PACKAGE OF HOPE
For the future of Czech musical culture, it is essential not only to cultivate its foundations - economics, education, the musical training of children and youth, and both the quality and quantity of the listening public - but also to ensure societal support for talented musicians. Among other things, this includes the possibility of making recordings: preserving, in essence, fleeting moments in artistic development. Unfortunately, the recording industry in this country has been narrowing, primarily for economic reasons. The situation of the turbulent and productive 1990s will never return. To record a non-profit symphonic or operatic project, or a profile album for promotional purposes, is almost impossible without the support of the state, corporate sponsors, individual patrons, and small-scale philanthropists. It is not only a matter of money, but also of luck - and certainly of enthusiasm. Exceptional talents today are supported mainly by Supraphon, occasionally also by ArcoDiva or Radioservis, and by a few individualized labels. (Unfortunately, multinational music publishers do not participate in supporting young artists here.)
From this year’s harvest I have selected three recordings that strike me as particularly promising. All three bear the imprint of Supraphon and its editor Matouš Vlčinský. I therefore dedicate this third “package” of reflections to the hopes of Czech music - the Alinde Wind Quintet, the pianist Jan Schulmeister, and the clarinetist Marek Švejkar. (Package 1 – https://www.polyharmonie.cz/balicek-1-warneri/, Package 2 – https://www.polyharmonie.cz/balicek-2-jistoty/)
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The Czech clarinet tradition also regularly produces outstanding talents. Among them is Marek Švejkar, strongly connected with France (see www.svejkar.com). His debut album on the Supraphon label (SU 4372-2) is demanding both in content and in listening experience, and boldly nonconformist. It is contrasting in character, yet simultaneously seeks out synergies - Berio (Lied, Sequenza IX), Boulez (Domaines, Dialogue de l’ombre double), and Bach (the Partita in A minor, BWV 1013, originally for solo flute).
The clarinetist described his work on this challenging program as follows:
“I would say that this type of repertoire is a challenge in itself, but I would divide the whole working process into two levels. The first was to master the program technically and to absorb it thoroughly. To be honest, I originally had no intention of recording Berio at all, but as often happens with me, I eventually decided to venture into his solo works as well. It was a step into the unknown, yet precisely because of that it pushed my playing forward in a fundamental way. Then there is Boulez’s Dialogue de l’ombre double, where it was first necessary to pre-record half of the piece, edit it in the studio according to specific technical parameters, and only then insert the solo part into it—this too was a completely new kind of working process. The second challenge was to assemble an album that would possess genuine substance and expressive value, so that the recordings would not remain merely a display of virtuosity, which often happens with this kind of repertoire. In short: I pursued the music along a horizontal line—seeking the greatest possible expression and meaning.”
Listening to the recording left a similarly deep impression on me as Hudba pro klarinet by Anna Paulová, released by the same label in 2023 (Hába, Martinů). Marek Švejkar is one of the hopes of Czech music - something that Czech festivals and orchestras will hopefully become increasingly aware of. In this case, the donor was the State Culture Fund.
Three stories - three hopes. For the courage of its dramaturgy, I would place Marek Švejkar’s project first, even though the debut of the Alinde ensemble is also very promising.