Dvořak and Shostakovich with Vladimir Ashkenazy and the Sydney Symphony, Jian Wang, Cello, Plus Some Extra Cellomania by Andrew Miller

Vladimir-ashkenazy-1174_7

Vladimir Ashkenazy conducts. Photo from sydneysymphony.com.


Concert Hall, Sydney Opera House: 11 and 12 October 2012

Thursday, 11 October
Dvořak – Cello Concerto in B minor, B.191, opus 104
Jian Wang – cello
Dmitri Shostakovich – Symphony no. 10 in E minor, opus 93
The Sydney Symphony Orchestra
Vladimir Ashkenazy – conductor

Friday, 12 October
Heitor Villa-Lobos – Bachianas brasileiras No. 1 for 8 cellos
J S Bach – Cello suite no. 1 in G, BWV 1007
Jian Wang – cello
Heitor Villa-Lobos – Bachianas brasileiras No. 5 for soprano and cellos
Jaqueline Porter – soprano
Qigang ChenYou and Me
J S Bach – “Air on the G String” from BWV 1068
Jian Wang, Catherine Hewgill, Leah Lynn, Kristy Conrau, Fenella Gill, Timothy Nankervis, Elizabeth Neville, Christopher Pidcock, David Wickham – cellos

Is Dvořak, to paraphrase Dr. Leonard McCoy, really that beautiful? Really so much more beautiful than other music you’ve heard? Or is it just that it acts beautiful? If it comes down to the performance to go more than skin deep, the musicians must play very convincingly indeed. Beauty in music has proven to be diverse. For a sound to be music rather than mere sounds, however pleasing, the it needs the broadest possible aesthetic idea of beauty. An ugly sound, it has been pointed out, can be “beautiful” if used so fittingly by a composer that nothing but that sound could be desired at that point in the music. For human beings, this has included the rasping shawms and the regals, and the augmented fourth of the middle ages and renaissance, the harsh use of the usual orchestral brass by Mahler, and all the freely used ugly sounds and outbursts in 20th century music and its terrible dissonances. I would draw the line at physically painful sounds, either through loudness or shrillness or both, as ugly in a destructive way, and so incapable of beauty, even betraying the faith of the listener who trustingly opens their ears to the music, though some do seem to find pleasure in the ginormous 19th century organs played at full volume with all the stops out. Free expression in a musician or a composer can be beautiful in itself, of course, though when that expression becomes gratuitous or self-indulgent, or sentimental (which can betray a certain narrow emotional rigidity) or arbitrary (which can betray a self-imposed or self-persuaded intellectual rigidity) it can become ugly. Music in a straight jacket can be ugly too. A masterful fugue in transcending any thought of a dichotomy between these two extremes can be most beautiful of all.

Read the full review on the Berkshire Review, an international journal for the arts!