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classical music of sundays 🌶️ .ton.bucharest

classical music of sundays 🐠☕️☀️

.violin 🖤

Palm Sunday 🎬 #1 .ton.bucharest music of sundays

Amazing evening. Amazing. ❤️ 🖤 and nothing less then the riot of the true spring 🍃

the rite of spring .ton.bucharest | classical music of sundays

mårtishor .ton.bucharest | classical music of sundays 🐕🌷| ’s bday

Accompanied by , and the rest was 😋 | 🥮

A symphonic poem inspired by a Czech folk tale in which a mother jokingly calls the Noon Witch—and she truly appears in Dvořák’s view. This is how the evening started.

Then the lovely Alexandra Dariescu playing one of the most electrifying piano entrances ever written—a crashing cascade of chords—it instantly grabs the audience. Grieg weaves Norwegian folk rhythms and dances into a virtuosic Romantic concerto. Interestingly, he never heard it performed in Norway at the premiere; it debuted in Copenhagen in 1869. The energy, joy, beauty of this half hour produced an euphoria that was hard to stop, by multiple flowers and coming backs on the scene of this wonderful piano player.

After which Brahms’s final symphony was necessary. It is often called his most intellectually rigorous—and emotionally devastating—orchestral work.

All, conducted by Timoth Redmond, a British conductor known for his dynamic presence on the podium and his wide-ranging repertoire from symphonic works to opera and contemporary music. He has conducted major UK orchestras and is particularly associated with English music, including works by Britten and Elgar. Before focusing fully on conducting, he trained as a clarinettist—something that shapes his refined attention to wind colour and orchestral balance in rehearsal.

One of the most beautiful evenings, .nationala.radio 🖤🪄

At the invitation of Maestro Cristian Măcelaru, Artistic Director of the George Enescu International Competition and Festival, pianist Lilya Zilberstein, cellist Arto Noras, violinist Mihaela Martin, and composer Zygmunt Krauze will chair the juries of the 2026 anniversary edition, alongside prominent figures of international musical life such as Nelson Goerner, Frans Helmerson, Enrico Dindo, Claudio Bohórquez, Alissa Margulis, Nemanja Radulović, Gabriela Ortiz, Errollyn Wallen, and Mark Simpson, as well as renowned Romanian artists with international careers, including Marin Cazacu, Liviu Prunaru, Raluca Știrbăț, Valentin Răduțiu, Doina Rotaru, and Dan Dediu.

The 20th edition of the Competition will take place in Bucharest from 23 August to 19 September 2026. It will feature four sections — cello, violin, piano, and composition — and will be held under the theme “In Pursuit of Excellence.”

The Enescu Competition is recognised as one of the most prestigious classical music competitions worldwide and serves as a genuine launching platform for new generations of artists on the international stage.

Throughout its history, the Enescu Competition has marked the debut of outstanding artistic careers, with its laureates subsequently invited to perform on the world’s most important stages and to collaborate with leading orchestras.

Each edition attracts hundreds of young musicians from around the world, strengthening its role as a global platform for discovering and promoting new talent.

Prokofiev, Weinberger and Beethoven

Symphony No. 1 in D major, Op. 25 “Classical” – Sergei Prokofiev (1917) was composed with the intention of writing a work “in the style of Haydn,” but without having a piano at hand. Prokofiev wanted to test whether his orchestral imagination could function “purely,” without the support of the keyboard. Although it sounds playful and transparent, the score demands extreme precision.

Symphony No. 2 in D major, Op. 36 – Ludwig van Beethoven was written at a time when he was dramatically confronting the loss of his hearing. Paradoxically, the music is exuberant and energetic. The finale was considered “eccentric” and even “bizarre” by his contemporaries because of its driving energy and unexpected accents.

Weinberger’s composition? I missed it! I arrived late and had to wait until the break to enter. It was a premiere, in fact the absolute first performance. Weinberger, one of the central figures of Romanian blues—a guitarist, vocalist and composer with solid training and an openness towards academic musical language—was probably fascinating in this surprising composition precisely because of this dual identity. I only know that during the interval, as I was entering, the audience was coming out delighted—chatting animatedly, commenting and smiling.

Meanwhile, I listened to Beethoven under the baton of Hyunsik Shin, a contemporary composer active mainly in the field of symphonic and chamber music, with a lyrical, cinematic aesthetic that is highly accessible to audiences. Everything sounded perfect—well-balanced, clean and melodic.

And, most likely, so did Răzvan Suma’s cello. I missed the actual chords, but I could hear the cello in my mind as I waited to enter during the interval.

A proxima!