The Radio Music Season continues on Friday, the 6th of December, with a concert led by the National Radio Orchestra, and Gabriel Bebeșelea. About his return to the leadership of the Bucharest ensemble, Gabriel Bebeșelea shared his thoughts in an interview with our colleague, Ioana Țintea.

Mr. Gabriel Bebeșelea, an evening dedicated to Antonín Dvořák is what you will offer the audience at Sala Radio. How has the music of this Czech composer influenced your artistic development over time?

He is a composer I meet time after time, and I am very happy that I've had the opportunity and chance to learn from musicians that are in Prague orchestras. I have frequently collaborated with the Prague Philharmonic and I conducted this very Symphony No. 9, as well as Symphony No. 8 and Symphony No. 7, alongside these musicians who truly understand the tradition in Dvořák's music. Above all, they are aware of its unique sound-a blend of Brahmsian sonority (since Dvořák was influenced by Brahms' music) with distinct Czech inflections, I would say - shaped by folklore, yet with stylistic elements derived from Czech folk music.

Dvořák's Symphony No. 9, "From the New World", is among the most famous works in the symphonic repertoire. How would you describe it?

It is one of the most dynamic and nostalgic works ever composed. This symphony is, above all, about Dvořák's longing for home. While he was working in New York as the director of the conservatory there, he often reminisced about Prague and the Vltava River, about which he wrote and composed extensively. Even though this symphony is titled "From the New World", it rather reflects his yearning for his home than the musical discoveries he made in the United States. That's why it is mainly about nostalgia. Perhaps, the general audience is most familiar with the second act, which is featured in many films, serving as the soundtrack to several notorious movies. This particular piece exudes a sense of longing.

Dvořák was a European composer highly beloved in the United States. What do you think makes his music so appreciated worldwide?

First and foremost, it's his abilities in using small musical materials. He develops a theme in an extremely intelligent and unprecedented way. He fragments, dissects, and employs it throughout a piece so effectively that, even if the audience does not consciously recognize the theme, they remain captivated by his music because of this consistent use of the same material from start to finish. Everything in his works stems from the beginning. The way he develops this initial material becomes the hook that engages listeners, more often than not unconsciously.

How was the reunion with the musicians of the National Radio Orchestra, and how are the rehearsals going?

Every time I work with the musicians of the National Radio Orchestra, we have a great, cheerful and collegial relationship. The rehearsals are going very well. The atmosphere is charming, focused on work. Even though this symphony is frequently performed, I always discover new things about it. I was delighted that, during rehearsals with my colleagues from the National Radio Orchestra, we were able to explore new sonorities, delve into the meaning of the music, and uncover some unusual colors in this profoundly cinematic work.

Have you collaborated with the young cellist Jan Sekaci before?

No, I have not worked with him in this capacity as a soloist, but I have known him for quite some time as he had performed in orchestras I've conducted, including youth orchestras. We've also crossed paths by the means of the Princess Margareta of Romania Foundation. I greatly admire the musical progress he has made and his extraordinary development. I'm very excited about collaborating with him for another masterpiece which is the Cello Concerto by Dvořák.