Marilynn Mair: Making Music from Rio to Rhode Island

Susan Wagner, GoLocalProv Contributor

Marilynn Mair: Making Music from Rio to Rhode Island

For more than three decades Marilynn Mair has played music across the globe, recorded over a dozen solo CDs, published two method books, written countless columns, and taught as a Professor of Music at Roger Williams University. A long-time resident of Providence, she has dedicated herself to establishing the mandolin as an instrument of importance, for her lifetime and the future. Mair now splits her life between Rio and Rhode Island.

A conversation with Marilynn Mair

SW: How did your career begin and where?

MM: There are so many points that could be labeled the start of my career as a mandolinist. When I first put pick to string, studying with the late Hibbard Perry at his studio in Providence, when I wrote to all the classical mandolinists whose LPs I loved and some wrote back and I went to Europe to study with them. Perhaps when Robert J. Lurtsema called to ask me to play on his nationally-broadcast show “Morning Pro Musica” on WGBH. Maybe when I made my first recording, or got my first review, or sat in the office of the beloved ProJo music critic Edwin Safford telling him my plans and he believed me. You become a musician if that’s how it makes sense for you to enter the world. You choose an instrument because its beauty touches your heart. So I guess that really my career began when I realized in my heart that I wanted to play mandolin more than just about anything else in the world.

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SW: What led you to your current career path?

MM: It’s really my strong emotional connection to music led to both my careers, as a performer and as a Professor of Music at Roger Williams University. Performing is my great joy, and the fact that people want to spend time listening to me play music I love on the mandolin is a privilege that I work very hard to deserve. For teaching, it’s my desire to share what I hear, what I love about music, what I have discovered about musical style and structure. Music is an art form that you have to be able to hold in your mind to examine; it’s not like a painting or a novel, it doesn’t wait to be looked at. I love figuring out how to get my students to listen in 3-D, to open a door to a new concept and see the “ah hah!” moment when they suddenly get it and walk through.

SW: When did your passion for music and particularly the mandolin become a driving force in your life?

MM: Hmmm... good question. I had played music since I was a child, piano, violin, folk guitar, and loved it but never thought I’d be a professional musician. I was a poet actually, as many young people are, but poetry is a solitary endeavor, and somewhere along the way I began to enjoy the collaborative nature of music, the fact that people quite different from each other could come together and create something amazing. But I think it was when I went to Austria to study with Vincenz Hladky that something clicked. I just recently came across a picture of myself in my early 20s sitting next to Hladky; he’s pointing to something in the music and I’m breaking into a big smile of delight. His intensity about music was contagious and the time he spent to share this world with me made me want to be worthy of his effort.

SW: You have dedicated yourself to establishing the mandolin as an instrument of importance. What accomplishments are you the most p roud of and what are you working on now?

MM: Although I love all my CD-- they are each an artistic gesture, a portrait of who I was musically at a certain point in my career-- I’m probably most proud of my method book, The Complete Mandolinist - A Comprehensive Method, published by Mel Bay in 2007. It’s 224 pages with a CD of example exercises, and took me a few years to write. The mandolin has a habit of fading in and out of popularity, going back to the Renaissance. And when it fades people forget how to play, forget how amazing the players of the past were. There hadn’t been a comprehensive mandolin method book published anywhere in the world in nearly a century, and two of my teachers-- Hibbard Perry and Vincenz Hladky-- died before they could do more than begin their planned books. So my method is their’s as well. And so many people have told me it has helped them as students, as teachers. If you love something I believe it is important to be of use, as well as enjoying yourself.

SW: What was it about the music of Brazil that drew you to create a second life in Rio?

MM: When I first heard Brazilian Choro music I was immediately head over heels. It had the complexity of classical music mixed with the syncopation and indefinable coolness of Rio de Janeiro. It was hard to find printed music or recordings in the early days, or much information on performance practice. I started to play and research the style and at some point realized that I had to spend some time in Rio to really get it. So I went there for almost 4 months in 2007, on my sabbatical break from teaching. I studied with the legendary Joel Nascimento-- weekly 6-hour lesson, and at the Saturday Choro School, played in rodas-- the traditional jam sessions-- and eventually became part of a band, Agua no Feijao. When my time was up and I left for home I remember thinking, so I’m returning to my “real” life, but what the heck was this? I bought a return ticket a couple of months later and since then try to go to Rio for a month or so at a time a couple of times a year. I’m there now, writing this after playing the opening concert in the Momento Rio Bandolim festival.

SW: Can you describe one great day in the life of Marilynn Mair?

MM: Wow, so many possibilities. It would definitely involve a gathering of friends, family if I was lucky, although my children are grown and live quite far away now. Music would be played, there would be laughter and hugs, good food and sunshine, and a moment when something happens that is so unexpectedly delightful that you think you will just burst open. It could be in RI or Rio, the cast would be different but the joy would be the same.

SW: What is the something that few p eo p le know about you?

MM: When I saw this question I was debating two funny possibilities, so I think I’ll just put them both down. One, I wrote and recorded a song in honor of the 100th anniversary of the Tootsie Roll. Two, I played accordion, as well as mandolin and mandola, on a recording of Chicago bluesman Eddie, “The Chief” Clearwater, produced by Duke Robillard.

SW: Who has been your greatest influence?

MM: The musicians in my life, players and teachers who have taken the time and done the work to reach the heart of the music, and, whether for a moment or a for a lifetime, have taken me there with them, sharing their bliss with me and pushing me to be better than I thought I could possibly be.

SW: What would you like most to communicate to young men and women establishing a career in music?

MM: Music chooses you, there’s no ignoring it when it does. If music is how you enter the world you have an obligation to learn as much as you can, be as good and original as you can, to experiment, to step outside your comfort zone every once in awhile and look around to see what else is there. Play for people whenever you can and ask them what they really think, tell them you truly want to know, for you will learn so much from feed-back beyond praise. Worry more about your chops than your headshots. Spend the time, do the work, because nothing will ever make you happier.

SW: Any special plans for the future?

MM: I am writing a lot of music lately, hybrid pieces that combine my classical, Brazilian, and American influences with an original perspective. I’ve got a new CD in the works. And right now I’m on sabbatical in Rio so I have plans to play as much music as possible before I go home, to help get me through the cold New England winter.

Susan Wagner is the president of Susan Wagner PR . She writes a series of profiles for Go Local.


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