My guest this evening is the violinist Diana Moș, PhD Professor at the National University of Music in Bucharest and Rector of this higher education institution.

Welcome to Radio România Muzical!

Welcome! Good evening!

Diana Moș, as I was saying, you are the rector of the National University of Music in Bucharest, an institution that this year celebrates 160 years since it opened its doors to students. All the best to you!

Thank you. It is a venerable institution, but we always hope to come out with something new for it.

A few milestones in the history of this institution. Firstly, let's say that it has operated under several names. In fact, it was created in 1863, by decree of the ruler Alexandru Ioan Cuza, and on the 6th of October 1864, it opened its doors under the title Conservatory of Music and Declamation. The first head of this institution was Alexandru Flechtenmacher. The institution progressed then. In 1900, the first chamber music class appeared. In 1905 - the first composition class, was led by Alfonso Castaldi. On the 17th of July 1931, it became the Royal Academy of Music and Dramatic Art, and in the 1940s, the composer Mihail Jora took over the direction of this institution. Incidentally, Mihail Jora, it has to be said, was also the first musical director of the Romanian Broadcasting Company. After the 1950s, of course, it changed its title and became the "Ciprian Porumbescu" Conservatory. From 1990-1998 - the Bucharest Academy of Music; then, the University of Music in Bucharest; and since 2001, the National University of Music in Bucharest.

I want you to tell us more about your current educational institution. With what educational offer do you attract young people who want to study at the National University of Music in Bucharest?

I would like to make one small clarification. Even if, as you said, we now call ourselves the National University of Music in Bucharest, we musicians call ourselves the Conservatory or, in short, "Cons".

So "Cons" welcomes, first and foremost, all musicians who want to study classical music, but not only. We also have an offer for those who want to deepen their knowledge of pop music or jazz, performers of all instruments, singers, but also composers, and musicologists, and we also have a section for sacred music - both Byzantine and church music.

How does this harmonize with the labor market?

We hope to be as grounded in reality as possible, and many of our students are already employed in one form or another in various other institutions, right from their studies. We have students who collaborate with the George Enescu Philharmonic, who collaborate with the Opera Orchestra, who collaborate with you - both with the Radio orchestras and also with young musicologists who are your younger colleagues.

Yes, at Radio România Muzical.

I know you recently launched a platform, it's called musicaljobs, isn't it?

Exactly. Through this we hope to be very helpful to young aspiring musicians who want to find a job after they graduate or even during their studies. Or even more than that, not only for our graduates, but for all people interested in this area of music jobs. I think my colleagues who have been in charge of this have done a great job and interest has been very high since the launch.

Incidentally, it is a sequel of other concerns from previous years. We launched another platform then, music careers. So it ties in very well with these endeavors. At that time, Mrs Olguța Lupu, the dean, worked for years to describe musical occupations and qualifications, to accredit them, and she was extremely laborious in her work, for which we are all very grateful.

For music to be of a certain quality, we need to have a quality audience on the other side of the stage, an educated audience, and this musical education is formed in schools. It comes full circle when we talk about trained and passionate music teachers who learn the children who will become tomorrow's audiences.

As rector of the National University of Music in Bucharest, how do you see music education in schools? Are the students who graduate from "Consul" prepared to face up to the hardships and mentalities that exist? Just think that we have mentalities related to the arts in mainstream schools, I'm not talking about vocational schools because those are for those who will become, let's say, professionals in the field.

That is exactly what I was going to say, that there are two levels. On the one hand, we are aiming at music education for those who want to become professionals in the musical sphere, and, on the other hand, we have to consider the general public, the general culture of the ordinary human. You ask me, to what extent are our graduates prepared to face up to it? I wonder to what extent Romanian society is prepared. I think it should be our endeavor, all of us, to raise the general cultural level. However, without the musical side, I don't think that this can fulfill itself naturally.

Unfortunately, in recent times - and when I say recent times, I mean the last few decades - I think that this part of musical training has not been emphasized, which is a pity, I think. Because if you look around you, in countries that have a culture and civilization to which we all want to aspire, musical culture is at the top of the list, it is placed alongside the highest forms of education and it is an education that is accessible. If you go to Germany, there is at least one piano in every classroom or kindergarten, and I am not talking about music high schools and specialized schools, it is normal, it is natural. I would like to get to that level where even if you go to, I don't know, a village, a small town, you can find music in every classroom. At least a piano or a piano in a school! I think that's an accessible standard without so much effort. I dream of that day!

On Saturday, at the Romanian Athenaeum, there will be a concert dedicated to the anniversary I was talking about earlier. I would like you to tell us more about this event.

On our 160th anniversary, we decided to come up with a chamber music programme, with our most relevant formations. Each of these bands is linked, of course, to our university, to the conservatoire, but at the same time, each is an autonomous name, which is on the concert posters and has a life of its own.

Whether we are talking about the Game Ensemble, the Clarino, the Power Flute, or the Violoncellissimo, or the Ricercare Choir, they are all household names on the music scene, and I am very pleased that my colleagues have done an excellent job in inspiring students to want to form ensembles that are viable in their own right. But at the same time, they are the emanation of our university.

So, on Saturday, the 19th of October, from 7pm, at the Romanian Athenaeum - an anniversary concert. The National University of Music in Bucharest - 160.

You are a violinist, member of the Profil Ensemble and chamber music teacher. You said in an interview that the position of rector is somewhat transient and temporary...

Absolutely! I stand by what I said then!

I know this managerial endeavor is time and energy-consuming. That's why I ask you, how much time do you devote to the violin?

I suppose shamefully little, but I try not to let my administrative chores swallow up all my time, and I've come to the conclusion that it is a privilege the time I manage and we all manage to allocate to something beautiful. And music is a very important part I think for all of us. When we don't realize it, music is already playing in our minds. There's a certain rhythm, a certain energy... So I really came to appreciate and feel privileged when I managed one day to study the violin and when I managed to go on stage and not embarrass myself. I hope that I can continue to do it to... I don't dare to say the highest standards, but I try my best.

Anyway, you'll be on stage on November 10th, not even a month from now, at the Meridian Festival with the Profil Ensemble, as far as I know.

That's right.

An ensemble that is directed by Dan Dediu, who I imagine demands a high standard of artistic quality, so I suspect you too are ambitious to maintain a high standard of performance.

Absolutely. Not only the artistic director of the Profile Band but all my colleagues in the ensemble, each of whom is an outstanding artist. Every time, I make it a point not to embarrass my colleagues.

Diana Moș, I wish you every success in your work and many fruitful years to this National University of Music in Bucharest, as we are fond of, "Consul", and, above all, to this valuable teaching staff of which you are part. Because, thanks to these personalities in your team, the National University of Music has prestige and value.

Thank you very much!