The acclaimed violinist David Grimal, an artist renowned both for his extraordinary musical qualities and for his intellectual curiosity and social involvement, returns this Wednesday, November 12th, 2025, to the stage of the Radio Hall together with the Radio Chamber Orchestra. The evening's program includes Leo Weiner's Serenade for Small Orchestra, Op. 3, Karl Amadeus Hartmann's Concerto funèbre for violin and string orchestra, and Wolfgang Amadeus Mozart's Symphony No. 38 in D major, KV504 - "Prague." David Grimal will take on the role of soloist, but also the musical direction of the concert. The artist told us about his unique conception of the collective interpretative process, about Wednesday's program, about his role as artist in residence of the Radio Chamber Orchestra, and about the "Lumières d'Europe" Academy, among other things:

I suggest we start with the program you will be presenting this time with the Radio Chamber Orchestra. How do the three works operate together within the program, from your perspective?

The program highlights three composers and revolves around the figure of Wolfgang Amadeus Mozart. We have one of his last symphonies-No. 38, "Prague," an absolutely fabulous masterpiece. I believe that in the times we live in, we need music like this-full of joy and light. It is truly amazing. Alongside this work, we have Leo Weiner's Serenade; so we move a little further east, from Prague to Budapest. It is also wonderful music, very warm, with folk and romantic accents. And then we have Karl Amadeus Hartmann's Concerto funèbre - a very dark work, in stark contrast to the rest of the program, reminding us of the need to sometimes face the dark side of life. Concerto funèbre was composed during World War II and, although it is tragic music, it is also overwhelmingly beautiful. So we have a contrasting program, which lies between two poles - between love and the memory of those who have passed away. I believe that music exists to remind us of our humanity. It is, therefore, a deeply human program.

I would now like to talk about how you approach musical leadership-about the collective process of making music, which you have often spoken about in the past.

I basically do the work of a conductor... who doesn't conduct. That's actually the big difference-especially during the concert. I work in such a way that the orchestra can play without watching the conductor's baton. This way, each musician becomes much more involved in the work process. It's a collective effort, because everyone is responsible for their own part, but also for the result of the performance-in the absence of someone standing in front of the orchestra. It is, therefore, a way of sharing music more deeply. Of course, my role is to make everything work. I am probably the only conductor who does not want to conduct! It may seem strange. But my joy comes not from dominating the music, but from letting myself be led by it-from letting us all be carried away by the music. In this way, I leave plenty of room for surprises during concerts, and for each musician to express themselves as much as possible.

You are in your second season as an artist in residence with the Radio Chamber Orchestra. What special features have you discovered in this ensemble, and what projects are you planning together?

First of all, it is a wonderful group of people. The musicians are friends with each other, they respect and appreciate each other, and for me this is essential-because music begins here, in human relationships, and that is where it can end if those relationships are not good. This is probably why I enjoy working with them so much-they are like family. They welcomed me with open arms, and every reunion is a joy. They are exceptional musicians, they play with soul and have a genuine desire to work. Now there is also mutual trust-they trust me, I trust them-and so we can more easily achieve what we want, artistically speaking. It is a great pleasure to work with them, a great joy.

I try to combine new works that they have never performed before-such as those in this program, by Hartmann and Weiner-with pieces they already know, such as Mozart's Symphony No. 38, for example. However, I try to reopen their perspective even on the works they know, to suggest that they play them differently. I want to bring in some fresh air, more freedom, new aesthetic approaches, and new experiences. I would like to support them in building an increasingly clear identity as an ensemble and in tackling a broader repertoire.

The ensemble "Les Dissonances" has been a very important part of your life for twenty years. How has the experience of leading this project influenced you?

It shaped me completely; I learned everything from this experience. When we started this project, no one knew if an orchestra could perform a Beethoven symphony without a conductor. I think that together we broke down many barriers and also overcame the mental limitations that musicians had-we played "Sacre du printemps," Mahler symphonies, works by Stravinsky and Ravel. So we performed very complex works together, with about a hundred musicians on stage. It was an extraordinary adventure! But now it's over. We gave our last concert about a year ago, and I am now enjoying a new phase of my life, which is also very beautiful.

By this new stage, are you referring mainly to activities dedicated to the younger generation?

Yes, I think the time is right for that. I try to pass on to young people everything I have learned over the years-from this unique experience of making music through a collective approach and also from my experience as a soloist. I have been performing as a soloist for over thirty years, and I have been teaching for twenty years. I founded "Lumières d'Europe" because I want to reconnect the arts with science, to help young people become citizens of the world, not just good instrumentalists who play in an orchestra... I want to give them the chance to ask questions, to think critically about the system, to create new platforms, as I did-but in their own way, of course.

I also collaborate with various orchestras around the world, such as the Radio Chamber Orchestra. This activity, although not teaching, is a way of passing on a different experience of making music. It is a very beautiful period of my life-more serene, in a way.

As you mentioned, you are the initiator of the "Lumières d'Europe" project, a unique educational initiative in that it refocuses attention on the connection between music and philosophy, science, literature, and the social and political context of the era in which the music was created. How did you identify the need for this approach?

I have always been an "atypical" musician-I read a lot of books and was interested in politics, science, and many other fields. I often felt a little lonely among musicians, because most of them specialize only in music from an early age. I think this limits an artist's development later on. It is essential to have such a vision of the world you live in and to be responsible for what you do.

I think these thoughts have been on my mind for a very long time. I come from a family of intellectuals and scientists rather than musicians, so I think this perspective is part of my DNA. After "Les Dissonances", the time came to start this project-"Lumières d"Europe". I have been fortunate enough to present it twice at the "George Enescu International Festival", and I hope that, despite budget uncertainties, we will be able to continue, including in Bucharest. Next up is an edition near Jerusalem in March, then in France, possibly in Portugal, and I would very much like to return to Bucharest, where we have already built something together in connection with the Enescu Festival. I believe that the values of "Lumières d'Europe" are very close to those of Enescu, as I understand him.

An important part of your work involves collaborations with contemporary composers. Do you consider this an essential way of connecting with today's world?

Absolutely. It is the performer's duty. It is very interesting and provides inspiration. Sometimes it can be difficult, because some composers push the boundaries very far, but anything that inspires us is necessary, even if it puts us in "danger" or forces us to surpass ourselves. It is a challenging process, but absolutely vital.

You are an artist deeply connected to the reality of today's world, aware of its beauty but also its problems. Through music, you are socially involved. What conviction or credo guides you?

It's hard to say... Over the years, you sometimes tend to believe less. But I have always been convinced that music is meant to save the world and that artists must try, as much as they can, to take on a kind of savior role - not to save through themselves, but through music, through what music conveys and carries within it: the message of love, respect, beauty, and the absolute. I believe that all of these represent a form of salvation for people. And yes, I still believe in this, even after all these years and after all the inevitable disappointments.