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Article Excerpt
The oboist Vilem Veverka (1978) is emerging as one of the most striking performers of the coming generation. He is all the more interesting as a musician for the fact that he systematically devotes much of his energies to the expert performance of contemporary music, which is still far from usual even among young performers. In the following interview, V. Veverka talks with one of the most important of living Czech composers, Marek Kopelent (1932). This was not their first meeting--it was Veverka appeared as soloist for the Czech premiere of Kopelent's oboe concerto A Few Minutes with an Oboist (1972), and gave a marvellous performance. It is typical of the Czech Republic, in which the communist regime systematically suppressed practically all expressions of modern art, that two musicians apparently divided by a generational gulf can easily find a common language. This is because they share a continuing degree of marginalisation. Not even in today's free society is the place of contemporary music assured and automatic either in music schools or elsewhere ...
We were brought together when we met at the guest seminar given by Heinz Holliger at the Music Faculty of the Academy of Performing Arts (HAMU) in 2001. He recognised your great talent and you astonished me too with your performance of Baroque music. But you are captivated by contemporary music. Why?
There are several important factors at work here. Above all, playing contemporary music is something related to my education and profession, it is something I should get to know.
Second, the music of the 1950s and 1960s involved an extraordinary advance in technique, and you have to get to grips with it. It develops not just your capabilities as a player, but your personality. And I think my generation is the first that can play these pieces here freely and publicly.
Finally, performing contemporary music I...
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