JAMES STRECKER: If you were asked for 50 words for an encyclopedia to summarize what you do, or have done, in the arts, what would you say?
RACHEL MERCER: Performing, recording and teaching artist, cellist, toured extensively as member of chamber ensembles such as the Aviv String Quartet, piano quartet Ensemble Made In Canada, cello/piano duo Mercer-Park Duo. Currently Associate Principal Cello of the National Arts Centre Orchestra in Ottawa, Canada.
JS: What important beliefs do you express in your work?
RM: Communication & honesty.
JS: Name two people, living or dead, whom you admire a great deal and tell us why for each one.
RM: My maternal grandmother – she is 98 and has lived through a world war, internment as a Japanese-Canadian in Canada, being far from loved ones, relocating and creating a new life, was the oldest girl among 8 siblings, cared for her siblings, her parents, then her husband, and she can still face the world with sun and bring a smile to your face. She is strong and reminds me that we are human first…all that other stuff is noise.
I cheat and say my mother and father – because they have the strongest values and morals of any people I know, because they are tough and fight to keep themselves and family strong, because they are the most generous human beings I have ever known, because they gave my sister and I everything including love and unconditional support and continue to do so, because they live their lives with passion and ambition and drive and energy and that is inspiring.
JS: How have you changed since you began to do creative work?
RM: I’ve changed as I’ve realized I have more control over my creative activity than I did when I was younger. As the years go by I realize more and more that you get what you put in and anything is possible – you just have to do it! I’ve realized that there are people out there who have the experience that I can learn from and it has helped me overcome shyness to reach out. And I have found that people love to help and share knowledge.
JS: What are your biggest challenges as a creative person?
RM: As mentioned above, what you get is what you put in so it is never-ending. I don’t think “balance” is ever really possible. Or at least not how we usually imagine it. One must just get used to the ups and downs of activity and know how to manage the times when the energy level and output level is the most demanding. It is an intense life at times, but also, so, so rewarding.
JS: Please describe at least one major turning point in your life.
RM: One that sticks out is the day/time/year that I left the Aviv String Quartet, in 2010, with whom I’d been for 8 years, right out of school. I was so fortunate to join a world-class string quartet right out of conservatory. I had explored other options, staying in Europe, I was already freelancing and had regular chamber partners, but this was a great opportunity, a great quartet, and playing string quartet was my first love since the age of 13. I got to live in Paris, tour the world and play the most amazing music with wonderful colleagues. So why leave? At the time, I had begun to develop more musical and personal connections back in Canada. At some point I realized that while I love quartet, there are so many other things I would love to do. So I became a freelancer, based in Toronto. It was not easy, but for the first time I was really in control of where I played, with whom, and I had space for creative dreaming. There were less great gigs at the beginning, but as the years went by, I could pick and choose and eventually I felt that I had a great combination of inspiring people to play with, great music, great variety, plus the time to develop creative projects. It is only in the past year or two that I really feel that all the work and hustle is paying off and I am able to enjoy the fruits of the labour put in to developing these groups and projects.
JS: What are the hardest things for an outsider to understand about what you do?
RM: That there is always more to do and dream. Can’t turn it off.
JS: How and why did you begin to do creative work in the first place?
RM: a) I began the cello because apparently a family friends’ son, who was a little bit older than me, played and I thought it was cool!
b) I’m a dreamer. I get ideas or visions of something then figure out how to execute.
JS: What haven’t you attempted as yet that you would like to do and please tell us why?
RM: One thing that I have thought about for years is specific collaboration with dance. I’ve played with dancers over the years but I wish there was a way that I could actually collaborate with the choreographer. I have a specific piece in mind and can see the choreography – but I’m not a dancer and know nothing about it in technical terms! I think this hasn’t happened because of 2 reasons: practical (I don’t have a forum to present this) and psychological (I don’t – yet – have the confidence to approach a dancer/choreographer and ask to collaborate).
JS: What are your most meaningful achievements?
RM: One is a chamber music series that I run with Michele Corbeil in Hamilton Ontario. It is a small chamber series but we have a loyal and trusting audience who allows me to program great works mixed with things to challenge both them and the players. It moves me to see their appreciation for these concerts, and also to see that the musicians feel it as well; that this is not just another gig but directly meaningful in each person’s life.
JS: What advice would you give a young person who would like to do what you do?
RM: You must love music. Period. Give yourself space and time to dream, then figure out how to make those dreams happen!
JS: Of what value are critics?
RM: I find playing for and with colleagues growth experiences. I learn so much from other perspectives, and especially from people who make music really differently from myself. I am challenged and it always increases my expressive capabilities.
If we are talking about music critics…reviews are good for resume/promotional purposes! Even bad reviews can contain a great phrase that can be used! I’m still torn on this. I don’t understand the current role of the critic. The best reviews are more a description of the concert than passing any judgement. Personally I take all reviews to heart somewhat, even bad ones. But if I received hundreds, I might need to manage that differently!
JS: What do you ask of your audience?
RM: To be open. You don’t have to like it – every piece of work/performance ends!
JS: What specifically would you change about what goes on in the world?
RM: I don’t really know how to answer this. One thing that comes to mind today is increase people-powered media/information sharing rather than the current commercially controlled media sources. All in the search of truthful communication. But this is already happening through social media.
JS: If you could relive one experience from your creative life, what would it be and why would you do so?
RM: Playing in the townships in Soweto, South Africa with the Aviv Quartet. We played Beethoven in an open courtyard in a school for hundreds of kids aged 5-16. Their faces radiated joy and they sang for us. As we were leaving dozens of them came to us and hugged us. I realize more now what it meant for us to visit them, but maybe more important what it meant to us. I would want to have a moment with each kid and look into their eyes and reflect back the understanding and open-hearted sharing that they communicated to us.
JS: Tell us what it feels like to be a figure in the media. What effect does this presence have on you?
RM: I’m not a figure in the media, but in recent years I’ve received messages from young musicians starting out asking for advice or help and have realized that I can actually help them! It has made me realize that while I’m not a “role model” some young people might look to me and my activities for guidance and with that comes the responsibility of maintaining quality and values.
JS: Name two places you would like to visit, one you haven’t been to and one to experience again and briefly tell us why.
RM: I would like to go to Russia – because of all the incredible literature and music that came from there.
I would like to return to the Yukon – because it reminds me of a childhood trip, because the landscape and weather is so Canadian! Because the people are warm and welcoming.
JS: Please tell us about one or more projects that you have been working on, are preparing, or have recently completed. Why do they matter to you and why should they matter to us.
RM: While I can’t talk about details, my piano quartet, Ensemble Made In Canada, is preparing an epic cross-country tour and commission which will celebrate our country’s nature, people and cultures. This will be a huge collaboration and will show how “the little guy” (our modest chamber group) can, in some small, or possibly big! way bring people together in understanding. And I feel so lucky that we are in a position to make such a project happen.
JS: Let’s talk about the state of the arts in today’s society, including the forms in which you work. What specifically gives you hope and what specifically do you find depressing?
RM: It gives me hope when, at most concerts that I play, there is someone in the audience who has never heard classical music before and they have taken the chance! I don’t see it as depressing exactly, more eye-opening, when realizing how small that percentage of people is that actually listens to the kind of music I play.
JS: Finally, what do you yourself find to be the most intriguing and/or surprising thing about you?
RM: I’m pretty shy and can be a loner. But once I open up there’s a silly, goofy sense of humour waiting.