Interview with composer Jiří Teml
Audiences, listeners and fans of classical music who regularly follow the programmes put together by the Prague Radio Symphony Orchestra will certainly have noticed that the orchestra also includes works by contemporary composers in its concert and recording repertoire. Since the orchestra is performing Double Concerto for Two Clarinets and Orchestra, we took the opportunity to put some questions to Jiří Teml, who is seventy-five this year:
What do you find appealing about the concerto form? And how often do you return to it in your work?
I’m very fond of concertante writing. I’m inspired both by the tussle between the soloists, or with the orchestra, and by the form itself which continually presents new possibilities for innovation. To date I have written two organ concertos, violin, viola and cello concertos, a double concerto for two clarinets, and three concerti grossi. I recently completed the work Salve Paganini for four-hand piano and orchestra for a Swiss music festival.
What are the essential ingredients of a compelling concerto?
Unquestionably a certain measure of instrumental virtuosity. But this quality should, of course, be balanced with sufficient thematic substance and innovative sound.
Could you tell listeners something about the piece being performed today, Concerto doppio per due clarinetti et orchestra? Or do you prefer not to comment on works in this way?
Most listeners probably wouldn’t be interested in a detailed technical analysis. However, it was a fascinating assignment. The person who commissioned it, Swiss conductor Simon Camartin, wanted a concertante work prefigured by the number 2. So I opted for a double concerto in two movements. One part is serious – Concerto serio, the second is humorous – Concerto buffo. The cadenza before the end of the piece allows you to imagine a kind of capricious dialogue between two people.
We don’t chat to composers all that often on these pages. Could you give us a bit of insight into what life is like for composers today? What obstacles do they have to face, and how do you deal with them yourself?
I can’t speak for all composers. I think that they live like the majority of us. Some, those that are successful and have numerous commissions (which, of course, doesn’t always reflect the quality of the work), certainly live better. The others, less fortunate, on the other hand have enough time to think through the creative process and its problems and fully focus on their work, which is also a good thing. It’s universally acknowledged that culture – and so music as well – doesn’t receive sufficient support. I’m not reliant on composition alone. I’ve got my pension and I’m glad that people still want some music from me.
What’s your working week like? Is there some sort of order to it?
I divide my days between my family (which naturally also includes our little dachshund) and my work, which might also involve collaboration with Czech Radio. My composition work probably doesn’t differ much from that of my colleagues. When I’m out walking or sitting in the tram, I think about the shape of a piece, its structure, and in the morning, when my energy is at its peak, I write. The motivation for my work comes from various sources – literature, fine art, experiences, and also specific commissions, obviously. The most important thing is a productive idea. I don’t write unless I have that.
Would you be able to say who you think about more when composing, the performers or the audience?
I have to say that I think of myself as well. I don’t write in line with some fashion or trend. I don’t just want the work to be appreciated by the public and performers alone – I have to like it as well.
When and where will we have the next opportunity to hear your music?
Before the year is up there will probably be concerts featuring quite a few of my Christmas works, both in Prague and outside the capital, since I’ve written many Christmas programmes and cycles. There are also performances planned for next year, but I’d prefer not to commit myself entirely by discussing them here.
You have been professionally associated with Czech Radio for a number of years. What does your collaboration entail at the moment?
Yes, even though I’ve reached retirement age, I still work with Czech Radio 3 – Vltava. I chiefly put together contemporary music programmes and I’m also a member of various competition juries.
One final question: What is your opinion on the future of classical music?
However you look at it, the situation in classical music spheres isn’t particularly optimistic, what with the growing proliferation of “entertainment industry” practices; even so, I am convinced that interest in, or desire for, more profound musical experiences will increase in the future, experiences which will continue to enrich our lives.
