Interview with cellist Michal Kaňka

When, or under the guidance of which tutor, did you first study Dvořák's Concerto?

My first cello tutor, Professor Mirko Škampa, had me play the first two movements, which are the concerto's main theme. I was proud to be playing at least a little Dvořák at the age of seven. I then studied the composition at the Prague Conservatory under the supervision of Professor Viktor Moučka. It was in fact essential, because the concerto was part of the obligatory repertoire for a wide variety of competitions in which I liked taking part. Later at the Academy of Performing Arts Professor Josef Chuchro, a leading Czech soloist, gave me the benefit of his own experience as a soloist and interpreter.

Which of your performances was exceptionally powerful for you? In view, say, of the circumstances or your fellow performers...

I don't want to list the performances with a wide variety of orchestras from Europe and Japan. Without a doubt one of the most important performances took place in June this year when I performed Dvořák's concerto with the Czech Philharmonic Orchestra and Zdeněk Mácal in Brussels, at a gala concert to mark the end of the Czech Republic's Presidency of the Council of the European Union. I must also mention another performance, when the Prague Spring International Music Festival invited me to play Dvořák on the same day as my fortieth birthday, where to my great delight I interpreted the piece with the PRSO and its Chief Conductor Vladimír Válek.

Which of the many recordings of the Concerto in B minor do you like the most?

I have to admit that I don't need to listen to Dvořák's concerto with other interpreters every day... But I very much appreciate recordings by top cellists such as Yo-Yo Ma in the USA or Truls M?rk in Europe.

What kind of interpretation irritates you?

I don't want to name a famous cellist, who incidentally also often performs with the PRSO. I fully appreciate his vast abilities when playing the cello, but it bothers me when he or any other cellist tries to "improve" this concerto, the most accomplished for our instrument. Dvořák has given us an utterly brilliant composition and any wilful changes really harm it. Even though Dvořák is considered an international composter, you have to respect his "Czech" sentiment and simple melodiousness. An interpretation in the spirit of Tchaikovsky, Wagner or Brahms is inappropriate.

What interesting projects do you have lined up after today's concert?

In the immediate future I'll be recording two CDs with complete compositions by Dmitri Shostakovich and Ernest Bloch. Of the concerts I'm looking forward to a recital at Prague Spring 2010.

Which of your collaborations with the PRSO to date do you rate most highly?

I'm grateful to the PRSO, and especially to its Chief Conductor Vladimír Válek: after many years of working together, in 2003 it nominated me as the ensemble's honorary soloist. I greatly value our regular collaborations and I am pleased to have been able to introduce lesser-known full compositions at our concerts (Arthur Honegger, Dmitri Kabalevsky and the Czech composers Jindřich Feld, Jaroslav Zich and Jiří Kalach). It's also interesting that we are performing Dvořák together in the Rudolfinum for the sixth time, and that we have recorded eleven more cello concertos in Czech Radio, either as a live film or in the studio. Martinů and Prokofiev have been released on CD by Radioservis, and Honegger by Praga Digitals.

Do you think the orchestra has a specific character?

The PRSO is a top professional symphony orchestra. You can see the long-term strong leadership of its Chief Conductor Vladimír Válek. As a chamber player I appreciate the musicians' experience of playing together, their discipline and shared sentiment. It's work that never ends, but it pays off, because that's evident in the entire ensemble's end result and the audience appreciates that.

Thanks for the interview - Jitka Novotná