Предлагаемая статья представляет собой краткий обзор органного творчества композиторов Молдовы, которое в целом пока не стало объектом музыковедческого исследования, исключая редкие случаи обращения к отдельным сочинениям. Построенный в конце 1970-х гг., Кишиневский Органный зал привлек внимание композиторов разных поколений: Л. Гурова, В. Загорского, Т. Тарасенко, Т. Кирияка, А. Федоровой, Г. Чобану, Д. Киценко, В. Беляева и др. За четыре десятилетия были написаны как сольные произведения для органа, так и сочинения для органа с оркестром, камерно-инструментальными ансамблями, голосом, хором. Характеристика сочинений включенных в обзор проведена на основе личного нотного архива солистки Органного зала, Народной артистки Республики Молдова, Анны Стрезевой. Цель статьи – пробудить интерес к отечественному органному творчеству, которое заслуживает изучения и продвижения.

Articolul ce urmează reprezintă o scurtă trecere în revistă a creaţiei pentru orgă a compozitorilor din Republica Moldova care, în ansamblu, nu a devenit încă obiectul cercetărilor muzicale, excluzând cazurile rare care se referă la anumite compoziţii. Construită la sfârşitul anilor 1970, Sala cu Orgă din Chişinău a atras atenţia compozitorilor din diferite generaţii: L. Gurov, V. Zagorschi, T. Tarasenco, T. Chiriac, A. Fiodorova, Gh. Ciobanu, D. Chiţenco, V. Beleaev şi alţii. Timp de patru decenii au fost scrise atât lucrări solistice pentru orgă cât şi compoziţii pentru orgă cu orchestră, ansambluri camerale-instrumentale, voce, cor. Caracterizarea compoziţiilor incluse în articol a fost realizată pe baza arhivei personale de note a solistei Sălii cu Orgă, Artistă a Poporului din Republica Moldova, Anna Strezeva. Scopul articolului de faţă este de a trezi interesul pentru creaţia de orgă autohtonă care merită să fie studiată şi promovată.

The proposed article is a brief review of the organ creation of composers from the Republic of Moldova, which, as a whole, has not yet become the subject of musicology research, excluding rare cases of reference to individual compositions. Built in the late 1970s the Organ Hall from Chisinau, has attracted the attention of composers of different generations, such as L. Gurov, V. Zagorschi, T. Tarasenco, T. Chiriac, A. Fiodorova, Gh. Ciobanu, D. Chitsenko, V. Beleaev etc. Over the course of four decades, both solo works for organ and compositions for organ and orchestra, chamber-instrumental ensembles, voice, and choir have been written. The characteristics of the compositions included in the review are based on the personal music archive of the soloist of the Organ Hall, People’s Artist of the Republic of Moldova, Anna Strezeva. The purpose of the article is to arouse interest in the autochthonous organ creation, which deserves to be studied and promoted.

The proposed article is a brief review of the organ creation of composers from the Republic of Moldova, which, as a whole, has not yet become the subject of musicology research, excluding rare cases of reference to individual compositions. Built in the late 1970s the Organ Hall from Chisinau, has attracted the attention of composers of different generations, such as L. Gurov, V. Zagorschi, T. Tarasenco, T. Chiriac, A. Fiodorova, Gh. Ciobanu, D. Chitsenko, V. Beleaev etc. Over the course of four decades, both solo works for organ and compositions for organ and orchestra, chamber-instrumental ensembles, voice, and choir have been written. The characteristics of the compositions included in the review are based on the personal music archive of the soloist of the Organ Hall, People’s Artist of the Republic of Moldova, Anna Strezeva. The purpose of the article is to arouse interest in the autochthonous organ creation, which deserves to be studied and promoted.