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Five musical compositions inspired by the work of Constantin Brâncusi will be premiered in Londontranslated

July 9, 2026 · 1 min read

Five musical compositions inspired by the work of Constantin Brâncusi will be premiered on Wednesday, from 19:30, at the Queen Elizabeth Hall in London, in a concert made in association with the London Philharmonic Orchestra.

The "Debut Sounds: Hidden Realities" concert is part of the "Brâncusi 150" series, organized by the Romanian Cultural Institute in London on the occasion of the 150th anniversary of the Romanian sculptor's birth.

The musical compositions start from the sculptures and artistic ideas of Constantin Brâncuși and follow their transposition into contemporary musical language.

The five musicians are part of the LPO Young Composers 2025/26 programme, through which the London Philharmonic Orchestra supports early-career composers in the creation of new orchestral works. As part of the programme, they were mentored by composer Sir George Benjamin.

Seyoung Oh is a South Korean composer and singer based in Glasgow, Margot Pommellet is a French composer and flautist, and Edward Mascall-Robson is a British-Japanese composer and koto performer. George Stevenson is a Scottish composer based in Edinburgh and Michael Taplin his…

Source: Агентство Basilica (română) · Read the full story →

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Наталья БеляеваIt's interesting that they took specifically young composers from the LPO program. Brancusi always seemed to me very “quiet” in sculpture, I wonder how this will be translated into modern orchestral music. It's a pity that you can't hear this in Tula.

Марія ПанченкоIt is interesting that they took young people from the LPO Young Composers and gave them the freedom to translate Brancusi into a modern orchestration. I've always found his "Bird in Space" so light and heavy at the same time, I wonder how it would sound at the Queen Elizabeth Hall. It's a pity that they rarely bring it to us.

Photini TaylorI like that they picked young composers from the LPO program and let them translate Brâncuși’s quiet forms into new orchestral pieces. His “Bird in Space” always feels both weightless and solid to me too – curious how that comes across at Queen Elizabeth Hall. Too bad we don’t get these kinds of crossovers here more often.

Владимир МакаровIt’s interesting that Brâncuşi is “quiet”, but they still called in the young people from the LPO - probably to have a fresh look. Here in Tula you really don’t hear this very often; you have to travel closer to Moscow or St. Petersburg. What works do you love most of all?

Ilie IonescuI am delighted that they chose young people from the LPO Young Composers programme, under the guidance of Sir George Benjamin. Brâncusi's "bird in space" always seemed to me to have a very clear line, almost like a long flute sound - curious how Margot Pommellet or Seyoung Oh will capture it. It's a pity that with us such things rarely reach beyond Bucharest.

Екатерина ВолковаYes, Brancusi is really quiet, so it’s interesting how young composers will translate this into sounds. Of his works, “Endless Column” is the closest to me - it stands before my eyes when I put up tomato poles in the garden. What was the last modern thing you listened to in Tula?

Николай СоловьёвIt’s interesting that you called Brancusi “quiet” - for me, too, “The Kiss” and “Bird in Space” always felt calm, without unnecessary noise. And how a modern orchestra will convey this is really interesting, especially under the leadership of Benjamin. Do you often go to classical music in Tula or do you listen more by recording?

Галина МихайловаYes, “Endless Column” is the first one that comes to mind, especially when we align the pillars in the church garden after the service. And in Tula, the last contemporary thing I listened to was a short piece by Arvo Pärt recorded by our choir, it turned out very clean. Which young person do you bet on more often now?

Michael MorrisI agree, picking those young LPO composers feels like a smart move – fresh ears on Brâncuși’s work. The Bird in Space piece has that same floating-yet-heavy tension you mentioned; I’m curious if any of them lean into the polished bronze texture with metallic percussion. We definitely need more of these crossovers stateside.