1. This is music from hell
The sight of so many innocent faces at the last Iancu Dumitrescu concert in Bucharest was a surprise. What was not at all surprising, was seeing them leave the room and hearing the reason afterwards: ”this is music from hell”. We then listened to the Hyperion Ensemble with guests from Israel and Stephen O’Malley, conducted by Iancu and Ana-Maria Avram. The finale was a devastating first-audition piece by Iancu Dumitrescu. The interview was held in two rounds, the first one (on the night before the concert) when Simona Mantarlian and us were in Iancu Dumitrescu’s living-room.
We went afterwards to the kitchen for a glass of wine with Ana-Maria Avram and O’Malley. We chattered for a short while about O’Malley’s knowledge and the people he got next to. A muddle of people and notions. I had the chance to ask AMA about space’s account in music, the magnitude of the concert hall. Her exposé was abruptly interrupted by Iancu Dumitrescu, who kicked us out because the people had to eat and rest; they had a concert the next day.
“Any kind of music has an existence of its own, a personal evolution, determined by sound itself, not by an outer instance. To this end, I find it natural that fleeting “classical” form, in relation to a stylistic time frame, is nothing but obsolete.”