Interview with Tien-Hsin Cindy Wu
*This interview was conducted in December 2019. The photos were taken before the pandemic.
My first memories of Cindy are somewhat intense. We met at Ravinia’s Steans Institute, back in 2010, during our first rehearsal of Bartok’s String Quartet No.4. It may have been the piece we worked on, the intense coachings, or our dramatic group dynamic, but we endured a stressful start. As the summer progressed, the stress only accumulated. But even amidst all those tense moments, there was one quality about Cindy that shined through: her genuine curiosity and love for chamber music. She might not have expressed it outwardly, but it was obvious in the way she led the rehearsals, not to mention her preparedness, extensive study of the score, and her pristine playing. It was a pleasure working with Cindy again for Salon Séance, seeing the same qualities 10 years on. Only this time, we played Britten, had a much more relaxed atmosphere, and she joined as a violist!
What was the first piece by Britten that you’d ever heard?
It was the pizzicato movement from Simple Symphony (Op. 4) and I actually played in that one. But I was so young — I barely knew who Mozart was, let alone Britten! — so I guess that one doesn’t really count. The first piece of his that I heard after I had a little more knowledge of music was the Violin Concerto (Op. 15). Again, I played in that too. And this piece... it’s just amazing. The sheer depth of its thought is unmatched by any other violin concerto in my opinion.
How would you describe his music to someone who isn’t familiar with it?
I would say that it’s simply good, simple and good. He doesn't go crazy with the notes or with the texture. His string quartets, for example, are quite traditional. They’re like Mozart’s or Beethoven’s but with a unique intensity. You have three voices against one, or two against two, it’s all quite simple. But it’s the kind of simplicity that exemplifies the principle ‘less is more’. Within this simplicity, there’s so much harmony and rhythmic character. He puts so much goodness into so few notes.
Do you think that's something that you can perceive as an audience member or is that something you’ve only come to realize as a result of playing his music yourself?
I don’t think his music needs promoting, because it promotes itself. It's just good — in the way Mozart is. You don’t have to sell someone on Mozart by saying “Mozart has a lot of spirit and character” or anything like that. Anyone can tell it’s good. Beethoven is like that too. There’s no problem of accessibility with anything Britten has ever written. There’s always something to grab on to. Unlike Mozart or Beethoven, he hasn’t enjoyed centuries of exposure, so he may not seem like he’s up there with the greats, but I think his music will stand the test of time and rank with theirs eventually.
Is there a life event or a world event that has changed the way you approach or think about music?
Recently I went on the Musical Raft Trip. It's basically a camping trip where we have to play on these carbon-fibre instruments, but we never know when the performances are. It could be at six in the morning, or it could be after a whole day of paddle boating in the rapids and capsizing and trying to stay alive. When you have to play under any condition, even when you feel absolutely shaken out of it, it forces you to think about what really matters when you play. It made me realize that it shouldn't be about perfection. I was able to rid myself of the importance accorded to perfection, because in this case it was simply impossible.
When did this happen?
This was just in September 2019, so things are continually changing.
If you could ask Britten one question, what would it be?
I don't have the desire to ask him questions because, as he said himself, words weren't his medium, so what could he possibly tell me in words? I feel like I already know enough from his music. I was recently involved in a project where we went over some of Mozart's letters and, sure, we found out a little bit here and a little bit there about his music, but was that everything? No. In any case, I don't really trust asking questions, so maybe I'd just ask him, "How are you?"
Interviewed on December 1, 2019
Follow Cindy:
Website: thcindywu.com
Content library: cindymusic.art
Instagram and Twitter: @thcindywu