Meeting Maria Fuller

As a young musician, Maria Fuller was a force of nature in Saskatchewan growing up. From one of the province’s most musical families, Maria was a pianist of such note in her teenage years giving remarkably musical performances that lead her to pursue a career that eventually led to the podium.

Maria Fuller makes her SSO debut on the podium for Mozart in Prague – and ahead of the performance, we had a few questions for her!

SSO:
You recently conducted La Clemenza Di Tito in the Main Stage series at the College-Conservatory of Music. How does it feel to be reunited with Mozart’s music once again?

Fuller:
It feels great, but I must add a little story in front of this answer! Conducting an opera was one of the last things I imagined I would do when I arrived at CCM six years prior for a Masters of Music in piano performance. Most people here in Saskatchewan know me as a pianist and/or trumpeter, but in the last few years, I am suddenly internationally known as a conductor. It makes me think of the quote that I now have hung on my wall, painted by a dear friend I met in Cincinnati, “Life takes you strange places, and love brings you home.” To be home in SK, conducting, means very much to me.

When I went to Cincinnati, it was with the intent on furthering my piano studies. Immediately after obtaining that Masters degree, I was asked to stay for an Artist Diploma in Operatic Coaching. After that, I was approached again, this time by the Maestro at CCM, with the following comments: “conductor is written all over you,” “you’re a born conductor,” and “you will have a huge career.” I was asked to stay once again to do a second Masters of Music in Orchestral Conducting. I hadn’t applied, I didn’t audition, I hadn’t asked. It was as much news to me as my parents, when I decided, less than a week after the invitation, to allow Maestro to show me his craft of conducting. I began my conducting studies knowing that after 13 months of study, I would be conducting the mainstage opera. My first assignment, as I learned how to hold a baton (which we, at CCM, call a stick), was in September 2017: Act I of Tosca. 

Getting on with answering the question now. Mozart. I have to tell you all this – Mozart is proving to be extraordinarily special to me in my conducting career; the very first thing that I got to try in front of an orchestra, less than a week into my studies, was his overture from the Magic Flute. The first opera, and the last thing I conducted/performed at CCM, was by Mozart. The first piece that I conducted in performance with the Thunder Bay Symphony Orchestra, where I am currently the Resident Conductor, was that same Magic Flute overture. It feels great to be home in Saskatchewan conducting, and no surprise that once again, my debut performance with the SSO will be Mozart.

SSO:
For those who are just beginning to delve into discovering the joy of classical music, what do you believe Mozart’s Wind Serenade has to offer? What makes this work so special?

Fuller:
It has a lot to offer – but that is coming from someone who is crazy about music from the Classical and Baroque era! The energy, rhythmic vibrancy, inevitability of momentum and forward movement, the earnestness of the melodies, and the simplicity of texture, (yet the musicians know that the word “simplicity” lies very far from the performance equation), are all enticing to my package of musical make-up. My father always used to say that Mozart instinctively knew what his audience needed when they came to listen to his performances; someone listening might be suffering pain, or loss of a loved one, while another person may have just received great news, or is anticipating something very special. Mozart portrays a great deal in his writing. I would like to meet Mozart, if I could, because I believe that like Einstein, he was brilliant, and that his brilliance made him difficult to understand and accept as a human being. Even in my lifetime, I have observed that there is an odd dichotomy found with people, such as agents, or teachers, who seek brilliance encased in a human possessing extreme ability or cognitive awareness. While they seek this attribute, they are at the same time seemingly unable to deal with the ramifications and struggles of dealing with that same brilliance. Mozart’s music is just as he was: genius, honest, rambunctious, and emotionally complex. When asked to “take a few notes out” of his composition, Mozart would rather starve than alter a fibre of who he was.

 

SSO:
During the concert you will be exploring a second Serenade of Winds with the orchestra, composed by Antonin Dvorak. How do you feel this piece contrast with Mozart’s Wind Serenade? 

Fuller:
This program is great, and full of contrasts, and comparisons. Both of the Serenades have 4 to 5 movements, and come in under a half hour each. When multi-movement works are composed, such as the ones you will hear in this concert, the composers have built into them an emotional and cognitive trajectory and journey. In these serenades by Mozart and Dvorak, one can be sure to feel the high and low points, to experience the quick and slow paces, the happy and sad moments, and the moments you wish would never end. The Dvorak Serenade has some seriously beautiful moments, such as in the 4th movement. However, it soon finds itself in a most aggressive state of bewilderment and terror. Perhaps a little bit like last year was? Even from the beginning of the movement, the harmonic language, which moves continuously underneath a classically formed melody, hints that things aren’t as settled as they appear. In contrast, the last movement ends with a celebratory, robust and rhythmic folk song; a specialty of Dvorak’s, where he, through his music, brings you into his homeland, and welcomes you into his heart.

SSO:
You are a conductor, multi-instrumentalist, and composer with a growing career. What is it like to return to your Saskatchewan roots during such turbulent times?

Fuller:
I am very fortunate to belong to such a welcoming and encouraging musical community here in Saskatchewan. During my first year working as a conductor in Thunder Bay, Regina caught wind that I was now conducting, and invited me to guest conduct. The same has happened with Saskatoon. For the past few years, I have also been one of the repetiteurs for Saskatoon Opera. I am grateful for the consideration that the RSO and SSO has shown me, and for their support regarding my newest musical endeavour. It still hits me at times that I get to do what I do. Being a conductor, for me, is a responsibility, and a massive privilege. It’s the difference between snowmobiling out here in SK
solo, versus snowmobiling pulling a sled with three other people on it. Alone, you’re free, and need consult no one for your own careless thrills. But throw other people into the situation, and you must now be aware of the implications of what you do on others, because it affects everything they do as well. 

SSO:
Prague has been referred to as “The Golden City, as well as “The City of a Hundred Spires”. What is it about music from this part of the world that inspires you?

Fuller:
It is fascinating to ponder a city like Prague that has brought to life so much remarkable music. One might ask, “What did they put in the water?” I am inspired by the fact that many composers who were associated with Prague were also nationalist composers (meaning that their compositional styles were based on, or included national folk music). Their pride for their country, for historical events, and historical music, influenced them to write in a style that was very unique, and vibrant. Some of these composers include Janáček, Mahler, Smetana, and Dvorak. I am inspired, and am moved very much by hearing the music of composers whose hearts were so firmly rooted in their homeland that they couldn’t help but etch it into the very fibre of what meant the most to them.

We’re thrilled to have Maria Fuller leading the SSO Winds in this wonderful concert!

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