"...just the right amount of 21st-century flavoured spice..."
- BACHTRACK
“Catchy and sonorous” (Musical America), featuring “vivid contrasts” (Financial Times) and “clarity of expression” (AM Bucharest), his compositions are published by Universal Edition and championed by world-class ensembles and artists: from the “wonderful swirl of sounds” (The Classical Reviewer) of Halo (London Symphony Orchestra), to the “soul-filled creations that added just the right amount of 21st-century flavoured spice” (Bachtrack) of Carols Without Words (O/Modernt at Wigmore Hall), Maistorovici “strikes a different note” (The Daily Telegraph). In 2023 Maistorovici created and conducted “Metamorfose after M.C.Escher“ at the Tuinzaal of the Kunstmuseum Den Haag with the New European Ensemble and motion-reactive video projections, as part of the 125th anniversary exhibition of M.C. Escher, reuniting the music of Bach, Webern, Pärt and Maistorovici in “a musical/visual spectacle par excellence”, “a brilliant concept, brilliantly executed”, “a really enjoyable concert” (ArtsTalk Magazine). In 2019, Maistorovici performed the Dutch premiere of Concert Transilvan and directed the Enescu Octet for chamber orchestra with the Young European Strings Camerata at the Diligentia Theatre Den Haag, on the occasion of the Romanian Presidency to the EU Council. In 2024 he composed B.A.C.H., Passacaglia for solo violin, commissioned by the Enescu Festival as the mandatory work at the Enescu International Violin Competition. His musical arrangements cover a wide range of styles, from orchestrations of Enescu or Kodály, to genre-bending reworkings of Bach and cross-over reimaginings of Queen. His scores have been championed by London Symphony Orchestra, European Union Chamber Orchestra, Orchestre des Jeunes de la Méditerranée, Campos do Jordao Festival Orchestra, New European Ensemble of The Hague, Young European Strings Camerata Bruxelles, Sinfonia Cymru Cardiff, Lausanne Chamber Orchestra, Nouvel Opéra Fribourg, Estonian Sinfonietta, Bucharest Radio Orchestra at major venues and festivals, such as South Bank Centre, Musiekgebouw Amsterdam, Salle Flagey Bruxelles, Studio Ernest Ansermet Geneva, Festival d'Aix-en-Provence, Romanian Athenaeum Bucharest, Great Hall of the St. Petersburg Conservatoire, Merkin Hall New York, Verbier Festival, Spoleto Festival, Enescu Festival, by conductors and soloists such as Neil Thomson, Clement Power, Jonathan Berman, Jonathan Bloxham, Michael Wendeberg, Thierry Fischer, Gottfried Rabl, Baldur Brönnimann, Gabriel Bebeșelea, Radu Paponiu, and many others. Born in Romania (1985), he is a former pupil of The Yehudi Menuhin School. At the Royal College of Music in London he studied composition with Mark-Anthony Turnage, Jonathan Cole and Richard Causton, violin with Felix Andrievsky, and conducting with Patrick Bailey. He advanced his composition studies with Oliver Knussen, Colin Matthews and Magnus Lindberg in Aldeburgh, Giaccomo Manzoni in Florence and Dan Dediu in Bucharest as a PHD in Music, while continuing his performance studies with Pierre Amoyal on a Soloist Master degree at the Haute École de Musique Lausanne, chamber music with Bruno Canino at Fiesole Music School Florence and in influential performance masterclasses with Boris Kuschnir, Anna Chumachenko, Gordan Nikolich, Ivry Gitlis, Ida Haendel, Zakhar Bronn, Ferenc Rados, Gábor Takács-Nagy, Lera Auerbach at courses such as Verbier Academy, Keshet Eilon and others. In 2025, Maistorovici was awarded the Romanian Academy Award, and in 2026 he was made a Fellow of the Royal Society of Arts. He is also a winner of numerous awards, among them the George Enescu Composition Competition, Clive Christian Composition Award, Golden Medal of the Berliner International Competition, The Tillett Trust Performer Platform, Young Concert Artist Trust and others. Maistorovici has given performance and composition masterclasses at the Royal College of Music London, Lilla Akademien Stokholm, Dartington International Summer School, Geneva Conservatoire and Bucharest National University of Music. In 2015 he founded vibrate!festival with pianist Diana Ionescu, an international event that brings together world-class innovative classical artists, reaching out to new audiences through eclectic programming and cross-discipline projects in alternative spaces.
press
BACHTRACK
LSO
“Sir Colin Davis is a man whose name has become synonymous with exceptional classical music. And after over 50 years with the London Symphony Orchestra, the nuances of performance have become second-nature to him. But audiences were in for a treat Sunday night: the LSO offered audiences a rare opportunity to experience new music by two exceptional young musicians.
Part of LSO Discovery’s Young Panufnik Young Composer’s Scheme, Vlad Maistorovici presented his new work Halo, a UK premiere. Conducted by Clemens Schuldt, a young conductor whose energy matched the vibrancy of the music, Schuldt moved with the orchestra to depict various layers of light. From the opening chord, which felt like a sharp burst of light—similar to the sensation one feels when they first emerge out of a dark room—to the pulsating sensations created with the use of timpani and flexatone, the audience felt the emergence of light.”
BOULEZIAN
LSO
“That said, Maistorovici, born in Romania in 1985, and by all accounts a fine violinist as well as a composer, certainly did benefit from the advocacy of the LSO and Clemens Schuldt, who seemed to me to conduct the work as if it were already a classic. (I very much hope to hear more from Schuldt before long.) Halo is in many ways relatively straightforwardly pictorial, opening with a light source (a reference, according to the composer, to Beethoven’s Fourth Symphony, Mahler’s First, and Kurtág’s Stele) with musical motion quickly tending towards the halo’s glow. To say that it is pictorial does not mean that it is not tightly organised; far from it, for audible symmetries and reflections abound. Nevertheless, an audience versed in superior film music would at least have some point of entry. It seemed to me that Mahler and Messiaen were obvious points of comparison, whether ‘influences’ or otherwise. Particular things to listen out for – or rather, which one could hardly fail to hear – were a high-lying violin line, prominent tuned percussion, and low bass lines across the various instrumental families. Though Maistorovici did not mention Ligeti, I wondered whether the strings’ swarming was inspired by the Hungarian master. Whatever the ultimate fortunes of the piece – and it is a fool’s game to say too much after a single hearing – this composer is clearly one who already understands the craft of orchestration and who does not fear bold gestures. I suspect that we shall hear more from him.”
"...a wonderful swirl of sounds..."
- THE CLASSICAL REVIEWER
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![[금호영재오프닝콘서트] B.A.C.H passacaglia for solo violin - JENNY Hyeonjeong Lee (13yrs) 이현정 바이올린](https://i.ytimg.com/vi/MsH-JRGl8us/sddefault.jpg)
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