On Wednesday, May 21st, 2025, as part of the International Week of New Music Festival, Marijn Simons returns to the stage of Radio Hall, taking on a double role - both as the composer and the conductor of the Radio Chamber Orchestra. On this occasion, the Dutch artist spoke with our colleague, Ioana Țintea.

Marijn Simons, this Wednesday you return to the stage of Radio Hall, both as a conductor and as the composer of one of the works on the program. How do these two roles complement each other in a single concert?

It's always a great experience to be directly involved in a concert. As a composer, I like to keep a constant connection with the stage. I think it helps me tremendously - to know what it means to be up there, performing - and at the same time, to look at things from the perspective of a conductor or performer. Likewise, when I conduct, I approach the scores differently, because I also understand them through the lens of a composer. So I believe these two roles really complement and enrich each other.

Your Cello Concerto will have its Romanian premiere on this occasion. How would you describe the work and what inspired you to write it?

The piece had its world premiere just three weeks ago, performed by my own chamber orchestra in Belgium. The soloist was the principal cellist of the Berlin Philharmonic. The title, Die Nacht bricht mild - which translates roughly as The Night Breaks Gently - was inspired by a poem by Gustav Mahler. It's one of the rare poems he didn't set to music, but it holds a unique beauty. In short, the poem tells the story of a solitary wanderer - represented in my piece by the solo cello - who travels through darkness, through obscurity, carrying a deep sense of uncertainty. In the end, he meets a sphinx who poses riddles, and if he fails to solve them, he's condemned to death. It's a deeply existential theme, very "Mahlerian." I chose to score the piece only for string instruments to create a unified sonic and expressive space around the central character - the cello - and to build a surrounding sense of darkness and depth around the soloist.

"The Eritrean Ring" by Livia Teodorescu-Ciocănea opens the program. What was your first impression of this work and how would you describe its atmosphere?

This is the only piece in the program, aside from my own, that has been previously performed. I had access to a recording made at the Romanian Athenaeum a few years ago, so it was the easiest one to connect with from the start. It's a very beautiful work with a strong folkloric character - it draws heavily on traditional music - and I think that will come through clearly in the performance. It's also a brilliant choice to open the evening.

Sabina Ulubeanu's composition "Black Shirt and Blue Soap" is based on the universal ritual of washing, present in all cultures. How do you relate to this work, which will have its world premiere at Radio Hall?

It's a very calm, meditative piece. Wonderfully written - especially for the soloist. I say that also from my perspective as a violinist, because in general, violin concertos often involve a kind of sonic struggle. Even in the traditional repertoire - and especially in contemporary works - you sometimes need amplification just to hear the violin clearly. But in this case, the composer found a very thoughtful solution in the orchestration, which really frees up the soloist. I think she managed to create some truly beautiful orchestral colors, and the violin has the space it needs to soar above the ensemble.

Diana Rotaru's work "Lady M." for piano and orchestra is another world premiere featured in the evening's program. What's your take on this piece?

Well, I can absolutely see why Dan Dediu chose to place it at the end of the concert - it's a very spectacular work, with intensely energetic dance music and even rock elements in the final section. It's definitely the most musically intense piece on the whole program. So, it will make for an impressive and powerful conclusion to the concert.

What do you consider to be the essential responsibility of a conductor when presenting a piece to the public for the very first time?

I believe the core responsibility remains the same: to capture and convey the essence of the composer as faithfully as possible. When a conductor studies a score, they develop a vision for the interpretation and try to communicate that clearly to the orchestra. I think this applies regardless of the work in question. The difference with a world premiere is that everyone is experiencing the piece for the first time - the conductor, the orchestra, the soloist, and of course, the composer. I think today's composers face particularly tough challenges. In the past, they had the benefit of multiple rehearsals and performances, which allowed them to revise and improve their works - sometimes over an entire lifetime. That was the case with Gustav Mahler, who constantly revised his symphonies. Or Pierre Boulez. That's why world premieres are always a challenge for composers: it's the first time they hear their piece come to life, and they have very little time to reflect or make changes. Everything has to happen very quickly nowadays, and for the composer, I believe that first performance is often the most difficult experience of all.

Given that this concert is part of the International Week of New Music, why do you think it's important for contemporary music to be included in regular season programming?

I think it's incredibly important, because art - whether it's music or visual arts - reflects how people think and interpret the world they live in today. Through art, we express our human experience. I don't believe contemporary music is any less valuable than the classical canon, which is important because of its universality. For example, we can still listen to a Beethoven symphony and be moved by its beauty, even after 200 years. But contemporary music offers a mirror - a current, filtered reflection - of today's world. That's why I believe it's essential for orchestras to include the music of our time in their programs.