Interview with conductor J. Kučera and pianist V. Mácha
On March 21st two young artists will meet on the same stage. As will become clear in the lines below, despite their young age they have known one another for quite a long time. Let’s start with a few questions for conductor Jan Kučera.
Which compositions on this evening’s programme were selected by you, and why?
This time I had the chance to put the complete concert programme together myself, and my selection was accepted. For the introduction I chose two short, utterly programme music and rarely played pieces by Igor Stravinsky. They were written 34 years apart. The Circus Polka, which is subtitled For a Young Elephant, was written in 1942 on the request of a circus specialising in choreography for elephants. It’s musically over-the-top and an amusing stylisation of the uncertain steps of elephant calves. The early composition Fireworks from 1908 is greatly influenced by Impressionism; what is magical about is its powerful, virtuoso instrumentation. I like it when music conjures up visual images, and if a piece has a non-musical element in its title that makes it easier. I’ve always admired Stravinsky’s music for its non-conformity, bold rhythm and humour. So far I’ve “only” had the chance to conduct The Rites of Spring, which is why I wanted to conduct other works by him. – I had agreed on Gershwin’s Piano Concerto with Ivan Klánský, but unfortunately, for me and others, in the end he couldn’t do it. But Václav Mácha is a more than good substitute. Over 20 years ago we were in the same piano class under Jan Tůma at the same arts school on Prague’s Španělská St., and even then he was some way ahead of the others. – And to close we have one of the greatest Romantic pieces, Variations on an Original Theme - Enigma by Edward Elgar. It has a typically full, well instrumented symphonic sound, wonderful contrasts in individual variations, an internal sensibility – in short, many of the elements that make us love music.
You yourself are a wonderful pianist. Have you ever studied even part of the Gershwin Concerto in the past?
Thanks for the compliment, but the truth is that I have slightly neglected the piano in recent times. For solo pieces of this type you have to stay in form technically, so I wouldn’t dare play it with a symphony orchestra behind me. In February, I conducted from the piano the Moravia Philharmonic Olomouc in my own adaptations of Jaroslav Ježek and film songs, but there the piano is really part of the orchestra. – Otherwise, Gershwin is obviously one of my great favourites; I’ve previously conducted An American in Paris and Rhapsody in Blue. I also like to recall how I played the piano part in a concert version of Gershwin’s opera Porgy and Bess with the Czech Philharmonic Orchestra and the Morgan State University Black choir under Vladimír Válek in 2002.
What are you currently working on as a composer?
At the turn of the year I finished Energieta, which is symphonic dance fantasy. It came about at the request of the Hradec Králové Philharmonic, and was premiered at the start of February, with Miriam Němcová conducting. For a composer it is always a pleasure to see and hear his music played with appetite and verve, so I greatly enjoyed the performance. These days I’m devoting more time to scenic music. I wrote music for Shakespeare’s Twelfth Night for the Divadlo na Jezerce theatre. They’re going to have a premiere of Othello on April 6th, which also features my music. On top of that, I wrote for the great dance theatre group Spitfire Company – our sixth collaboration is currently getting underway.
Also, my work linked to the Christmas tour of the group Čechomor was hugely enjoyable. They hired a string quartet, which I arranged, so I got to influence the overall sound and form of individual songs.
Your next concert with the Radio Symphony is on June 13th. How are you preparing for it? Are you looking forward to it?
For me, working with the Prague Radio Symphony Orchestra is always a special occasion. It meant a lot to me in the past, and it still does today. The level the orchestra has reached means that it’s really important for everybody who plays in it, and it’s necessary to maintain those standards in every way possible. Unfortunately, because of a constant draught during renovation work on the Czech Radio building on Vinohradská St. they’ve had to work in unsuitable, even ‘field’, conditions for three years. That hasn’t been reflected in the quality of their music, thanks to the good will and enthusiasm of the musicians, but that can’t be relied on forever. Just for that wait, the orchestra deserves a modern new studio and better conditions.
Is there anything you’d like to do with the Prague Radio Symphony Orchestra in the next few seasons that you could share with us?
If the orchestra is interested in working with me in the coming seasons I’d like to devote more attention to Czech music and projects that could be classified as “multi-genre”.
What are you looking forward to in the near future?
There are a lot of interesting tasks ahead of me, both in terms of conducting and composing. For instance, at the Prague Spring myself I’m going to perform concertos for organ and orchestra by George Friedrich Handel and Karel Husa with Aleš Bárta and the Epoque Orchestra. I’m especially looking forward to the second of the two as I have exchanged a few letters with Mr Husa (who by the way is a Pulitzer Prize winner). I recorded his student work Sinfonietta and Mr Husa wrote me a wonderful thank-you note, which by the way is not at all the norm with contemporary composers. For a conductor and player who has devoted himself to an often difficult work, such an acknowledgement is very encouraging indeed.
Václav Mácha was rather more succinct in his answers, and did not reply to some questions all because, as he wrote in the accompanying email, “I don’t understand computers much.” That doesn’t bother us at all, Mr Mácha. Everybody can use a computer, but only a chosen few are piano virtuosos!
You are playing at today’s concert instead of the originally billed Ivan Klánský. How do you find that situation?
I regard it as a great honour. And a challenge. I have never previously played Gershwin’s Concerto and I’ve had three months to prepare. As a concert pianist, I receive such offers often, several times a year. I always have to consider if I’ve got what it takes for such a special task.
How do you ‘get on with’ Gershwin and jazz?
Up to now, I’ve only played a couple of shorter pieces by him, so I’m looking forward to studying his Concerto in F all the more. At the same time, I have played many pieces by other composers (e.g., Ravel, Martinů) which have been greatly influenced by jazz.
What are you expecting of working with the Prague Radio Symphony Orchestra?
That it will be interesting and inspiring. Above all I’m looking forward to meeting Jan Kučera after many years. We’ve known one another since being in the same piano class under Jan Tůma at arts school.
Thanking you both for the interviews,
Jitka Novotná
