The triple use of the word "lightness" in the headline is far from redundant, and not only because it evokes a famous literary work. It best characterizes the concert by clarinetist Marek Švejkar, which took place on an unusually warm and sunny Saturday afternoon, September 20, at Prague's Atrium Žižkov. Accompanied by cellist David Pěruška and dancer Eliška Kopecká, the concert also served as the "baptism" of Švejkar’s new solo CD released under the Supraphon label.
Comparing the CD’s playlist with the concert program reveals a distinct similarity. Both draw from the works of three composers whose names begin with the letter "B"—Berio, Boulez, and Bach—commemorating their anniversaries this year: the centenaries of the 20th-century masters and the 340th birthday of J.S. Bach.
While the CD features two compositions from each modern master and a clarinet adaptation of Bach’s Partita in A minor, the live performance offered a unique dialogue. Berio’s Lied for solo clarinet opened the afternoon, and Boulez’s Domaines for solo clarinet served as the finale. Švejkar commands his B-flat clarinet with true mastery. He plays with absolute purity, intonational precision, and an extraordinary dynamic range—from nearly inaudible pianissimos to resonant fortissimos. He dramatically punctuates every phrase, weaving individual sections into logical contexts.
In the inviting space of the Atrium, Švejkar offered something more than the CD could provide: a visual, kinetic dimension. In Boulez’s Domaines, he collaborated with dancer Eliška Kopecká, whose original movement creations heightened the impact of the solo composition. Her imaginative choreography was built on strictly synchronized sequences with graceful handwork. Both artists moved throughout the entire hall, weaving through the audience and drawing them into the center of this extraordinary music-dance event.
Between the two clarinet pieces, David Pěruška delivered an exemplary performance of Bach’s Cello Suite in G major. His playing was understated yet perfect, marked by subtle contrasts and flawless technique. His approach to Bach—breathing life into rhythmic values through sensitive accentuation and judicious rubato—mirrors Švejkar’s own interpretive philosophy as recorded on the new CD.
All three young artists achieved exceptional results. They approached the boundaries of interpretive perfection not through brute force, but with a refined, almost gallant lightness. Their artistry provided the audience with deep and unforgettable experiences—truly the best possible advertisement for the new CD.