School of Music concert to reflects on life, relationships and death
The phrase “darkness and light” is used to describe elements in stark contrast to each other. But in a symphony by the same name, musicians ask whether this interpretation is right, or whether such differences aren’t able to be seen in human interactions.
On Feb. 17, Azusa Pacific’s School of Music hosted an orchestral concert entitled “Darkness and Light” at Munson Chapel. The concert was based on two famous compositions: Dmitri Dmitriyevich Shostakovich’s Symphony No. 14 and Ludwig van Beethoven’s “Pastoral Symphony,” otherwise known as Symphony No. 6.
“These are two great symphonies,” said Susanna Cervantes, conducting graduate cellist. “So it’s exciting to perform the works of great people.”
Shostakovich’s dark and morbid composition was complemented by the light and joyful tone of Beethoven’s symphony. Shostakovich’s composition went first and consisted of 11 motions, while Beethoven’s had five.
In his memoir, “Testimony,” Shostakovich ties the darkness that his music conveys to his adamant view on life after death.
“[People] read this idea in the 14th: ‘Death is all-powerful.’ They want the final to be comforting, to say that death is only the beginning. But it’s not the beginning, it’s the real end, there will be nothing afterward, nothing,” Shostakovich wrote.
Symphony No. 14 was composed in 1968 while Shostakovich lived under the Soviet regime. Dealing with poor health and fear of imprisonment made him fearful of death.
According to conductor Christopher Russell, Symphony No. 14 should be observed as a cautionary symphony in the same way one might think of a cautionary tale.
“In many ways, it’s an example of what not to do, how not to reach your fellow man,” Russell said. “And also to say, ‘What are you doing to create a beautiful life for those who are around you?’ … That really is the message of the symphony.”
The symphony included several string instruments and percussion. It featured guest performers Julie Mackerov, soprano, and Michael Geiger, bass.
Next came Beethoven’s “Pastoral Symphony,” which has been recognized as one of his most optimistic compositions. Also known as Symphony No. 6, the symphony focuses on elements of nature and life. Although his composition included many of the same instruments of Shostakovich’s portion, “Pastoral Symphony” included more air instruments, giving the symphony an uplifting mood.
Russell said the two symphonies act as a foil to each other, showing what human interactions can result in, whether good or bad.
Cervantes expressed hope that listeners will not take the music for granted but will listen to it with an open heart and mind.
“Just have a deeper appreciation for composers,” Cervantes said. “Understand that they were humans too, not just these master geniuses.”