BY STEPHANIE ESLAKE
For Curt Thompson, the Mimir Chamber Music Festival is “something of a family reunion”. It’s about coming together with old classmates, ensemble members, and good friends.
But enough of that – it’s also about getting down to business. And Mimir offers a series of masterclasses that are so intense, even the presenters find it a learning experience.
In this series, we explore the TOTAL SUPERSTARS of Mimir (why wouldn’t we be enthusiastic about music education?). It’s an event that’ll bring together international talent with students of University of Melbourne Conservatorium of Music (who Curt says “have been preparing for their arrival for weeks”), a whole heap of Melbourne secondary students, and medical-professionals-turned-musicians from Corpus Medicorum.
At Mimir, Grammy-nominated composer-pianist John Novacek will make his Australian debut; leaders of the Chicago, Nashville and Houston symphonies will show us what they’ve got. And violinist Curt Thompson himself is one of the stars of the show.
Curt works as head of strings at MCM. Oh, and he also founded the Texas-based Mimir. He’s presented masterclasses at the Royal Academy of Music, Juilliard School, Beijing Central Conservatory, El Escorial Conservatory…
The list goes on. And this is why you should probably consider rocking up to his Melbourne masterclasses and concerts during this year’s Mimir (29 August-2 September).
Curt, thanks for the chat. What will you be teaching as part of your masterclasses?
While most of the pieces we’ll work on in the classes are compositions for small ensembles, we will hear some solo playing in three instrument-specific classes focused on violin, viola and cello. Over the years, we have devoted a portion of these classes to the discussion of orchestral auditions and the excerpts applicants must present in order to win a position. This always proves to be an enlightening and unique opportunity for our students – to get tips from those who sit behind the screen deciding who gets the top jobs in the world’s best orchestras.
The repertoire performed at these classes will include works, many of them quartets, by Haydn, Schumann, Shostakovich, Schubert, Beethoven, Brahms, and several others. Haydn was considered the ‘inventor’ of the string quartet, and those who composed quartets after Haydn felt a deep sense of gratitude and at times apprehension when treading on the artform of the great master. I think it’s safe to say that it is in the quartet, and certainly in chamber music, that many composers bare their souls to the greatest degree. It is also this medium that string players are challenged the most. In fact, I think many would agree that performing string quartets at a high level may be the most difficult thing we can do.
In our masterclasses, we will help musicians who might have a bit less experience than we have to develop the skills and understanding necessary to perform chamber music at the highest possible level. While performing one’s own instrument is challenging enough, learning to match colour, sound, dynamics, intonation, articulation, balance and pacing are among many considerations and calculations being made in a single moment. In our masterclasses, we will explore and impart the techniques needed to achieve this incredibly complex aspects of chamber music while helping them navigate their lives in music.
We often hear about the benefits to musicians that masterclasses can have. But how do you benefit from conducting a masterclass yourself?
I love to teach, and I’ve dedicated my life to helping people play their instruments better and to have a greater understanding of how they can improve as musicians and artists. The joy I get from giving masterclasses is perhaps the greatest thing I get from them, and I have almost limitless energy and passion when I’m helping a student in front of a room full of people.
Presenting masterclasses effectively requires quite a different skillset to teaching private lessons. One has to keep the audience engaged and to keep things interesting for everyone in the room. I quite enjoy giving masterclasses as it’s sort of a delicate combination of private instruction and public performance.
Over years of giving masterclasses (and yes, I can still remember my first one and how daunting it was), you develop a sense of the dos and don’ts of classes, and each time I give one I learn something new from the experience. One learns pretty quickly to hone in on central achievable points that make the biggest difference without going down a rabbit hole. That can be challenging when one has never met the student(s) in the session; how they learn and how they respond. The aim is to give them something that makes an immediate improvement in their playing, and to send them out after the session with some new bit of knowledge that they can carry with them into the future.
With each masterclass I present, I try to learn from the experience in order to achieve better and faster results with the students I’m teaching, and to leave them with more long-lasting ideas of how to play better and better.
How have you found the culture of masterclasses? Of course, this event is at the university – but music educators and established musicians can attend, too. Why should they?
Mimir masterclasses are unique, and I don’t believe I’ve seen anything quite like them. Rather than having one or even two artists coaching a group, sometimes all of us are up on stage giving instruction. While that might seem like chaos, with this unique group of artists who have been together for so long, it works. Sometimes, one of us sits in with the group being coached, and the immediate difference it makes to the collective sound is magical.
The pearls of knowledge being shared in the classes are thought provoking and inspiring, and I think both students and professionals can benefit tremendously. I know I’ve learned quite a lot both as an observer and instructor in our classes.
What are some of the non-musical things that participants can gain from these experiences – such as networking, or hearing new approaches from fresh faces?
I think one of the greatest opportunities participants have through the exposure to Mimir artists is the opportunity to have open discussions with musicians who have sat many times on both sides of the audition table.
Cellist Brant Taylor of the Chicago Symphony has a widely read blog debunking myths about taking auditions and how to win them. Mimir artists have such a wealth of career experience, and are so approachable, that I really think the non-musical elements are difficult to quantify.
How does Mimir differ to other chamber music events you’ve been involved in?
I would have to say the intensity is the biggest difference to other festivals I’ve known. With such a rapid performance and teaching schedule, for many of our artists this is the most difficult week of their year.
Another aspect is the incredible atmosphere that is created when everyone brings their best to the table and works together in the spirit of nurturing each other and celebrating music. This feeling is contagious among our students, audience and professionals, and I have never experienced anything quite like it.
What are you most looking forward to as part of Mimir 2018?
As one can imagine, it takes an incredible amount of effort, resources, and time to construct the festival; and it requires a great deal of patience and diligence. It also requires the time, skills, and dedication from a talented team of staff from the MCM and its office of External Relations. I can only imagine how many hours go into presenting Mimir altogether.
Once all the many details of preparing for the festival are set into motion, I cherish the feeling from the moment the first notes ring out of a coaching session or performance all the way to the final curtain closing another season of Mimir. Whether one is a concertgoer, music enthusiast, aspiring student, or professional, together we are doing something important and meaningful at a time when music and the arts are so incredibly vital to our culture.
Any words of encouragement to young musicians thinking about coming along?
For any young musicians out there thinking of coming along, I’d really like for them to know that they’re absolutely welcome to join us. It’s really unlike any other experience, and we’ve been fine-tuning the festival for more than 20 years now to ensure delivery of an exceptional opportunity to people of all ages and skillsets.
While Mimir artists are among the very best musicians from North America and Australia, they also happen to be some of the nicest people I know.
Get your masterclass hat on and rock up to the Mimir Chamber Music Festival this 29 August-2 September.
Don’t forget to check out the full program and book yourself in on the University of Melbourne Conservatorium of Music website.
Be sure to check back in with us again, too! We’re partnering up with Mimir this year to take you behind the scenes with these musical LEGENDS. Stay tuned for our next interview celebrating music education with Mimir musos (like these folks, pictured below).
Images supplied. Credit: Giulia McGauran
