The celebrated harpist Xavier de Maistre, a leading advocate for his instrument, will take the stage as a soloist this evening (March 5th, 2025) at Sala Radio. The Radio Chamber Orchestra's program includes Franz Schubert's Entr'acte No. 3 from "Rosamunde," François-Adrien Boieldieu's Concerto in C Major for Harp and Orchestra, and Wolfgang Amadeus Mozart's well-known Symphony No. 40 in G Minor, KV550. The concert will be conducted by Fayçal Karoui.

You will be playing François-Adrien Boieldieu's Concerto in C Major for Harp and Orchestra, a classical composition that features touches of early Romanticism. How does Boieldieu highlight the role of the harp in this piece?

This was one of the first major concertos ever written for the harp. Boieldieu was quite famous at the time, composing many operas in Paris. His style can be seen as bridging the Classical and Romantic periods, and, in a sense, he paved the way for Beethoven. The Harp Concerto became Boieldieu's most famous work after his death. Most of his other compositions were lost to history,but this concerto is still widely cherished, particularly for its third movement, which features an exquisite and easy-to-remember melody. The concerto is very well-balanced in terms of orchestration, ensuring the harp always stands out. However, it's not an easy piece, as it was written for a different type of harp-smaller and with strings that had far less tension. Because of this, some parts are quite challenging, especially the end of the first movement, which is very demanding for the performer. But it's a piece I enjoy playing a lot.

Certainly, Boieldieu's prolific opera output shaped his approach to writing for the harp. The melody in the second movement remindsme ofbel canto; it's like an opera aria that I love to perform freely, with a beautiful legato. It's a real joy to show that one can play the harp in a way that mimics the voice, articulating the notes in legato.

I'm especially struck by the start of the second movement; it's full of emotion. I also really enjoy the third movement's theme, which recurs many times, but which I try to play a little differently each time. It's the type of melody that lingers in your mind and thatyou'll remember well after the concert ends.

In previous years, you've been invited to the "George Enescu" International Festival.What are your memories of those times, and how do you feel about returning to Romania?

I've performed twice at the "George Enescu" International Festival-once in a recital with Diana Damrau and the second time as a soloist in Tan Dun's "Nu Shu: The Secret Songs of Women," which he also conducted. It's a very special memory because that's when I met Tan Dun, and now he's composing a piece for me... I think Bucharest has brought me good luck!

After our first rehearsal, Tan Dun told me he had never heard such a beautiful sound from a harp and asked if I would like to have a new harp concerto written for me. Of course, I said yes!

I've just returned to Romania... I absolutely love Bucharest! The people are so welcoming, and it's a country full of great musicians. I also truly appreciate the audience; it's always a joy to perform in Romania!

You are among the most famous harpists of today... However, throughout history, very few have chosen to make a career out of this instrument. How would you explain the rarity of great harp performers?

I believe the reason is the limited repertoire. Harpists aren't often in demand as soloists becausethere aren't many works written for this instrument by composers like Tchaikovsky, Brahms, or Beethoven... the repertoire is very limited. That's why I've made numerous arrangements and asked composers for new works over the years. I've tried to broaden the repertoire and think we've made significant progress. Early in my career, major record labels told me it wasn't possible to be a harp soloist, but attitudes have changed. It's becoming more common for the harp to be the central instrument. I'm happy to have contributed to promoting the harp and showing its potential as a solo instrument. Today, we have many talented young harpists, and I'm sure the harp will continue to grow in popularity.

What inspired you to study the harp?

It was actually a bit of a coincidence! I met the harp teacher, and I liked her so much that I decided to start learning the instrument she was teaching. I suppose I fell in love with the teacher first, and then with the harp!

The harp has long been associated in the public's mind with femininity, delicacy, or grace. Male harpists are still quite rare, even today. What's your take on this situation?

I think things have changed. There are now far more male performers. I've been teaching at the Musikhochschule in Hamburg for many years, and for the first time, almost half of my class is made up of men-I have 3 very talented male students. The harp requires a great deal of physical strength, along with deep emotional commitment, of course. At the end of the day, it's an instrument with amazing expressive potential, and it's suitable for musicians of all genders.

However, there has been great progress in that regard, as well. I think the harp wasn't really taken seriously in the past; it was too often viewed as a salon instrument played by beautiful women in long dresses.

Today, the way composers write for the harp has evolved considerably. They understand the harp's vast technical and expressive range. Of course, it possessesa distinct delicacy, producingunique sonic colors that other instruments can't replicate. But we shouldn't limit the harp to just these effects.