GRAPHISM AND ORGANISATION IN

LES OISEAUX. CHACONNE POUR ORGUE. HOMMAGE MESSIAEN

BY EDUARD TERNYI

ANAMARIA MDLINA HOTORAN1

SUMMARY. The first bar of the LAscension by Oliver Messiaen was taken by
Ternyi as an ostinato bass, a modal and a harmonical support that has the
variations of the Chaconne to develop onto them. The play has the mirror
symmetries and palindromic structures as a background: from the palindrome
modal scale to the palindrome of the meters and to the retrograde inversion of the
design between the last three parts and the first three parts. Each variation
describes a dramaturgical action that is graphically revealed and gives a space for
many improvisatory variants. The score, together with other plays of E. Ternyi were
included in exhibitions and were received with a special interest by the public.
Keywords: Eduard Ternyi, Ciaccona Hommage Messiaen, Romanian organ
music, musical graphism, aleatorism, mirror symmetry in music

Starting from the manuscripts from his study years, through the
drawing of the musical notes with a black ink in a special manner that
evokes the atmosphere of the wood engravings, we can notice E.
Ternyis orientation towards the visual. Along the years, the composer will
be preoccupied by the non-figurative, abstract graphic art. His graphics will
be exposed to the public in art galleries: the cycle The Months of the Year
(which were created in the years 1977 1979 and exposed in 2000), the cycle
Exotic Flowers, the cycle Genesis and the cycle Dantesca (created in 2002
and published in 2007, in a volume that is coming with the musical fragments
of the mono-opera with the same title).
The search of the essence and geometric forms, through the music
and the graphics have put E. Ternyi close together to the opera of the great
Romanian sculptor Constantin Brncui (1876-1957), to whom he feels a
spiritual connection and kinship and who had a profound influence towards his
artistic formation as well: In his book, Zene marad a zene? the author

Associate Professor, Emanuel University of Oradea, Musical Pedagogy Departement, str.

Nufrului nr. 87, 410597, Oradea, Jud. Bihor. E-mail: hmaddy@yahoo.com

confesses that he has considered himself to be a composer only after he

met the world of Brncu i. 2
The serialism, that represented for the young Italian composers of
the sixties a novelty, can be regained in E. Ternyis musical works of his
first period of creation (1957-1967). The determinism or the constructivism
culminates with B. A. C. H Composition for Organ (1967) where no tone
is free (E. Ternyi) and the musical parameters are subordinated to some
strict rules that derive from the structure of the anagram B. A. C. H3.
However, the work has a Cadenza that already announces the aleatorism
and the graphism, as a contrasting element to a constructivist organization.
Nevertheless, this tendency will not last long as it will be replaced
with the exploration of other intuitive dimensions:
I have never been the one to frame the exterior structures, although I know
that a sonorous mass that comes forward as an incandescent liquid needs
this framing () in my opinion this is a question of inner conformation. I
have experimented myself the pleasant assurance of the comfort that is
offered by the using of the <delimited> musical systems. I had a special
penchant to go deeply in this world. Nowadays I feel the need for it but,
after the sixties, I was aware of the using this tendency to give up the
space for different inner musical impulses. As a last resort, I wanted to
create music and not buildings, the construction has to be an exterior
edifice and it does not assume all the functions or the possibilities of
expressing and the secret inner predispositions of the music () Because
of this, my composition Variations on B. A. C. H. personifies the expression
4
farewell to constructivism.

In the seventies, into the music of the contemporary generation, we

can see the musical graphic in a perfect symbiosis with the aleatorism. The
graphism finds profound resonances into the Ternyian creation of that
time, defining his second period of creation (1967-1977) and it still appears
in his scores even today.
A significant fact is that, through the modern musical notation, an
artistic musical drawing can be created which is similar to the modern
graphics:
Even in the years 77 78, the first exhibitions that are dedicated to some
scores which are conceived as graphics and not as much as sonorous art
appeared in the Occidental Europe and they were not destined to the
2

Molnr Tnde, in Muzica pentru org n secolul al XX-lea n Romnia. Compoziii noi,
analize stilistice i interpretative (The Romanian Organ Music in the XXth century. New
Compositions, Stylistic Analyses and Interpretatives), Grafycolor Publishing House, ClujNapoca, 2005, p. 39
3
Anamaria Mdlina Hotoran: B.A.C.H. Missal for the Organ, by Eduard Ternyi, in
Studia Musica 2/2009, Studia Universitatis Babes-Bolyai, Cluj University Press, pp.215-246
4
E. Ternyi, in: Gabriela Coca, Ede Ternyi The Retrospective of Five Decades of Creation (I), in
Muzica 3/1997, p. 38-39

musical interpretation. These pictorial graphics were announced for the end
of 50s and the beginning of 60s by the composers Sylvano Bussotti,
5
Anestis Logothetis, John Cage, Earl Brown, Robert Moran and so on.

Some of the scores of this period were included in exhibitions, together

with some of his paintings (from the cycles Exotic Flowers, Genesis), and they
were received with a special interest by the public, as fine art that gives a
certain artistic feeling.
The graphic of the ternyian scores always gives a space for many
improvisatory variants. Therefore, the musical works of this period present
aleatory aspects6 which, in the authors way of thinking, refers to the ordination
of some pre-established elements by the player, who becomes a co-author.
The graphic plays are: Threnody for the organ (1970); Terzine di Dante
(1971) for baritone, trombone and the piano; The String Quartet no 1 (1975)
bringing in an aleatoric trend that appears in the second and the fourth part
with elements that are quasi defined, but they have a clear macrostructure;
the Concert for Ars Nova (1976, e. g. 3); the Symphony In Memoriam Bakfark
(1977, e. g. 4) for string orchestra and, at the end of the period: Ciaccona
(1978, e. g. 14-16) for solo organ and The Symphony for the Percussionists
(1978, e. g. 5).
Analysing the Chaconne, we have to point to the graphic context of
the Symphony for the Percussionists (1978) and Bakfark Symphony for the
string orchestra (1977). These works were born together almost in the
same year, on the same stylistic trajectories. Chaconne and The Symphony
for the Percussionists contain the most pronounced aleatorism of Ternyis
creation. Later on, the author added between the two moments: (1) the
model and (2) its presentation to the auditory, a score resolution, a key
that, in his opinion, suggests a possible variation of the given model for the
Chaccone and for the cycle Piano Playing (e.g. 1-2).
In e. g. 1 and e. g. 2 we exemplify the relation between the musical
graphics and the coloured graphics (paintings) signed by E. Ternyi, in
order to prove the unity of his musical and pictorial thinking, the fact that the
sonorous art and the art of the colours are explaining each other.
Table no 1 illustrates the trajectory of the graphic trend, from 1966 to
1978, when the Chaconne was composed. The direct arrows indicate the
graphic tendencies in those organ plays that are nodal points for the respective
periods. The dotted arrows indicate the correspondences of the graphic style,
between the organ plays and plays that are written for piano, chamber
ensembles or orchestra.
5

Interview with E. Ternyi, February 2008

The condition is that, only some of these elements to meet all the usual parameters of the
musical sound (height, pitch, time, overtone, way of attack). It is possible for an element to
be missing, or to have only one given element as all the other ones are missing. Interview
with E. Ternyi, February 2008
6

Instrument
al plays

Organ
plays

Chamber
Music

Symphonic
works

1966

Constructivism
THE
MAESTROS
BIRD
SYMPHONY

1967

B.A. C. H,
for organ

1968

1969

direct
way

TWO LIED
CYCLES

1970

Threnody

1971

1972

TERZINE DI
DANTE

Graphic music

VOL V
1973

PIANO
PLAYING

Graphic music in 1960-1980

VOL
VI
1974

1975

direct way

STRING
QUARTET
NO. 1

1976

CONCERT
PER ARS
NOVA

1977

BAKFARK
SYMPHONY
for string
orchestra

Table no. 1

1978

CHACONNE
on a theme
by
MESSIAEN

PERCUSSION
SYMPONY

The Thistle (1979)

(from the cycle Exotic Flowers)
Flower Melody (Model)
(no. 6 in Piano Playing volume VI)

Piano Playing vol. I

E. g. 1

Blood and Gold (1977)

(from the cycle La puerta del sol)

Czerny Etude (1973)

(Piano Playing V)

Piano Playing vol. V (1973)

E. g. 2

E. g. 3
The graphic in Concert for Ars Nova (1976), parts 5 and 9 (incipit)

E. g. 4
The graphic in the Bakfark Symphony (1977)

E. g. 5
The graphic in the Symphony for the Percussion (1978)

A mixture of graphism, aleatorism and constructivist tendencies

can be found in some works of the early periods, such as the Ciaccona
Hommage Messiaen, composed in 1978 and renamed in 2007: Les
oiseaux. Chaconne pour orgue. Hommage Messiaen. The first bar of
the LAscension (quatre mditations symphoniques pour orgue)7 by
Oliver Messiaen (e.g. 6) was taken by Ternyi as an ostinato bass or a
chaconne bass, a modal and a harmonical support that has the
variations of the Chaconne to develop onto them.
E. g. 6
Messiaens LAscension. The first bar was taken by Ternyi as an ostinato bass.

The comprised tones form a palindrome modal scale (e. g. 7)

which, together with the transpositions, constitutes the sonorous frame of
the musical work. The harmonic structures result from the multiple
possibilities of the overlapping of the tones of the mode (e.g. 8). Each of the
7

LAscension was initially composed for the orchestra (1932 1933) as four symphonic
meditations. The variant for the organ was created in 1933 1934.

10

six parts (that is numbered in Roman numbers) has four variations (Arabic
numbers) which, in their turn, present three modules of their own, each
module having the length of one bar (a, b, and c e. g. 14-16). In this way,
Chaconne has 24 variations (6 parts x 4 variations) and 72 modules (24
variations x 3 modules).
E. g. 7
The palindrome modal scale of the Chaconne

11

E. g. 8
The palindrome modal scale of Chaconne.
The harmonic aggregates result from the overlapping of the tones of the mode.

E. g. 9
The superposition of three transpositions (diverging polymodalism)

12

The most used transpositions are: transposition 4 (e.g. in the

variation 10b), 5 (e. g. in the variations 9c, 23, as well as in the variations of
the second part), 6 (e. g. variations 17a, 17c, 19, 20), 7 (e. g. variations 12a
,22, 24), 9 (e. g. in the variation 18) and 11 (e. g. the variations of the first
Part). The play contains diverging polymodalism 8 as well, where two or
three transpositions appear in superposition (e. g. 9).
The last three parts are the mirror symmetry of the first three parts.
Part III ends the first section of the musical play and part IV starts the
second one, which is approximately the retrograde inversion of the first
three parts. In order to help the reader to visualize this aspect, I have put
together the corresponding parts (part I with VI, part II with V and part III
with IV in e.g. 14-16) pointing directly to the concordance of the drawings
and that of the sonorities respectively, in the same manner the composer
himself arranged the pages in the published score of Chaconne.9
The most evident similarity is that of the first variation (part I,
variation I) and the last one (part VI, variation 24) - e. g. 10. The segment c
of the variation 24 (the last bar of the score), is the retrograde inversion of
segment a of variation 1 (the first bar of the score) - e. g. 10 - and the
correspondence could continue (table 2):
Table 2
Part I
Variation 1
Variation 2
Variation 3
Variation 4

Part VI
a
b
c
a
b
c
a
b
c
a
b
c

c
b
a
c
b
a
c
b
a
c
b
a

Variation 24
Variation 23
Variation 22
Variation 21

The diverging polymodalism refers to the superposition of the transpositions of the same
mode and the converging polymodalism is the superposition of different modes in:
Gheorghe Duic, Universul gndirii polimodale (The Universe of the polymodal view),
Junimea Publishing House, Iai, 2004, pp. 233-302
9
The play is published as Les Oiseaux Chaconne pour Orgue - Hommage Messiaen, in
Ede Ternyi. Musica Sacra, Grafycolor Publishing House, Cluj-Napoca, 2008

13

E. g. 10
The last bar of Chaconne is the retrograde inversion of the first bar
Part I, the first bar of the play

Part VI, the last bar of the play

PRIME FORM

RETROGRADE INVERSION

In the first part, the measure is 12/8 in segment a, 10/8 in b and 8/8
in c. By changing the measure for each segment, the author wanted to
create an inner dramaturgy which, in part I is opposed to the change of
the dynamics: pp increase in mf (in a) pp increase in ff (in b) and ff pp (in
c)10 e. g. 14. The order of these three measures appear in four
permutations, two by two in mirror symmetry:
Table 3
Rows of measures in mirror symmetry (palindromes):

Parts I and IV:

12/8, 10/8, 8/8

8/8, 10/8, 12/8

Parts III and VI

Part IV:

12/8, 8/8, 10/8

10/8, 8/8, 12/8

Part II

The last three parts have the same meters as the first three, only
that in retrograde order, so that another mirror symmetry (a palindrome)
of the meters is created, this time between the first section and the second
section of the play:

10

Along the entire play, the nuances are changing in almost every segment

14

E. g. 11
The permutations of the meters and the mirror symmetry,
between the first three parts and the last three parts

The aleatorism comes in this musical play to both a macro and a

micro-structural level. The order of succession and the number of the parts
are not pre-established, but they are for the player to choose. The
performer can elude up to five parts. The three segments (a, b and c) can
be considered together as one theme respectively one variation. The
interpreter can take one, two, or all the fragments out of the three. When
the three thematic units and the order given by the author are respected,
there is the possibility, for the b fragments to be interchangeable (see the
median zone of the variations). This aspect is signalled into the score
through the sinusoidal vertical dotted line (e. g. 14) and it is only available
for parts I and VI.
Regarding the design of the variation units each of them describe
a dramaturgical action that is graphically revealed (e. g. 14-16). The graphic
of the ternyian compositions always gives a space for many improvisatory
variants. Therefore, the Resolution (a key of the play), enclosed by the
composer at the end of the score (e. g. 17), represents one of the possible
interpretations.

15

Part I (variations 1 4, e. g. 14)

The First Variation has three segments (bars): a, b and c (e. g. 12).
These are three thematic units that can already be considered together a
theme or, due to the fact that b and c are variations of a which is
Messiaens motif (the first bar of LAscension), they can be viewed as
micro-variations.
E. g. 12
The first variation

The ostinato micro-theme appears in many variational cycles of E.

Ternyi. For example, the theme is the B.A.C.H motif in B. A. C. H
Composition for the Organ (1967), the melodic interval of perfect fourth in
Glocken for the organ (1991) and the signals of the birds (chant doiseaux)
in The Birds for the organ (2007).
The chords of the first measure (segment a) are permutated in the
following two measures (segments b and c) and they are the background
for the first part (e.g. 13 and e. g. 14). This ternary structure is significant for
the entire musical work, through the fact that in each of the 24 variations,
the dramaturgical idea of the first segment a is continued and developed in
both the b segment and the c segment as well. Many of the variations are
homogenous, as all three segments represent, in fact, the variation of one
idea.
E. g. 13
Part I variations 1-4. The chords of the first measure (a)
of each variation are permutated in the following two measures (b and c).

16

The segment a of The Second Variation has three levels:

- the pedal on a single tone in p; the timbre (the register) is for the
organist to choose;
- the second plan is for the left hand which is made in two
arpeggio clusters in five tones; these clusters result from the
palindromic mode of the play and they become pedal
themselves;
- the right hand (the third sonorous plan) develops motoric
elements, through the sequential repetition of some five tones
formulae (extracted from the same mode)
The Third Variation keeps a few elements of the second variation.
The pedal tones look at the deep register of the organ and the motoric
writing is introduced for both the hands, in parallelisms of intervals and
chords. This perpetuum mobile process is interrupted three times through a
series of chords in the style of the homophonous choral, that would be
developed in the b and c segments. This variation is based on the eleventh
transposition of the basic mode.
The Fourth Variation has in the a segment two ideas from the
previous variations: the tones that are prolonged in the pedal and also the
motoric style that is interrupted by small melodic segments (cells) that are
similar to the third variation, from the intervallic point of view.
For the first time, along the variations, there appear tones that are
framed into a certain register, without mentioning the pitch as they stimulate
the creativity of the player, who has to take as model the 4a segment. One
option would be to draw the lines of the staff and the helping lines above
and below the staff, in order to obtain real tones. The tempo and the
majority of the rhythmic durations in these segments are left for the player
to choose.
17

In the 4b segment, the motoric cell comes overall pointing directly to

the second variation (the 4c segment corresponds to the 3c segment).
In conclusion, the first part is homogenously built on the variation of
the ideas that are presented from the beginning (the pedal, the arpeggio
clusters and the combined motoric fragments).
Part II (Variations 5 -8, e. g. 15)
The c segment of the fourth variation of the first part is developed
along the 5th, 6th, 7th, and 8th variations in different hypostasis (see
especially the figurations of the organ pedal).
Part II relies on the choral style that was already suggested in the
third variation (in Part I). The idea of a homophonous choral is developed
here even in the traditional way of writing, suggesting the chorals of J. S.
Bach. If we put together the modules 5b (the beginning of the choral), 6 (a,
b, c), 7 (a, b, c), 8 (a, b, c) we find (in the writing of the left and right hand)
the succession of the musical process of the choral. There are some
intercalations that appear as motoric figurations, reminding of a well known
practice in the Bachian chorals of the baroque era, when some instrumental
improvisations were inserted after the coronas (fermatas). These moments
of improvisation are partially aleatory (only the pitches are written down)
and the asymmetrical repetitions of the figures that are interwoven to the
chords of the choral are suggested through a specific graphical drawing
using asymmetrical lines (as for example in 6c). The figurations can be
presented either once or by a few times, in order to assure the continuity
and the homogeneity of the choral.
Part III (Variations 9 12, e. g. 16)
Part III continues the idea of the choral, reaching an apogee of the
chorded constructions. In the same time, the improvisatory moments are
highlighted, even the ninth variation starts in the a segment with this type of
improvisatory cadence, that is then varied in 10b, 11c and 12a.
In 9c and 10c, the improvisation becomes almost total: in the score
there are the indications only for the register of the tones and the dynamics.
The rhythm and the pitches are aspects that become more and more
improvisatory, in the broad sense of the word. In addition, as long as we go
deeper into the musical work, the coefficient of aleatorism and implicitly the
liberty of the player would gradually increase until it reaches the point when
the drawing would be the only fix point to indicate the dramaturgical action
of the music.
The choral of the second part is continued in the part III in 9c. Then,
the 10c variation comes with a single chord of the choral and in 11a - 11b,
with broken chords, as if the composer wanted to tear the continuity of the
choral, coming in the 12a to an apogee, through a row of alpha chords that
18

are combined with other chords in strata. In 12b there is again the idea of
the choral in its clearest form that points directly to the original theme of the
variations (Variation 1, segment a). Part III is closed with the repetition of
these chords in 12c, above a figuration in the pedal that is made of the
prolonged sounds C#, D#, E, of the fourth transposition of the basic mode.
Part IV (Variations 13 16, e. g. 16)
Part IV starts the second section of the Chaconne, which is the
retrograde inversion of the first section (it is evident, for example, the direct
connection between 12c and 13a - e. g. 16).
The improvisatory structures of the previous parts continue to be
developed and they would be transformed into main melodic ideas of the
following parts. The choral looses its central role, it is resumed to a
succession of the chords (13a, 13b, 13c), and the lower plans (the left hand
and the pedal) have an accompaniment role. In the variations 14, 15, and
16, the chords represent the harmonic support and in 14b and 16b they
appear as some cuttings from the choral. Due to the ornamental figurative
writing, part IV could be considered as an ornamental variation of the
theme.
The fourth part is the first ornamental variation, as the first three
parts are mainly harmonic. The definition of the chaconne as a variation on
a harmonic theme is explicit in the first three parts, while the following
three, through the emphasizing of the melodic lines, come closer to the
passacaglia.
Part V (Variations 17 20, e. g. 15) continues the ornamental
variation and the chorded structures come through certain stops, similar to
the coronas of the choral (see, for example, the coronas of the 18 and 19
variations that are indicated by the author).
Part VI (Variation 21 24, e. g. 14) comprises the last variations
that come back more and more to the design of the first part, to the original
theme in the retrograde inversion (variation 24) e. g. 14. In order to make
this comparison more obvious, we illustrated in the e. g. 10, the theme in
two variants: prime direction in the first bar of the play and retrograde
inversion in the last bar.

19

The retrograde inversion between part I and part VI

E. g. 14

20

21

Parts II and V

E. g. 15

22

23

Parts III and IV

E. g. 16

24

25

Extract from the solution (key) of the score Chaconne

E. g. 17

26

Every one of the four parts of LAscension has a motto written by

Messiaen himself in the score11, expressing his adoration of Christs glory.
Messiaens music and especially the LAscension has had a particular
influence on Ternyis organ creation. On the basis of a rich archetypal
palette 12, Ternyi creates stylistic dialogues with Messiaens play, in
many of his organ works, also recovering its spiritual denotations: In
solemnitate corporis Christi (1993), Messiaenesques (1993), Die
Gottestrompeten (1995), Dialogues mistiques (2006), The Birds (2007)
and so on.
The quoting of the first measure of Messiaens LAscension
represents in Ternyis Chaconne the emblem-theme and the way it is
developed in the variations foretells the ideea theme that is illustrative of
some later works, such as Messiaenesques and Dialogues mistiques:
The emblem theme suggests an homage given to a style, a composer, and
some ideas. Regarding the idea theme, this is present when, by imaginary
taking certain stylistic elements of another creator or musical works, the
author takes as a benchmark a model that is not declared inside the score.
The presence of other sonorous entities, the stylistic references where it is
started in the variation evolution of the musical work can be circumscribed
eventually through the title. Without knowing the pattern, the players, the
musicologists and the public as well do not receive the form as being a
variational one. The organ plays Messianesques and Dialogues mystiques
are relevant, because the idea-theme constitutes a series of stylemes of
Messiaens music melodic lines, rhythm, the dynamics, chorded
structures to which there are a series of analogies to come, variations and
13
counter-themes or, in other words, counter-realisations.

The hommage Messiaen implies in the Chaconne more than a

mere quotation: it is the re-creation of some of his techniques such as the
11

O. Messiaen, in LAscension (quatre mditations symphoniques pour orgue), music score,

Alphonse Leduc Editions Musicales, Paris, 1934:
1. The majesty of Christ demanding its glory of the Father (Father, the hour has
come; glorify Thy Son, that the Son may glorify Thee)
2. Serene alleluias of a soul that longs for heaven (We pray you, God, help us
dwell in the Kingdom of Heaven)
3. Ecstasies of a soul before the glory of Christ, which is its own glory (Giving
thanks to the Father, who has qualified us to share in the inheritance of the saints
in light ... raised us up and seated us with Him in the heavenly places, in Christ
Jesus)
4. Prayer of Christ ascending towards his Father (Father I manifested Thy
name to the men and I am no more in the world; and yet they themselves are
in the world, and I come to Thee)
12
13

Interview with E. Ternyi, February 2008

Interview with E. Ternyi, February 2008

27

palindromic mode, the superposition of different transpositions, the mirror

symmetries and also the chant doiseaux style - the improvisatory
segments with repetitive cells imitating the song of the birds, in parts 3, 4,
and 5 (moreover, the oiseaux style is announced in the title: Les oiseaux.
Chaconne pour orgue). Chaconne is the organ play that marks the
beginning of Ternyis creative references to the musical world of
Messiaen, based on his spiritual and artistic affinities with the French
composer.14
REFERENCES

Coca, G.,
Duic, Gh.
Hotoran, A.M.,
Hotoran, A.M.,

Messiaen, O.,
Messiaen, O.,
Molnr, T.,

Nedelcu, N.,
Ternyi, E.,
Ternyi, E.,

Ternyi, Eduard in: The New Grove Dictionary of Music and

Musicians, Edited by Stanley Sadie, London, 1992
New American Standard Bible, Thomas Nelson, Publisher,
Nashville-Camden-New York, 1977
Ede Ternyi. Retrospectiva a cinci decenii de creaie (l, II)
(EdeTernyi. The Retrospective of Five Decades of Creation), in:
Muzica Review, Bucharest, no. 3/1997 and 4/1997
Universul gndirii polimodale (The Universe of the polymodal
view), Junimea Publishing House, Iai, 2004
B.A.C.H. Missal for the Organ, by Eduard Ternyi, in Studia
Musica 2/2009, Studia Universitatis Babes-Bolyai, Cluj University
Press
Musical and spiritual affinities: Olivier Messiaen and Eduard
Ternyi, in Recent Advances in Acoustics & Music (the 11th
WSEAS International Conference on Acoustics & Music: Theory
and applications), George Enescu University of Arts, Iai, 2010
Technique de mon langage musical, ditions Musicales, 1966
LAscension (quatre mditations symphoniques pour orgue),
score, Alphonse Leduc Editions Musicales, Paris, 1934
Muzica pentru org n secolul al XX-lea n Romnia compoziii
noi, analize stilistice i interpretative (The Romanian Organ Music
in the 20th Century recent works, analysis of style and
interpretation) Grafycolor Publishing House, Cluj-Napoca, 2005
Piano Games by Eduard Ternyi, a landmark among the
th
semeiographic innovations of the 20 century, in Studia Musica
2/2010, Studia Universitatis Babes-Bolyai, Cluj University Press
The Harmony of the Modern Music (1900-1950), Grafycolor
Publishing House, Cluj-Napoca, 2006
Les Oiseaux. Chaconne pour Orgue - Hommage Messiaen
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