have Conservatoire de Cluj, Olah T. 1949 à l'étude 1946 Harmon et la composition contrepoint them auprès Max Eisikovits in Theorie dans la classe et le solmizate Mureşianu of Julius et piano with Gheorghe Halmos. He continued his studies at the Conservatory Piotr Illich Tchaikovsky Russian capital. He stayed five years, during which he perfected the practice of composition (Professor Evgeni O. Messner) and orchestration (Prof. Dimitri Rogal-Levitzky). He learned the art of counterpoint with Evgeni R. Galubev. In 1966, he studied electronic music in Munich, on the premises of Siemens . T. Olah is similar to the Darmstadt School in the next five occasions International Ferienkurse für Neue Musik (1967, 1968, 1970, 1974). Prices are provided by György Ligeti (musical aesthetics), Erhard Karkoschka (Shape analysis), Günter Becker (instrumentation), Christoph Caskel (practice drums in the compositions), Saschko Gavriloff, Siegfried Palm, Aloys Kontarsky (interpretation).
His career is closely linked to the Conservatory of Bucharest where he was employed continuously from 1954 to 2001, first as assistant and player from 1958 and then Associate Professor in 1974. T. Olah is particularly popular in West Germany where he was invited in Residence (West Berlin, 1969-70) and then honored with a Fellowship (1978-79, Deutscher Akademischer Austauschdienst). It provides several conferences in the country and publications. France and the United States receive it well. He holds numerous awards (Bucharest, 1953 and 1965, Moscow, 1957; United States of America, with the price Koussewitzky Disc, 1967). Among this long list there is still the price of the Romanian Composers Union (1974-1981) and the prestigious Grand Prize of the same union in 1993.
His work as composer is vast. It includes incidental music, cantatas and oratorios, symphonies and orchestral works, chamber music, choirs. T. Olah was also a regular composer for film (his original score for the film Pelicanul Alb is winning in 1966). His art singular makes him a major figure in the Romanian music of the second half of the century. Native of the region relatively spared from the point of view and cultural identity, Maramures, in northern Transylvania, Tiberiu Olah (in Hungarian Tibor Olah) was able to transcend the archaic art to find a language is intensely personal and attractive, without pastiche or imitation folk modernist. His writing attracted controlled by the abundance of his ideas. His
Fourth Symphony, subtitled "Giocosa" , although written in the last decade of the twentieth century, refuses easy pseudo-modern while remaining easy listening. The score captive by its theatricality constantly wavering between tragic and comic. This oscillation creates a grotesque little complacent and tinged with anxiety. The third and final movement is a beautiful desk in percussion, creating a chaos from which rises a Ode to Joy shy and soon drowned in a sea of glas. This coda funeral is it saved by a rope ultimate prank? At each decision.
His career is closely linked to the Conservatory of Bucharest where he was employed continuously from 1954 to 2001, first as assistant and player from 1958 and then Associate Professor in 1974. T. Olah is particularly popular in West Germany where he was invited in Residence (West Berlin, 1969-70) and then honored with a Fellowship (1978-79, Deutscher Akademischer Austauschdienst). It provides several conferences in the country and publications. France and the United States receive it well. He holds numerous awards (Bucharest, 1953 and 1965, Moscow, 1957; United States of America, with the price Koussewitzky Disc, 1967). Among this long list there is still the price of the Romanian Composers Union (1974-1981) and the prestigious Grand Prize of the same union in 1993.
His work as composer is vast. It includes incidental music, cantatas and oratorios, symphonies and orchestral works, chamber music, choirs. T. Olah was also a regular composer for film (his original score for the film Pelicanul Alb is winning in 1966). His art singular makes him a major figure in the Romanian music of the second half of the century. Native of the region relatively spared from the point of view and cultural identity, Maramures, in northern Transylvania, Tiberiu Olah (in Hungarian Tibor Olah) was able to transcend the archaic art to find a language is intensely personal and attractive, without pastiche or imitation folk modernist. His writing attracted controlled by the abundance of his ideas. His
Fourth Symphony, subtitled "Giocosa" , although written in the last decade of the twentieth century, refuses easy pseudo-modern while remaining easy listening. The score captive by its theatricality constantly wavering between tragic and comic. This oscillation creates a grotesque little complacent and tinged with anxiety. The third and final movement is a beautiful desk in percussion, creating a chaos from which rises a Ode to Joy shy and soon drowned in a sea of glas. This coda funeral is it saved by a rope ultimate prank? At each decision.
Sources
- Viorel Cosma, Muzicieni din România, vol. VII , Editura Muzical, Bucureşti, 2004 - ISBN 973-42-0366-5
- Creaţii Simfonice Româneşte, CD 1, UCMR-ADA Oa 10326, instructions for Olte Şerban-Parau. National Radio Orchestra dir. Horia Andreescu for Symphony No. 4.
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