Having taken time time out of his hectic schedule as our newly-appointed Dean, Dr Karl Kramer chatted to Cameron Barnett about his experience, aspirations and how dangerous his jazz tuba skills are…
Cameron Barnett: What was your experience with the Australian music scene before starting as Dean of the Sydney Con? Did it shape your decision to come here?
Karl Kramer: To be perfectly honest, I wasn’t all that familiar with the Australian music scene, apart from a few isolated composers. I mean, I knew that Sydney’s a world class city, and I’d certainly heard that the Sydney Con was a world-class school, but I didn’t know the scene itself particularly well. However, I’ve managed to fit in exploring and ‘checking out the scene’ since starting here as Dean. My decision to come here from the University of Illinois, where I’d been director of music for ten years, was shaped by my desire for a new challenge as well as having always wanted to live abroad. Basically, the timing was perfect, and timing is everything – as you’re no doubt aware!
Absolutely! You’ve been the director of a number of music institutions – any outside of the U.S.A?
None, apart from Miami (laughs) – that’s an American in-joke…
In the same way that Australians might joke about Tasmania not being part of Australia?
That’s it.
What are some of the most successful approaches that you’ve taken to keep things running smoothly in these institutions?
I’ve found that if everyone keeps three things in mind, the place seems to run smoothly, and I constantly try to reinforce these. The main reason that we’re here is for the students; the second reason we’re here is for the school as a whole; and the third reason we’re here is for our own personal artistic agendas. We need to deal with students on an individual level because we’re human beings and we all have different needs and idiosyncrasies. However, we need to simultaneously keep in mind what’s best for the school as a whole – students, staff members and departments.
You have been quoted in The Australian as saying that “students must aspire to be the complete musician”. Could you expand on that? What exactly do you mean by that?
What instrument do you play?
Clarinet
Well, if the only thing that you learnt after four years at this institution was to play the clarinet really well, we would have failed you. However, if you could walk out of here after four years and know how to play jazz, play classical music, have great ears, know what the business is like out there and have the courage to think about things that you mightn’t have thought about doing before, then that would be succeeding. That’s what I mean by the complete musician – someone who can walk out the door with a synthesis of skills that allow them to be successful in the real world. But don’t get me wrong – if you don’t develop into a technically stellar instrumentalist, we would have failed you too. It’s not enough to play the clarinet really well, but you do need to be able to play it really well.
Lastly, as both a Dean and a musician, is there anything you’re particularly looking forward to this year?
Experiencing all of the students and faculty groups here, checking out the opera, lots of things – it all takes time, though. As a child of the 70s, I love instant gratification, but I recognise that it all takes time.
It is mostly classical music that you’ll be checking out, or…
No, I’m very much into jazz, too – I’ll definitely be checking out some of the local jazz performances soon enough.
Do you play much jazz on the tuba?
A little bit… not a ton, but enough to be dangerous.