Mr. Nobuo Katsura passed away in late 2020 at the age of 90. He had served as Mayor of Sapporo, Chairman of the PMF Board of Directors; he was a vital presence in creating and maintaining PMF during its formative years. A memorial concert was held last November at Sapporo Concert Hall Kitara (whose construction he had overseen). Baritone Koji Ono (PMF 2012) and a PMF alumni string quartet were among the performers, with a program consisting of songs related to Sapporo and PMF. Soki Kirihara (violin / PMF2014) also performed as a member of a quartet made up of principal players of the Sapporo Symphony Orchestra.

First, we asked Moni Simeonov, who currently serves as Chair of Chamber Music at the Colburn School, Director of Strings at Cal State Long Beach, and is the founder of zenviolin.com, for his thoughts on how his time at PMF changed his perspective, and how it has impacted his path since.

Is there any difference between the way you think of PMF now − being responsible for teaching students, both privately and at the Colburn School − and the way you thought about it when you were an Academy member?

Each of my three summers at PMF felt different even at the time - new groups of people, repertoire challenges, a slightly deeper understanding of the culture, but the true impact came later, when the context of my life and career gave me enough perspective to connect the dots and recognize PMF for the gift it was. I had attended Tanglewood and Music Academy of the West in the previous summers and expected a similar experience. And sure, the level was high, programming was fantastic, the concert halls - spectacular. But the opportunity to experience three completely different, yet very convincing physical and philosophical approaches to music in the span of three weeks was something I’m yet to experience again. Having had the chance to collaborate in a chamber music setting with principals of Vienna and Berlin, as well as the major American orchestras gave me perspective I find myself using in daily teaching.

One powerful educational aspect of music festivals is that they take a group of people away from their familiar environments in order to perfect a familiar skill. It works because, for a few weeks, the student leaves everything behind, bringing along only the essence, their skill and knowledge. PMF is the most striking example of that phenomenon. For me, the added benefit of experiencing a culture so vastly different from my own, served as an eye opener in all the important ways. I can honestly say that PMF altered my musical trajectory. It’s this type of turning point that I try to help my students discover.

You have taught so many students already, and will teach many more!
Do you ever tell them of your own time as a student, or your time at PMF? What do you tell them?

I received my first full-time teaching appointment while I was still completing my doctorate with Midori. My time as a student melded into my teaching career and it continues to inform the lessons I choose to give. I believe in staying open and observant of the cues various experiences provide for us. My first summer at PMF sparked an interest in learning more about the culture. Eventually, I minored in Japanese language and began practicing Judo at the tournament level. These two projects, seemingly unrelated to music, ended up being part of what defines me as a teacher. The desire and ability to communicate directly and meaningfully is the aim of both linguistics and art, while the ethos of Judo technique can help us understand what effortless technique means for any string player. And PMF was where I first got in touch with that part of myself. I advise my students to value accidental discoveries because today, even more than back then, it’s important to look for inspiration away from the traditional path.

You must have some students who also attended PMF.
What do you hope they (or any student) will learn at PMF?

To make the most of PMF, or any festival, a student has to be prepared. It sounds obvious but many students take a significant break after their last day of school and expect to breeze through the summer program. The level at PMF doesn’t allow for that. Getting stuck at the back of the section for 4 weeks influences a lot more than the musical experience. A student needs to approach their potential new friends with optimism and confidence, and a quick way to do that is to feel skilled on your instrument. More time spent preparing at home means more time spent exploring Susukino with your new friends.

PMF may have the highest number of countries represented of any such program. And yet, almost every student happens to know at least a couple of other participants. They often hold on to that circle until valuable time has passed. I’ve seen it at every festival. It’s strange to ask someone for their name during the last week. The magic happens when you let go of the familiar and plunge into a new circle right away. People are not as scary as you think :)