Recipient of the "Heirs of Musical Romania" 2024 Scholarship-a project by Radio România Muzical and Rotary Club Pipera-Jan Sekaci takes the stage at Sala Radio on December 6th.Currently a master's student at the Barenboim-Said Academy in Berlin, he was a semifinalist in the "George Enescu" International Competition in September 2024, achieving the highest placement among Romanian musicians.

This Friday, Jan Sekaci will perform at Sala Radio with the National Radio Orchestra, led by Gabriel Bebeșelea. The young cellist is here with me in the Radio România Muzical studio. Good evening!

Good evening! Thank you for the invitation.

Thank you as well for joining us. Let's start by talking about the rehearsals. How's everything coming along?

This morning (December 5th, 2024), we had our first rehearsal. Everything went like clockwork. It lasted an hour and a half, during which we worked on dynamics, tempos, and subtle adjustments to the score to ensure a more seamless, organic flow to the piece.We collaborated very well.

Am I right in saying this is your debut with the National Radio Orchestra?

Yes, that's correct. I played with the Radio Chamber Orchestra about 10 months ago, but this time I'm thrilled to perform with the National Radio Orchestra.

The Chamber Orchestra seems to include musicians closer to our age, doesn't it?

That's true. In both ensembles, I've come across former classmates from high school, youth orchestras, various competitions, and music Olympiads.

How does it feel to perform with a young orchestra?

First of all, it feels like a privilege, especially with a piece like Dvořák's concerto. I actually mentioned today that if I were a millionaire, I'd pay a fortune for a seat right behind the soloist or beside the conductor-it's such an extraordinary spot.

What makes you say that?

As an audience member, you perceive a perfectly balanced sound, all the elements coming together. However, within the orchestra, whether as a soloist or conductor, you can hear the distinct voices so clearly and observe the musicians' expressions. With so many of my peers in the orchestra, it's an incredible feeling-I would say it's almost like being in a lively classroom.

I guess we don't need to be millionaires; we just need to be musicians, study hard, and make it into the orchestra, right?

Exactly. And why not, also prioritize experiencing it firsthand.

Let's talk a little about this concert. First, what is your relationship with Maestro Bebeșelea? I'm sure you've known him for a long time.

I've known Maestro Bebeșelea for about 10 years now. I can still remember my first junior orchestra project in Sinaia,where he was the conductor.From that point forward, I've continued to apply the principles I learned during that incredibly intense week focused on Mozart, Haydn, and Vivaldi. The insights I gained have stayed with me ever since.

We'd love to hear more about these principles, especially for those of us who weren't involved in orchestras 10 years ago and missed out on those rehearsals and tours. What exactly are these lessons?

One key lesson is the functional hierarchy within an orchestra. It's crucial for every section-cellos, first violins, second violins-to follow their section leaders, and for the entire orchestra to defer to the concertmaster, who in turn defers to the conductor. There's a chain of communication, starting from the second stand at the back, where you always look to the conductor but pay special attention to your section leader. They decide whether we speed up, slow down, play softer, or louder. This principle applies to society, too, and I believe it's successfully implemented in many teams, especially in corporations.Another principle is honesty-always being prepared and punctual. It's disrespectful to others to be late.

They say that if you arrive early, you're on time; if you arrive on time, you're late; and being late is unacceptable.

You should aim to arrive at least 30 minutes early.

As a musicologist, I try to follow this principle when I attend concerts. For example, if a concert starts at 7:00 PM, I aim to be there by 6:30 PM, aside from simply making sure I arrive.

First and foremost, there's the social element. People should interact with each other and build connections.

You never know who you might meet, perhaps in the lobby or the concert hall. Maybe you'll learn something new about the soloist or hear an interesting fact about one of the works the musicians are about to perform. In the end, it's all about community. That's exactly what came to mind when you were talking about following the voices in the hierarchy you described. After all, it's a community, and we need to listen to one another.

The most important thing is to listen to each other. A lot can happen in that half-hour before the concert. During a course at the Verbier Festival Academy this summer, we were strongly encouraged to arrive early and socialize as much as possible-not just to attract an audience, but because it's also beneficial for us as artists to build relationships with different people. You never know what opportunities might arise.

For our listeners, Jan has arrived 10 minutes before the beginning of the interview. Maybe I shouldn't mention it-it's kind of behind-the-scenes for us-but on the other hand, it's worth acknowledgingthat you've internalized this lesson, and I imagine you apply it wherever you go.

Yes, especially in Germany, being on time is highly valued.

Let's focus again on the music. How do you approach this concert and this particular piece? As a side note, I know there are cellists who complain that the solo repertoire for the cello is somewhat limited. What are your thoughts on that?

I don't think 40 concertos is a small number. Thanks to Mstislav Rostropovich, we have about 20 more concertos. I don't know the exact number, but I've heard so many stories about him, visiting composers' homes, some of whom were very ill, and urging them to write concertos.

In the end, this attitude has proven effective.

Yes. It has created a culture of the cello. If you compare the level of cello playing now to what it was 50 years ago, the difference is enormous. We're oftenconsidered to be on a higher level than violinists. It makes us laugh, but that's the reality. Many times, violinists look to us cellists as examples. This summer at Verbier was a case in point.

Could you tell us a bit about that?

It was also about punctuality. We worked in different chamber music groups. It was about the level of preparation-generally, all six of us cellists in this soloist program were more than prepared. We knew every part of the piano quartets or trios. It's not just about preparing our own parts, sitting around on our phones. It's about our passion for understanding the music. This applies to this concert and any other concerts.

I believe this attitude, coupled with the fact that you were among the most praised young cellists in a group that is highly regarded at the European level, should make us proud. Especially considering that you're here thanks to your years of hard work, and because you received the Heirs of Musical Romania Scholarship. The scholarship either confirmed your hard work or your work showed that the scholarship wasgiven appropriately.Would you encourage young cellists and young musicians, in general, to apply for the Heirs of Musical Romania Scholarship?

I have to admit, I'm here today because of this scholarship. Without it, I could study as much as I want, but still wouldn't make it because we need exposure and publicity. Getting onto the stage can't happen just through study. There's a whole management and artistic side to things that's still developing in our country. I've had concerts before, many years ago, in Oradea or other philharmonics in the country, but it's not a sustainable path. What this scholarship offers is exactly what we need. Beyond the financial support, it provides opportunities for recitals and concerts across the country and even airtime on Radio România Muzical, which connects me to a vast audience. Who would have thought that radio waves could connect us to so many people?

What is your relationship with this cello concerto? How do you connect to this work?

I feel a strong connection to it because I come from a bohemian Czechoslovakian family, and I find my roots in this piece, as well as in many of Dvořák's works.

Thank you for being here in the Radio România Muzical studio. You can hear Jan Sekaci tomorrow with the Radio National Orchestra, conducted by Gabriel Bebeșelea.