Compared to the central figures of French spectral music, Horaţiu Rădulescu has received relatively little critical attention. Contrasting temperaments, writing styles and surface musical features have led to a tendency to place Rădulescu in opposition to Grisey in particular. In this article I analyse some of Rădulescu's theoretical writing and demonstrate important shared values with the spectral ‘mainstream’. I then examine Das Andere for solo viola, Op. 49 (1983) in detail and compare it to Grisey's solo viola masterpiece, Prologue (1976). In so doing I hope not only to reveal the inner workings of one of Rădulescu's most compelling and approachable pieces, but also to show some common strategies with Grisey, regardless of their radically different aural results.

中文翻译：

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RĂDULESCU：另一个幽灵

与法国光谱音乐的核心人物相比，Horaţiu Rădulescu 受到的批评相对较少。对比鲜明的气质、写作风格和表面音乐特征导致了将 Rădulescu 与 Grisey 对立起来的趋势。在这篇文章中，我分析了 Rădulescu 的一些理论著作，并展示了与光谱“主流”的重要共同价值观。然后我检查达斯安德雷为中提琴独奏，作品。49（1983）的细节，并将其与格里西的独奏中提琴杰作进行比较，序幕（1976 年）。在这样做的过程中，我不仅希望揭示 Rădulescu 最引人注目和最平易近人的作品之一的内部运作，而且还希望展示与 Grisey 的一些共同策略，尽管它们的听觉结果完全不同。