Conductor Katharina Wincor returns to the National Radio Orchestra this Friday. The evening's soloist will be the renowned violinist, Alexandru Tomescu. The musical programme brings together Ludwig van Beethoven's Concerto op. 61 in D major for violin and orchestra and pages from Sergei Rahmaninov's "Symphonic Dances" op. 45.

Sergei Rahmaninov composed Symphonic Dances knowing that it would be his last work. Is there a sense of finality in the music?

Certainly, the music conveys this feeling that the composer's life is coming to an end, it is expressed especially in the third part of the work. Rahmaninov also quotes "Dies Irae" in his other works. Here, in the "Symphonic Dances", the Dies Irae is particularly prominent towards the end, but yet the work ends with a "Hallelujah". So, the music does not plunge into darkness altogether, but concludes on a note of so-called positivity.

The composer's mature, end-of-life style is evident. The first part features the sonority of the saxophone, an unusual appearance and a special opportunity for saxophonists, as they don't often get the chance to play in symphony orchestras. The use of this instrument may suggest respect for America, for his new home. The second part is a kind of waltz of a peculiar strangeness. It is perhaps the most Russian part of the work.

Ludwig van Beethoven's only concerto for violin and orchestra is revolutionary, a groundbreaking work in the concerto genre for its time. What is your perspective on this concerto?

I am not a violinist, but I have the utmost respect for those who perform this concert, as it is a real challenge for instrumentalists. I read somewhere that the soloist who premiered this work read it at first sight in concert. I don't know how true that is, but I find it incredible that someone could do that. I think that every violinist regards Beethoven's concerto as one of the most important of the works that he or she tackles in a lifetime.

I think the most remarkable orchestral innovation is the beginning - the timpani, solo. Beethoven highlighted the timpani sonority at special moments in several works - for example in the "Misa Solemnis" - in the "Agnus Dei", he includes a totally unexpected fragment with timpani and trumpets... I feel that Beethoven uses the timpani as an element of surprise - you are, as a listener, in a certain situation, and suddenly you are transported into another atmosphere. In the Violin Concerto, the timpani appears at the beginning, in a march tempo, you might say, and then you hear this very beautiful melody on the woodwind instruments... So, there's a contradiction, I would say.

How does it feel for you to be back at the helm of the National Radio Orchestra? You will also return next January.

It is wonderful to be back with this orchestra, I was last here less than a year ago. Then we had a fantastic concert with a classical program - Mozart and Beethoven. The concert I'm preparing now was a surprise because the other conductor canceled and I offered to take his place.Rahmaninov's world of music is, of course, completely different. Significantly more instrumentalists are taking part in this concert and I'm glad to have the opportunity to meet them. This is great! The orchestra plays this work quite often. So the instrumentalists know it very well, they are used to a certain approach, and I come with my own vision... it's wonderful that we have the opportunity to find a new, common approach together.

How do you view your collaboration with Alexandru Tomescu, one of the most renowned Romanian violinists and also concert soloist of the National Radio Orchestra?

I haven't met Alexandru Tomescu yet, but it's wonderful that everyone here knows him. I really like this situation where the soloist is familiar with the musicians in the orchestra and vice versa. Because now the collaboration builds naturally. Which is fantastic, because that's what we want.