AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: GABRIELA COCA.
Ede Terényi’s language of composition followed several stages. In his first works we notice the influence of the Hungarian folklore from Transylvania, and the superior form of expression from Bartók’s music. Then, in the ’60s, Ede Terényi founded himself a personal musical language characterized by the transfiguration of the elements form Bartók and the Webern serial music in a vision where the mark of the autochthonous folklore stays clearly perceptible. Later on, in the ’70s, we can find in his work the penetration towards the music of the ’new way’. The contemporary generation was concretized in a new orientation of the composition that is based on the musical graphism. Gradually, this tendency to an ever concise drawing of the musical parameters led to the search for an antipole, that is found in the autochthonous music of the remotepast – fifteenth and sixteenth century. More recently, Ede Terényi seeks the possibilities of bringing to life again archaic elements in an ever more modern form.
