It doesn’t mean the music is cold. Conversation with violinist Wang Zhijiong: Don’t smile when playing the violin

On October 20, violinist Wang Zhijiong and pianist Wang Lu will perform the complete Brahms violin sonatas at the Jaguar Shanghai Symphony Hall to commemorate the 190th anniversary of the birth of the German composer.

As classmates in the Shanghai Conservatory of Music's primary school, although Wang Zhijiong and Wang Lu have embarked on different artistic paths, they have a common understanding of music.

The reporter talked with them on the eve of the concert to feel their tacit understanding and spark.

Shangguan: You have played Brahms' works in concerts many times, but this is your first time to perform his complete set of violin sonatas in one concert. Why did you try such a challenge?

Wang Zhijiong: I particularly like Brahms’ violin sonatas. I learned these three works in college, even earlier than Beethoven’s sonatas. Brahms' works are logically rigorous, exquisitely structured, and are highly intelligent music.

Shangguan: None of these three violin sonatas have titles. Which one do you personally prefer?

Wang Zhijiong: It’s hard to choose. The Third Sonata is the most commonly played by musicians because it is relatively complex and has the best concert effect. But in fact, the musical styles of these three works are completely different.

Wang Lu: I think these three works have one thing in common, that is, they all express the composer's inner freedom. I believe that the audience can follow the music, put aside their spiritual constraints, and open their hearts freely.

Wang Lu graduated from world-famous schools such as the Juilliard School of Music in New York. He studied under many international piano school leaders. He is a disciple of the famous Chinese composer and pianist Wang Jianzhong. He has won the Lincoln Center Scholar Award in New York and multiple gold medals in international competitions.

View from the top: In many people’s minds, Brahms’ music is square or even conservative, but this is not the case.

Wang Zhijiong: Yes, there are many free and delicate emotional expressions in his music, and the ups and downs of emotions are like waves. Over the years, I have performed many works by Brahms. They have commonalities in writing techniques and also have individual characteristics. The more I perform, the more I can understand and explore the deeper core.

Wang Lu: I think the music of Wang Zhijiong and Brahms are consistent in temperament. Her performance seems rational, but her heart is full of waves and very emotional. Brahms found a good balance between reason and sensibility.

Shang Guan: What role does the piano play in these three works?

Wang Lu: Anyone who has listened to Beethoven's violin sonata knows that the violin and piano are relatively even in weight, while Brahms "pads" the piano underneath. This places very high demands on the pianist, and the tone processing should not be too outstanding. When the audience feels that the violin is played really well after listening to these three works, then the piano has succeeded.

Wang Zhijiong is currently a professor of violin and deputy director of the Orchestral Department at the Shanghai Conservatory of Music. He studied under professor Yu Lina, a violinist and educator. He studied with violin master and former concertmaster of the Berlin Philharmonic Orchestra, Golia Balescha. Since 1998, he has been the winner of domestic and foreign competitions many times.

Shangguan: In recent years, Wang Zhijiong has participated in many chamber music performances and initiated the establishment of the Times Ensemble. What do you think is the biggest difference between working with a piano and a string ensemble?

Wang Zhijiong: Some people may think that the cooperation between violin and piano is relatively simple. In fact, it is not the case. When we cooperate, we have to listen to each other's overtones, and the overtones of piano and string overtones are different.

Wang Lu: Overtone refers to the distance between sounds, which contains emotions. Being able to hear the connection between overtones is a very high level. The important difference between first-class performers and ordinary performers is that the former can hear overtones.

Shangguan: What are the differences between chamber music performances and orchestra concertos?

Wang Zhijiong: Performing chamber music works brings me a lot of happiness. Of course, I also like to play concertos. I think you should play more concertos when your physical strength and skills are at their peak. However, when working with an orchestra, performers inevitably have to make some compromises, and chamber music can better realize their musical ideals. Furthermore, when doing a concerto with an orchestra, I am definitely the protagonist who has to shoulder the burden. And during the duet, the whole team is working hard in one place, so my mental pressure will be shared a little, and I can enjoy the music more.

Shangguan: For ordinary listeners, the threshold for appreciating chamber music may be a little higher than appreciating big band performances, right?

Wang Zhijiong: For us, rehearsing a chamber music concert often takes more time and energy. Everyone comes together spontaneously and gets along well with each other.

Wang Lu: I believe that as long as the audience calms down and listens, there is no essential difference between the two forms. From a certain perspective, one who does not appreciate chamber music is not considered a true music fan.

View from above: Many musicians around the world are commemorating Brahms in different forms this year. His works from more than 200 years ago can still give people spiritual comfort. Why?

Wang Zhijiong: Everyone has different resonances from Brahms’ music. Some people say that performers are servants of composers, but I don’t agree. Excellent composers must have their own unique ideas, but they will not control how the performers must perform or stipulate what kind of sound is correct. Excellent performers will express their individuality in music. emotions.

Wang Lu: If Brahms were still alive, would he ask us to only perform his works in a certain way? I don't think so. The notes in the score need to be given life by the performer. Without the performer's interpretation, the music cannot be spread. The reason why classical music is still full of vitality and can bring emotional resonance to people is that performers of different eras carry out their own unique interpretations.

Pianist Mitsuko Uchida once said: When people talk about Beethoven and Schubert, they are like their own friends. In fact, have they ever met? Everyone's understanding of Beethoven, Mozart, and Schubert contains personal subjective emotions and opinions. So I don't think performers should use "service to composers" to promote themselves.

Shangguan: The set of Brahms works you are about to perform has been recorded and performed publicly by many violin masters. Do you listen to recordings of previous performances?

Wang Zhijiong: I was a frequent visitor to the music appreciation room when I was studying at the High School Affiliated to the Shanghai Conservatory of Music. I listened to a lot of violin recordings at that time. But now I listen to more piano, vocal and symphony records. When I was a child, I may have listened to other people's performances more because I was looking for a kind of "endorsement". When I found a famous performer playing like this, I felt "safer", but this is actually a sign of lack of confidence.

I feel that no matter what kind of art, once it reaches a certain level, it will be strongly related to the personality of the artist. As a performer, I have to learn the composer's musical language, but in the end what I express must be my own story.

Wang Lu: We have listened to many performers’ recordings or performances, but after listening to them, we must forget all these and turn them into our own expressions. For the audience, listening to music is actually more about listening to the performer's interpretation, not just the music itself. The most advanced performance can allow a hundred listeners to have a hundred feelings and hear their own stories.

Wang Lu: This is precisely the most interesting thing about music. The abstraction of musical language creates infinite possibilities. When listeners are told what emotions the composer should feel or what images they should see in a certain piece of music, it is actually a form of oppression. I think listeners should be confident that what you hear is your own story.

Record cover of Wang Zhijiong performing Sibelius and Stravinsky concertos

Shangguan: Someone once used the word calm to describe Wang Zhijiong’s playing. What do you think?

Wang Zhijiong: Maybe it’s because I don’t smile when I play the piano. Anyone who knows me well knows that my music is not as cold as it seems.

Wang Lu: I have worked with many violinists. I think technique is only one aspect of measuring a performer. What is more important is whether his music is sincere. Wang Zhijiong seems calm when she plays, but in fact she is passionate and sincere inside, which she has in common with Brahms. I believe that mature listeners can independently judge how the performer makes them feel, instead of just listening to others comment on the performer's style. Likewise, performers should face the music, the audience and themselves sincerely.

View from above: Listening to classical music can give people the motivation to think independently.

Wang Lu: When listening to music, you can find a kind of spiritual freedom, and this freedom comes from self-confidence and self-love and acceptance. We will also play Brahms' "Scherzo in C minor" in this concert. This piece expresses a kind of freedom and loneliness.

Shangguan: How do you usually maintain good stage performance?

Wang Zhijiong: First of all, we must keep practicing and not be lazy. The slightest difference between the bow and string can make a difference. Only by maintaining good physical function can you perform accurately. Being on stage involves a lot of mental pressure, so we also need to maintain a certain frequency of performances to maintain a good mental state.

Once you have some playing experience, it is often easy to form a routine. Therefore, performers should constantly deny themselves and not follow routines.

Wang Lu: Yes, the pianist Argerich once said: Don’t remember the way you played the piano before. Many people think that musicians' performance mainly relies on inspiration. In fact, it largely comes from self-discipline. You must maintain a good state every day and constantly update yourself.