An Interview with Toby Appel
Acclaimed violist and returning Manchester Music Festival faculty artist Toby Appel has performed throughout North and South America, Europe, and Asia. He has been presented at the White House and the United Nations, and as a guest artist at the Marlboro Music Festival, Chamber Music Northwest, Ravinia Festival, Seattle Chamber Music Society, Great Mountains Music Festival, and many others. He is also a frequent commentator on National Public Radio’s “Performance Today.” Professor Appel’s extensive discography spans the Columbia, Delos, Desto, Koch International, Opus 1, and Musical Heritage Society labels. He is currently on the faculty of both the Curtis Institute and the Juilliard School.
The Manchester Music Festival is thrilled to welcome Professor Appel back for our Summer 2020 season premiere concert on Thursday, July 9. In addition, Professor Appel will spend the week in a teaching capacity: coaching our Young Artists for their own debut performances and presenting a public masterclass (complimentary admission) on Saturday, July 11.
Q: Could you tell us about how you got started in music?
A: I started on piano when I was seven, but my piano teacher told me I wasn’t musical and kicked me out after my second lesson. Then I took French horn lessons -- at a (dollar per) lesson -- at my local elementary school. But I had to pay for my own lessons and had only eight dollars, (so) I had eight lessons and my horn career was finished.
However, Dad had other ideas for me. (He) played cello and my two sisters played one violin each, so the missing link was the viola … and me. No choice in the matter whatsoever.
Q: When did you know you wanted to pursue it professionally?
A: I’m just about to turn 67, and I’m still not sure I’m interested in pursuing music professionally. What do you think?
Q: Were there any individuals in particular who have kept you inspired?
A: I loved my teacher, Max Aronoff, who was basically my only teacher, first at the New School of Music in Philly, and then at the Curtis Institute. In my final year, I also worked with the wonderful violist, Joseph DePasquale.
Generally speaking, I wake up inspired. I start every day off excited to figure out how to get the best cup of coffee imaginable. After that, it’s all peaches and cream. I like to work, so if I'm not teaching or rehearsing or practicing (just kidding about that last one), I'll find something to fix or build, or I'll shop for dinner. I'm nearly always happiest in the kitchen, chopping and mixing and grating and grilling. I like colors, shapes, and flavors just as much in food as in music, and one helps build my imagination for the other.
Q: Could you tell us about Max Aronoff’s teaching style? How does it compare to your own?
A: I try to teach very much the way I remember Max Aronoff taught me. Lots of Sevcik, lots of vibrato exercises, lots of bow squares and circles. Max wanted a big technique and a full sound with flexible vibrato, and no holding back. He taught me how to learn any piece of music by myself, and that is my goal with my students.
Q: As a professional musician, what is something you wish you knew when you were in school?
A: I was a pretty smart kid, and I was still a kid when I was in Curtis, starting just before my 13th birthday. I was not a terribly happy person at that point in my life, and I wish that I had not spent quite so much time alone.
Q: Could you tell us about your instrument: what you play, how you found it, and what about this particular instrument made you choose it?
A: I play on a beautiful Guy Rabut viola, which he made for me for my 50th birthday. (I paid for it, don’t get me wrong!) Guy had been a friend for many years and remains one of my very dearest friends.
Previously, I owned a Grancino viola, formerly (belonging to) Rebecca Clarke. While incredibly beautiful, (it) was not powerful enough for me, and I found I rarely used it. My main viola was a 17-3/8 inch Hieronymus Amati II, made in 1705. (No, I didn’t purchase it directly from Hieronymus for an earlier birthday.)
But, as time went by, I found the big boy too big. I started using Guy’s incredible viola more and more, and it is now my main concert instrument.
Q: What stands out to you about your past experiences at MMF?
A: Adam (Neiman) is a class act, a great pianist, a dear friend, a funny guy, smart as hell, and a daring artist. This is a top-down festival, and his (personal) excitement about music and teaching is our goal as well at MMF.
Q: If you had not pursued music professionally, what else could you envision yourself doing?
A: I’d have become an actor, cook, or psychiatrist. No, really.
Q: How do you occupy yourself on the road?
A: I’m always looking for good food. (Depending on) whether I’m flying or driving, I like to bring along a good knife, some Szechuan peppercorns, tamarind, rice paper, and I’m good to go. I (also) watch old movies and try to find time to be with old friends.
Q: Imagine you could be sponsored by any company in the world and enjoy generous swaths of free products every year. Which company would it be?
A: That’s easy. I’d be the spokesperson for one of the great Champagne houses of the world. There are a few good ones to choose from. Surprise me.
Toby Appel is on the faculty of the MMF Young Artists program for Summer 2020. For more information about the program, including how to apply, visit www.mmfvt.org/young-artists.