Who or what inspired you to take up violin and pursue a career in music?
This was an easy choice, everybody in my family was playing the violin. It was almost a “Mother language”. I HAD to talk this language if I wanted to be understood, or understand what was around.
Who or what have been the most important influences on your musical life and career?
In my early life, as I said, my parents and my family, but then, later on, the absolute love of the music and the need to create sounds!
What have been the greatest challenges of your career so far?
All the competitions that I have done were a great challenge till today. But I understand now, that the biggest challenge ever happens each time I come to play a concert for an audience who expects to hear something special, something they will remember; this is very challenging!
Which performance/recordings are you most proud of?
I unfortunately don’t remember so well which concerts went well, but I remember very well the bad ones. I always try to recall what actually made an experience not so good, so that I know what to do for the next time. The greatest concert was probably a recital, where I felt the biggest connection with my partner. That was incredible.
Which particular works do you think you play best?
Probably the ones that I believe in the most. Meaning, when I study the piece in its context and the main idea, touches me. When the music, or its purpose doesn’t really touch me, I am afraid I can’t be sure of giving my best in it…
How do you make your repertoire choices from season to season?
I of course look into the big repertoire pieces that I haven’t played yet, and then try to combine them with maybe lesser-known pieces that fit well with the mood, character, and again touch me enough to be able to transmit it to the audience.
I always try to keep something that I’ve already played, so that not always everything is new!
Do you have a favourite concert venue to perform in and why?
I’ve discovered a lot of dry, beautiful and great sounding concert venues! Every concert hall for me has a very personal history: I simply try to remember every concert, and all the circumstances of each hall where I performed.
I enjoyed very much the Philharmonie in Cologne, because of the shape of the hall and its unbelievable acoustic.
Favourite pieces to perform? Listen to?
Well, probably the one I love to play the most is J S Bach, no surprises there. Simply because I always find new harmonies to underline, or listen to. The writing is perfect, so evident and clear, one always discovers more and more complexity in his music.
I would say my problem is that I sometimes want to show my “personal discoveries” too much, and then it becomes a personal fight:
What I want to show as personal intention / what needs to be kept natural and be played in a more “hidden” way. For this reason, I also love playing Ysaye’s music, where a lot is happening and there is rather more room for personal interpretation.
Who are your favourite musicians?
From the ones I have been listening to lately: L. Kavakos, C. Eschenbach, M. Goerne, V. Gergiev, M. Pressler, S. Edelman…
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
I believe that today it is becoming more and more difficult to hold on to the principles of “great culture”. We are the people who have the chance to be part of it, we have a great but very difficult mission – we have to keep it alive. I really think that a great part of our humanity is kept in the Art, as much in the “understanding” of it, as in its “producing”. This is why new and young artists have to hold on to something that maybe doesn’t bring that much success, or money, or fame. They have to bring something much more powerful (and not to themselves) – feelings, happiness, support, unity, and thousands of images.
All those elements are the true benefits of the music that we are sharing.
You’ve just been announced as the new London Music Masters Award Holder, tell us more about this?
It is a very new episode of my life starting, and I am really looking forward to the fresh new contact with Great Britain! Passionate people, passionate musicians!
I will be given the opportunity to introduce my concepts of instrumental playing and music making to the growing new generation of people/audiences in schools, for example. I really hope that my English will be good enough for the people to understand some of my twisted notions!
What are you most looking forward to about working with London Music Masters?
Meeting different people, and learning from them!
Where would you like to be in 10 years‘ time?
In a place where there would be unlimited space for love, friendship, and where I could be in a good enough shape to make music on a very high level
What is your idea of perfect happiness?
To be surrounded by truly honest and loving people.
What is your most treasured possession
Hum… Material possession..? Nothing… (Yet?)
What is your present state of mind?
In a very good mood.
Marc Bouchkov was born 1991 into a family of musicians. He received his first lessons at the age of five from his grandfather, Mattis Vaitsner. His first public appearance was just one year later. In 2001, he joined Claire Bernard’s studio at the Lyon Conservatoire National Supérieur de Musique; he transferred to the Paris Conservatoire National Supérieur de Musique (CNSM) in 2007. There, he began studies with Boris Garlitzky, who has been his mentor ever since, and offers him invaluable guidance for honing his craft. The following years saw participation in master classes and invitations to festivals in Moulin d‘Ande, Troyes, and Bordeaux (France), Viterbo (Italy) and New Hampshire (USA).
Marc Bouchkov is the recent recipient of a London Music Masters award