Musica Sine Tempore – Extraordinary Recital Maxim Belciug

Dalles Hall Bucharest

October 18, 2025, 7:00 PM

On October 18, Maxim Belciug, one of the most important Romanian guitarists, opens the Musica Sine Tempore concert series and brings to the Dalles Hall an extraordinary solo recital in which the music breathes freely and directly, in the natural rhythm of total sincerity. The program includes works signed by Francesco da Milano, François Couperin, Jan Antonín Losy, Luis de Milan, Johann Sebastian Bach, Jean Philippe Rameau, Robert de Visée or Gaspar Sanz, in a selection that allows the reunion with the sparkling charm of old music, which ennobled the lives of people at the courts of Europe in the golden times of history. An unmissable offer for an autumn evening because, as is known, baroque music clears the mind and warms the soul.

With a career of over three decades, concerts held on major European stages and four consecutive recitals at the Romanian Athenaeum - a singular performance in Romania, Maxim Belciug has conquered the audience through his unique expressiveness and the ability to transform the guitar into a true orchestra of emotions. In his repertoire, baroque meets flamenco, and meditation intertwines with exuberance. His stage presence is an intense, refined experience that tames the technique and goes straight to the soul!

Meeting Maxim Belciug in a solo guitar recital is simply a delight. If, in the chamber formulas in which we can still find him, the guitarist elegantly seeks to highlight his partners, the point of sublime is only offered to him on occasions when he is alone with his guitar. These are his moments of total sincerity, when he leaves behind constraints and fashions and allows himself to dream from the tips of his fingers. And his dreams are contagious. It may be the special sonority of the guitar, so different from the known timbre of a violin or a piano, or the total taming of the technique that keeps many instrumentalists captive, but with Maxim Belciug one thing is certain: the guitar cries and loves and dances on one and a thousand voices, like an unreal orchestra that attacks passionately, without caring about the way back. Devoid of the external gloss of staging, his recitals offer instead a flagrant opportunity for delight. Music that stubbornly sounds different from that which springs from the more or less rhythmic passage of the sounding silvers from one hand to another, as the guitarist himself once said.