Abstract

The first symphonies composed by the Transylvanian composer Sigismund Toduţă represent an important step in the assimilation and filling of the gaps existing in the 20^th century between the Romanian and the international art music. The Neoromantic language combined with the neomodal one, the monumental dimensions of the architectures and symphonic apparatus are convincing arguments in this regard. The three symphonies represent a trilogy, as demonstrated by the analyses of form and content conducted in the course of this paper. The thematic unity is provided by the idea of the homage paid to man`s creative force whereas the cyclical conception based on identical or related thematic material confirms the role model played by the Romanian symphonism around the middle of the 20^th century.

Keywords: S. Toduţă, Romanian symphonism, symphonic trilogy, Romanian neomodalism, sound  architectures

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