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Aurorae pentru cvintet de suflatori Op. 82: Pentru Flaut, Oboi, Clarinet, Corn si Fagot n n Aurorae for woodwind quintet was written in 1999 and dedicated to the Zurich Wind Quintet. The poetic idea of the piece could be seen as a new extension of a poetic field that is imprinted by Schumanns piano work as a paradigm, the Gesange in der Fruhe Opus 133. Aurorae is a sonorous condensation of a border, a transition between night and day. The mystery of this phenomenon has been translated into various sound worlds. These soundscapes suggest a variety of techniques and compositional ideas: a pastoral-visceral, joyful beginning (Fanfare), a nervously figured chorale (Flammes), hymnlike heterophonies (Abeilles et Te lucis), mystical-bucolic melodies (Pieta), scherzoesque and macabre gestures (Dance of the Dead). The five pieces were conceived as small concerts for one instrument each. So each soloist brings a colour of dawn through his sound and instrumental technique. First the horn and then, in the row, flute, clarinet, oboe and bassoon show different angles and affects of their sound. n Now about the sound-worlds: in Fanfara there are two worlds: a visceral primeval world conceived as a Dionisian dance and a pastoral world, calmer but still threatening enough (the horn). Flammes develops a chorale melody and harmony as a stable ground, as a natural appearance, and in addition brings a lively and spiritual restlessness, mainly in flute. A hymnal ethos is found in Abeilles et Te lucis: a Byzantine melody as the framework of a cluster and modal technique and a Gregorian chant (Te lucis ante terminum) produced by clarinet timbre and aksak rhythm alternate like two Janus-headed facets. The daybreak as dawn full of sacred experiences is revealed by Pieta: a ray of sunlight wakes up the Mother of God, microtones on oboe support the incantatory impression. Totentanz could be defined as a negative hymn. Here we hear the dawn of the infernal: macabre gestures and infernal contexts chromaticize a diatonic light melody.
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