The Musical Discourse in Aurel Stroe’s Concerts

Abstract

The analytical effort oriented towards the last three concertos composed by Aurel Stroe and their integration in the complex assembly of the creation and thinking of our great Romanian musician. All this being about works chronologically situated in the composer’s last decade of creation, these are a testimony to the newest conceptions launched by him. Proof of his compositional maturity, the three concertos belong to the same musical genre, even if the Concerto dedicated to the saxophone has a more likely dramaturgic profile that resembles more a concerting-symphony than a concerto.