Customer Reviews

Bright Sheng: H'un (Lacerations) and Other Works

5 star:		(3)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

The other reviewer whose negative review appears here apparently is complaining about the fact that in October 2001, Bright Sheng was named a MacArthur "Genius" Fellow with a cash prize of $500,000. Whether he is a genius or not is hard to say. I don't know professor Sheng, and so am unaware of whether he consciously goes around proclaiming his genius. My suspicion is, based on the photos I have seen of him on the Internet, that he is relatively quiet, unassuming man. Whether he is in fact a genius or not is a matter of complete irrelevance to me. As for the merits of the work H'un (Lacerations): to me it is an extremely impressive work. It is not any more inaccessible to the average listener than Stravinsky's Sacre du Printemps or Shostakovich's Fourth Symphony. In fact, I was reminded of both works as I listened to H'un, although of course I am not implying any similarity of style. It's just that if you enjoy these other two works, then you will enjoy H'un. The other works on the album are also quite enjoyable. Incidentally, I find it somewhat amusing for anyone to consider this music avant-garde in any way. It is very beautiful and engaging music, which you must listen to with a good sound system, with a receptive mind, and preferably with a glass of wine at your side. For anyone with a strong interest in contemporary classical music, this particular album should be on their buy list.

This work was one that I was assigned for an undergraduate assignment as a music major, and I was extremely glad to be able to experience this wonderful piece. The emotions portrayed through chord clusters, complex rhythm, counterpoint, and orchestration make "H'un: Lacerations" an emotionally stirring composition for those who are willing to listen with an open mind and open ears. It is not supposed to sound "good," per se. In Sheng's own words: "Frequently during the rehearsals I have to tell the members of the orchestra to feel free to play their parts in a nasty and ugly way when these approaches are required . . ." (See the end of this review for the link to the article). I think Sheng's music is unique and quite powerful and effective, and I would highly recommend this CD for any who are more acclimated to the harsh emotions 20th Century composers wish to portray. One thing for sure, this isn't Mozart, nor could Classical Era composers ever hope to portray the Horrors such as the Cultural Revolution depicted in "H'un".

(For more info, see: H'un (Lacerations): In Memoriam 1966-1976 for Orchestra
Author(s): Bright ShengSource: Perspectives of New Music, Vol. 33, No. 1/2 (Winter - Summer, 1995), pp. 560-603
Published by: Perspectives of New Music)

H'un (Lacerations) is an incredibly powerful piece - from it's dramatic opening until the nearly silent, excruciating ending - it's an unforgettable musical experience. The other works on the album are more emotionally gentle with the listener - in all an entirely satisfying CD.

I would be hard pressed to think of anyone less deserving of the MacArthur (so-called genius) grant than Mr. Bright Sheng. Every minute of this music teems with Sheng's unique blend of infintalism, arrogance, condescension and mindless drivel. It might not be so bad if Mr. Sheng and his music didn't stink of the brand-name of "genius." It is as if Sheng uses this label to convince himself and everyone else that his music is "great art," while never once bothering to think about what that means.