Interview with violinist Martina Bačová

So, where does it come from, Martina?

Thank you for the compliment. It’s my opinion that things should be done well, or not at all. And this doesn’t only concern violin playing. Any artistic or musical activity should be perceived as an opportunity for self-realisation and expression. There isn’t any artistic endeavour which wouldn’t testify to who you are. Whatever you do, you leave an impression behind, if intangible.

Apparently, you were fascinated by the cellist Jacqueline du Pré when you were younger. In what way? And why did you then choose the violin?

She did fascinate me, and she continues to fascinate me. Her personality, the natural way she played, how she lived on the concert platform. She was one of the “chosen ones”, a God-gifted musician. I’m still captivated by the strength of her musical expression, her individuality. I dare say that you’d easily recognise her performance. It has the touch of the extraordinary about it, she put her utmost into it. And that’s another thing which fascinates me. I’m glad to be able to say that, despite the natural trend of changing opinions on musical conception, Jacqueline du Pré’s interpretation is still a great inspiration for me. As to my choice of instrument, it was my parents who encouraged me to take up the violin. They’re musicians as well. Violinists :-)

Who would you say is your example on the violin?

I very much admire the work of Janine Jansen, David Oistrach, Anne-Sophie Mutter, Sophie Jaffé and many others. There are so many lesser known violinists whose names won’t fill the concert halls over here, but who play phenomenally. Not least, I respect any musician or artist who gets up onto the podium and tries, through music, to convey his views and attitudes, whatever way he or she chooses.

Although you are doing a lot of concerts, you’re still a student. Where are you studying and with whom?

I’m in my last Meisterklasse term at the Carl Maria von Weber Hochschule für Musik, studying under professor Ivan Ženatý.

Last year you brought out your debut CD entitled “Elegant Provocation”. Are we to look for traits of your artistic stance in a title like this? Do you want to be provocative (in an elegant way, of course!)?

Both elegance and provocation can be interpreted and treated in many ways. You can behave elegantly, just as you can lie elegantly. You can provoke without consciously wanting to, or you can use provocation to build up an image which you then hide behind. The idea of “two sides of the same coin” has simply always fascinated me and even amused me on a certain level. But perhaps provocation (whether of other people or oneself), in the sense that you start looking at things differently from the way you’re used to, is something which is very genuine and fundamental, and not just for art.

Your CD contains 20th century composers exclusively. Have you got a soft spot for this kind of music?

In a certain sense, yes, a very soft spot.

I often see you at Prague Radio Symphony Orchestra concerts, sitting in the audience. Is this part of your preparations for this evening, or a particular fondness for the Radio Orchestra, or a general endeavour to keep up to date with what the orchestras are doing?

:-) It’s all three in a way, a bit of everything. And, moreover, thanks to all the wonderful programmes and the way they performed the concerts, I go away feeling I’ve really heard something exceptional. I greatly value the opportunity I’ve been given today, and I’m looking forward to playing Suk’s Fantasia with the Prague Radio Symphony Orchestra (SOČR). I remember going to their first concert. It was organised as part of the Janáček May festival in 2003, and they were accompanying Mischa Maisky in Antonín Dvořák’s Cello Concerto. A close friend who was with me at the time said: “SOČR is one of the best Czech symphony orchestras.” Having been to various concerts performed by them, I have to admit that he is right. :-)

Suk’s Fantasia in G minor is a very difficult, virtuoso piece for the violinist. What kind of preparations did you make for today’s concert, which is also your debut with SOČR?

Practice and inspiration.

Have you ever worked with conductor (and violinist) Ondřej Kukal before?

I haven’t had the opportunity on the podium yet. I’m really looking forward to doing this concert with him. It’s always very interesting to work with conductors who were or are violinists as well.

What will you be up to in the next few months?

The answer to this question has a lot to do with my weakness for composers of the 20th and 21st centuries. I’m going to be working on Sylvie Bodorová’s violin concerto Messaggio. And I’m also looking forward to the summer and my holiday.