reached Earth over 5,000 years ago. Also known as the Cygnus Loop, the Veil Nebula now spans nearly 3 degrees or about 6 times the diameter of the full Moon. That translates to over 70 light-years at its estimated distance of 1,500 light-years. In fact, the Veil is so large its brighter parts are recognized as separate nebulae, including The Witch’s Broom (NGC 6960) pictured left of center. At the top right you can find the Spectre of IC 1340.

    IN LOVING MEMORY OF ANA-MARIA AVRAM (1961–2017)



    Buy:



    Tracklist:

    1. IANCU DUMITRESCU - Crepescule 00:00

    2. ANA-MARIA AVRAM - MetalStorm 52:03


    Ideologic Organ curation and art direction by Stephen O’Malley, manufactured and distributed by Editions Mego
    © 2020 Ideologic Organ / Editions Mego EDITION OF 300 COPIES


    Our GRM session with Iancu Dumitrescu Crepescule & Ana Maria Avram Metalstorm”. Primarily just the guitar parts (with some conversations and electronics in the background!) recorded at GRM December 2012. This session was kind of a tryout for these pieces ... which I wanted to record properly (as they never record their music in a studio that way). We used Neuman mics etc. A working session of the guitar mics with Iancu & Ana’s computer music blasting on the studio Genelecs and bleeding through the mics, as well as conversation between the three of us and their verbal conduction. I find that the character of this recording and the performance is very interesting, and acts nearly as an x-ray into the personal experience I have had performing with Hyperion Ensemble and working with Dumitrescu & Avram, from the other side of the instrument… yes it’s music but material which is close to the feeling of unhinged dynamic of phenomena that both composers embody in their individual and idiosyncratic ways, which were at the same time synchronised and other volcanic and nebulous ways which opened up like an oyster. In loving memorial to Ana-Maria. – Stephen O’Malley, Berlin May 2020



    credits
    released June 5, 2020

    Stephen O’Malley : Electric Guitar
    AMA & ID : Computer

    Rehearsals & conversations recorded
    at the GRM Paris December 2012
    by François Bonnet

    Mastered at Schwebung May 2020
    by Stephan Mathieu

    Thank you Misters Bonnet & Zanési
    & all at the GRM, Ilan Volkov,
    constellation of HYPERION Ensemble

    The Ghostly Veil Nebula
    Image ©Anis Abdul

  • Ana-Maria AVRAM : Voices Of The Desert

    16:01

    Live recorded in Conway Hall, November 2008, Spectrum XXI festival. Hyperion Ensemble and Tim Hodgkinson ( soloist ) conducted by the composer

  • Iancu Dumitrescu, Ana-Maria Avram at Transnumériques

    2:16

    a fragment of interview , a short moment of rehearsal and from the concert of Dumitrescu and Avram in Paris,centre Wallonie-Bruxelles, Transnumériques festival, November 2006

  • x
  • Ana-Maria AVRAM : Rehearsal in Tectonics Festival. Ilan Volkov

    17:10

    Rehearsal with Avrams World premiere Parhelion. Ilan Volkov coductor and members of the Iceland Symphony Orchestra in Tectonics Festival, Reykjavik - 12-14 of April, 2014

  • SPECTRUM XXI: Andrei Kivu - Axe

    14:28

    Recorded live on November 5, 2015 at the Control Club in Bucharest, Romania.

    9th Spectrum XXI Festival: Sonic Trans-Fusions

    Ana-Maria Avram - Axe (for Cello solo)


  • Ana-Maria Avram - Quinconce

    14:01

    remembering Ana-Maria ...

    it is a recording of a revised version so the score doesn't follow the music anymore after ~ 08:00

    Cornelia Petroiu

    Just for promotion.
    Please write me a direct message if you have complains about this upload concerning copyright issues. In that case, I will delete the video immediately.

  • Ana-Maria Avram - Nouvelle Axe

    12:27

    Musique Action (1998)

  • Ana-Maria Avram: Metaboles for solo flute

    9:41

    recorded in 1994 by Isabelle Hureau (flute) On album Artgallery, Paris, 1994

  • Ana-Maria AVRAM: Quinconce for viola and computer assisted sounds

    14:01

    soloist: Cornelia PETROIU (viola)

  • PFA Orchestra - Endless Buring Fire - Live at Control Club, Bucharest

    14:24

    Recorded live on November 19, 2015 at Control Club, Berlin Hall in Bucharest, Romania.

    Ana-Maria Avram: Conductor
    Andreea Tincea: Voice, Electronics
    Bogdana Dima: Accordion
    Diana Miron: Violin
    Catalin Lungu: Trumpet
    Sorin Postolache: E-Guitar
    Laurentiu Cotac: Double Bass
    Catalin Matei: Electronics
    Gili Mocanu: Electronics
    Daniel Stanciu: Electronics
    Marian Cîtu: Electronics
    Eduard Gabia: Electronics, Percussion
    David Szederjessi: Percussion



  • Ana-Maria Avram: Galaxy-Reflection for solo percussion

    9:59

    live recording from San Diego Spring Music festival, 2006. Featuring Gustavo Aguilar ( solo percussion)

  • Ana-Maria AVRAM : Textures 2011 for ensemble and computer sounds

    15:41

    Live in Romanian Athenaeum, George Enescu Philharmonic.
    Hyperion Ensemble conducted by the composer. 31.01.2011.

  • Ana-Maria Avram: Incantatio for viola and orchestra

    5:33

    with cornelia Petroiu (viola) conducted by the composer. Live recording from Ploiesti, Musica Nova festival, Ploiesti Philharmonic Orchestra

  • Ana-Maria AVRAM: Seven Romanian Folksongs from bela Bartoks collections

    10:35

    this immense figure of the XX century's music,
    Hungarian composer born on Romanian territory, was equally one of the
    greatest musical anthropologists of all times. He was not only an
    assiduous collector of folklore but he had changed the very paradigm
    itself, of the musical anthropology, as well by means of the the
    methodology he employed and the unattainable accuracy of his
    transcriptions.

    The reason of this Sisyphean work can only be explained by the fact
    that Bartok saw in the folk music a genuine source of inspiration,
    renovation and originality for his own art, his « egoism » as a
    creator fully dedicated to his art explaining the energy and unique
    dedication he spent as a folk music collector.

    From the huge Bartok's folk music collections and transcriptions --
    completed by deep and extensive comments on the phenomenon - around
    three quarters have as subject the Romanian music from Transylvania :
    50000 collected melodies . The 5000 published and reviewed until the
    last days of his short live, revealed to the public knowledge a
    fascinating musical universe, of an yet unsuspected melodic and
    rhythmic richness.
    His collecting methods where revolutionary, always looking for the
    unalterableness of the source in his natural habitat. And the way he
    transcribed in European notation , with an impossible minutia,
    revealed infinitesimal and delicious details in rhythm and melody.
    As you certainly know, Bartok himself harmonized some of those
    collected materials, though proportionally scarcely compared with the
    extension of the collections.
    On the other hand, when traversing those collections, we can see that
    his entire musical universe is immersing in a sonorous world which is
    so often Transylvanian and Romanian.

    Among the most brilliant examples for the promotion of this Bartokian
    endeavour I will only remember the subtle and virtuoso violinist
    Sherban Lupu. He dedicated his energies in a brilliant way , few
    years ago, and identified every collected melody among those Bartok
    used in the Second Rhapsody for violin and orchestra. Then, he
    exemplified on the classical violin, aside the very text of the
    Rhapsody, the sources from the respective collections, with the
    indications, tempo, and all the details as provided in Bartok's
    transcriptions.

    The task, Lupu confessed, was of a draconian technical difficulty ,
    due to the complexity of scordaturas, the speed, the intonations,
    the rhythmical irregularities, all fully scored by Bartok with a
    phonographic precision. The mimicry of the peasant spontaneous art
    seemed, therefore, hard to be reproduced by a classical musician !

    On my side, being fascinated since my studentship by Bartok's folk
    music collections, I made the commitment -- without any connection
    with my work as a composer -- to bring to public light those collection
    which make the delight of the anthropologists and specialized
    scholars, but remained yet unknown to the music lovers.

    I chose Batok's own solution : I first operated a choice among
    melodies, then I organized the material into an instrumental suite. I
    harmonized and orchestrated it, reshaped it in a « composition », in
    a style appropriate with the given material, which I preserved as much
    unaltered as possible. The resulting style is sometimes near Bartok's
    own language, sometimes, because of the material, more alike Enescu's
    or Stravinsky's depending on the circumstances and needs.

    The result was therefore Two different suites, arranged for piano ( or
    orchestra and string instrument or solo piano)
    A suite of 10 melodies arranged in 7 movements, and another of 25
    Christmas carols.
    In both cases, I avoided when I choose the material, the use the same
    melodies Bartok himself employed in his music, as the challenge was
    to bring into light as many unknown collected melodies as possible.

  • x
  • Ana-Maria AVRAM: Axis for cello and percussion

    13:41

    Live in UFM, Nordica Hall in a tour made as Blodgett Distingueshed artists in residence at Harvard University. Here Axis is played in world premiere by Phil Carlsen (cello) and Gustavo Aguilar (percussion)

  • Ana Maria Avram - Hyperion

    15:42

    Ensemble x.y play Ana Maria Avram's Hyperion

    29th March 2019, MYO Space

    Toby Thatcher - Conductor
    Mayah Kadish - Violin
    Tim Hodgkinson - Bass Clarinet
    Yoni Silver - Bass Clarinet
    Oliver Pooley - Percussion
    Beibei Wang - Percussion
    Gwen Reed - Double Bass
    Otto Willberg - Double Bass
    Cecilia Bignall - Cello
    Alex Paxton - Trombone
    Alyson Frazier - Flute
    Jordan Bergmans - Viola
    David Zucchi - Saxophone

  • Ana-Maria AVRAM: Nouvelle Axe for string quartet

    8:22

    played by iO string quartet ( New York). Live recording from concert.
    Composer, pianist, conductor, born in 1961 in Bucharest, Romania.
    1980-1985 - she accomplished studies of composition at the Superior National Conservatories in Bucharest.
    1992 DEA of musical aesthetics at Sorbonne Paris
    1994 Great Prize of the Romanian Academy

    Since 1988 she is a Member of Hyperion Ensemble from Bucharest - group of composers and interpreters representing a new, experimentalist and innovative direction in Romanian music, she realized a lot of European tours, as well as conductor and composer.

    Her music incorporates the outward semblences of abstraction of archetypal sound, achieving its full development in the synthesis of electroacoustic and instrumental sources.
    Her main works are : « Threnia I-II », « Orbit of Eternal Grace », for orchestra and soloists, « Ekagrata », « Swarms », « Seconde Axe », « Ec-Statoc Crickets », for chamber orchestra, « De Sacrae Lamentationem », « In Nomine Lucis », for large orchestra, « Zodiaque I-IV », « Notturno I-II », « Labyrinthe I-III », « Signum Gemini », « Ikarus I-IV », « Traces, Sillons, Sillages », « Doryphories », « New Arcana », « Ascent », - electronic & instrumental music, « Archae », « Metaboles », « Axe », « Quatre études dombre », « Ikarus-Kronos Quartet », « Assonant I-III » - instrumental and chamber musics, « Horridas Nostrae Mentis Purga Tenebras », « Novel Archae » - computer assisted music.

    Her music is published by Edition Modern, Electrecord, Editura Muzicala, Artgallery, ReR Megacorp, Musicworks, Bananafish..

    Her music was performed in New York, Los Angeles, Boston, Stanford, in Vienna (in the Wien Modern Festival in 1992 and 1994) at Paris (several times at « Radio France » and « Theatre de la Ville ª), in London (at Royal Festival Hall) Nancy, Allicante, Lisbon, Baden-Baden, Darmstadt, Moscow, Belgarde, etc.

    Her works has been commissioned by prestigious ensembles such as Kronos Quartet (San Francisco) « 20 Jahrhundert » from Vienna, soloists from lOrchestre National de France, orchestras as Bucharest Philharmonic Orchestra, Romanian National Orchestra, Romanian Radio Chamber Orchestra, LOrchestre de Chambre de Roumanie, etc.

    « On the Abolition of the Soul » - a Radio France commission was released on a double CD- Radio France, as an anthology of Prix Italia since 1949.


    « Romanian composer IANCU DUMITRESCU and his associate, ANA-MARIA AVRAM, leading figures in the Eastern European school of modern classical music have issued many stunning works through the years, but this is the first to be issued in America... »
    Los Angeles, sept.1999

    « Of the three CDs issued thus far, one also contains three excellent works by a pupil of his: ANA MARIA AVRAM, whose compositional style is every bit as fascinating and innovative, and is certainly a talent to look out for. .. »
    Alan FREEMAN AUDION , LEICESTER , March 1993

    « ANA-MARIA AVRAM recently composed a quartet for Kronos, and followed it up with Nouvelle Axe, peformed here by the strings of Romanias Hyperion Ensemble, who also work with DUMITRESCU. Its an uncompromising piece with a tendency to noise throughout, drawing blizzards of pizzicato, high - pitched sounds and lots of glissandos from the panoply of avant garde string effects. »
    ANDY HAMILTON - THE WIRE (49), LONDON, August 1999

    « Both Avram and Dumitrescu are convinced that if they have been able to open new doors in music, it is because they have made or found precisely those connections between musical activity and inner life that remain unarticulated in conventional musical training. This is not, however, simply a matter of theit philosophy and motivation as artists. The psychological reality if their music is directly grounded in a conception of the acoustic reality iof sound. »
    Tim HODGKINSON, Musdicworks No 71, TORONTO, Summer 1998

    « ... Works also features three compositions by ANA-MARIA AVRAM, born in Bucharest in 1961. Wonderful to hear music where textural innovations arent employed to colour pre-existing structures, but evolve form in process. On Zodiaque she plays prepared piano opposite Dumitrescu, a percussionist and magnetic tape.
    Seems like these Romanians are engaged in a similar kind of sonic research to that which resulted in the masterpieces of Giacinto Scelsi and Ennio Morricone : collective endeavour, genuine deep listenning. The results are similarly overpowering a milion miles from the tootling inconsecuence of most of what passes for New Music in the classical world. »

    BEN WATSON - The WIRE, LONDON, May 1995

  • Tzenka Dianova plays Ana-Maria Avram Musique pour Mallarmé

    14:58

    Musique for Mallarmé for prepared piano ( 1988) by Ana-Maria Avram. Live in Spectrum XXI festival Sixth Edition, November 18, 2011, The Warehouse, London.

  • GOL, Ana-Maria Avram, Iancu Dumitrescu And Members Of Ansamblul Hyperion – Musique Directe

    34:27

    GOL, Ana-Maria Avram, Iancu Dumitrescu And Members Of Ansamblul Hyperion – Musique Directe


    Label: Planam – golda
    Format: Vinyl, LP, Limited Edition
    Country: Italy
    Released: 2008
    Genre: Electronic
    Style: Experimental, Free Improvisation, Musique Concrète


    Tracklist
    A1 –GOL Musique Directe II 0:00

    Instruments [Various Objects And Instruments], Electronics – Gol

    A2 –GOL, Ana-Maria Avram, Iancu Dumitrescu Musique Directe I 6:03

    Electronics – Ana-Maria AvramInstruments [Various Objects And Instruments], Electronics – GolPiano [Prepared Piano Frame] – Iancu Dumitrescu

    A3 –GOL, Ana-Maria Avram, Iancu Dumitrescu Musique Directe III 12:59

    Cello – Iancu DumitrescuElectronics – Ana-Maria AvramInstruments [Various Objects And Instruments], Electronics – Gol


    B1 –Iancu Dumitrescu Etude Granulaire 18:08

    Conductor – Iancu DumitrescuInstruments [Various Objects And Instruments], Electronics – GolTape – Ana-Maria Avram


    B2 –GOL, Iancu Dumitrescu, Petru Teodorescu, Matei Teodorescu Musique Directe IV 25:06

    Clarinet – Matei TeodorescuInstruments [Various Objects And Instruments], Electronics – GolViolin – Iancu DumitrescuVoice, Electronics [Microphone] – Petru Teodorescu



    Buy:

  • SPECTRUM XXI: Hyperion Ensemble - Telesma

    11:40

    Recorded live on November 1, 2015 at the Athenaeum, Chamber Music Hall in Bucharest, Romania.

    9th Spectrum XXI Festival: Sonic Trans-Fusions

    Ana-Maria Avram: Telesma (for Bass Clarinet, Ensemble and Compter Assisted Sounds)

    Ana-Maria Avram: Conductor

    Tim Hodgkinson: Bass Clarinet
    Iancu Dumitrescu: Piano
    Tijana Stankovic: Violin
    Zsolt Sörés: Viola
    Albert Márkos: Cello
    Shmil Frankel: Double Bass
    Colin Hacklander: Percussion


  • Ana-Maria AVRAM : Lux Animae XII - Israel Version for ensemble and computer sounds

    16:14

    Live from Hateiva, Yaffo, Israel, on 16.01.2011. with Maya Dunietz ( flute), Eran Bril (clarinet), Yoni Silver (bass clarinet), Ilan Volkov (violin), Ronald Boersen (viola), Danni Felsteiner, Adam Sheflan (doublebass), Ram Gabbai- Percussion. Conductor`: Ana-Maria Avram

  • Ana-Maria Avram: Incantatio for viola and orchestra

    9:26

    with cornelia Petroiu (viola) conducted by the composer. Live recording from Ploiesti, Musica Nova festival, Ploiesti Philharmonic Orchestra

  • Ana-Maria Avram - Anamorphosis

    12:26

    Ana-Maria Avram - Anamorphosis on the untitled split release with Iancu Dumitrescu, put out on the Edition Modern label, 1998.

  • Ana-Maria Avram - Winds Of The Desert

    16:02

    From Ana-Maria Avram / Iancu Dumitrescu - Untitled (Edition Modern, 2008)

    Performed by Claude Delangle, Gustavo Aguilar, Ansamblul Hyperion, Robert Reigle, Tim Hodgkinson

  • Ana-Maria AVRAM: Textures Liminales for ensemble and electronics.

    15:35

    live in Hateiva, Jaffa, Israel, January 2011.

  • Ana-Maria Avram: Axe VII

    11:34

    Ana-Maria Avram: Axe VII
    Kyle Motl: contrabass

    September 22, 2017
    Recital Hall, Conrad Prebys Music Center UC San Diego

    Video documentation by Caroline Louise Miller

  • Ana-Maria Avram: Endless burning fire for ensemble , bass clarinet and computer sound

    5:24

    live recorded in London, Conway hall

  • Ana-Maria AVRAMs rehearsal with HYPERION

    4:09

    A rehearsal in Romanian Athenaeum Bucharest, in the frameof Acousmania festival, featuring Ana-Maria Avram, composer, rehearsing her work with hyperion ensemble. May 2006

  • Ana-Maria Avram: Incantatio for viola and orchestra

    5:31

    with cornelia Petroiu (viola) conducted by the composer. Live recording from Ploiesti, Musica Nova festival, Ploiesti Philharmonic Orchestra

  • Ana-Maria Avram - Winds of the Desert version for Le Balcon and St. OMalley

    15:30

    Live from Paris, St Merry Church, March 25th 2011. Ensemble Le Balcon (Paris), Stephen O'Malley, conducted by the composer.
    More info on

  • Ana-Maria AVRAM: Chiaroscuro for three cellos

    12:28

    Live in Paris, SPECTRUM XXI festival, Le Centquatre.
    Andrei Kivu, Clotilde Lacroix, Vasile Comsa. World Premiere

  • Ana-Maria AVRAM Chiaroscuro for 2 groups of percussion

    10:58

    Steve Noble, Haggai Fershtmann ( percussion) conducted by the composer
    Live in Paris, Le Centquatre, 11.11.2011, Spectrum XXI festival

  • Cornelia Petroiu in concert, with QUINCONCE, by Ana-Maria Avram

    11:38

    This piece was dedicated in 2003, to Cornelia Petroiu and it was presented in premiere. thesame year. This is an excellent example of instrumental-acousmatic music.

  • Ana-Maria AVRAM: Seven Romanian Folksongs from Bela Bartoks collections

    9:50

    this immense figure of the XX century's music,
    Hungarian composer born on Romanian territory, was equally one of the
    greatest musical anthropologists of all times. He was not only an
    assiduous collector of folklore but he had changed the very paradigm
    itself, of the musical anthropology, as well by means of the the
    methodology he employed and the unattainable accuracy of his
    transcriptions.

    The reason of this Sisyphean work can only be explained by the fact
    that Bartok saw in the folk music a genuine source of inspiration,
    renovation and originality for his own art, his « egoism » as a
    creator fully dedicated to his art explaining the energy and unique
    dedication he spent as a folk music collector.

    From the huge Bartok's folk music collections and transcriptions --
    completed by deep and extensive comments on the phenomenon - around
    three quarters have as subject the Romanian music from Transylvania :
    50000 collected melodies . The 5000 published and reviewed until the
    last days of his short live, revealed to the public knowledge a
    fascinating musical universe, of an yet unsuspected melodic and
    rhythmic richness.
    His collecting methods where revolutionary, always looking for the
    unalterableness of the source in his natural habitat. And the way he
    transcribed in European notation , with an impossible minutia,
    revealed infinitesimal and delicious details in rhythm and melody.
    As you certainly know, Bartok himself harmonized some of those
    collected materials, though proportionally scarcely compared with the
    extension of the collections.
    On the other hand, when traversing those collections, we can see that
    his entire musical universe is immersing in a sonorous world which is
    so often Transylvanian and Romanian.

    Among the most brilliant examples for the promotion of this Bartokian
    endeavour I will only remember the subtle and virtuoso violinist
    Sherban Lupu. He dedicated his energies in a brilliant way , few
    years ago, and identified every collected melody among those Bartok
    used in the Second Rhapsody for violin and orchestra. Then, he
    exemplified on the classical violin, aside the very text of the
    Rhapsody, the sources from the respective collections, with the
    indications, tempo, and all the details as provided in Bartok's
    transcriptions.

    The task, Lupu confessed, was of a draconian technical difficulty ,
    due to the complexity of scordaturas, the speed, the intonations,
    the rhythmical irregularities, all fully scored by Bartok with a
    phonographic precision. The mimicry of the peasant spontaneous art
    seemed, therefore, hard to be reproduced by a classical musician !

    On my side, being fascinated since my studentship by Bartok's folk
    music collections, I made the commitment -- without any connection
    with my work as a composer -- to bring to public light those collection
    which make the delight of the anthropologists and specialized
    scholars, but remained yet unknown to the music lovers.

    I chose Batok's own solution : I first operated a choice among
    melodies, then I organized the material into an instrumental suite. I
    harmonized and orchestrated it, reshaped it in a « composition », in
    a style appropriate with the given material, which I preserved as much
    unaltered as possible. The resulting style is sometimes near Bartok's
    own language, sometimes, because of the material, more alike Enescu's
    or Stravinsky's depending on the circumstances and needs.

    The result was therefore Two different suites, arranged for piano ( or
    orchestra and string instrument or solo piano)
    A suite of 10 melodies arranged in 7 movements, and another of 25
    Christmas carols.
    In both cases, I avoided when I choose the material, the use the same
    melodies Bartok himself employed in his music, as the challenge was
    to bring into light as many unknown collected melodies as possible.

  • Harry Halbreich in dialogue with Ana-Maria Avram on spectral music

    54:10

    Harry Halbreich in preambule at the Third Spectral Music Festival SPECTRUM XXI in La Belladone, Brussels. A conference about spectral music: roots and origins, tendencies, influences and more. A fascinating dialogue with Ana-Maria Avram and Iancu Dumitrescu. November 2008. More on spectral music in Roumanie, Terre du Neuvième Ciel - a book of interviews you can read on

  • Ana-Maria Avram - Quatre etudes dombres

    13:19

    Margaret Lancaster

    Just for promotion.
    Please write me a direct message if you have complaints about this upload concerning copyright issues. In that case, I will delete the video immediately.

  • Ana-Maria Avram - Incantatio for viola and orchestra complete

    20:41

    Live with Poliesti Philharmonic Orchestra.
    Soloist : Cornelia Petroiu Conductor Ana-Maria Avram
    Composed in 2003, live from concert 2004. Musica Nova festival, Ploiesti, 2004

  • Ana-Maria AVRAM : Axe for two cellos

    18:30

    live recording from St Merry Church, Paris, March 2011.
    Clotilde Lacroix and Vasile Comsa, soloists

  • PFA Orchestra - Doryphories - Live at The RRBC, Bucharest

    11:25

    Recorded live on January 18, 2016 at the Romanian Radio Broadcasting Company, Alfred Alessandrescu Hall in Bucharest, Romania.

    Ana-Maria Avram: Conductor

    Iancu Dumitrescu: Piano
    Andreea Tincea: Voice, Electronics
    Bogdana Dima: Accordion
    Diana Miron: Violin
    Catalin Lungu: Trumpet
    Sorin Postolache: E-Guitar
    Dan Michiu Dinescu: E-Guitar
    Laurentiu Cotac: Double Bass
    Catalin Matei: Electronics
    Gili Mocanu: Electronics
    Daniel Stanciu: Electronics
    Marian Cîtu: Electronics
    Eduard Gabia: Percussion
    David Szederjessi: Percussion


  • Romanian Folksongs by Bela Bartok - Ana-Maria Avram

    19:53

    I love Ana-Maria Avram. I love her spirit and her mind, and I also love her restless, birdlike alertness. I met her in 2002 and from the very beginning, I felt that we had a lot to share and that knowing her would mean a lot to me. These Romanian Folksongs, which I performed for the very first time in 2003, were a delicious surprise to me. The Romanian ethos is part of me, and this music is full of the spirit of this land. I feel that it speaks about history, and that's the reason which made me choose a dreamlike atmosphere for this video. It is a mere pretext to let the imagination wander freely, guided only by the sadness melancholy of the music, which in Romanian, is called DOR. This Romanian word means the emptiness one feels inside when missing someone, or something, very close to one's soul. It best expresses the lack of words when one's soul's aches. I feel grateful to Ana-Maria Avram for having given this wonderful envelope to Bartok's work. I think the result is outstanding. The audio part of the video is from a live concert in the Romanian Atheneum in Bucharest, on June 29th, 2004. Cornelia Petroiu

  • Ana-Maria AVRAM: SWARMS

    14:12

    with Bergersen string quartet, live in London, the Warehouse, October 2009. Jonathan Truscott (violin I), Craig Stratton (violin II), Elisa Bergersen (viola), Rachel Firmager (cello)

  • ANA-MARIA AVRAM: Nouvel Archae

    10:05

    ANA-MARIA AVRAM - voice; National University of Music Bucharest, December 21, 2010

  • Ana-Maria AVRAM: Axe for two cellos

    13:42

    live recorded in London, The Warehouse, SPECTRUM XXI international festival, November 2008. David REQUIRO & Vasile COMSA (cellos)

  • Ana-Maria AVRAM: Textures/Penumbra

    15:19

    for two bass clarinets, live electronics and ensemble. With Tim Hodgkinson, Rane Moore ( bass clarinets), Hyperion Ensembe conducted by the composer
    Live from SPECTRUM XXI festival, 2009. The Warehouse, London.

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