ELEMENTS OF THE MUSICAL DISCOURSE IN “MARCH” FOR SOLO CLARINET BY MARŢIAN NEGREA

Abstract

This study analyzes a Romanian well-known work, entitled March, by the Romanian composer Martian Negrea, originally written for flute and reciter and then adapted for solo clarinet by the author, in collaboration with the Romanian clarinet player Aurelian Octav Popa. The piece is based on the homonymous poem of Lucian Blaga, from his debut volume Poems of Light. The study focuses on describing the structure of this piece, made up of three generating musical motives, which, through continuous variational transformations, give rise to other structural entities, themselves subject to further variations. This method of achieving musical discourse, of extreme economy of thematic material, produces, paradoxically, images of extraordinary musical spontaneity and naturalness, which leave, at first glance, the impression of a continuous improvisation. This musical image, explosive and spontaneous, is certainly in relation to the lyrics of Blaga, who suggests the rebirth of nature with the arrival of spring. The poem is heard as a spoken text in the flute version, but it's only a literary reference for the solo clarinet version.