Yup, that's what one usually say to a performing artist about to go on stage. In Spanish it's even worse, they say "mucha mierda!" which means "loads of shit!". If it were told to a politician who's about to give his campaign talk it would be more appropriate. I don't know the origins of those sayings (am pretty sure lots of google entries can explain it to you), but in any case those well-wishes phrases stem from the superstition that giving good wishes is considered bad luck. And yes, we artists ARE highly superstitious due to our insecurity towards the high level of unpredictability of our end products.
But I did get my bad luck a few days ago, and it wasn't on stage. It was an act as simple as going down the livingroom steps at my house, just those 2 steps that I've known for 13 years that I lived here. Maybe that's the bad luck key: I fell on Friday the 13th, after 13 years living here. And it wasn't as bad as breaking a leg, I just broke a bone in my left foot (if I had fallen at 13.00 p.m it might be worse). The most outer bone, that most vulnerable one. After I fell down, I didn't go immediately to the hospital but tried to live a "normal" life for a few days instead, until yesterday my wife insisted that we go visit the hospital since the pain didn't go away. And so we went, and they X-rayed my feet. And my fate for the next month is sealed: I will need 2 walking sticks to help me walk.
Needless to say, I will have lots of time this week, since I mainly lie down in bed with my laptop. Even today, I've read all those mailing lists which I normally don't read, checked all messages on facebook ... and tweeted of course. But I also have talked to my managers and we have decided that my next public appearances will not be cancelled. I have only a broken foot, which is so light compared to a broken heart or broken spirit! Even only 1 day has passed, I could already understand how life is for disabled people, and I'm sure it will inspire me for something. As you might know, I have written music for disabled people, and now by experiencing first hand how it is, I am more keen to do it. As I would be too lazy to bend one of my legs to live and feel how life is with 1 leg if I hadn't got this accident, so I feel lucky to have experienced this. So, next week I will still teach at Rotterdam as a guest professor and even keep my small concert & talk there on Tuesday evening for the students (mostly piano and composition), and the week after I will go to Jakarta where I will perform Tschaikovsky's Piano Concerto and that famous variation of Rachmaninov's Paganini Rhapsody with a new arrangement: accompanied by an ensemble of angklung! The concert will take place on May 5th at Teater Jakarta (TIM). This will be a very special experience for me. Other guest stars will be one of the winners of the National Vocal Competition "Tembang Puitik Ananda Sukarlan" Adi "Didut" Nugroho (yup, he's the tenor who asked for wealth to the shaman in my opera "Mendadak Kaya") and famous Indonesian pop singer Kikan Namara. Hopefully things will go well, since it's more difficult to travel with one leg. Wish me luck, friends, but this time I dunno how, since I have fulfilled your good wish by breaking a leg. Literally.
Mostrando entradas con la etiqueta Tschaikovsky. Mostrar todas las entradas
Mostrando entradas con la etiqueta Tschaikovsky. Mostrar todas las entradas
martes, 17 de abril de 2012
jueves, 10 de marzo de 2011
Defining, defying, divine?
I am, honestly, deeply thankful for all your interest with our radio program at Delta FM, and really am very sorry for not being able to answer each one your questions and respond your comments to my twitter account @anandasukarlan . Please don't think that I answer only the questions that I like to, or worth answering, or other reasons. Well, there is one reason that I answer some questions at twitter, and that is because it can be answered in less than 140 characters. Some of your questions need really elaborate answers and I'll try to answer them in the radio program. And please, don't give up tweeting me and listening to our program because you thought I am ignoring you. When you went to the toilet during the program, it was when most probably I was responding your question!
One quite common "misunderstanding" among some new listeners (hopefully turn out to be future fans) of classical music is to think that composers wrote only a few works. Very wrong, folks. Usually a composer produces hundreds of works (and in case of Johann Sebastian Bach or Franz Liszt, thousands!), but it's true that his reputation lies in a handful of pieces of music. Ravel didn't only write Bolero, and neither you can say that it is his best work. It is his most popular, yes, and of course as any works of his, it's incredibly of high artistic quality. But note this: many times, a composer's best works are those which are not the most popular.
Composers cannot be pigeonholed with their "genre" of works either. Tschaikovsky wrote not only ballet music (such as The Nutcracker or Swan Lake) but many many songs, piano pieces and 6 symphonies among others. John Williams doesn't write only film music, he wrote great concertos (for violin, harp etc) and other orchestral works. Verdi and Puccini didn't write only operas. And in my case, some singers think I only write works for voice (which indeed take a big portion of my production: I wrote some 100 songs and 2 cantatas and 2 and a half operas) and some pianists think I write only Rapsodia Nusantara pieces (it's 8 and a half at the moment, only). Aaand, I wrote many many chamber music, for violin, viola, cello, flute, oboe, bassoon, string quartets, as well as choir works.
So, I don't think one has the right to call himself a composer by writing a handful of pieces. Not even with the case of Ignace Jan Paderewski who was the Prime Minister of Poland. He was, first and foremost a pianist and composer. OK, ok, his production went down drastically after he was elected Prime Minister, but before that he was extremely productive.
The same case with an instrumentalist, a pianist for example. One can't claim to be a professional pianist by having a repertory of, say, the same program for recitals and 2 (or even one!) piano concertos. In my case, I have played at least 20 piano concertos, and that's the least quantity of concertos a pianist should have in his hands. My colleagues usually have more than that in their hands. I have a good excuse: I compose too, so half of my time is dedicated to composition! Hehe .. good excuse eh? A composer, a pianist or whatever is like an architect, a medical doctor. It is a PROFESSION, and like in any profession, we do it almost on a daily basis, and therefore we inevitably produce a lot. It can be a lot of rubbish (as in my case!), but that's what you call luck. It's not a thing we do "in our spare time".The best works are struck with luck which we like to call inspiration. And luck or inspiration or whatever you call it doesn't come everyday. But we have to fulfill the needs of those commissioners, whether they are institutions, musicians or whoever who need our music and so we just gotta put our asses to work. No excuses.
Therefore usually composers bring a notebook with us everywhere. That flash of luck can come anywhere anytime, and that's when we write it down, whether in the middle of our sleep, in a dream, in the toilet, on an airplane etc. That thing we scribble down will be used in our works. And I always spare some "boring" tasks such as filling up orchestrations or making a neat score for my "unlucky" days.
Oh dear, I am revealing all the secrets behind the glamour of being an artist, eh? It turns out that we are just simply workers, like most of the rest of the mortals. No mystery anymore in our tasks. No divine involvement. It's so very human. We are not those incurable romantics, daydreaming and doing what we like. Now, do you still think we are special? A work of art is a product of 1% inspiration and 99% perspiration, we always say. What a disappointment, eh?
One quite common "misunderstanding" among some new listeners (hopefully turn out to be future fans) of classical music is to think that composers wrote only a few works. Very wrong, folks. Usually a composer produces hundreds of works (and in case of Johann Sebastian Bach or Franz Liszt, thousands!), but it's true that his reputation lies in a handful of pieces of music. Ravel didn't only write Bolero, and neither you can say that it is his best work. It is his most popular, yes, and of course as any works of his, it's incredibly of high artistic quality. But note this: many times, a composer's best works are those which are not the most popular.
Composers cannot be pigeonholed with their "genre" of works either. Tschaikovsky wrote not only ballet music (such as The Nutcracker or Swan Lake) but many many songs, piano pieces and 6 symphonies among others. John Williams doesn't write only film music, he wrote great concertos (for violin, harp etc) and other orchestral works. Verdi and Puccini didn't write only operas. And in my case, some singers think I only write works for voice (which indeed take a big portion of my production: I wrote some 100 songs and 2 cantatas and 2 and a half operas) and some pianists think I write only Rapsodia Nusantara pieces (it's 8 and a half at the moment, only). Aaand, I wrote many many chamber music, for violin, viola, cello, flute, oboe, bassoon, string quartets, as well as choir works.
So, I don't think one has the right to call himself a composer by writing a handful of pieces. Not even with the case of Ignace Jan Paderewski who was the Prime Minister of Poland. He was, first and foremost a pianist and composer. OK, ok, his production went down drastically after he was elected Prime Minister, but before that he was extremely productive.
The same case with an instrumentalist, a pianist for example. One can't claim to be a professional pianist by having a repertory of, say, the same program for recitals and 2 (or even one!) piano concertos. In my case, I have played at least 20 piano concertos, and that's the least quantity of concertos a pianist should have in his hands. My colleagues usually have more than that in their hands. I have a good excuse: I compose too, so half of my time is dedicated to composition! Hehe .. good excuse eh? A composer, a pianist or whatever is like an architect, a medical doctor. It is a PROFESSION, and like in any profession, we do it almost on a daily basis, and therefore we inevitably produce a lot. It can be a lot of rubbish (as in my case!), but that's what you call luck. It's not a thing we do "in our spare time".The best works are struck with luck which we like to call inspiration. And luck or inspiration or whatever you call it doesn't come everyday. But we have to fulfill the needs of those commissioners, whether they are institutions, musicians or whoever who need our music and so we just gotta put our asses to work. No excuses.
Therefore usually composers bring a notebook with us everywhere. That flash of luck can come anywhere anytime, and that's when we write it down, whether in the middle of our sleep, in a dream, in the toilet, on an airplane etc. That thing we scribble down will be used in our works. And I always spare some "boring" tasks such as filling up orchestrations or making a neat score for my "unlucky" days.
Oh dear, I am revealing all the secrets behind the glamour of being an artist, eh? It turns out that we are just simply workers, like most of the rest of the mortals. No mystery anymore in our tasks. No divine involvement. It's so very human. We are not those incurable romantics, daydreaming and doing what we like. Now, do you still think we are special? A work of art is a product of 1% inspiration and 99% perspiration, we always say. What a disappointment, eh?
domingo, 3 de mayo de 2009
Cinta bung, bukan kebencian
Kali ini saya harus mencoba menulis dalam bahasa Indonesia, karena saya mengharapkan "mereka" membaca. Dan "mereka", saya yakin, tidak bisa bahasa Inggris. Dan kalaupun membaca dalam bahasa Indonesia, semoga mereka tidak salah interpretasi. Soalnya, membaca itu juga adalah suatu yang harus dibiasakan dan dilatih, bukan semata-mata bisa membaca alias tidak buta huruf.
Tulisan saya ini mengenai tiga hal, dan keduanya menyangkut salah interpretasi dari kegiatan kami yang menyangkut film "Romeo - Juliet", dan terkait pula dengan kejadian pemukulan terhadap sutradara dan beberapa anggota tim R-J di Bandung Sabtu lalu. Inilah tiga hal yang sekarang sering disebut-sebut oleh banyak emails ke kami :
1. "R-J adalah tentang konflik dan kebencian". Bukan! Begini bung, di setiap kisah atau karya seni itu harus ada kontras. Lukisan itu tidak bisa hanya satu warna.Untuk menonjolkan satu warna, harus ada warna yang kurang menonjol, atau "dikorbankan". Musik itu tidak bisa hanya satu melodi. Nah, di satu cerita itu juga harus ada kontras. R-J itu ingin mengisahkan sebuah kisah cinta. Jadi elemen kontrasnya, yaitu kebencian, ya terpaksa harus ada! Tapi fokusnya tetap saja ke cinta. Tapi kalau anda memang sudah penuh dengan kebencian dan sampah-sampah lain di dalam diri anda, ya pastilah anda hanya lihat hal-hal tersebut saja. Yang paling penting, yaitu cinta 2 sejoli itu, malah nggak kelihatan. Cinta itu ada, bung. Cinta itu eksis, dan kalau dicari pasti dapat (wong nggak dicari aja dapet kok !) .
Jadi, R-J itu bukannya mau menyebarkan kebencian, tapi justru kebalikannya. Ya tentu saja harus diperlihatkan sisi konfliktif dari dua grup itu, kalau tidak, bagaimana penonton mau mengerti ?
2. "Film R-J Andibachtiar Yusuf itu plagiat !" Nah, betul sekali ! Anda memang sangat intelek ! Memang itu plagiat, nyontek abis. Cerita itu sudah ditulis oleh pujangga terbesar dunia, William Shakespeare di abad 16 (silahkan google saja kalau tidak percaya). Dan setelah itu buuuuaaanyak sekali yang mengambil cerita itu dan diadaptasi seenaknya. Soalnya, kisah ini sangat penuh dengan metafora, dan sangat mencerminkan kehidupan siapapun. Mungkin itu adalah kisah cinta yang paling lengkap yang pernah ditulis.
Nah, yang nyontek itu bukan hanya penulis, sutradara film atau teater setelah Shakespeare. Bahkan komponis pun banyak yang nyontek! Coba google saja nama-nama Hector Berlioz, Tschaikovsky atau Prokofiev (aduh, 2 nama terakhir itu kok susah bener ya. Belum lagi nama penulis aslinya, Shakespeare), mereka pernah bikin karya yang sama persis judulnya. Tapi, soal contek-menyontek di dalam dunia seni itu adalah satu hal yang kalau dibicarakan nggak akan habis dalam 7 hari 7 malam dengan minum kopi satu gentong. Jadi ... gimana kalau saya pribadi mengakui saja .. ya kalau anda bilang ini nyontek, ya terserah deh bung!
3. "Andibachtiar Yusuf itu digebukin untuk promosi". Nah, kalau ini salah besar, bung. Kami semua yang terlibat di produksi ini memang berharap bahwa film ini ditonton oleh orang banyak, dan kami mengadakan promosi masing-masing. Cuma saja kami tidak segitu "putus asa" (desperate, dalam bhs Inggris) sampai sang sutradara rela digebuki supaya filmnya ditonton. Ini kecelakaan, bung! O ya, kalau saya ke Jakarta, jangan digebukin juga ya?
Nah, untuk anda semua yang doyan ngritik, kami sangat berterimakasih atas segala masukan anda. Tapi, jangan harap bahwa karena anda doyan ngritik dan doyan nggebukin sutradara film, kami anggap anda tuh "macho" loh ! Nggak keren deh ! Buat saya pribadi, lebih keren bisa bikin film lah! O ya, saya punya jawaban untuk para kritikus saya "O, jadi anda bisa bikin yang lebih bagus ya? Wow, salut, bung! Tapi kok nggak bikin?"
Kami hanya minta satu hal : tonton dulu filmnya, bung ! Baru boleh ngritik atau nggebukin sutradara ...
Ananda Sukarlan
penulis musik untuk "Romeo-Juliet"
Tulisan saya ini mengenai tiga hal, dan keduanya menyangkut salah interpretasi dari kegiatan kami yang menyangkut film "Romeo - Juliet", dan terkait pula dengan kejadian pemukulan terhadap sutradara dan beberapa anggota tim R-J di Bandung Sabtu lalu. Inilah tiga hal yang sekarang sering disebut-sebut oleh banyak emails ke kami :
1. "R-J adalah tentang konflik dan kebencian". Bukan! Begini bung, di setiap kisah atau karya seni itu harus ada kontras. Lukisan itu tidak bisa hanya satu warna.Untuk menonjolkan satu warna, harus ada warna yang kurang menonjol, atau "dikorbankan". Musik itu tidak bisa hanya satu melodi. Nah, di satu cerita itu juga harus ada kontras. R-J itu ingin mengisahkan sebuah kisah cinta. Jadi elemen kontrasnya, yaitu kebencian, ya terpaksa harus ada! Tapi fokusnya tetap saja ke cinta. Tapi kalau anda memang sudah penuh dengan kebencian dan sampah-sampah lain di dalam diri anda, ya pastilah anda hanya lihat hal-hal tersebut saja. Yang paling penting, yaitu cinta 2 sejoli itu, malah nggak kelihatan. Cinta itu ada, bung. Cinta itu eksis, dan kalau dicari pasti dapat (wong nggak dicari aja dapet kok !) .
Jadi, R-J itu bukannya mau menyebarkan kebencian, tapi justru kebalikannya. Ya tentu saja harus diperlihatkan sisi konfliktif dari dua grup itu, kalau tidak, bagaimana penonton mau mengerti ?
2. "Film R-J Andibachtiar Yusuf itu plagiat !" Nah, betul sekali ! Anda memang sangat intelek ! Memang itu plagiat, nyontek abis. Cerita itu sudah ditulis oleh pujangga terbesar dunia, William Shakespeare di abad 16 (silahkan google saja kalau tidak percaya). Dan setelah itu buuuuaaanyak sekali yang mengambil cerita itu dan diadaptasi seenaknya. Soalnya, kisah ini sangat penuh dengan metafora, dan sangat mencerminkan kehidupan siapapun. Mungkin itu adalah kisah cinta yang paling lengkap yang pernah ditulis.
Nah, yang nyontek itu bukan hanya penulis, sutradara film atau teater setelah Shakespeare. Bahkan komponis pun banyak yang nyontek! Coba google saja nama-nama Hector Berlioz, Tschaikovsky atau Prokofiev (aduh, 2 nama terakhir itu kok susah bener ya. Belum lagi nama penulis aslinya, Shakespeare), mereka pernah bikin karya yang sama persis judulnya. Tapi, soal contek-menyontek di dalam dunia seni itu adalah satu hal yang kalau dibicarakan nggak akan habis dalam 7 hari 7 malam dengan minum kopi satu gentong. Jadi ... gimana kalau saya pribadi mengakui saja .. ya kalau anda bilang ini nyontek, ya terserah deh bung!
3. "Andibachtiar Yusuf itu digebukin untuk promosi". Nah, kalau ini salah besar, bung. Kami semua yang terlibat di produksi ini memang berharap bahwa film ini ditonton oleh orang banyak, dan kami mengadakan promosi masing-masing. Cuma saja kami tidak segitu "putus asa" (desperate, dalam bhs Inggris) sampai sang sutradara rela digebuki supaya filmnya ditonton. Ini kecelakaan, bung! O ya, kalau saya ke Jakarta, jangan digebukin juga ya?
Nah, untuk anda semua yang doyan ngritik, kami sangat berterimakasih atas segala masukan anda. Tapi, jangan harap bahwa karena anda doyan ngritik dan doyan nggebukin sutradara film, kami anggap anda tuh "macho" loh ! Nggak keren deh ! Buat saya pribadi, lebih keren bisa bikin film lah! O ya, saya punya jawaban untuk para kritikus saya "O, jadi anda bisa bikin yang lebih bagus ya? Wow, salut, bung! Tapi kok nggak bikin?"
Kami hanya minta satu hal : tonton dulu filmnya, bung ! Baru boleh ngritik atau nggebukin sutradara ...
Ananda Sukarlan
penulis musik untuk "Romeo-Juliet"
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