IGOR IACHIMCIUC portrait
  • Adjunct Assistant Professor, School Of Music

Creative Research

  • Soloist with BYU Philharmonic Orchestra; performance of Kodaly: Hary Janos suite Performance, completed 11/23/2015.
  • 2015 Intermezzo Chamber Music Series Commission, completed 07/15/2015.
  • Soloist at Intermezzo Chamber Music Series; Margins for taraf quartet by Igor Iachimciuc Performance, completed 07/15/2015.
  • Composition: Suite for three low instruments; Premiered at the 2015 Utah Arts Festival Other, completed 05/20/2015.

Presentations

  • Poemele luminii (Poems of Light)a cycle for mezzo-soprano and piano on the text by Lucian Blaga; presented at the Composers Forum at the Arizona State University in April 2009. Presentation, Presented, 04/22/2009.
  • In John’s Garden, cycle for the clarinet and piano; presented at the master class at the Union of Composers and Musicologists of Moldova in December 22, 2008. Presentation, Presented, 12/22/2008.

Research/Scholarship Projects

  • Rural sketches for marimba and contrabass ensemble. PI: Igor Iachimciuc. 12/01/2013 - 12/03/2013.
  • Belarusian bouquet for cimbalom and piano. PI: Igor Iachimciuc. 10/01/2013 - 01/01/2014.
  • Two lyrical pieces for trumpet, piano and percussion. PI: Igor Iachimciuc. 08/01/2013 - 09/01/2013.
  • Fantasia for wind quartet. PI: Igor Iachimciuc. 04/01/2013 - 05/01/2013.
  • Ca la Breaza – dance for clarinet quartet. PI: Igor Iachimciuc. 02/01/2013 - 04/01/2013.

Languages

  • Romanian, fluent.
  • Russian, fluent.

Geographical Regions of Interest

  • Belarus
  • Bulgaria
  • Czech Republic
  • Hungary
  • Moldova
  • Poland
  • Romania
  • Russian Federation
  • Serbia
  • Slovakia
  • The former Yugoslav Republic of Macedonia
  • Transnistria
  • Turkey
  • Ukraine

Publications

  • In this paper the music of György Kurtág is analyzed from the point of view of sound color. A brief description of what is understood by the term sound color, and various ways of achieving specific coloristic effects, are presented in the Introduction. An examination of Kurtág’s approaches to the domain of sound color occupies the chapters that follow. The musical examples that are analyzed are selected from Kurtág’s different compositional periods, showing a certain consistency in sound color techniques, the most important of which are already present in the String Quartet, Op. 1. The compositions selected for analysis are written for different ensembles, but regardless of the instrumentation, certain principles of the formation and organization of sound color remain the same. Rather than relying on extended instrumental techniques, Kurtág creates a large variety of sound colors using traditional means such as pitch material, register, density, rhythm, timbral combinations, dynamics, texture, spatial displacement of the instruments, and the overall musical context. Each sound color unit in Kurtág’s music is a separate entity, conceived as a complete microcosm. Sound color units can either be juxtaposed as contrasting elements, forming sound color variations, or superimposed, often resulting in a Klangfarbenmelodie effect. Some of the same gestural figures (objets trouvés) appear in different compositions, but with significant coloristic modifications. Thus, the principle of sound color variations is not only a strong organizational tool, but also a characteristic stylistic feature of the music of György Kurtág. Accepted, 10/2012.
  • In John’s Garden, cycle for the clarinet and piano. Released, 09/2009.
  • Ar trebui (It Should Be) for flute, clarinet, percussions, piano, violin, and cello Lucian Badian Edition; [Ottawa, Ont.] Canada, c2006. Released, 06/2006.
  • Variations on an Original Tune for violin and piano Lucian Badian Edition; [Ottawa, Ont.] Canada, c2006. Released, 06/2006.
  • Concert Suite for solo cimbalom Grafema Libris, Chişinău, Moldova 2004. Released, 05/2004.