Marc Bouchkov: From the Beginning

In From the Beginning, violinist Marc Bouchkov explores the musical influences that have shaped his artistic identity, with Jascha Heifetz serving as a central inspiration. Joined by pianist Julien Quentin, he brings together a rich and varied programme of works associated with Heifetz, from celebrated transcriptions to lesser-known repertoire, alongside his own composition, Facets. In this conversation, Bouchkov reflects on the music that first captured his imagination, the enduring appeal of Heifetz’s artistry, and the many influences that continue to shape his distinctive musical voice.

A Lifelong Love of Music

Heifetz is such a strong presence on this album. When did you first discover his playing, and what is it about him that still speaks to you today?

I can’t really tell what came first… Did I hear Heifetz as a child and fall in love at first hearing, which is why I keep coming back to him? Or is it simply because I objectively appreciate his incredible music-making and impeccable mastery of the violin?

I’ve always loved listening to him because I never tire of the emotional lines in his playing. The subtle and unexpected diminuendi, the vocal glissandi never in the obvious places, his ability to maintain tempi where almost everyone else would need to slow down or accelerate…

To me, he speaks and sings on the violin like the great singers of his time! This nostalgic beauty and elegance feel so distant and yet timeless.

There’s such a mix of music on From the Beginning. Is that typical of the way you listen to music yourself?

Not really. I decided to record most of the miniatures that made me fall in love with the violin and music as a child. The idea came spontaneously when my wife became pregnant—almost like a revelation. I wanted to record these tunes that have accompanied me for as long as I can remember.

Today, I love listening to miniatures when I have little time or don’t have the energy for “bigger structures”!

You grew up in a family of violinists. What do you think you absorbed from them without even realising it at the time?

I definitely absorbed self-criticism and perfectionism, along with the “old-fashioned” idea that everything in life should serve the work, or “music”.

I also absorbed a strong respect for the profession and probably some old-fashioned standards of playing in general.

You started playing the violin with your grandfather. What do you remember about those early lessons?

I remember my grandfather devoting hours to practising with me, checking my posture, my hands, my sound, and so on.

I also remember my grandmother calling us to eat, which always felt like being “saved by the bell”! That was definitely my favourite moment.

Finding His Own Musical Voice

You’ve explored quite a lot of music beyond the standard repertoire. What usually draws you to a particular piece?

Before approaching a piece, I like to reconstruct in my mind everything surrounding its “birth”. The more I challenge my imagination to see and feel its different elements, the more it helps me create my own interpretation.

It’s a bit like being a serious film director: you need to know and feel as much as possible before bringing a vision to life.

When you hear Facets alongside the rest of the album, what feels different about it?

Facets was the first piece I ever wrote, and I think it fits this album. I wrote it when I was fairly young and tried to keep it as authentic as possible.

It is mostly in sonata form, with a rather French first theme, reflecting the fact that I was born and spent much of my life in France, followed by a more “Oriental” second theme, symbolising my Jewish origins.

The development is an energetic, Piazzolla-inspired jazzy section, reflecting how much I loved that music at the time. It is followed by an improvised cadenza before the recapitulation. The piano’s coda brings the two themes, A and B, together.

When I listen to the piece, I hear all of this and remember writing it and thinking about these ideas. It makes me smile—I was so motivated!

A Continuing Journey

You’re now teaching as well as performing. Has teaching changed the way you think about music?

Teaching has helped me in unconventional ways. It has brought entirely different perspectives to my attention and helped me understand more deeply what is personal and individual about each of us when we play music.

Everybody has different tastes and responds to different impulses. I’ve also discovered how easy it is to influence young musicians, and how dangerous it can be to narrow or shape their tastes in subjective musical matters.

Teaching has given me the confidence to realise that what I feel and hear in music is authentically me, and that I should pursue it without compromise.

What are you looking forward to exploring next?

I have another symphonic album coming very soon, which shares something of this album’s mood and style.

Looking further ahead, I would love to make working on Johannes Brahms my next step!

Mark the date: Marc Bouchkov’s new album will be available on IDAGIO from 6 November 2026. In the meantime, discover the pre-released track from the album on IDAGIO.