Arhetip şi sinteză în „4 Suite bihorene” de Tudor Jarda

Résumé

Archetype and Synthesis in Tudor Jarda’s “4 Suites from Bihor Region”

The name of composer Tudor Jarda (11 February 1922 – 13 August 2007) is associated primarily with his choral creation of folkloric origin, frequently addressed conductors of professional and amateur choirs, thanks to the qualities that it has: beauty, attractiveness and, not least, accessibility. Joining the series of Transylvanian musicians, Tudor Jarda highlighted, in a well-defined style, archetypal folk music formulas taken from many Romanian areas: Bistriţa-Năsăud, Bihor, Maramureş, Hunedoara, and Banat. We refer herein to the paradigm of the 4 Suites from Bihor Region, in which the archetypal coordinates folklore in this part of Bihor: the triton of the characteristic Lydian mode, melodic and rhythmic constructs of autochthonous dances and folk musical genres constitute evolutionary germs of the musical discourse, polyphonic enriched by classical methods, skillfully mastered and adapted to ensure a specific sonority. There is a distance in over 4 decades between the composition of the first 3 suites (1957/1957/1958) and the last one assumed to be completed around 2000). Composer maintains a constant in electing the architectural and expressive solutions, primarily characterized by clarity of harmonic structures, methods of dynamics, and also creating a synthesis in the organization of musical discourse.