SUBLIMITY, ETERNITY, ENDLESSNESS In my view, the originality and greatness of the Romanian culture is manifested in Georgescu's works in a very special way. Austere sublimity of his music and its maximalistic [in terms of the sound] minimalism as well as the arrangement of large forms based an elementary gestures makes this Romanian Berliner an individual and an extraordinary figure at least an the continental scale. Georgescu understands music as an art form expressing "an idea or a feeling of eternity". Artistic music has spiritual obligations: it is not a game or an anecdote, but "something transcendental, beyond sounds, instruments, intervals, forms and structures". In this context emerges sublimity which is a type of longing for the eternal and the endless, a painful lack of something that cannot he embraced or comprehended, but what we sense as great, magnificent and liberating. After all, Georgescu himself notices that "sublimity and tragedy are inseparable". The examples of quite literal execution of the ambitious plan to express the premonition of endlessness are electroacoustic compositions [especially Corona Borealis. Atemporal Study No.1 from 1980] which, according to the artist, do not have either a beginning or an end and they are a certain state, a "vibrating space'. Closing them in a defined period of time is purely a consequence of a technical necessity, while the existing pieces are in such relation to the intended to be endless composition as a single human life to eternity. This is a window which opens a new perspective. ARCHETYPE AND TIME "Composing as contemplation of a musical archetype" - this is the best recapitulation of what Georgescu says about his own music, pointing to Jung's archetypes of collective unconscious. What is most crucial and powerful in these works is not how originally the composer captures the musical material, plays with it and reshuffles it. One could even say that Georgescu does not compose and does not "arrange" sounds, but rather contemplates archetypical figures and turns towards basic components, pure elements. Georgescu's approach is founded on the idea of the "stopped time" picturing the "eternal stillness". In this sense, it juxtaposes the concept of both linear and circular [also connected with movement] time. This type of "stillness" does not stem from negating movement of spheres and the world's never-ending bustle, but from locking at it from the perspective of eternity, where they are simply glimpses and short moments in the "great resting wholeness". It’s worth referring here to a famous Romanian common ground with the Orient and the specific relationship of this strange country with India or Tibet which by no means is only an extravagant intellectual figure.