Abstract

The composer Tudor Jarda prefigured in the Romanian musical life a new dimension of the opera compositions, his works being presented in first hearing on the stage of the Cluj-Napoca National Opera: Neamul Şoimăreştilor (1959), Pădurea vulturilor (1961), Dreptul la viaţă (1981), Înger şi demon (1989). Being considered an artistic product of the Transylvanian spirituality, Tudor Jarda created in Înger și demon pages of remarkable expressivity, a consequence of mastering a particular musical language. Through the subjects employed, Înger și demon opens a universal conceptual space in which the emphasis shifts from the psychological drama to the action of the creative consciousness.

Keywords: musical language, harmony, tempo, vocality, expressivity

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