KATEŘINA ENGLICHOVÁ

Courage – one of the loveliest characteristics of the noteworthy harpist Kateřina Englichová. Her quest led her to the composers of the latter half of the twentieth century; on her new album Musica per arpa (SU 4185–2) she has given the premieres of a number of their works, some of which were dedicated to her. You can forget all about the romantic image of a beautiful woman gently strumming the harp strings with empty virtuosity that quickly becomes tiresome. Slavický, Hurník, and Kabeláč present the harp as a dynamic, assertive instrument of expressive versatility, challenging us to search the depths. And who can better uncover these depths than Kateřina Englichová herself in our interview…

Your new album, Musica per arpa, is almost entirely made up of works by Czech composers, with the only exception being Benjamin Britten’s Suite for Harp. How do these pieces fit together?

I think they fit together very well, and that is why I have included them on the recording. It goes without saying that some sort of juxtaposition is being suggested. Our composers, Slavický, Hurník, Sluka, Kabeláč and Gemrot, know exactly what they are doing when creating their works. Owing to their living in a small country, in a single-language milieu, they may not have been afforded much opportunity to present their works abroad too. The reason why I put together these pieces was to prove, and not only to harpists, that they can be performed at concerts, as well as included on an album next to Benjamin Britten’s renowned Suite for Harp.

Was it difficult to choose the Czech repertoire for the album, or would it be possible to fill other albums with it?

It could make up three or four albums. Naturally, the Czech harp repertoire is not as extensive as that for piano, owing to which the harpist does not have that much to choose from. I deliberately selected compositions that are not only written for solo harp. I am well aware of how difficult it is to listen to any plucked instrument for a long time. I like pieces that employ other elements too, and the harp can be presented as an instrument suitable for chamber music. In my opinion, it would be a pity not to introduce new works to the public, as it is often the case that musicians perform the same thing over and over again. When it comes to, for instance, the Klement Slavický piece on my album, it could indisputably be played on stages and at competitions worldwide.

The album contains three works directly created for you. How do you feel about it? Did you talk to the composers about their conceptions while they were writing them?

I never intervene in the creative process, as I do not deem it appropriate. After I receive the completed piece, I comment on it, yet all the three composers know exactly what they want to write. What is more, they delivered to me the manuscripts, which made me feel happy, as it is better for me to play from such scores. The notes have their own soul.

Does 20th-century music for the harp anyhow differ from that dating from other eras?

The harp generally softens the music, that is the main thing. And this applies to 20th- and 21st-century compositions too. Even though I have always striven to present the harp as an instrument that can be rhythmical and bold, one that can play more than solely angelic music.

What would you tell those who will consider buying your new CD but may at first glance be put off by the modern compositions?

I would perhaps say one thing – that modern music too has a lot to offer. The compositions on the album are not ultra modern, of the type that is aimed at shocking the listener. They are written in classical forms (sonata, French suite), yet their content is modern, in the sense of the poetics, innovation. I have often tested out such music on friends of mine who are not musicians, and they were very pleasantly surprised.

You invited several guests along for the recording of the Musica per arpa album. Two pieces are co-performed by the top-class American flautist and professor at the prestigious Juilliard School, Carol Wincenc. How did you get together?

We first met at an American music festival, where we were put together by the organisers. We immediately got on with each other, and since that time have given several joint concerts, in Los Angeles, where we will be returning, and here in the Czech Republic. When I learned that Carol Wincenc would be sitting on the Prague Spring Competition jury, I decided to ask her to participate in my album, and she agreed. Actually, it was very easy.

How did Carol Wincenc, as an American flautist, perceive the 20th-century Czech music?

I could venture to say that she was excited about the pieces. Perhaps in part because her ancestors hailed from Slovakia, yet, on the other hand, she, a globally renowned flautist, is interested in the new repertoire. As a performer, she encounters not only Western but other music as well, and she is keen on, for instance, Indian music.

A noteworthy aspect of the present album is the fact that Jiří Gemrot wrote the final piece for it, and was also its recording director. How did this affect the recording of his Trio for Oboe, Harp and Piano?

Jiří Gemrot is one of the most sought-after recording directors in the Czech Republic. He is gifted with the great ability to communicate with the performer, with his approach even being similar to psychotherapy. It was very interesting to see him recording his own work, whereby we, the musicians, even had to ask him to be as strict with us as in the case of the other pieces. Gemrot was very humble and modest, and I think he was delighted that we included his trio on the album.

The other two guests featured on the CD are the pianist Martin Kasík and the oboist Vilém Veverka. I doubt that it was your first musical collaboration.

Martin Kasík and Vilém Veverka are among my long-term musical partners. We had previously performed the trio dedicated to us by Jiří Gemrot at several concerts and agreed that it would be a pity not to record it. All three of us are of the opinion that it is a work that presents the harp as a chamber instrument very well. Martin Kasík is my favourite pianist, and I highly admire him for his creativity and brilliant technique. And Vilém Veverka and I have appeared together at numerous concerts for a decade now, hence it was only logical to invite him to participate in this album within a trio.

Music performers indisputably have many dreams and plans for recordings. Could you reveal to us the next project you have in store?

For the time being, I would like to keep it secret, yet I can reveal that it will be music dating from a different era. But you’ll learn more soon …

For further details, please visit:
www.englichova.cz