Western classical music — an imploration

Is western classical music relevant to us here in our country? On a mundane level, the answer may be no. But on a deeper level, it is profoundly relevant. It is true that vocal western classical music seems strange to us here. Even now, the subtleties of Dietrich Fischer-Dieskau singing Franz Schubert’s Die Winterreise still elude me. But that invokes in me an even greater curiosity. There must indeed be integrity and tenderness in such talent.

But on a larger scale of grandeur, Beethoven’s Mass in C major Opus 86 leaves one astounded. Its intricacy and sublimity are really amazing. It magnificently weaves together diverse and contrasting elements into a coherent whole. True, the gravitas of Beethoven’s Missa Solemnis surpasses this Opus 86 Mass. The legendary conductor Arturo Toscanini was diffident to approach the Missa Solemnis because he felt he could not adequately reflect its greatness. Yet, the Opus 86 Mass has brightness, splendour and an overall design which is unique. The lilt of the two female vocalists is in high contrast with the two male vocalists, as indeed is the case with the gender bifurcation in the choir as a whole.

Western vocal classical music has largely been a religious one. From the early Gregorian chants to the Puritan ecclesiastics of Johan Sebastian Bach, it is this Christian mentality that does not fully resonate with me. A notable exception perhaps is JS Bach’s Mass in B minor — a masterpiece of ingenuity. Wolfgang Amadeus Mozart’s Requiem is considered by some to be unsurpassed in beauty. I do not share this view. When pitted against the power and intellect of Beethoven, these two works are, in my opinion, found lacking. Josef Haydn’s The Creation adopts the literal opening pronouncements of The Old Testament. Yet it has an immense charm and is imbued with a distinctively German flavour.

This religiosity that I have considered above should be viewed in an intellectually aesthetic sense. Just as, for example, we admire the superb architectural beauty of some ancient mosques in Isfahan in Iran without any preconceptions.

I have deliberately touched upon vocal western classical music because I feel our difficulties need to be tackled head on. Instrumental and orchestral western classical music might be more acceptable to listeners in this country, at least to those of us with greater exposure, empathy and openness of mind. This music would enable a reaching out to the West and an appreciation of its universality and greatness.

Modern technology, the internet and YouTube have enabled unparalleled access to these treasures to huge numbers of people around the world. They also preserve the greatest performances of the past top musicians. These are now available to us at the flick of the remote control. Why should our compatriots not partake of these treasures? It would arouse in them a sense of wonder and beauty to detract them from the horrors and depression of recent happenings here.

The tradition of western classical music must not be viewed narrowly. Instead it should be considered as a universal legacy of mankind. It is noteworthy that even greater numbers of young Chinese, Korean and Japanese musicians are emerging from their conservatories than is the case in the western world. As an exception to the general languor of South Asians in this regard, I was impressed by the recent video recording of Yondani Butt conducting the larghetto of Beethoven’s second symphony.

Western classical music fosters truth, honesty and beauty. Let us all imbibe its universality, especially our children and the new generation. Let us shake up our culture and infuse a new dynamism in it.

Published in The Express Tribune, August 24^th, 2017.

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