ANNOTATION ON THE COMPOSITION FOLK, FOR FLUTE, CLARINET, PERCUSSION, AND PIANO BY SERGIU ROȘCA

Regardless how music evolves and how far it dives into experimentation, one must acknowledge a consistant revival of folk music. Composers frequently have the necessity to break up their pursuit of new ideas and retun to the roots — to the folk music. In terms of macrostructure, the composition Folk consists of an introduction and three sections that altogether are meant to narrate a story, a journey. The music is a mixture of allusions to various folk tunes and rhythms. The first section that contains references to Brâu, Horă-Bătută, Horă Lăutărească, Horă de Banat, and Șaier is followed by a mystic depiction of the forest with allusions to Doina and Horă Mare in the second part, which leads to re-entry. The music language combines both traditional tunes and contemporary harmonies. In addition, there is a juxtaposition of Brâu and Horă-Bătută that recall a polyphonic procedure. Overall, the composition Folk, for flute, clarinet, percussion, and piano, represents the coexistance of the traditional and the contemporary