Wednesday, 26 March 26^th, 2025, The Radio Chamber Orchestra will be lead by Christopher Warren-Green, acclaimed conductor with an artistic career of over five decades on the most prestigious stages in the world. On this occasion, our colleague Ioana Țintea had a talk with the British musician.

The program of the Sala Radio concert offers sharp contrasts, from contemporarysounds to Mozart's classicism. I'd like to start our discussion with the piece Songs of the Angels by Adam Wesołoski. On a first internet search, the music I discovered creates an atmosphere similar to that of movie soundtracks. How would you describe it?

It's not a bad thing if a piece is reminiscent of a movie soundtrack. When classical music is used in movies, like for example Symphony No. 3, "Organ" by Saint-Saëns in Babe,these pieces become well-known, and that is a very good thing. Willian Walton composed soundtracks and so did Shostakovich. In Cello Concerto No. 1 there are passages that bring to mind the barrel organ. It's full of Russian folk songs but also a lot of pain, will, and the strength of the Russian people of those times, in the year 1958. Songs of the Angels is a piece by my friend, Adam Wesołoski, who is Polish. He wrote that, in the choir of angels, the seraphim are the closest to God, but angels and archangels are closer to people, to serve and help them. The melody is built entirely on the concept of "the speed of light". It's marked by the letter C and this value has meaning. The entire piece is 8 minutes and 20 seconds long, exactly how long it takes for light to travel from the Sun to Earth, a symbol of divinity and light, thus giving the piece an angelic feel. And it's not a bad thing at all if his music has this cinematic quality. For a long time, composers used to be looked down on for composing for a movie, but that's absurd. After all, some of the greatest composers created scores for cinema. And, if we think about it, Shostakovich wrote over a hundred of these pieces. Moreover, an incredible phenomenon exists nowadays: movie projections without a pre-recorded soundtrack, where an orchestra plays live music. It's an incredible experience, especially for younger people. Many of them don't even realize that behind the video games and movies they love there's a symphonic orchestra. This is a great opportunity to bring them closer to orchestral music. When they see and hear the music being played live, the impact is much more powerful and that can only be a good thing.

Because we're talking about the work of a contemporary composer, what do you pay attention to when deciphering a score?

There are two ways to analyze a score. One is practical analysis, which allows you to conduct and memorize the music. The other approach consists of analyzing the form and structure of the piece. In the case of classical music, like a Mozart symphony, it's all quite clear, or in the case of Shostakovich's Concerto- the last movement is a rondo. But in contemporary pieces, like Songs of the Angels by Wesołoski, the analysis becomes more complex. This kind of perception is essential for an orchestra leader, but applying it to conducting is an entirely different process.

In the second part of the Sala Radio program you'll conduct Mozart's Symphony No. 39, the first in his last series of symphonies. What's your view on this opus?

Back when Mozart lived in Vienna, the city was an effervescent, but unpredictable hub, similar to many places today. The Viennese public was always seeking entertainment, got bored quickly and always wanted something new. In those days, Mozart turned his style towards a more mature and profound expression, with accents that anticipated Beethoven's style. Fortunately, he wrote three absolute masterpieces in that moment of transition- his last three symphonies. Of these, I think the Symphony No. 39 is the one that best captures Mozart's essence as an artist and innovator. It's a piece filled with surprising moments, as well as an amazing stroke of genius. Mozart remains simply phenomenal.

As a guest conductor for the Radio Chamber Orchestra, how do you approach the first meeting with the musicians and what strategies do you use to quickly establish a strong artistic connection?

Well, I know the orchestra quite well now, because we've collaborated a few times before and I feel a strong connection. I like this orchestra, the musicians are very good. I usually start rehearsals fast and I insist on certain crucial details. When you have a valuable orchestra, you can let the music flow, even if they hesitate sometimes. Through repetition and exposure, the ensemble corrects its own imperfections. I don't waste time explaining every detail, they feel and understand what needs to be done. And then the real music can begin, the performance itself. For me it's essential that I talk as little as possible and convey everything through gestures. If you don't show them exactly what you want, the orchestra can't express your intention. That's why I prefer to work fast, especially with the Radio Chamber Orchestra, and this method always proves to be effective.

Given your vast experience with prestigious ensembles from all over the world, what exactly makes the orchestra such a special instrument?

The orchestra is the greatest instrument of them all. In a symphonic ensemble of 75 to 100 musicians, every one of them has studied since childhood, attended a music university, honed their mastery and went through rigorous auditions to get here. They're true experts in their field, often underestimated for what they're capable of doing. One of the most important lessons I received as a conductor was from Lorin Maazel, one of my mentors. He always said to me: Respect your orchestra. A conductor shouldn't feel superior to the orchestra- only through respect and mutual trust can a truly extraordinary performance come to life.

What are the traits of a successful conductor? What should a young musician just starting out pay attention to or what skills should they have?

I think the most important thing for a musician is to play in an orchestra, if they have the chance. Even if you're a pianist, you can play percussion instruments- what's essential is to understand what it means to be part of the ensemble, to feel the dynamic. I also remember precious advice given to me by Ricardo Muti. In 1980 I was a young concertmaster at Philharmonia, and he told me: Christopher, you should conduct. It surprised me , but he suggested I start by leading the ensemble from my concertmaster seat. Another important advice he gave me was to not start with modern music, but with baroque pieces, so I can learn the phrasing. Only like this can you truly understand the evolution of music. You can only become a true conductor if you understand how baroque music is constructed. The musicians of that era were extraordinary, they were all composers. That's why scores have minimal explanations, like forte or dolce, without going into detail. Everything must be understood from the phrasing, the intervals and the harmonic construction. By studying this music, you develop a sense that's essential for interpretation.

If you can conduct baroque and understand its subtleties, then you can tackle Mozart, and once you understand Mozart, you can conduct anything. Unfortunately, too many young conductors avoid this step because they think it's too difficult, and jump directly to modern pieces. But without a solid foundation, without learning how to build the musical phrase in earlier styles, you'll never be able to structure and give form to a modern symphony. So, to a young conductor who's still learning: don't try to run before you can walk.