Marek Švejkar is a Czech clarinettist whose artistic profile is rooted in the French clarinet tradition. His work combines technical precision, a highly refined sound and a strong interest in the colour, versatility and expressive possibilities of the instrument.

A significant part of his artistic development took place in Paris, where he spent eight years and studied at the Conservatoire National Supérieur de Musique et de Danse de Paris with Philippe Berrod and Jérôme Comte, as well as with Franck Amet and Paul Meyer. He was the first Czech clarinettist admitted to the Conservatoire National de Paris. His international experience also includes artistic and educational stays in Italy, Norway, Finland and the Netherlands. He currently works in Rome with the Accademia Nazionale di Santa Cecilia under the guidance of Alessandro Carbonare.

Švejkar’s repertoire extends from Bach, Brahms, Gade and Prokofiev to Boulez, Berio and contemporary composers. Rather than separating historical and modern repertoire, he looks for connections between them and creates programmes built around dialogue, contrast and shared musical ideas. His interest lies particularly in repertoire that challenges the traditional perception of the clarinet and reveals its full expressive and sonic range.

A central focus of his work is the music of Pierre Boulez, which he has explored for more than a decade through performance, research and recording. His work on Boulez forms part of his doctoral research and has led to performances of Domaines with Quasars Ensemble, as well as a recording project placing Boulez and Luciano Berio alongside Johann Sebastian Bach. His interpretation of Boulez’s Domaines has also been recorded by Radio France / France Musique.

As a soloist and chamber musician, Švejkar has collaborated with Quasars Ensemble, Brno Contemporary Orchestra, the Philharmonic Orchestra of Hradec Králové and Fama Quartet. His programmes frequently combine established works with less familiar repertoire, creating distinctive concert narratives rather than presenting isolated pieces. He is particularly interested in the relationship between historical repertoire and contemporary sound, and in finding ways to make demanding music direct, vivid and accessible.

Alongside his performing career, Švejkar is active in teaching, research and artistic production. He has also studied piano and opera singing, experiences that contribute to his broad understanding of ensemble work, musical communication and dramaturgy. Whether performing Bach, Brahms or Boulez, his aim is to bring together intellectual depth, sonic imagination and genuine contact with the audience.