Interview with trumpeter Marek Zvolánek

What did you want to be when you were a boy?

From my most tender childhood, bin lorries made a great impression on me. I thought the garbage collectors jumping onto the trucks’ footboards had a most adventurous occupation. As time went by, I saw that wasn’t the case…

When did you decide to become a musician?

I had actually started to play the trumpet at the age of seven, but I didn’t decide to become a professional musician until I was 16.

What led you to the trumpet?

I’m originally from Prague’s Lesser Quarter, where my grandmother often visited the Church of St Nicholas. There I heard the famous Czech trumpeter Ivo Preis, who made a big impact on me. So my grandmother enrolled her only grandchild for trumpet classes at the People’s Arts School.

Which meeting with a musician would you say had a marked influence on your further artistic development?

For me I think the most important thing is listening, taking in concerts and recordings. I’ve got to know many individuals from whom I’ve drawn a lot, and who have influenced me. But I’d put listening in first place.

As a player, what music do you always like to return to?

When it comes to symphonic music, I like Mahler, Strauss and Holst. As for solo concerts, I prefer baroque music. And I really let my hair down with the chamber group – we play rock, pop, jazz and film music.

In terms of how demanding it is, how would rate the Jolivet concerto you’re performing today?

If I had to rate it on a scale of one to 10, I’d give Jolivet an eight.

The "Ten of the Best" company figures on your CV. Could you tell us a bit about its activities?

It doesn’t feature only classical musicians – some members are jazz trumpeters. Everybody’s from a different country, so it’s interesting to watch the different styles of interpretation. We played throughout the year, though most frequently from October to the end of the December. Being part of that company was a great experience for me.

Do you still attend consultations?

Of course – I think they’re important at all ages. Over the years a kind of personal interpretative silt can form on a piece, which a friend’s ear can remove. In this respect my ear is Miroslav Kejmar.

Do you still like the trumpet, Marek?

I’ve got so much work on that I have to think about it constantly. Preparing concerts, programmes and other activities eats up a lot of time, not including actually playing. Otherwise I play in every free moment. Today there is such a strong bond between us you could call it love.

As well as music, you’re surrounded by a happy family, including three daughters. What’s their relationship to music?

They love and search out sounds of all kinds. It feels like all I hear is their non-stop singing. There’s no escaping it. They accompany one another on the flute, piano, trumpet and various tinkling ornaments. Not at the same time, unfortunately. Writers of ultra-contemporary music would probably love it.

A happy household! With so much going on, how are you able to combine solo, chamber and orchestral playing? How are your nerves?

It’s a delicate balancing act. You have to be able to fine tune your form. For a trumpeter, those are three very different disciplines. I go through various stages in my musical development, but the most important thing, I must say, is number of solo performances. Practice makes perfect, as the saying goes. If you’re often on stage, you forget about nerves.

Nevertheless, when was the last time you felt nervous?

Something that happened recently, when I performed as a soloist with the Talich Chamber Orchestra, comes to mind. A few second before going on, Talich took my trumpet and gave me his conductor’s baton instead, saying “let’s try something and give them a laugh…” The orchestra was in shock for a bit, but they caught up quite quickly. Luckily as the conductor I couldn’t see the audience, but the longer I waved the baton the more I realised my gestures were totally wrong. My nervousness grew…At the end of the overture I quickly and with great relief took my trumpet back. Gradually I relaxed, even during the difficult part that I played that evening.