How did the collaboration come about?
I was contacted by Ji Pokorn of the Prague Ballet. He wanted only music for the plays that would connect the individual scenes. I felt bad that such a big thing shouldn’t have original music. I suggested that I fold it for the purpose of introduction. He agreed.
Creating music for such a show is probably not easy
It was a beauty to work on such a well-known, well-known and captivating subject as The Little Prince. I was able to learn from the previous ballets I collaborated on. In the DJKT, but also in Liberec, st nad Labem, Prague, etc. It was a simultaneous stress, because creating an all-night ballet requires a lot of time and energy and requires the so-called whole hunter. But I took the necessary time and warmed up to the darkness and to a corner I was not used to before. I really enjoyed it, even though it literally meant a lot of sleepless and mainly short nights.
How did it work out?
I relied on the book more simply, from a child’s point of view, it left a lot of space inside me and helped me escape from reality and concentrate on the music collection. I take it as a pbh, although a lot of things are included in it, but it can also be perceived with an overview and lightness.
What did Mal Prince mean to you personally?
I think there is everything in that book. I have the feeling that Exupry speaks in symbols and images. I love it when there is an unspoken secret somewhere. I like to analyze things from all sides, but the scariest for me is when something is not fully expressed and you have room for fantasy.
It is probably not easy to compose music for a theater performance nowadays. Although it is contemporary music, it is still accessible to the viewer. How do you cope with this cycle?
I mainly hope that the inscentoi know my style and know what to expect from me. In this case, however, I had to cross my own wall. Not yours, but I just want the music to flow from me. I let myself go with the flow, what the director needed. He gave me total freedom. I don’t just compose contemporary music, I compose myself. I let the darkness flow through me, then I process it long. The creation process was all the more complex and time-consuming and energy-intensive, as I prefer and generally work with live musicians. I enjoyed the freckles on my back, the slight imperfections when the songs were recorded by a real musician. I collaborate with excellent female musicians, but I am able to record a lot of instruments myself.
This is not the first piece of music you have composed for the Plzeň theater. You composed the music for the film Snhurka and the introduction of Bloody Blood. How do we cooperate with the western world?
I had a lot of fun. I worked with Jim Pokorn before. I worked several times with director and choreographer Alena Peková. Not only did I compose the music for the Bloody Wedding, I also performed as an actress. After several years, the production was brought to Olomouc. Alena and I were very proud of this joint production. I work well with the Pilsen ballet company. I move between actors, musicians and dancers. I am torn between two dark worlds at work. I observe them and I know a lot about the work of all the artists I meet, but ballet is an exceptional discipline for me, it is a tremendous work.
You have been involved in music for years, what led you to the collection?
I really played to him like a blind man to a violin. Alena Pekov first approached me about the collaboration on the all-night dance. Jessie and Morgiana were introduced to the dance. It all started there. Alena was an inspirer, she saw the ability in me and doubted me. At work and at the moment, for me, creation is the greatest goal, the greatest freedom and joy. You didn’t neglect the edges and corners. In the days of ppad. I love the violin edge. When the hunter is a small child, he doesn’t see him practicing on the tool, but he is so young. And you? Exercise is meditation for me. And since it is something so natural and necessary for my life that the word hate does not count at all.
By the way, I also have a violin from Pilsen violinist Petr Sedlek.
Yes, they are great. It’s a tool of spades. So I have a rarity from him. I am one of the young musicians who play the five-string quinton. And this instrument is from him.
Play, sing, compose. That’s enough work for me.
It is so. I don’t get bored, I enjoy all musical and theater work. I play words, in my string quartet Gadrew Way, in the renewed art rock group Maraca, and in my music group GaRe, where we dedicate ourselves to my original compositions. But she’s a little spry. I did not have the time and energy capacity for a busy concert and things connected with the administration. But that’s not the case, the great and very capable manager Jana Gajov has joined me at work and she is taking over for me in these matters. I’m in a period where I’m clarifying to myself what I’m going to focus on the most. I have several projects under development. One of them is a record with Gadrew Way with folk songs from all over the world, then I will add a long-term project where I want to connect my music, words and my favorite cities.
You released the album Rok ticha last year. What will listeners find in it?
The album was released by the Hevhetia publishing house and is the result of a collaboration with Vladimr Morvek and Martin Dvok. With the first named, we rehearsed the performance of Ballad for a bandit, the Provza was played for fifteen years. During that time, the hunter will cover a lot of vc. Vladimr enacted this analogy in the film. He approached me to compose new music for this film based on the original lyrics by Milan Uhde. I myself was surprised that I was able to get rid of the brilliance of Miloe Tdron’s original music and create my own music based on Uhde’s lyrics. It was during covid times when it was calm. I remember how I walked along those empty streets and wondered how to set each text to music. I liked it a lot. The second half of the album is composed of music for the introduction of Maria Kudekov.
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