Abstract

Our research enables us to say without any doubt that the pianist Sigismund Toduțǎ will always be remembered for his explosive style, or for masterly combining the complexity of the score with the clarity of mood, or sobriety with simplicity, in all his areas of interest. Toduțǎ`s musical output has yielded a plethora of theses and principles in contemporary Romanian musicology. For almost half a century, the studies covered an area in which the Toduțǎ phenomenon was presented as a quasi trend with an overwhelming influence on the school of Cluj. We are fully entitled to encourage the processes of standardization of Toduțǎ`s musical language, since his works and concepts still reverberate in today`s musical life. However, there is one element that has not been covered: his piano art. The purpose of this paper is to structure the themes of the scientific studies conducted so far on Toduțǎ`s piano music, identify the areas of research and orient the future initiatives to new directions that benefit from considerable resources, hoping that the light that musicology throws on Sigismund Toduțǎ`s piano works will stimulate the interest in its performance.

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