Christoph Müller's Farewell: Reflecting on Nearly a Quarter Century of Artistic Direction.

In this interview, Christoph Müller, who has devoted almost 25 years to the Gstaad Menuhin Festival, discusses his decision to step down and the remarkable journey that led him to this point.
 

 Q:  Christoph Müller, you've recently made the decision to conclude your role as the Artistic Director of the Gstaad Menuhin Festival & Academy AG after nearly 25 years of dedicated service. How challenging was this choice for you?

 A:  It's a festival I love dearly, and the work I've been fortunate to carry out here, from conceptualization to execution of concerts and nurturing young talent projects, is something I hold very close to my heart. So, handing over the reins is far from easy.

 Q:  Can you tell us what prompted your decision to step down?

 A:  Letting go is an integral part of life, and timing matters. By 2025, I will have poured my passion and dedication into this role for 24 years. Unlike a traditional administrative position, I've been immersed in the creative realm, and it's essential that after such a lengthy period of continuity and growth, someone with fresh ideas and perspectives takes the lead. I had a vision, and I believe I've largely seen it through.

 Q:  Did you successfully reposition the festival, as you had envisioned?

 A:  My aim was to evolve the festival over the years, transforming it from a pure concert event into a multifaceted festival operation. It seems we've accomplished that. The festival now thrives backstage with its own festival orchestra, academies, amateur and educational projects. Equally important was defining the festival and enhancing its profile through a well-structured program that distinguishes it from other major summer festivals, featuring thematic culture and clear program cycles. The success is evident in the continuous rise in attendance, from 14,000 to 27,000 since I took the helm.

 Q:  How do you feel today as your decision becomes public?

 A:  It's a rollercoaster of emotions. Deciding to relinquish a role you've cherished for so long is a significant step. Above all, I feel a deep sense of gratitude. I'm grateful that the board of directors back then granted me the opportunity to reimagine the festival. Grateful that, ever since, I've had the chance to work on my visions and objectives in collaboration with my colleagues and the entire team, with unwavering support from all. The increase in the audience, as mentioned earlier, is a testament to the whole team's success!

 Q:  You've been committed to the Gstaad Menuhin Festival for nearly a quarter of a century. What has held your heart in Gstaad for so long?

 A:  The combination of world-class music set against the breathtaking backdrop of Saanenland is a one-of-a-kind experience that never ceases to captivate me. Moreover, this environment provides opportunities to bring artistic projects to life, thanks to individuals who not only believe in visionary concepts but also back them, both ideologically and financially. These key supporters have fueled our continuous growth, and I hope this trend continues.

 Q:  What were the key factors contributing to your success in Gstaad?

 A:  From a personal standpoint, what truly mattered was that the Board of Directors always embraced my ability to simultaneously nurture and evolve my other music projects, many of which I had initiated before 2002. For instance, the concert series at KKL Lucerne and my role as a concert manager for the Basel Chamber Orchestra. It was crucial for me not to be exclusively tied to the Festival but to share my expertise as a cultural manager across various fronts – including as a concert organizer in Lucerne and Basel. These complementary endeavors also played a significant role in international networking and overall inspiration. I acknowledge this was a privileged position, being able to manage it all under one umbrella, and it greatly contributed to our success.

 Q:  Beyond the Gstaad Menuhin Festival, you've initiated, chaired, or managed other music projects. How significant has the Gstaad Menuhin Festival been in addition to these endeavors?

 A:  It holds the central role in my commitments, taking precedence over all other projects. However, I'm also a cultural entrepreneur with a team working in Basel at the Don Bosco Music and Cultural Centre. I've established my foundations in such a way that they collaborate effectively with project managers, allowing me to operate more in the background. I don't foresee this role changing substantially when I step away from Gstaad, as the team is highly synchronized.

 Q:  You've devoted your life to classical music. What is it about this genre that resonates with you?

 A:  Classical music has been a part of my life since the very beginning, and perhaps it's rooted in early childhood experiences. The works of Beethoven, Haydn, and Mozart resonated with me at an early age. When I began playing these pieces on the cello, it truly struck a chord with me. My pivotal moment came when I had the opportunity to play in an orchestra during my youth and later with the Swiss Youth Symphony Orchestra. That's when I knew that I wanted to be involved with this music throughout my life. Classical music possesses a depth of expression for human emotions that light music often can't reach. However, this doesn't diminish the enjoyment of listening to and appreciating light music, which can also stir emotions or inspire movement through dance. World and folk music from various cultures evoke immediate human emotions, while classical music sometimes conveys these feelings more indirectly. This is why I've always been keen on offering diverse programs. Presently, approximately 30 percent of the festival's concerts feature mixed programs that blend styles and genres.

 Q:  Have you ever attended a rock concert?

 A:  Absolutely! My most recent one was Patent Ochsner at Mühle Hunziken, just before the pandemic. From the perspective of a classical music organizer, it's an intriguing experience. You observe how people immediately connect with their emotions, and you witness the artist's interaction with the audience.

 Q:  It's often said that rock concerts have a less formal atmosphere. Do you agree?

 A:  I suspect that during the Baroque and Classical eras, the ambiance was less formal than it is today. The "stiff" concert format of the classical music industry, which is still prevalent, largely arose in the 19th century with the emergence of the bourgeoisie. Rock concerts indeed have a more relaxed atmosphere.

 Q:  Is classical music the sole genre you listen to in your personal life, or do you enjoy other styles as well?

 A:  My primary focus is on classical music. I enjoy listening to Handel operas, Haydn symphonies, or a Mahler symphony while driving. Currently, I'm engrossed in Shostakovich symphonies, as I'm contemplating one of them for the Gstaad Festival Orchestra in August 2025. I'm exploring the entire range, but there are occasions when I delve into Italian cantautore or a crossover ensemble that blends Handel with Leonard Cohen, like "l'Arpeggiata." You'll see several such program combinations in the 2024 and 2025 schedules, especially as part of the Today's Music concerts.

 Q:  What does your post-Gstaad Menuhin Festival life look like, and how do you plan to fill the time you'll have?

 A:  I don't intend to jump into new projects right away! For now, I'm reserving the summer of 2026, as it will be my first summer since the age of 31 without intensive involvement in a festival. I'm truly looking forward to it, but, of course, I also approach it with a degree of trepidation. It's going to be a different experience. However, at this moment, my excitement is focused on experiencing two more eventful and successful festival summers in Saanenland!

 Q:  Will you continue visiting the Saanenland after 2025 as an attendee of the Gstaad Menuhin Festival?

 A:  Certainly, I will. It may take some time initially. Yet, my fondest wish is for a successor to build upon the foundation of my festival concept and vision. Then, attending as a private individual in the future would be an extra source of satisfaction. I also hope to stay connected with the many remarkable individuals I've interacted with here.

 Q:  Speaking of succession: What advice would you offer to your successor as they follow in your footsteps?

 A:  It's essential that a successor brings their unique ideas and concepts to the role. Equally important is allowing this person the time to acquaint themselves with the festival, its operations, the local environment, the Saanenland community, and the audience. Gstaad is distinct from Lucerne, Basel, or Zurich, and that must be recognised when crafting the program.

 Q:  Can you elaborate on that?

 A:  The audience in Gstaad is remarkably diverse, and the program must cater to various expectations and needs to ensure substantial attendance. Simultaneously, it should introduce fresh and innovative elements. It's often a delicate balancing act. But I'm confident that many younger colleagues will find joy in navigating these challenges.

Based on an interview in AvS | KEREM S. MAURER