Статья посвящена памяти Златы Ткач и содержит анализ её последнего симфонического произведения — "Tenebre", рассматриваемого с точки зрения его жанровой и образной концепции. Исследователь также вписывает данное сочинение в контекст симфонического творчества З. Ткач в целом, определяя, в частности, три её поздних симфонических опуса (симфонию "Panopticum", симфоническую поэму "În memoriam" и сюиту "Tenebre") как макроцикл.

Articolul este dedicat memoriei Zlatei Tkaci şi prezintă analiza ultimei lucrări simfonice a compozitoarei "Tenebre" examinate sub aspectul reflectării conceptului ideatic şi de gen. Acest opus este plasat în contextul general al creaţiei simfonice a Zlatei Tkaci, dar şi în contextul compoziţiilor simfonice semnificative din ultimii ani, realizând o comparaţie a celor trei lucrări (simfonia „Panopticum”, poemul simfonic "În memoriam" şi suita "Tenebre") care, în opinia cercetătoarei, formează un macrociclu

This article is dedicated to the memory of Zlata Tkaci, a composer from the Republic of Moldova, and presents an analytical study of the composer’s last symphony work "Tenebre" (Obsessions) that is considered from the point of view of its genre and image conception. This opus is placed in the general context of the composer’s whole symphony creative activity as well as in the context of the significant symphony compositions written over the last years. The author realizes a comparative analysis of the three symphonic works by Z. Tkaci (the symphony "Panopticum", the symphonic poem "In memoriam" and the suite "Tenebre") that, in the researcher’s opinion, form а macrocycle.