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“Many were very afraid,” said Tolegen Iklasov, 19, a violinist with an open, affable smile. “In fact there were discussions about whether we should refuse to play it.”
The musicians’ objections were not the moral and aesthetic ones that drove Parisians into a frenzy in 1913. They were simply reluctant to take on such a technically challenging composition. Having been raised in a Soviet-style system that taught them to obey orders and, above all, to avoid mistakes, they feared that they would fail — publicly and spectacularly.