Abstract

The use of the term eclogue as title for several of Sigismund Toduțǎ`s works defines a certain aesthetic idea, an artistic message that falls within the ideational sphere of the poetic species. The years 1933, 1958, 1969, 1988 and 1989 are five landmark years in Toduţã`s musical career, marked by just as many works, apparently belonging to the same species: The Eclogue for Symphony Orchestra, nr.2 the Eclogue “Dar cea mioriţă” from the ballad-oratorio Mioriţa, Eclogue I – Eclogue II – Eclogue III from the mixed choir Notebook No.3 and part I, Eclogue, from the Sonata No.2 for flute and piano. The paper demonstrates that the connections between these works go much deeper, being encoded in the musical language and reflecting both the evolution and the stylistic constants of Toduță`s musical thinking.

Keywords: eclogue, Toduţă, musical language, cyclical idea, generative cell