The coexistence of intuition and reason in the formation of the composer Gabriel Mălăncioiu (born in 1979 in Brașov) is due to the graduation of both the Faculty of Automatics and Computers and the Faculty of Music and Theater from Timișoara. In addition to the decisive influence of Maestro Remus Georgescu - the one who initiated him in the study of musical composition, during his master's and doctoral studies at the Gheorghe Dima National Academy of Music in Cluj-Napoca, he met important personalities such as Cornel Ţăranu, Adrian Pop, Valentin Timaru and Eduard Tereny. Gabriel Mălăncioiu’s music has been presented to audiences on five continents in over 270 concerts, performed by prestigious ensembles such as Neue Vocalsolisten Stuttgart, the Slovenian Chamber Choir or the Aventure ensemble, by performers such as Florian Mueller, Gudrun Hinze or Richard Craig, by conductors such as Michael Wendeberg, Huba Hollókői or Martina Batič. Composer Corneliu Dan Georgescu remarked that Gabriel Mălăncioiu is "one of the most active personalities, a confident and very original voice in the contemporary musical landscape". His scores are edited by Universal Edition. Gabriel Mălăncioiu is a member of the Union of Romanian Composers and Musicologists, of the Executive Committee of ISCM – Romanian section - and of some international music organizations such as Vox Novus (USA), La Villa des Compositeurs (France/Italy), Temp’ora (France), Access Contemporary Music (USA), Society of Composers (USA). Gabriel Mălăncioiu is currently teaching Modern composition techniques, Orchestration and Musical Analysis at the West University of Timişoara, Faculty of Music and Theater.
The underlining factor behind every work that I've written in the last few years is the quest of rediscovering the secret power that music has. Therefore, many of my works are influenced by texts belonging to ancient or modern mystics, ranging from Lao Tzu and Heraclit to Osho, Eckhart Tolle, Gangaji or Mooji. Lately, the sacred / profane relation has intrigued my musical thinking, and the complementarity of the polar opposites has become the main idea in many of my works, irrespective of the aesthetical orientation, be it avantgardistic or traditional regardless of the medium used, be it live-electronics or the ancient duduk… Commenting on a piece played during ISCM World Music Days, Frank Oteri from New Music Box was saying “Hommage à Papaji contained some extremely lush harmonies that seemed to float beyond consciousness...”