In brief with Michal Kaňka

It’s a fortnight-long tour with the Prazak Quartet. On 7 November, the anniversary of the October Revolution, we began our journey with a concert at the St. Petersburg Philharmonic’s gorgeous hall. The very next day we moved on to our annual tour of the US. We have seven concerts planned in America this time.

A concert with the Prague Radio Symphony Orchestra and its conductor Mr. Pešek awaits you on your return. How often do you encounter those artists on stage?

Quite regularly – although less frequently than I myself would like. Our collaborations always take place in a beautiful and pleasant creative atmosphere.

You’ve certainly had the Elgar concerto in your repertoire for a good few years. How many actually?

I remember learning it during my military service at the Army Art Ensemble. It was 1984. Soon afterwards I played with the Prague Radio Symphony Orchestra for the first time. Unfortunately there’s one unpleasant memory connected to that performance: Before the first rehearsal the guest conductor from Lithuania told me he didn’t like the piece at all, and asked why we were playing it! It wasn’t the greatest inspiration…

Are there any pleasant experiences linked to interpreting the Elgar concerto that have stayed with you?

Naturally, if only because it’s wonderful music and one of the most important concertos for cellists. I always look forward to the slow conclusion of the fourth movement, which is so impressively constructed that it sends a chill down my spine when I play it. That only ever happens to me during Dvořák or Martinů concertos.

You must have the piece completely under your skin. Tell us when you “dusted it off” for the PRSO? Honestly, how many days have you devoted to it?

I have to admit I haven’t had Elgar on the programme for a long time. Therefore I got stuck into dusting it off back in August. I knew as soon as the season began that, with the quartet and teaching at two schools, there wouldn’t be much free time or energy left for much practicing. What’s more, on 2 December I’m flying off for a solo tour of Japan, where I’ll alternate two recital programmes. It’s hard to count the exact number of days, but as a rule I try of course to prepare as properly as possible for all my concerts.

What is the experience like of playing concerts accompanied by a symphony orchestra?

It’s very intense at the personal level. In general, I think it’s the loveliest moment for an interpreter. Large venues, lots of listeners, a full symphony orchestra… Wonderful! I’ve been hugely lucky in my life that I haven’t been stressed by that special atmosphere. On the contrary, I’ve been motivated. So I really enjoy it on stage and I’m convinced that my feeling is carried over to all the listeners in the hall.