Eternal-Liz yours

As a huge admirer of the late Michael Jackson, inevitably I also admire Elizabeth “Liz” Taylor too, who remained as an idol for MJ until his death. Now that Liz died last week, and here I am alone in my hotel room in Madrid for a concert of Santiago Lanchares’ piano music on Sunday, March 27th, I feel like blogging on my thoughts on the American diva, though this is through the ideas of the absolute, irreplaceable idol of mine, Andy Warhol.

Liz Taylor, Marilyn Monroe & Jacqueline Onassis/Kennedy were the 3 icons of the 20th century, and Warhol had immortalized them in his creations. There are no royalties in the USA, but if there were, those 3 would be bestowed with those royal titles. The 3 divas achieved their aim to acclaim independence & equality of the female sex in a world of male domination. We all, with great intensity, love and hate those 3 divas, and they were the prelude of what Warhol called “the 15 minutes of fame”. Their struggle can best described in that catchy Pet Shop Boys song: “We’re shameless, we would do anything to get our 15 minutes of fame”. In case of the 3 divas, those 15 minutes were repeated constantly until the moment of their death. It was more difficult for them then, since there were no facebook and twitter as instruments to achieve popularity. Without them there would be no such madnesses of today’s Britney Spears, Lindsay Lohan and now it’s Justin Bieber. The iconic (if not fakely ridiculous) couples of today such as the Beckhams, Brangelina and Penelope/Javier (and even Cruise/Kidman tried, but failed) would not have existed if not modeled on Richard Burton-Liz Taylor, perhaps the most fascinating couple of the last century. Liz defied everything, from gossips to gravity with her numerous plastic surgeries, both on her face and on the story of her life.

Nothing went incalculated in the life of Liz Taylor; she planned every minute detail except her death. What will stay in our memories will be her natural ability to survive and flourish as a woman in a world of men, and as a celebrity unlike Beethoven, Van Gogh or Shakespeare we will remember her as who she was instead of what she had done. Shakespeare created great works of art, Liz Taylor was and will remain the work of art herself. Requiescat in Pace, Liz.

Some clarifications on the Jakarta Globe article

Yesterday an article, based on an interview with me, was published at The Jakarta Globe, a leading English newspaper in Indonesia. There are a couple of things which I'd like to clarify & rectify, but first, here is a copy-paste of the article, by Juliwati Cokromulio .

‘Limitation is always a source of inspiration for me. In limitation, I find freedom,’ says Ananda Sukarlan. Powerful words from a powerful pianist. Ananda may be based in Europe, but that doesn’t mean his heart isn’t in Jakarta. The 42-year-old has used the money he’s earned over the years, coupled with his talent and experience, to bring the children of the city a chance they might not otherwise have had. His foundation provides scholarships to Indonesians accepted to music schools in Europe, and here in the city it is teaching children how to play their favorite instruments. That’s music to our ears.

What can you tell us about being a musician in Spain? Can you compare it to Jakarta?

Spain is a huge country that hosts a lot of great music performances, making it quite easy to survive as a performing artist.
The same cannot be said of Jakarta. It’s rare that a person can survive here as a musician. Frankly speaking, when I’m in Europe I’m earning money, and when I’m in Indonesia I’m losing money.

Yet you keep coming back on a regular basis.

I recently established a foundation called Yayasan Music Sastra Indonesia to provide scholarships to poor students who want to learn how to play music. I come from a poor family and had a difficult time getting a scholarship, so I know what it’s like. I thought it would be great if I could get a number of sponsors, including myself, to support children here in Indonesia.
We particularly want to help kids below 10 years old who are passionate about music — such as street children — but don’t have the funds to go to the next level.

We didn’t start the foundation with the aim of turning kids into professional musicians, but we wanted to at least introduce them to music so it becomes part of their lives. We hope to increase their awareness and creativity, and reduce the odds that they’ll turn to crime.
The foundation also assists young musicians who have been admitted to conservatories in Europe but can’t afford the fees. YMSI provides financial aid for the first few months.

How do you help kids in Jakarta who want to play music?

We provide teachers, lend the kids musical instruments and assign a mentor to conduct an evaluation every six months. Most of them are beginners and we get them to start off with classics by the likes of Beethoven or Mozart. It’s not that we expect them to become classical musicians, but classical music creates a strong foundation on which to build technical skills.

How many children have participated in the foundation’s activities?

We’ve only be around since 2009. Right now there are two children funded abroad, in Germany and the Netherlands, and about 20 street children in the education program funded by the foundation.

Is it tough to run a foundation in Jakarta?

We spend the majority of our time fund-raising. If we weren’t always busy trying to make money we would be more productive. In Europe, foundations are supported by the government so long as the financial reports are transparent. The people’s taxes filter down to the foundations and organizations. In Indonesia, we never really find out where our taxes go, and the government isn’t exactly bent on developing a music culture.

Have you had any firsthand experience working with the government to promote music?

I’ll give you an example of a case of poor management of funds here in Jakarta. The government awarded Rp 4 billion [$450,000] to DKJ [Dewan Kesenian Jakarta, or the Jakarta Arts Council] in November 2010 and the money was spent by December 2010.
I’ve attended concerts under their management, and more than half of the seats are usually empty. They fail to promote events properly and often end up giving tickets away for free.
In my opinion, audiences should pay for their own seats even if that means keeping ticket prices low. This will tell Jakartans that to enjoy art you have got to pay.
Often, audiences do not respect a performance given for free and walk in and out of the auditorium during the performance. Free tickets achieve nothing in the end.

OK, switching gears, you also work with disabled children.

YMSI now has a sister foundation in Spain for disabled children. The foundation consists of composers who write music for disabled children and provide special instruments. For instance, piano music for the left hand only, a piano without pedals, French horn music written to be played only with the left hand and Braille musical notes for the blind. I’m among those composers. ‘Just a Minute!’ is a piece I wrote to be played with just the left hand.

How does a Twitter user like yourself relate technology with music?

Twitter is powerful. I use it to announce coming events. From an artistic point of view, I am inspired by a writer from Makassar, Aan Mansyur, who writes poems on Twitter using less than 140 characters. That inspired me to write a piece entitled ‘Re-tweeting @aanmansyur.’ It only took 10 minutes.
The essence of the piece is about how to express something clearly and quickly — for me in a space of just 10 minutes — for him in less than 140 characters.

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So, I'd like to talk about 2 things: The foundation in Spain for disabled children, and my piece "Retweeting @aanmansyur".

The foundation in Spain does NOT consist of composers. The foundation (called Fundacion Musica Abierta, or Open Music Foundation) commissions composers (most of them Spanish, such as Santiago Lanchares, David del Puerto or myself, if you consider me a Spanish composer hehehe ..) to write music for disabled children. Of course there are existing pieces for, say, left hand alone such as Ravel or Prokofiev's Concerto for left hand piano, but there are no, until this date, easy pieces for left hand alone or other disabled musicians. So that's what the foundation is contributing to the repertoire.

And about my piece, "Retweeting @aanmansyur", its duration is 10 minutes because the music consists of several tweets! You might wonder, what can one do with ONE tweet of 140 characters! I think there were 7 or 8 tweets of Aan Mansyur, I don't remember anymore. Anyway, it's not been premiered yet, since we are waiting for the winner of the Ananda Sukarlan Vocal Award in Surabaya next April to premiere it.

How to introduce Indonesian classical music when we do NOT want it to be introduced

I was interviewed by several magazines in Indonesia due to the Indonesian Independence Day last August and I had to say that the one thing we lack now is patriotism. But I don't wanna talk about politics, nor social issues. I just wanna relate it to the field I am working with, classical music. A few months ago I wrote about Indonesian public's "high" taste for foreign musicians. Now, let's talk about our own musicians. How many Indonesian classical musicians like, love or even just feel the obbligation to perform music by Indonesian composers ? Just check out the concert programs in Jakarta, and it's all filled up with Bach, Beethoven, Chopin, Schubert, up to Copland, Rutter, Britten. Great music, of course, but where are our own composers ? Why aren't they played by their own musicians ? Is it because Indonesian composers are not "prestigious" enough and so we can't be proud of them ? Not cool, not hip ? Not virtuosic ? Not attractive ? Or simply not good (according to whose criteria?) ?

Let's compare it to 100 years ago, where Indonesians wanted to be independent. They would even die for their country. Is it the case now ? I am not the one who should answer it.

Back to classical music, obviously our musicians do not care (or are we ashamed ?) of our own composers. Government ? Ministry of Culture ? Forget them, they are busy with other things. So, what to do to enliven the creation of classical music in our country, if nobody wants to play it ?

An easy(-er) solution, small but by no means meaningless, would be to ask foreign musicians to play it, or at least we should trust our national treasure to them . Let them listen, let them check some scores. This can be done perhaps by approaching the foreign cultural centers in Jakarta. Everytime they invite foreign artists, why not at least send them some scores of Indonesian composers ? Perhaps by letting them play music by Indonesian composers during their visit to Indonesia would touch the conscience of our own musicians ?

Why no "Sukarlan plays Sukarlan" ?

My manager Chendra Panatan has always been bombarded with this question (especially by many, many young pianists) : Why doesn't AS record and play his own piano music ? He's always answered with "Later perhaps", but now I will tell you the exact reasons why.

1. There are still not so many pianists who play my pieces, so I do not want to dictate them how to interpret my own music. Ok, ok, Rachmaninov as a pianist or Samuel Barber as a baritone were the best interpreters of their own music, but how many composers could claim it so? I am always surprised in listening to other people performing my music ; I always found new things which I even didn't realize before in my music. The good musicians always find new points of view in looking at the music. Don't misinterpret me as an idiot ! It's true, I tell you. It has happened also in the opposite way, when I am interpreting someone elses music. Sir Michael Tippett, Peter Sculthorpe and many others have expressed this to me (and in case of Sir Michael, God bless his soul, spoke it out loud on BBC Radio 3!) when they listened to my playing of their music.

2. You must understand that composing is one thing, being an interpreter is another thing. My interpretation of my own music doesn't make it more "authentic" than other (hopefully better) musician's interpretation. As a pianist, my position is exactly the same when I am playing Beethoven or when I am playing Ananda Sukarlan. The composer/conductor Andre Previn told me once that good music is always better than its performance. Therefore, nobody yet can achieve what Beethoven really wanted his music to sound. His music is still far better than any interpretations of it. In my case, it's the contrary : I am counting on my musicians to make my music sound BETTER than I wrote it !

3. I prefer at the moment to record music by other composers who I esteem highly. Especially now I am focusing myself on my Indonesian composers colleagues. Almost nobody cares about their music, and those who care, cannot play the piano ! Some of our senior composers such as Amir Pasaribu and Trisutji Kamal deserve to have recordings of their piano music NOW (to be precise, it's been long overdue). In case of the late Yazeed Djamin, there is also a feeling of friendship besides admiration. I am proud of their music, and I wish that Indonesian musicians could be proud of their composers. Who else but us, Indonesians, can introduce those composers ? They are not even known in our own country.

Answers : About my relation with gamelan

Among questions regularly asked to me are these ones by a graduate student in Yale. There is no easy answer, but I will try however. He asked :

... what I am really interested in is what your reaction is when you hear gamelan music. Do you have an emotional connection to themusic, even though it isn't 'current'? Does the sound of gamelan conjure up particular associations for you? And can you compare it at your experience of any kind of western music - like listening to aBeethoven Symphony or a Miles Davis recording?Also, how do you think your education in music shaped the way that you experience music - both when listening to gamelan and when listeningto any other kind of music?

My answer : Of course I have a STRONG emotional connection to gamelan. Not only because of memories of childhood, but also due to the fact that I know it is a culture which is dying, for lack of government (and popular) support. If you love someone, you love him/her more if you know that time is running out, right ? And funny enough, now the music of gamelan penetrates strongly to my mind if I am composing ; hence some "gamelan" sections in my most recent music (maybe because my recent music deals with Indonesian poets and issues and way of thinking). Those gamelan "sound" just appears, and of course I have to work it out in integrating it with my own musical language, which has, I have to confess, nothing to do with Indonesian traditional music but more with Stravinsky or Britten or Bach. So, that sound comes in and out, sometimes explicitly, sometimes just being there without being noticed. Perhaps I can compare my music (although far more inferior in quality !) more with David del Puerto's "Nusantara" Symphony or Sir Michael Tippett's Triple Concerto than to Britten's Prince of the Pagodas or Poulenc's Concerto for two pianos : in del Puerto's, Tippett's or mine there are no clear "gamelan sections" (in fact, many Indonesian non-music lovers cannot really detect the gamelan influence in our music ; yet they can immediately recognize when the "gamelan section" arrives in Britten's or Poulenc's music.)
Yes, I feel differently when listening to gamelan as to other kinds of music, but it is as different as listening to Beethoven compared to Oscar Peterson to Ravel to Copland to Scottish ballads to Elton John . What do I feel ? Ooops ... I can't say it with words . It's even beyond happy and sad.
But funny enough, I don't feel closer to gamelan than to other kinds of music. I think because I listened to different kinds of music when I was a kid : Emerson, Lake and Palmer, Queen, gamelan, Rachmaninov, even avant-garde music (not anymore after I realized that most of them are just faking due to the lack of compositional techniques and musicianship) . But one thing is the music I love, and the other thing is the music that influence my thinking and my composition. I love Chopin, Rachmaninov and the romantics, but one cannot find their traces in my music, no romantic whooshes and big emotional expressions. I hate most of twelve-tone music, but I realize that something good has come out of it ( I am talking only about the music of its inventors : Schönberg, Berg & Webern : what happened afterwards was just monkey-ing and photocopying what has been done before), and I am fascinated by how Berg treated the row ( note the word "fascinated", not "like") . One can use whatever method he likes, but first and foremost he must be a "real" composer with high musicianship and accomplished technique.