list of works


Lucid Dreaming for ensemble (2016)

Fl., Ob., Cl.; Hn., Trp., Trb.; Pno.; Vlin, Vla, Cello
Selected for Peter Eotvos masterclass for conducting composers at the Budapest New Music Centre
Duration: 10 minutes

Icarus Study (a.k.a. Impromptu Concertant) for violin/viola and orchestra (2016)

Solo violin/viola and Orchestra:1.,B-Fl.,1.,Eb Cl.,B-Cl.,C-Bs.;2,1,0,0;2Perc.,Hp.,4Vlins,2Vlas,2Cellos,2D.B.
Commission: Sinfonia Cymru as part Queen Concertante, performed as The Freddie Mercury Project
Duration: 5 minutes
Premiere: June 2016, Royal Welsh College of Music & Drama, Sinfonia Cymru, conductor/soloist Vlad Maistorovici

Composer's note: I composed 'Icarus Study' to be performed as part of QUEENConcertante, a set of original arrangements of songs by Queen for violin/viola, clarinet, piano and chamber ensemble of 23, commissioned by Sinfonia Cymru Cardiff. 'Impromptu' was the generic title to the improvised instrumentals and guitar solos in the bands stadium shows. The piece is performed right in the middle of the playlist (no. 8 out of 15), as an avant-garde tribute, a musical black hole framed by pop jewels. Like the arrangements, it can be performed without conductor, directed from the violin/viola.


Queen Concertante orchestrations of songs by Freddie Mercury, Brian May and Queen for violin, clarinet, piano and orchestra (2016)

Commission: Sinfonia Cymru
Duration: 70 minutes
Premiere: June 2016, Royal Welsh College of Music & Drama, Sinfonia Cymru, conductor/soloist Vlad Maistorovici

Imago for piano four-hands (2015)

Piano four-hands
Commission: The Françoise-Green Piano Duo, "The Viennese Salon" 2016 residency at St. John's Smith Square
Duration: 10 minutes
Premiere: January 2016, St. John's Smith Square, London, Antoine Françoise & Robin Green

Composer's note: 'Imago' for piano four-hands is a poetic meditation on creativity. The title refers to the concept of a primordial model projected in the whole universe, but the piece is inspired by multiple cosmological archetypes and transhumanism. The backbone of the piece is a chorale setting of a modal chant-like melody. Acting as a cantus firmus throughout the piece, it is in constant counterpoint with a second force that is sometimes untamed, sometimes machine-like. However, the two performers are never two characters, but polarised forces of one singularity.


Three Chants for 3 voices a capella, settings of Richard Crane after Marin Sorescu and Mihai Eminescu (2015)

Written for Richard Crane's play Vlad the Impaler, directed by Faynia Williams
Commission: Brighton Theatre
Duration: 10 minutes
Premiere: 2015, Brighton Fringe Festival, Jack Klaff, Anne-Maria Nabyrie, Iain Robertson

Dream Shreds for 5 instruments, after Mira Chandler's animation (2014)

Alto Fl., Cl., Vlin, Vla, Cello
Commission: InnerSound New Arts Festival
Duration: 4 minutes
Premiere: 2014, ArCuB Hall Bucharest, SonoMania Ensemble, conductor: Gabriel Bebeselea

Memorial for Alto Saxophone and Piano (2014)

Commission: Erszebet & Irene Seleljo
Duration: 7 minutes
Premiere: April 2014, Erszebet & Irene Seleljo, Franz Liszt University Budapest

Concert Transilvan on XVII Century Romanian tunes from the collection of Ioan Ca?ianu for Violin concertino & 10 strings or string orchestra (2013)

Violin Concertino, 4 Violins, 3 Violas, 2 Cellos, Double Bass
Duration: 10 minutes
Premiere: Sept 2015, Enescu Festival, Romanian Athenaeum, New European Strings, conductor: Dmitry Sitkovetsky

Composer's note: I was fascinated by the story of the Codex Caioni manuscript since I was a kid. The 10 Romanian pieces, extracted and published for the first time in the 1940s, seemed to me a time capsule, sent to the future by a Romanian Renaissance composer. The mythology of their journey across centuries is made of reincarnations brought about by masters both Romanian and European. Because, as composer John Adams puts it, "There is nothing particularly new about one composer internalizing the music of another and 'making it his own'. Composers are drawn to another's music to the point where they want to live in it, and that can happen in a variety of fashions, whether it's Brahms making variations on themes by Handel or Haydn, Liszt arranging Wagner or Beethoven for piano, Schoenberg crafting a concerto out of Monn or, more radically, Berio 'deconstructing' Schubert". But the pieces in the Codex are so disarmingly simple, that in order to reincarnate them you need a clear and relevant perspective. The lack of such a perspective prevented me for many years to "touch" them.

Until one day, when I spontaneously started to line them up in a rhapsodic suite. The whole structure of the piece materialised intuitively, in a musical idiom that was very clear to me, although I did not immediately know what it was. Some time later I have discovered a similar concept already existed, reading an article about skeuomorphy. In computer design, a skeuomorph retains design elements from structures that were necessary in the physical reality, even if in the virtual reality they do not have any functionality. Thus, in Concert Transilvan, the themes are organised in a concerto grosso inspired by multicultural Transylvania of the 17th Century, virtualised for the 21st Century.

The concerto starts with an Andante da chiesa ("Cântecul Voievodesei Lupul"): upon a virtual pedal of cymbalom textures, the transilvanian medieval violinist improvises a prelude. Inspired from the future by Bartok and Ravel, he turns his violin and musicians into a folk band comprising of flute, accordion and fiddles: Moderato hungarico ("Alt dans valah"). In Allegro saxonico ("Dansul lui Mikes Kelemen") he becomes a British fiddler, moving towards a climax in Maestoso inglese ("Dansul lui Lazar Apor"), inspired by Purcell in aksak rhythm. Suddenly the virtual cymbalom strikes back and turns him into a klezmer fiddler: Moderato iudaico (again "Cântecul Voievodesei Lupul"). The pedal settles down into a halo of light, when deep down a double bas murmurs a lullaby Con moto: 'Colinda' ("Dans valah"). Inspired by Vivaldi, the violinists start a fugue in Allegro italiano ("Dans din Nires"). A viola howls and the orchestra reverberates like in an American minimalist musical canvas: Allegro zingaro ("Dans"), with the violinist improvising in "haidouk" style, à la Roby Lakatos. In Allegro tedesco ("Dans al cincelea în sase"), Brandemburg-like polyphony blossoms, superimposed with "Dans din Nire?" and then also with "Cântecul Voievodesei Lupul". The last remaining tune is left trying to catch up with the others in Presto finale ("Dans"), and then disappears in the halo of light.


REM-X (a.k.a. reMix, Vis cu vampiri) for 12 instruments

Ensemble: Fl.,Ob.,Cl.,Bs.,2Perc.,P-no.,2V-lins,V-la,Cello,D.B.
Commission: International Week of New Music Bucharest
Duration: 7 minutes
Premiere: May 2013, International Week of New Music, Icon Arts Ensemble, conductor Gabriel bebeselea, Bucharest National University of Music

Composer's note: Subtitled 'Vis cu vampiri' (literal translation 'Dream with vampires'), the piece is an ironic commentary with dadaist twists upon the contemporary pseudo-mythology of the vampire. Much like the historical prince and Romanian legends which were the basis of the fabrication of Dracula, the musical material is "remix"-ed beyond recognition (a clue for the keen musical detective: it's an iconic Romanian folk song from Transylvania). Bits of the distorted folk song clash with club rhythms and text fragments from Bram Stoker's 'Dracula' and Cicero's 'De finibus dolorum et malorum'.


The Flame Olympic ceremonial performance for 20 musicians (2012)

8 winds, 4 strings, 8 percussions organised in 5 groups
Commisson: Wycombe High School
Duration: 20 minutes
Premiere: 10 July 2012, students of Wycombe High School, conductor: Vlad Maistorovici

Codex Caioni Skeuomorphic Rhapsody for orchestra (2012)

Orchestra: 2,2,2,2;1,1;Hp.,P-no;strings
Commission: Wycombe Highschool 
Duration: 10 minutes
Premiere: 2012, Wycombe Highschool, conductor Vlad Maistorovici

Choral orchestration after George Enescu's Choral from 'Pieces Impromptues' (2012)

Orchestra: 2,Picc.,2,C.A.,2,B-Cl.,2,C-Bs.;4,3,3,1;Timp.,2Perc.,Hp.,Strings
Duration: 6 minutes

Night Music II for string orchestra (2011)

Commissioned by the European Union Chamber Orchestra
Duration: 5 minutes.
Premiere: 2009, Deal Festival, EUCO

Halo for symphony orchestra (2010)

Orchestra: 2(2dbl. alto),picc.,2,C.A.,2,BCl. In Bb,2,C-bs.;4,3(3dbl. Cornet in Bb),3,1;Timp.,2perc.,Hp.,P-no;strings
Commission: London Symphony Orchestra / Helen Hamlyn Trust
Duration: 10 minutes
Premiere: 13 March 2011, Barbican Hall, London Symphony Orchestra, conductor: Clemens Schuldt

Composer's note: The title refers to the circular band of coloured light around a light source. It's geometric perfection, ethereal quality and chromatic instability are what the music alludes to, while the inner structure explores symmetry on a conceptual level.

"From the opening chord, which felt like a sharp burst of light - similar to the sensation one feels when they first emerge out of a dark room - to the pulsating sensations created with the use of timpani and flexatone, the audience felt the emergence of light." bachtrack.com


Cadence En Espace for viola and piano (2010)

Commission: Yuko Shimizu-Amoyal
Duration: 10 minutes
Premiere: 15 May 2010, Grande Salle de Conservatoire de Lausanne, Yuko Shimizu-Amoyal/Mark Pantillon

Composer's note: Inspired by the delay-powered stadium cadenzas performed by guitarist Brian May, this work is based on canons that change density to create the illusion of transforming space. Thus, in seven abstract episodes, the melody starts from a "unidimentional" space in slow expansion, passing through "large closed" spaces, "open unstable" spaces, "curved" spacetime, "pulverised" spaces, "compact" spaces, to return to unidimensionality at the end. The piece is a tour de force of virtuosity both for the viola and for the piano, with allusions to electric guitar sonorities.


Song without words (Venetian Gondola Song) for solo piano (2009)

Commission: BBC
Duration 3 min.
Premiere: broadcast on BBC3 2009, Andrew Zolinsky

Three Odes settings of Basil Bunting for tenor, string quartet and piano (2009)

Commission: Northern Chords Chamber Music Festival
Duration: 10 minutes
Premiere: March 2009, The Sage Gateshead Newcastle, Ben Johnson and the Northern Chords resident ensemble

Microcosm for symphony orchestra (2009)

2(1dbl. picc.),picc.,2,C.A.(dbl. Ob.3),2,EbCl.,2,C-bs.;4,3(1dbl. picc.),3,1;Timp.,2perc.,Hp.,Cel.(dbl. Piano);strings
Written for London Symphony Orchestra Discovery Panufnik Young Composer Scheme
Duration: 5 minutes.
Premiere: 7 January 2010, LSO St. Luke's, London Symphony Orchestra, conductor: Francois-Xavier Roth
Awarded the LSO Discovery commission

Hora (a.k.a. Fanfara) for symphony orchestra (2009, rev. 2011)

1,picc.,1,C.A.,1,B-cl.,1,C-bs.;4,2;Timp.,Perc.,Cimbalom (or Marimba);strings
Commission: London Philharmonic Orchestra
Duration: 5 minutes
Premiere: March 2010, Royal Festival Hall, London Philharmonic, conductor: David Angus

Hypnosis for ensemble (2009)

A.Fl.,,C.A.,Cl.,B-cl.,C-bs.;H.,Tp.,Tb.;2Perc.,Hp.,P-no,;2V-lins,V-la,Cello,D.B.
Commission: London Philharmonic Orchestra for the 'Seven Minutes Soundings' scheme
Duration: 7 minutes
Premiere: April 2009, Royal Festival Hall, London Philharmonic, conductor: Clement Power

Annuntiatio for soprano and vibraphone (2009)

Commission: Ensemble Cercles
Duration: 5 minutes
Premiere: December 2009, Temple des Planchettes La Chaude Fond, Ensembe Cercles

transScent for solo piano (2008)

Duration: 7 min.
Premiere: 2009, Cadogan Hall, Antoine Françoise
Awarded the "Clive Christian Sound of Perfume Award"

Composer's note: Legends claim that jasmin was the principal ingredient in queen Cleopatra's perfumes. Here is the fictional story I have imagined as a programatic guide for this composition: "The Mediterranean Sea... Mark Anthony the conqueror and his mighty army are sailing south. His mind is cold, his heart hungry for battle. The breeze of the South brings strange scents from the mysterious Egypt. Scents that stir his mind and cool his heart... He knows that this journey will bring him victory in military ambition but he will ultimately be defeated by his senses."


Ocean Wing for chamber orchestra (2007)

Fl., Ob., Cl., Bs.; 2 Hn., Trp., Trb.; Perc., Hp., Pno.; 2 Vlins, Vla, 2 Cellos
Written at the 2007 Britten-Pears Programme for Young Composers
Duration: 5 minutes
Premiere: 2008, Aldeburgh Festival Jubilee Hall, Britten-Pears Orchestra, conductor: Ryan Wigglesworth

De Amor pop studies for Alto Sax, Viola and Piano (2006)

Commissioned by Trio Alto
Duration: 20 minutes
Premiere: 2006, Romanian Athenaeum, Trio Alto: Daniel Kienzy, Cornelia Pietroiu, Mihai Virtosu

Monument ("Prelude a l'unison" - Tribute to Enescu) for violin and piano (2005)

Duration: 8 minutes
Premiere: 2005, Bonn, Vlad Maistorovici/Bernd Puschmann

Khadina for 8 solo instruments (2005)

Rec., Sax.; H-ch., P-no, Guit., V-lin, V-la, Cello; Voice
Duration: 9 minutes
Premiere: 2007, Amarilys Flemming Concert Hall, RCM New Perspectives, conductor: Graham Ross

Composer's note: Alluding to romanticised descriptions of harem life at the Ottoman court, this piece is an evocation of the trance induced by dancing until exhaustion. The music accumulates tension starting from the strangely sensual melodies of the beginning to the violent rhythms at the end.


Night Music for string quartet (2002)

Duration: 19 minutes
Premiere: 2002, Recital Hall of the Yehudi Menuhin School, Vlad Maistorovici/David McCarroll, Valery Sokolov, Mary Elliott
Awarded the Grand Prix at the George Enescu International Festival

Composer's note: This work was composed in the winter of 2002, in my first few months as a boarding student at The Yehudi Menuhin School in Surrey, UK. Homesick but excited about the new environment, I suffered from insomnia and spent many nights composing. The music starts from without, inspired by the cricket song of the Surrey countryside. The second movement is inspired by the "cântec cu noduri" (north-Romanian folk song featuring a special vocal technique) made famous by Grigore Lese. The third movement contemplates feelings of anxiety, while the last opens towards a different realm, inspired by Romanian traditional flutes and horns.


early works


Kalendae Ianuarii Winter cantata for choir, 6 instruments, percussion and reciter on a Transylvanian charol from the collection of Bela Bartok (2001)

SATB choir, Reciter, Ob., 2 Cl. in Bb, D. B., P-no, Celesta, Timp., Marimba, Perc.
Duration: 10 minutes
Premiere: 2001, Ion Baciu Hall of the Paul Constantinescu Philharmonic, Divertimento Choir and students of the Carmen Sylva Arts School, conductor Huba Bertalan 


Triptic for violin and piano (1995)

Duration: 10 minutes
Premiere: 1995, Cercul Militar Brasov, Gala of the Dan Voiculescu International Composition Masterclass, Vlad Maistorovici - violin and Serban Marcu - piano