On February 28th, conductor Cristian Măcelaru will lead the Orchestre National de France and the Radio France Choir at the Grande Salle Pierre Boulez of the Paris Philharmonic. The soloist will be pianist Alexandre Tharaud. This concert marks the beginning of France's celebrations for the 150th anniversary of Maurice Ravel's birth. You can follow the event live on Radio România Muzical.

More details from conductor Cristian Măcelaru:

You are preparing the first concert in France dedicated to Maurice Ravel in this anniversary year. In the 1920s and 1930s, Ravel was considered the most important living French composer. Today, we describe him as a key figure of Impressionism, although he rejected this label. How is Ravel viewed in France today, and what do you believe is his role in universal culture?

Ravel remains the national hero of French music, especially of the early 20th century, beautifully representing this style that brought the world colorful, rich, and beautiful music. What draws me so much to Ravel is also the way he orchestrates with such beauty. Perhaps for the first time in music history, a composer used the colors of different instruments in completely unique combinations. He made orchestration a distinct style of its own. The orchestra, in a way, becomes the main character in his music.

In the present day, in 2025, as we celebrate this anniversary, Ravel continues to be just as relevant and beloved worldwide. But of course, for us-the Orchestre National de France-presenting three weeks of concerts featuring all of Ravel's orchestral works is both an honor and an extraordinary privilege. It allows us to rediscover these scores in a unique context and to give this composer the well-deserved spotlight.

For Friday's concert, you have chosen a program that begins with Le Tombeau de Couperin and ends with the ballet music from Daphnis et Chloé. In between, there is the Piano Concerto for the Left Hand-probably selected by pianist Alexandre Tharaud. What were the criteria for shaping Friday's program?

Initially, I started with Daphnis et Chloé because the concert is in the Philharmonie de Paris, and I wanted to take advantage of the vast space of the stage and hall to present Ravel's most complex work. So, I definitely wanted to include Daphnis et Chloé in this program. From there, the idea developed.

Le Tombeau de Couperinis such a delicate, tender piece that I found it an interesting contrast for the audience-to hear music written for a chamber orchestra compared to the immense orchestra Ravel uses in Daphnis et Chloé. As for the Piano Concerto for the Left Hand, we wanted to include a soloist work in each concert of this series, which is why we chose it.

However, I would like to make a clarification… In Le Tombeau de Couperin, we will not only perform the four movements orchestrated by Ravel himself. Instead, we will present all six movements as originally composed for piano, in the order Ravel intended. We have added the two remaining movements (Toccata and Fugue), orchestrated by David Soriano, a contemporary French composer and conductor. He orchestrated these movements so that we could offer a complete vision of this work, following the original structure Ravel created for the piano version.

So, was this a special commission for this concert-having the two missing sections orchestrated?

I wouldn't call it a commission, but I learned about these orchestrations and, when I did, I contacted the composer. He told me that they had not yet been performed in public. So, I asked if I could be the first to present them, making this concert truly unique. This will be the premiere of these orchestrations.

As you mentioned, in the coming weeks, you will continue conducting the Orchestre National de France in concerts featuring Ravel's music, aiming to present the complete orchestral works. But overall, what other projects do you have planned this year to honor Ravel's legacy?

We will take Ravel's music wherever we go. We have planned tours in South Korea and China in May. Then, this summer, we will perform at the Proms in London. Later, when I return with the Orchestre National de France to the Enescu Festival in September, we will present the complete Daphnis et Chloé ballet, along with a rarely performed but beautiful piece-the Piano Trio by Maurice Ravel, in an orchestration by Yan Pascal Tortelier. This orchestration is a masterpiece, yet it is rarely performed because it has not yet become part of standard orchestral repertoire. However, it is a remarkable work, and I am eager to present it to the audience in Bucharest.

Speaking of unique projects, at the end of January, you conducted a concert with the WDR Symphony Orchestra in Cologne, featuring the world premiere of a piece you commissioned from Wynton Marsalis-a musician best known for jazz. The Concerto for Orchestra by Marsalis was streamed online the day after the premiere. Tell us more about this project-how did the commission come about, and what can you say about the resulting work?

Those who have heard me speak about Wynton Marsalis before know that I call him my brother because we are very, very close. We first collaborated in 2015, when I worked on his Violin Concerto, and since then, we have maintained a very strong artistic relationship. This Concerto for Orchestra, which I commissioned from him, is such a beautiful and fascinating work. Wynton, of course, draws on his jazz background, but being deeply knowledgeable about classical music, he blends jazz elements with traditional classical forms and ideas, creating a unique and wonderful fusion. For me, working with him is always an honor. He has such a deep, intelligent mind, and every time we collaborate, I learn new, beautiful, and intriguing things about music and life.

The year 2025 marks both an ending and a new beginning for you. You are concluding your tenure as Chief Conductor of the WDR Symphony Orchestra in Cologne and beginning your role as Music Director of the Cincinnati Symphony Orchestra. What do you consider your most lasting achievements in Cologne, and what does your new title of Artistic Partner there signify?

The title of Artistic Partner was a mutual agreement with the orchestra to reflect the respect and love we have for each other-we didn't want to end our relationship completely. Of course, I will no longer be present for 10-12 weeks per season as Chief Conductor, but I will continue for 3-4 weeks per season, as we still have many projects to realize together. That is what this title represents.

For me, everything I achieved with the WDR Symphony Orchestra in Cologne-our profound and beautiful musical moments-is something I am proud of, especially because they exist in recorded formats that can be listened to at any time. Many of our concerts and projects are available online and on albums. In fact, we have just released a recording of Rachmaninoff's three symphonies-an extraordinary album that I am very proud to have created with them. These accomplishments will remain forever.

What brings me the greatest joy is knowing that I was able to continue the great tradition of this ensemble while also shaping a more elegant, refined sound-one that is now well-received and appreciated by audiences in Cologne and worldwide.

What are your main plans as Music Director in Cincinnati?

The difference between a European music director and an American one is that, in the U.S., a symphony orchestra plays a significant role in the daily life of its community. That is why the Cincinnati Symphony Orchestra not only focuses on its weekly symphonic concerts but also takes on the responsibility of creating a strong musical community-educating both young and older audiences to appreciate classical music. For this reason, the role of a major American orchestra like Cincinnati's is broader and more complex than that of a European orchestra. Our initiatives are diverse, and if you've seen the upcoming season's programming, you will notice a strong emphasis on understanding and embracing each composer's cultural identity-giving voice to their unique perspectives and artistic visions.