Everything I notice and hold my attention, I could immediately translate into musical expressions. My conceptual thinking is constantly accompanied by a thought articulated in sound images. I could start composing at any time.

Perfectionism is one of my defining characteristics, which sometimes makes me happy, sometimes confuses me ... I actually compose slowly, carefully and with lavish attention to detail, using colours, collages, rewriting, correcting and approaching what must become through repeated reformulations: the finished, polished sound object.
For me, virtuosity and complexity are ways of uncovering virtuous or complex compositional ideas. Sometimes I return to virtuosity in order to soften them, but the interpreter should be able to move naturally and uninhibitedly in this area... Once the limitations - the complex regulations, the many details of the score - have been learnt and overcome, I would like the musician to actually enjoy the experience of interpreting my music... I see the connection between performer and composer as a kind of friendship: a good collaboration brings the two closer to the horizon of friendship, of communication of ideas.

Born on 19 September 1957 in Racila/Gîrleni, Bacău County.

1976 - 1980 Studied at the "Ciprian Porumbescu" Conservatory, Bucharest (composition with Dan Constantinescu)

1980 - Master's degree in composition

1980 - 1981 Post-university training in composition (with Dan Constantinescu)

1979 Composition debut with incidental music for the Nottara Theatre and the Cassandra Studio in Bucharest

1985 - 1989: DAAD scholarship, postgraduate studies at the Staatliche Hochschule für Musik, Freiburg (im Breisgau), composition with Klaus Huber, conducting with Francis Travis and Peter Babberkof

1986 - 1990 Active participation in conducting courses organised in Parma, Italy ("Arturo Toscanini", 1986); Manchester, Great Britain (BBC / 1987); Avignon, France, with Pierre Boulez (1988); Szombathely, Hungary, with Peter Eötvös ("Bartók Festival", 1989, 1990)

1989 - 1991 Conductor of the Freiburg Academic Orchestra, appearances in Germany, Italy, Canada and the USA. Guest conductor at the Stuttgart Opera and Chamber Theatre.

1989 - 1991 Scholarship holder of the Rosenberg Foundation, the Baden-Württemberg Art Foundation, the Heinrich-von-Strobel Foundation of Südwestfunk Baden-Baden for composition and conducting

1992 - 1993 Scholarship at the Künstlerhof Schreyahn, near Hanover

1992, 1993 Conductor and director of the "Rossini in Wildbad" festival

1996 Conducts the world premiere (first version) of her chamber opera "Giacometti" at the Opera in Bonn/Neues Theater für Musik

1999 - 2006 Associate Professor at the Seminar for Composition at the National Music University of Bucharest

1995 Foundation of the ensemble for contemporary music "devotioModerna" together with the cellist Dan Cavassi

1995, 1996 Artistic Director of the International Music Festival for New Music "The Week of Contemporary Music" in Bucharest

2011 Scholarship at the artists' residence "Die Höge" (near Bremen)

2007 - 2011 Managing director of the music publishing house / "Editura Muzicală" Bucharest

2010 Doctorate at the National University of Music in Bucharest

Since 2011 Programme manager/coordinator of the recital season of the National Museum "George Enescu" in Bucharest

Doiniri for two bass flutes (1984, rev. 2005)

Dreisprachiges BILD im Dezember for violin (1985-1986)

TROJTZA for 15 players (1989 - 1990)

...une main immense for double bass flute / bass flute (1991)

...que des mots for voice and string trio, on texts by Annie Cohen (1992)

femme couchée qui rêve / Giacometti-Szene for voice, clarinet and percussion, on texts by Alberto Giacometti (1993 -1999)

GIACOMETTI - Play yes, eroticism yes, restless yes, destroyer yes, yes - chamber opera. Libretto: by Carmen Maria Cârneci (1994-1995)

Das Hohelied for chamber choir, instrumental ensemble, tape and live electronics (1996)

...denn der Tag war noch ganz for flute, viola and guitar (1995) - version for flute, cello and piano (2001)

Clearing. Giacometti, Scene for piano (1995-1998)

REm, Concerto for cello and chamber orchestra (1996-1997)

Sprachrohr - de Sancta Maria, Psalms for mezzo-soprano, flute, violin, cello and piano, on texts by Hildegard von Bingen (1997)

Semanterion - Toaca, sextet (1998)

-embER (the silence, me) for cello and ensemble (1999)

O, viridissima for cello, harpsichord and strings with live electronics ad libitum (2001)

OMENS cycle :
.capriccio for clarinet (2003)
.mnemosyne for guitar quartet (2004-2005)
.Akyn for flute and flute orchestra (2007)
.Thesaurós, sextet (2009)

Hesperide for cello and piano (2014) - from the Orpheid cycle

Hesper(í)a for piano (2016) - from the Orpheid cycle

Origami with Blackbirds for flute (2014-2016) - from the ORIGAMI cycle

The no man's rose. Three songs after Paul Celan for bass-baritone, (bass) flute, (bass) clarinet and cello (2011-2012) - version for bass-baritone and piano (2016 )

Psalm at noon for viola (2017)

Mars-Luna. Asterism1 for viola and guitar (2018) - from the Asterime (Asterism) cycle