MATEJČA AND SCHULMEISTER

Two exceptionally talented young musicians, violinist Daniel Matejča (*2005) and pianist Jan Schulmeister (*2006), have joined forces in interpreting challenging 20th-century Czech repertoire. Following successes at international competitions that served as their gateway to the professional music world, they decided to present new, personal interpretations of works by Suk, Martinů, and Fišer on an album released by Supraphon. What led them to choose these compositions, and how do they view them in their musical and historical context? We talked about this and much more in our interview.

Daniel, your earlier recording of the Ysaÿe sonatas attracted a great deal of attention. How different was it this time, making a recording of 20th-century Czech repertoire? Did you feel the technical or interpretive demands were different making this recording?

I’ve been trying to devote myself to 20th-century Czech music for some time. A long time ago, Prof. Štraus introduced me to the rather little known Partita for Solo Violin by Klement Slavický. Back then, the piece served as my introduction to 20th-century Czech music, something I absolutely fell in love with thanks to Slavický and later thanks to Luboš Fišer as well. The interpretive requirements for the two recordings were totally different, of course. Ysaÿe was far more technically complicated, but I was all on my own. This time, I also had Jan Schulmeister with me. I think people here in this country should be studying music by composers like Martinů, Suk, or Fišer, and in my opinion, it’s absolutely necessary to bring a little Czech blood to these works. We’ve been incredibly lucky to be able to work on all this music with Prof. Štraus. I gladly attribute most of the success to him because I think no one could have taught us this music better. For example, he was right there during the composing of Fišer’s sonata The Hands, discussing the piece with him and making corrections, and ultimately Fišer dedicated the sonata to him. It has been an enormous honour to be able to work on this recording with Prof. Štraus. 

Jan, the prize you won at the Cliburn Junior Competition demonstrates your technical brilliance. What use have you made of that experience in working on Czech repertoire that has a different poetic and musical language?

To me, the prize in Dallas was important confirmation that I can handle the technical challenges of even very demanding repertoire, but it should be said that technique is just one of many aspects of interpretation. True artistic depth comes only from profound understanding of the music itself. I don’t think my competition experience had much influence over working on specific Czech repertoire. All music, Czech or foreign, has its peculiar features and unique qualities, and one must approach every composer individually and respectfully. For example, Josef Suk’s Four Pieces for Violin and Piano have their characteristic poetic language given by the Czech temperament. There is great depth and sensitivity in it, but also a certain reservedness that conceals powerful emotions. Then Martinů is quite special with his striking rhythms and playfulness. The important thing for me with all composers, and not just Czech ones, is for their music to sound pure and genuine, and that is exactly what I try to find and pass on.

Daniel, Bohuslav Martinů’s Czech Rhapsody is an exceptionally difficult composition written for the legendary violinist Fritz Kreisler. What was the greatest challenge for you when learning it? How did you approach it?

The Czech Rhapsody truly is an easy composition to play, but I definitely would not call it the hardest work on the album technically. Certainly, Jan and I faced many obstacles – in the end, just being together in one place was a big success for everyone involved! [He laughs]. But Martinů was an expert at creating rhythmic puzzles, and I would dare say that his First Sonata, for example, is far more complicated, but his musical language is so unusual and attractive that all those hours of work were undoubtedly worthwhile.

Jan, Bohuslav Martinů’s First Sonata is known for its elements of jazz and impressionism. As a pianist, how did you approach its stylistic diversity? And how was it, playing in dialogue with the violin?

The stylistic diversity is just what I like about the First Sonata. I felt it was a challenge to alternate between two worlds that naturally communicate with each other. In the impressionistic passages of the second movement, I wanted to highlight freedom and colour as much as possible with the most delicate shades of dynamics possible. Then on the other hand, in the jazz sections I enjoyed the rhythmic energy, playfulness, and humour. Collaboration is absolutely natural for Daniel and me. Martinů puts the two of us on equal footing. We looked for shared tempos, phrasing, and expression, and I think our symbiosis let the sonata come

off superbly.

Fišer’s sonata The Hands is a deeply dramatic work of symbolic power. Daniel, what emotions or story did your interpretation attempt to express? Do you feel the work purely as music, or also as a narrative composition?

This really is one of my favourite works of its kind. It isn’t played very often, and I’m glad that Jan Schulmeister and I are among the few people who have made room for Fišer’s The Hands on an album. I feel great closeness to my teacher, Prof. Štraus, so of course I also feel close to this piece. It’s full of contrasts and incredibly powerful motifs that give me chills every time I perform it. Words truly cannot describe the atmosphere. I’ll be really glad if in the future I get enough chances to get this music out into the wide world. The piece deserves it, and this recording is an ideal first step forwards.

Collaboration between a violinist and a pianist requires perfect ensemble playing. Jan, how easy was it for you and Daniel to find a balance between soloistic virtuosity and chamber musicianship?

We both appreciate the chamber music character of these works, but at the same time we respect leaving room for solo virtuosity. We looked for a balance between these two kinds of musicmaking, and we tried to make our playing not only technically precise, but also, above all, lively and genuine.

And how did you two actually meet?

Jan: I met Dan five years ago at the finals of the 2020 International Radio Competition Concertino Praga. After the evening of the finals, there was a tour of southern Bohemia where we shared the same hotel room. We got along great from the beginning, and that’s when we got the idea of working together.

Daniel: That’s also when we got the idea of someday applying jointly to the chamber music category of the competition Concertino Praga. So that’s what we did, and thanks to our victory in 2023, we’re now releasing this beautiful album. We’ve played lots of lovely concerts together, and I can say with a clear conscience that Jan is one of the best pianists I’ve ever worked with.