A founding member of the National Chamber Choir "Madrigal," later a sound master and music producer at Electrecord, and director of Electrecord between 1998 and 2003, Cornelia Andreescu had an essential role in the rich discography of the "Madrigal" Choir, produced by the renowned Romanian record label.

What thoughts come to mind on the occasion of Marin Constantin's centenary?

In short, Marin Constantin and the "Madrigal" were a true school of musicians who made history in Romanian choral music. They introduced the concept of a chamber choir, elevating Romanian choral music through the maestro's sensitivity and the ensemble's high-level performance. Through all that he achieved, Marin Constantin succeeded in making Madrigal a national brand, even during the communist regime. I first met Marin Constantin in 1963, the year the famous "Madrigal" Choir was founded, thus becoming a founding member of the ensemble. For me, "Madrigal" meant my entire youth. From Marin Constantin, I learned what true music is. Madrigal was a tough and demanding school, but it taught each of us what musical excellence means, because Marin Constantin was a professional and, above all, a perfectionist.

Do you still recall your impressions of his personality-both as a human being and as a teacher and conductor?

As a conductor, Marin Constantin did not have a spectacular gestural style; he conducted more with his eyes than with his hands, knowing well that artistic vibration is transmitted first through visual contact and only then through gestures. With his extraordinary sensitivity, he managed to turn each musical piece into a small jewel. To say that Marin Constantin was talented is not enough-he was a genius in choral music. He built his own personal instrument-the Madrigal Choir-and, with his genius, used it to astonish the entire world with his achievements. He taught us to be patriots and to love our country. He often said: Life is nothing but art dedicated to my fellow human beings on the land where I was born. He loved his country, he loved people, and he loved all of us. We were like a family in Madrigal.

At some point, you left for Electrecord, where you produced a series of outstanding albums. In what context did you leave "Madrigal"?

I was part of Madrigal as a full-time employee with a work contract until 1974, the year I transferred to the Electrecord record label as a music editor and later as a sound master. However, this did not mean that I distanced myself from Madrigal-on the contrary, from my new position, I wholeheartedly supported the ensemble that I loved so much. I managed to convince maestro Marin Constantin-who was not easily swayed or distracted from his thoughts-to record the choir's entire repertoire on disc. I explained to him that the only thing that would endure and demonstrate what this miracle called Madrigal truly meant was the record. Once he was convinced, we began recording the entire repertoire one by one, with me at the recording booth-a choir member who knew the conductor and the choir's performance of each piece inside out. Because I deeply understood his artistic intentions, I also knew what to ask for and what worked well in the recorded version-or what did not.

An ideal partnership!

Together, we produced over 40 records, covering Renaissance music, Gregorian chant, and Baroque compositions, as well as Romanian music-from Byzantine chant to contemporary works, without neglecting traditional Romanian choral music. The pinnacle of Madrigal's discography with Marin Constantin was the album The Art of Choral Construction and Interpretation, which consists of 10 records. In these recordings, he presented his psychotechnical theory of choral conducting. The 10 records are introduced by maestro Marin Constantin, with examples performed by the Madrigal Choir under his direction. We worked extensively together, always respecting his artistic vision.

I imagine his requests were not few, given his well-known high standards.

Many times, what we considered good today, he would no longer like the next day, and we had to start over. We would listen to all the recorded versions again, make new selections, and build a new version that seemed better to him and pleased him more than the one from the day before. That was Marin Constantin-a perfectionist. That is why, even now, after so many years, I say and recommend: listen to the recordings of the Madrigal Choir conducted by Marin Constantin. You will surely detach yourself, even for a few moments, from the noise of everyday life and be transported by this ensemble, under the maestro's baton, into a world of beauty and perfection. A miraculous world created by the genius of Marin Constantin.

I am sure you have many memories with Madrigal and Marin Constantin. What remains most vivid in your mind?

I remember certain things that, at the time, I received with great emotion. For example, in 1976, when Leopold Stokowski listened to Madrigal under Marin Constantin's direction, he said: As long as one lives, one realizes that perfection does not exist. However, listening to the Madrigal Chamber Choir, I had the distinct feeling of perfection. Every word spoken by a great figure in music, art, or any other field moved us deeply. We lived wonderful moments alongside Marin Constantin because he knew how to be both a friend and a strict yet warm mentor. He was a rare kind of person, the likes of whom are hard to find today. I no longer come across conductors like him-I haven't heard of or seen anyone like him. We were a fortunate generation, lucky to have known him and to have sung under his baton. Marin Constantin was a truly special person. He also enjoyed spending time with us. For example, on weekends-back when they were called week's end-we often gathered at his house, laughing, talking, sharing stories. We were friends. That's why I say Madrigal was a second family for each of us. And that's why we have remained friends over the years, those of us who are still here-many have left this world. When I think of Marin Constantin now, I no longer remember the difficult or challenging moments. I remember only the beautiful ones. He was a remarkable person who knew how to capture our hearts and bring out the best in each of us. For everything Marin Constantin did, for all that I experienced as a choir member and later as a collaborator of Madrigal, I can only say now, at this commemoration: "Thank you, Maestro!"