Interview with organist Aleš Bárta

I’m definitely not as modest and self-possessed as I appear to you, and I have done things to promote myself, although not to the same extent as a certain circle of artists. By the way, I’m convinced that an artist’s best promotion is convincing professional performance resulting from thorough preparation.

Though we can find mention in your bio of work with Japanese music labels, there is nothing about your unique Dvořák symphony project. When did it arise, what have you achieved so far, who led you to the idea?

I’ll start from a bit of a broader perspective. In 1995, I recorded a selection of Bach’s works for the Japanese label Pony Canyon. The album, in competition with world soloists and orchestras, was named “CD of the year” in Japan. On the basis of that success the company offered me more long-term co-operation. I gradually recorded the complete works of Bach – 16 CDs. After a few years, Pony Canyon ceased to focus on classical music, but the Japanese director Mr Ezaki set up a new company, Octavia Records, for which I did other projects. Of all of those, I’d like to mention one album that I’m fond of, an organ transcription of Russian music (Mussorgsky: Pictures at an Exhibition, Rachmaninoff: Prelude in C Sharp Minor, Tchaikovsky: Allegro con grazia from Pathetique, the Nutcracker Suite). As well as solo projects, I recorded for Octavia Records two albums with the horn player R. Baborák, three CDs with the trumpeter M. Kejmar, and one with the trumpeter J. Halíř. Finally, I’d also like to mention a CD that arose in collaboration with the label Sony and was recorded using completely new technology. Then came 2004, and the Japanese expressed interest in a recording of an organ version of Dvořák’s New World Symphony. I did it a year later, along with Dvořák’s organ compositions. Because it was successful, in subsequent years I also recorded Dvořák’s Symphony No. 8 (along with organ compositions by Janáček and Martinů) and his Seventh (with organ compositions by Brahms).

How did the transcription of Dvořák’s symphony for organ come about?

A great help to me – alongside the orchestral score – was the good piano score of the symphony. If it’s successful, we really find the essentials in it.

How did the recording go?

The vast majority of recordings for the Japanese label took place at the Dvořák Hall at the Rudolfinum. I like that hall and organ a great deal. Among other things, the acoustics are most favourable for the recording of organ, thanks to the pleasant reverb.

You have been an increasingly frequent and welcome guest in Japan. What about the country is close to you?

I feel really good there. I like their sense of order and cleanliness. I’ll give you an example. Every time I’ve come back from Japan I’ve checked the soles of my organ shoes, and they’ve been completely clean, even though I’ve walked around in concert halls and adjoining spaces. Naturally, I admire Japanese concert halls. And last but not least I’m a fan of the local cuisine, technology and transport system. I’m fascinated by their high-speed trains.

Where else do you enjoy performing abroad?

When we’re speaking about Japan, I’ve got to mention the Minato Mirai concert hall in Yokohama, of which I’ve got fond memories. In 1996, I essentially opened the hall with two recitals. The concerts took place on one day and there were 2,200 people at each – some experience! On top of that, between concerts there was a CD signing session. Or Nagoya. At the request of a Japanese agency and the organiser, I performed there what I think was a personal premiere – a recital of Dvořák’s New World Symphony and Mussorgsky’s Pictures at an Exhibition. I later performed that at other Japanese venues. As for Europe, I recall fondly concerts in Passau, where they have a very grand organ, the church of saints Peter and Paul in Zurich, the Gewandhaus in Leipzig, Berlin’s Schauspielhaus and the Royal Palace in Madrid. If I should mention a rare experience, I for instance performed a recital in Brussels that was put on by the Czech Embassy for European politicians and NATO leaders. I flew to the concert with several Czech politicians, including a minister. I thought they were going to a meeting but, no, they were flying to my concert.

As well as your solo activities, you frequently guest with orchestras and perform chamber music. Who do you work with most frequently these days?

As regards orchestras, with the Czech Philharmonic, the Czech National Symphonic Orchestra and, of course, the Prague Radio Symphony Orchestra. However, in recent times I’ve also appeared as a soloist with the Pardubice Chamber Philharmonic, the Hradec Králové Philharmonic and the Chamber Philharmonic Orchestra of South Bohemia. That is of course linked to collaboration with conductors. Of all of them, I’d like to mention Vladimír Válek, Ondrej Lenárd, Jan Kučera, Leoš Svárovský, Eliahu Inbal and Marcello Rot. Naturally, I also perform with opera singers and instrumentalists (G. Beňačková, I. Kusnjer, R. Baborák, M. Kejmar). I frequently appear with the Prague Philharmonic Choir and with choral groups (Prague Brass Quintet, Pro Arte Antiqua Prague).

Which of the artists you’ve worked with has influenced you deeply? How?

Here I should mention an artist who unfortunately left us recently, the virtuoso violinist Josef Suk. I had the honour of working with him for 15 years. I admired his professionalism and integrity, and he was an outstanding artist. He was an excellent person and a good friend.

You’ve been co-operating with the PRSO as a soloist since 1995. Which joint performances do you look back on most fondly?

I remember most an evening at the Rudolfinum were we performed together the premiere of Jiří Teml’s Concerto for Organ and Orchestra. There was a live recording of it, a CD. I also recall, for instance, doing Poulenc’s Concerto for Organ, Strings and Timpani, or Händel’s organ concertos. I also performed with the PRSO at two concerts in Japan, in Yokohama and Sapporo, when I was the soloist on Saint-Saëns’ Symphony No. 3.

What’s your view of that piece? How demanding is it for an organist?

It’s a very rewarding work for listeners. It’s not a question of it being a concerto for organ and orchestra – the writer has given the organ a great concertante role.

The recording comes out on November 22, when Czech Radio 3 – Vltava is preparing an “organ day”. In general, how satisfied are you with the attention your instrument gets?

I’ve got to say I’m satisfied. In recent times I’ve been a guest at the most important music festivals in the Czech Republic (the Prague Spring, Smetana’s Litomyšl, the Olomouc International Organ Festival, Janáček May, the St. Wenceslas Festivities) and have been very happy, because all the concerts were sold out. But I also meet with packed churches and halls in smaller cities and towns. At the same time, I’m pleased when listeners aren’t conservative and react positively to contemporary organ music. At this year’s Prague Spring I performed Karel Husa’s Concerto for Organ and Orchestra and the audience reaction was excellent. I’m glad that I’m lucky enough to make a living through organ music, because the area of organ literature, the construction of organs, and the history of organ culture in general is really extensive and varied. The standard of young Czech players also pleases me. They often make use of the chance to study at prestigious schools abroad, which is great. It’s harder, though, when they try to make careers for themselves. In this country, with little exception, there’s no system like in Western Europe of paid positions for organists in churches or cathedrals, or places as choirmasters. Nevertheless, the number of repaired or renovated organs is always increasing and I’m pleased by church leaders’ improving outlook on putting on music in cathedrals and churches, which warrants optimism.