Ad Manaurem 1762: Johannes, you are a central figure in the training of string quartets. What made you accept the invitation from Ad Manaurem 1762 to become Artistic Director of this masterclass?

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Johannes Meissl: When I first heard about this new project, I was immediately very interested. I sensed at once that the people behind it were truly serious. They are not doing it for commercial reasons, but to offer young musicians a special opportunity.

The recommendation of my rector at the mdw, where I am Vice-Rector for International Affairs and Art, was also decisive. The concept of working for an entire week with just three quartets and one coach, in an ideal environment, is something very special. It allows the young ensembles to immerse themselves deeply in the music and in the works they bring, without distraction. It is also important that the week has a clear goal: the closing concert.

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What message would you like to pass on to young string quartets for their musical and personal development?

 

The decision to devote oneself seriously and professionally to string quartet playing as a main activity is a far-reaching one. It does not only mean working on wonderful music and performing it on stage. It is also a long journey in which one’s own personality becomes directly involved in the collaboration.

In a quartet, very different personalities necessarily come together. That is a great challenge, but it is worth taking on. One can be enriched enormously by the others — and of course by this extraordinary music. The string quartet repertoire, in its richness and quality, is hardly comparable to any other. If one succeeds in shaping this shared path in a positive way, string quartet playing can offer a sense of fulfilment that few other musical forms can provide.

In my work, I also try to convey as much understanding as possible of the particular musical language of each work: its foundations, its characteristics, its articulation and its style. What matters to me is less the label of a style than the essence of a musical language. Where does it come from? How is it embedded? What is generally understandable, and what in a particular work requires special attention? Only from this can a living musical narrative emerge.

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Do you also place music in the context of the time in which it was written?

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Yes, absolutely. Placing a work in its context is extremely helpful if young musicians are to truly feel and understand the inner narrative contained in the music.

Musical languages are inseparable from their time and their region. It is important to know the political, social and historical environment in which a work was created. If one does not understand what the Enlightenment brought about in Europe, one cannot truly understand Haydn. And without knowledge of the consequences of the French Revolution and the contribution of German Idealism, Beethoven cannot be fully understood.

For me, this knowledge is not an end in itself. It forms the basis for a feeling — and that feeling should then become effective in one’s playing and interpretation.

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A masterclass requires not only technical perfection, but also a deep understanding of the dynamics within the ensemble. How important is this aspect?

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The human dynamic within the group is very important to me. It is about trying to breathe together, think together, feel together and respond to one another to such an extent that truly shared music-making becomes possible.

I am convinced that the highest quality is best achieved when the human dynamic is also positive. Exchange within the ensembles and between the ensembles is essential in every masterclass — especially in such an intimate and focused atmosphere as here. It does not only happen during the actual musical work, but also at shared meals or in small moments of free time. This strengthens the young musicians. Often, such encounters lead to lasting friendships.

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What is the significance of exchange between generations?

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I played string quartet with the same colleagues for more than forty years, so I know very well the importance of continuous work. But I have also experienced how valuable short, intensive encounters can be. They are invigorating, provide new impulses and are necessary for everyone involved.

This also applies to young ensembles. In the best case, they have continuous guidance, but at regular intervals they also need these intensive impulses that a masterclass can provide. That is why I very much believe in “both-and”, not “either-or”.

 

Ad Manaurem 1762 places great importance on a family-like atmosphere. What can such an environment make possible?

 

A family-like atmosphere is very important because it absorbs part of the pressure to which young musicians are already exposed. The music world is competitive and demanding, including for young string quartets.

At Ad Manaurem 1762, an environment is created that does not increase the pressure, but opens up space. The relaxed, family-like atmosphere and the feeling that many things are being taken care of allow the young ensembles to focus on what matters most: the music, the shared work and their own development.

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How did you personally experience the week?

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For me, it was a very beautiful experience, especially because of the warm hospitality extended not only to the ensembles, but also to me.

There were special moments almost every day. The opportunity to work in this wonderful old château, La Marthonie, made a very deep impression on me. The fact that the owner of the château so naturally supported everything was also very special. The organisers do not just do things well; they do them with enthusiasm, conviction, dedication and an obvious love for the project. For me, that was a very beautiful and profound experience.

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What does music mean to you personally?

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Music is my life. I chose it when I was young, and my love of music has never disappointed me. A wonderful piece of music can still fascinate me today just as much as it did decades ago. It awakens in me again and again the desire to rediscover it with others and bring it to life.

I believe that music can give many people something they do not find elsewhere. That is why we must not simply wait for people to come to traditional concert halls. If they do not come to us, we must go to them. This happens in many projects: in social or therapeutic institutions, in pop-up concerts, in places where this kind of music may not usually be present.

A live experience is a shared event. Music becomes alive again in the moment it sounds. That is precisely where its special power lies.

 

So can classical music also be understood in a contemporary and modern way?

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Absolutely. In the history of music, no great composer ever saw themselves as “classical”. They were all contemporary composers, modern in their own time.

For me, everything is possible. What matters is that it is done at the highest instrumental and artistic level — with identification, awareness and a genuine love for the music. Then music will continue to work in the future as well.

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Is there anything else you would like to add?

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I would like once again to express my heartfelt thanks for the opportunity to be here. I wish the Ad Manaurem 1762 project a wonderful and sustainable future, and I am very curious to see how it will continue to develop.