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GLOSSA – THE SYMPHONY OF A POETRY. SEMANTIC AND STRUCTURAL ANALOGIES
Abstract
Viorel Munteanu, the author of the Glossa Symphony, is a multilateral artistic personality and composer of archaic origin. This article depicts the composer for whom the interpretation of folkloric or byzantine sources, that he often draws on his creation, is accomplished through the light of a well understood contemporary conception, carefully approached and minutely polished. Skilful in handling concrete time and space, either nostalgic, concerned and lyrical or expansive and playful or tense and dramatic, the creator, interpreter, archaic and, at the same time, modern Viorel Munteanu finds expression in an impressive force of metamorphoses that do not unbalance his composition style; on the contrary, this gives him freedom, safety and diversity. His symphony, Glossa, confesses its conceptual, sound and philosophical fundamental from the beginning both by means of the title and the call to a genesis-mode issued from Eminescu melogram. Providential is also the melogram's bivalent symbolism including (besides Eminescu) the name of the great Romanian composer Enescu (George), testifying Viorel Munteanu's spiritual affiliation, his preference for a certain sound dimension and relentless concern for what represents the foundation of Romanian musical culture. The composer imports the symmetry of poetry, translating its format into a sonata-like architecture, perceived at a macro-formal level.
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