The 20th edition of the Meridian International Festival will take place this year starting on November 1, in Bucharest, Cluj-Napoca, Timișoara, and Iași. A series of events will be held under the theme of this edition, titled Sonimagicon -Sound, Image, Magic, Iconic…

Joining me in the Radio România Muzical studio is Diana Rotaru, the festival's Artistic Director. Good evening!

Good evening.

It is said that the beginning of wisdom lies in calling things by their proper names. Where does this title come from? How did you choose it? To me, it suggests the idea of interdisciplinarity. Am I wrong?

Absolutely not! First of all, I have to thank my godfather, Gabriel Mălăncioiu, my very good friend and colleague on the Meridian team, because he was the one who came up with the idea. He always has such imaginative ideas - as you can tell from his music. And indeed, beyond the easily recognizable terms, it's really about our intention. Our team has been in charge of the festival since 2019, and we've been trying to steer it more and more toward an interdisciplinary direction. It's a very precious word, but in fact it means adventure - an adventure shared with other artists. Usually, we musicians tend to stay in our own corner: the composer with a pencil in hand or a finger on the mouse, the performer with the violin or at the piano… So we try, as much as we can, to encourage collaborations between artists from different fields.

For the past two years - this year being the third - we've been collaborating with a fantastic team called ordoetchao (Order and Chaos), Ioana Buraga and Vlad Grigore. If you've seen the Meridian posters, you've probably noticed their absolutely amazing imagination. Through them as well, we've been able to move further in this direction of collaboration among different kinds of artists.

Sonimagicon, of course, focuses a bit more on the visual side - that's really our theme: sound and image, or more precisely, music and the visual arts in all their forms.

Even the opening event of the festival, titled Sonimagicland - a kind of journey in the footsteps of Alice, but into a high land of wonders - takes place simultaneously in the four cities. These are concerts accompanied by 3D animation created by the two artists I mentioned earlier, ordoetchao. It tells the story, the journey, of the Queen of Sonimagicon - this character who appears on our posters and has somehow become both a mascot and, in fact, a guide for the audience.

We're setting out bravely in the footsteps of the Queen, discovering all sorts of music and all kinds of artists along the way.

Some incredible names whom I deeply respect will be performing - Trio Larson, Mircea Marian, Andreea Greluș, and Cătălina Bordeanu - who will present the world premiere of a piece by the fabulous composer Dan Dediu, entitled Pierrot pirate. I can't wait to hear it!

Then, in Timișoara, the Atem Ensemble will also give a world premiere, written especially for this Sonimagicland, by Gabriel Almași - a work inspired by the sound of a door opening, by the creak of a door being opened. Again, I can't wait to hear it!

The Pro Musica Academica Clarinet Quintet will perform in Iași, presenting the highly expressive music of Ciprian Ion. And in the fourth city, Cluj-Napoca, we have two international guests - although one of them is very close to us: Ghenadie Rotari, a brilliant accordionist who has performed with us before, including at the Meridian Festival. He will be playing together with pianist Valentina Vargiu. For them, Adrian Pop, a true maestro of the Cluj school of composition, has written a piece that, from what I understand, is quite ambitious and spectacular in every respect.

Nothing but top names, as the saying goes - and that's just on the first day of the festival, if I understand correctly.

Yes, and only at 7 p.m., because here in Bucharest we also have a 5 p.m. concert with Cătălin Crețu and Ladislau Csendes, who will be performing all kinds of wonders with their ensemble Strings IN ConnectiON - featuring violin, viola, electronics, and live video interactions, perfectly in tune with the profile of our festival.

So, what else can we look forward to in this edition of the Meridian Festival?

I'll try to go as quickly as I can, because there are so many events, but the truth is that I'm very fond of all of them, and I honestly don't know which one I could recommend first.

I would start by mentioning the international guests. As I've already said, the Aspera duo is here thanks to the generosity of the Austrian Cultural Forum and the Italian Cultural Institute, to whom we are very grateful. First, the Altera Inde saxophone duo, who will perform in Bucharest on November 2nd at 5 p.m. - most of the concerts take place at the Conservatory, though I'm not sure about this one; in any case, the full program is available online. They offer a completely different approach to the saxophone, which, like the accordion, has a strong presence in our culture. While it can move in different musical directions, in avant-garde or experimental music there is a very rich repertoire, and the audience will have the chance to experience a new kind of saxophone, especially as it will be heavily mixed with electronic sounds.

Next, we have the great pianist Andrea Lucchesini, a former member of the jury of the George Enescu Piano Competition - many thanks to Artexim and, again, the Italian Cultural Institute. He will present a very interesting program that weaves together Scarlatti and Berio. Luciano Berio's six piano encores, Season Core, are in a way indirect tributes to Scarlatti's delicate, pearl-like writing. We also have Jörg Widmann, a highly sought-after composer today, who has created pieces directly inspired by Schubert - so the program will feature Schubert impromptus alongside Widmann's works. I'm really looking forward to seeing how these pieces will highlight and dialogue with each other.

Then we have Irinel Anghel with Iribot - already sold out! We're really happy to be able to say, "We're sorry, if you don't have a ticket, that's it!" We also have Adriana Toacsen with Haute Piano Couture - a project that started last year, a playful idea we both had to mix fashion with contemporary music. As far as I know, at least in our country, this direction hasn't really been explored before. This year, it will also include dance with Mădălina Dan.

The Hesperus Duo will take us into the inferno - two guitars performing projects, once again featuring Dan Dediu and many other composers, including my colleague from Meridian, George Păiș, who has created an absolutely fabulous work. You really have to come on November 6 to see and hear it!

Devotio Moderna, which pays tribute to the synchronicity of Ștefan Niculescu. The Roots Symposium offers several tributes to Luciano Berio, whom we celebrate this year on his centenary, Pierre Boulez, also on his centenary, and Octavian Nemescu, whose work frames the festival like a spiritual and cherished cover. The festival begins with Metabizantiniricon by Nemescu and concludes with Ascensio - a very non-spectacular performance, in line with Nemescu's music - conceived and directed by Irinel Anghel, featuring two fabulous young performers: Smaranda Găbudeanu and Ana Creangă.

Next, Sound Saturday. Fans of experimental music surely know what Sound Saturday is -for many years, it has been a strong presence on our Bucharest scene. Ana Maria Pravicencu took the initiative to support young Romanian composers, and we'll be bringing the audience into the underground parking lot. There will be a lot of cables and plenty of percussion, as Vlad Polgar, a rapidly rising young percussionist, will perform there - and he truly deserves all the recognition. It will be all young music, featuring drum set with electronics, vibraphone with electronics, and many other surprises, including a solo tambourine piece.

Electric Dream, a compilation of audio-video works, will feature a world premiere by Mihaela Vosganian - a looping quartet. And apologies to those I may have forgotten in Bucharest - many wonders are also happening in other cities. In Timișoara, we have Arthur Balogh, a fabulous double bassist who plays jazz, but in fact can play anything, and also knows his way around synthesizers. He is now collaborating with actor Costa Tovarnisky, set designer Remus Rotaru, and young visual artist designers from the Faculty of Arts and Design in Timișoara. I can't wait to see the results!

Then, the Atem Ensemble has already been mentioned. In Iași, the TimbrIS Ensemble is in the midst of a tour dedicated to Lucian Blaga, another celebrated figure, featuring specially commissioned works and flutist Carla Stoleru.

In Cluj-Napoca, my colleague and good friend Alexandru Murariu, one of the most active initiators of new music projects in the country today, will conduct the Coleur Ensemble, promising pantomime and all sorts of playful surprises. There will also be a concert dedicated to the Romania-Poland cultural season, coordinated by Cristian Bence-Muk, a percussion recital by Tony Vântur, and the Hesperus Duo, once again. Most importantly, the people of Cluj will enjoy what we have long wished for in Romania: a fabulous space for music - the new headquarters of the "Gheorghe Dima" National Academy. Congratulations to Cluj! You get to enjoy absolutely splendid architecture and equipment - let's hope the acoustics are just as impressive.

We were talking about the 20th edition of the Meridian Festival, and you mentioned an event that is sold out, taking place with a full house, so to speak. I would like to know, how often does it happen that such an event or concert is completely sold out, considering that we are talking about a musical language that is, let's say, not necessarily accessible to everyone?

Yes, we have been fortunate several times during the Meridian Festival to find ourselves with sold-out events or with concerts where the question was, where do we even place the audience? I would say there are two things here. First, people are very curious. I think, in general, we tend to underestimate the audience, treating them cautiously… but in fact, the audience is very curious and drawn to new things. For example, a couple of editions ago, a No Theater singer came and gave a concert at Odeon Theatre with contemporary music that was not at all easy to listen to, let's say. Of course, we love her very much, but for a listener not used to avant-garde musical languages, it was something special. Still, there was an enormous demand, because it was such an unprecedented experience - No Theater and new music together. Again, we had a concert organized by Ariadna Iliescu with tulnice and improvisation at the last Meridian edition, where the underground parking lot was nearly full to capacity. The performances by Irinel Anghel, held at Teatrelli for several years now, are also always sold out, because there is an element of novelty - Irinel Anghel never repeats a performance. But people are drawn to things that are different, and I think we all need to have more courage - I mean programmers, organizers, and the audience alike - because clearly, there are experiences that we long for, but we need to step a little out of our comfort zone. The second aspect, perhaps a sad one, and I would like to touch on it a bit, is that - certainly for financial reasons - we, like any new music festival, are underfunded, as is common across all areas of contemporary art, especially sound art. Most of our concerts take place at the National University of Music in Bucharest - and first of all, we are very grateful to them. Rector Diana Moș, who is also a fantastic performer of new music, certainly has a special relationship with us and with these events. On the other hand, I feel that the audience is a bit intimidated by this space, which is perceived as being overly academic. I would really like them not to be afraid anymore, because we are friendly, the concerts are free, the halls generally have excellent acoustics, and there are also unusual spaces, like this underground parking lot, which, much to the despair of our technical director, Dănuț Bujor, we try to use at every edition. But Dănuț forgives us, because he really enjoys it too… So, I would love for the Conservatory, as we call it, to be perceived as a kind of cultural hub - much less academic than it might seem to an outsider or a newcomer.

From my experience, whenever I've attended a concert - any concert, but especially contemporary music concerts - with friends who are not from the music field, I haven't noticed any fear on their part. On the other hand, I must honestly say that many times they wouldn't even have realized it if I hadn't told them directly. So, that probably happens. It's probably also a marketing issue, I imagine, which you address through the festival, for example. But other concerts don't have this benefit; other artistic initiatives, for instance, wouldn't have this advantage.

Yes, it is a real pity that music, and particularly new music, receives limited coverage, and there is never enough budget for PR. So we struggle ourselves - me, my team… we all post on social media, get busy, hand out stickers and flyers, but of course, it would be hugely helpful to have a specialist with stronger connections, a highly visible media partner. Again, the radio is always by our side, and we are very grateful - especially to Radio România Muzical in particular. But this is also a problem, and in general, it reflects a wider issue with culture in our country. The Enescu Festival, for example, has managed to become a highly visible event, showing that it is possible. Of course, it involves a different type of music, but I am convinced that -as I mentioned - the curious audience, the kind that might wander into the Conservatory halls, would attend even more if they knew about these events sooner and more promptly. I also find that the number of attendees seems to be growing, which makes me very happy.

Let's talk now about this initiative you had. How did you see the connection between the world of fashion, the haute couture world, so to speak, and the world of contemporary music?

Adriana Toacsen and I are collaborators who are very much on the same wavelength; we are also very good friends. We are both passionate about fashion, so it was not difficult for me to make the connection in my mind between Adriana - who is such a striking presence, cinematic beauty - and fashion. Last year, we collaborated with Roxana Davidescu, a fantastic jewelry designer, whose pieces are like story-jewelry. Just as Adriana creates story-concerts, and I sometimes struggle to create story-festivals, there was a narrative element in this collaboration as well - including the hats by Fandaxia, brought to life by our dancers and performers.

This year, it is Alina Maria Griga who will take care of the fashion side, now brought to life by the dancer Mădălina Dan. I found it very original, and it wasn't necessarily a case of thinking, "It hasn't been done before, let's do it!" I thought that there is a story in every piece of jewelry or garment that is truly created with an artistic purpose - they are unique, story-filled objects, full of mystery and meaning. They say something, are semantically rich, and I found the idea of combining them with contemporary music extremely interesting.

And speaking of contemporary music in the present, we were talking earlier about the young generation and new music. Some listeners might be a bit surprised to hear that many of the most promising young composers are already names making their mark in the field. I would like us to get a bit of an introduction to them, of course in their absence. Could you tell us a few words, in general, about how we can approach the new generation and how we can relate to them?

The new generation is very inventive, and to me, they also seem very cohesive on a human level - they are kind people, great people, friends who create together. Since 2019, and even before that, I have made it a personal goal to support young music, along with my colleagues on the team, because it seems extremely important for them to have a voice, to be heard through their music, and to be recognized through their music as soon as possible, within a festival that offers greater visibility.

I would actually like to name them, because they deserve it. In no particular order: Oana Vardianu, who composed a concerto for the fabulous violist Marius Ungureanu - whom I forgot to mention earlier - who will perform with Ciprian Dancu. Marius Ungureanu will also perform with Devotio Moderna, playing a special pocket-concerto written by Oana Vardianu, who is already no longer just a promise, but a recognized talent. Then there is Andrei Petrache, whom I believe everyone already knows for his phenomenal jazz activity, and he will also be present at the festival. Regarding the young artists featured in Sâmbăta Sonoră, thanks to the dedication and passion of Maria Pravicencu, who is equally eager to bring young talents to the forefront, I would like to mention: Irina Perneș, one of the most original voices of the present, very young, currently in Poland, Agnes Vrânceanu, again with a very distinct sensitivity, Iuliana Teodorescu Ciocănea, who, like me, benefited from having a composer mother, and who also has a sharp mind and unique refinement, Vlad Ciocoiu, a young artist engaged both in performance and in the theatrical, unconventional aspect of the compositional act, where the composer is also actor, singer, and performer; Ana Creangă, who is present at the festival with an installation and as a dancer. Ana Creangă is a little Renaissance person - small in stature but fabulous in personality. And last but not least, George Păiș, who has already surpassed the stage of a promising talent and is a person of rare refinement, both intellectually and musically.

We look forward to hearing all of them - and not only them - at the 20th edition of the Meridian Festival. Diana Rotaru, thank you very much for joining us in the Radio România Muzical studio!