Hide-and-Seek Between the Serial and the Modal in Anatol Vieru’s Concerti

Olguța Lupu
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Abstract

"After first employing the 12-tone serialism, Anatol Vieru turned to folklore for inspiration and then wrote works based on artificial modes. I was interested in the possible correlations between these periods of his oeuvre. More precisely, I wished to analyze Vieru’s concerti as to their use of 12-tone structures and the relations they establish with non-serial configurations. I noticed that, even if he uses the chromatic total and respects the rules of serialism only in a first stage, Vieru very much kept in contact with it, albeit by converting it from a point of departure to a destination, the direction of a route seeming to often coincide with the obtaining of the chromatic total or with an asymptotic aspiration towards it. An interesting intersection is thus created, where the modal takes over the serial while the latter will still discreetly remain woven into the former. Keywords: Anatol Vieru, Serialism, Serial, Modes, Concerti "
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阿纳托尔·维耶鲁协奏曲中连音与调式之间的捉迷藏
阿纳托尔·维耶鲁在最初采用12音连音制之后,转向民间传说寻找灵感,然后根据人工模式创作作品。我对他作品的这些时期之间可能存在的关联很感兴趣。更准确地说,我希望分析维耶鲁的协奏曲,因为他们使用12音结构,以及他们与非序列配置建立的关系。我注意到,即使他只在第一阶段使用了全音并尊重了序列主义的规则,Vieru仍然与它保持着联系,尽管是通过将它从起点转化为终点,路线的方向似乎经常与全音的获得或对它的渐近渴望相一致。这样就产生了一个有趣的交集,模态接管了序列,而后者仍将谨慎地与前者交织在一起。关键词:阿纳托尔·维耶鲁,序列主义,序列,调式,协奏曲
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