Book of faces, Midori and my string quartet

Today, officially the tickets for Java New Year Concert in Jakarta, January 4th are completely SOLD OUT. I would like to congratulate the whole team of JNYC for this. Chendra Panatan, my manager, choreographer, and head of the team of JNYC, has experimented a new method for the publicity for this concert : we don't spend any cent in publicity on newspapers or other mass media. He does it all through the internet, especially facebook. And I must admit, I hated Facebook up till a few weeks ago. Chendra convinced me of facebook a few months ago, by saying that my greatest idol with the great baritone voice, Barack Obama has done a most successful presidential campaign through Facebook. If he does it, then it must be correct.

Preparations are going well. The young pianists who will perform are at their best stamina. My flute and piano piece, "Rescuing Ariadne" was the last piece I rehearsed with. The players will be the English flutist Elizabeth Ashford and the young pianist from Bandung, Alfred Young Sugiri. This 5-minute piece was inspired by the painting of Titian, "Bacchus and Ariadne", hang in the National Gallery of London. Why the title ? Well, because Albert Roussel's Third Symphony (great piece, by the way) is titled as the painting, and I don't want to make a piece with the same title.

The soprano Bernadeta Astari has arrived from Holland, and we performed today at the Federasi Teater Indonesia some of my songs, including the one based on a poem of WS Rendra, Tidurlah Intan. We chatted with him afterwards.

Several days ago the Japanese legendary violinist Midori played my short string quartet "Lontano" with 3 other young musicians (from Singapore, Australia and USA) at the residence of the ambassador of Japan in Jakarta. Her foundation, Music Sharing (based in New York) commissioned it last year and I already finished it before summer this year. After this performance they then toured it to Jogja and Medan, and then to Japan. I didn't have time to rehearse with them beforehand, so I was rather nervous before the concert (and they played Debussy's --which is my all time favorite, adored, admired quartet-- as the last piece, which was the first time I heard live). But then they played so marvellously that they took my breath away. Still, nobody could beat the greatness of Debussy ; I admire that Frenchman more and more thru the years. What a f***ing genius !!

After the New Year Concerts, I will face my biggest challenge : writing music for solo guitar, commissioned by the fantastic Spanish guitarist Miguel Trapaga.

From A to A (that makes us the A-team, eh?)

If one wants it, then it's done. Among my busy periods recording for the film "Romeo*Juliet" as well as rehearsing & preparing for the "Prelude" concerts for the New Year Concerts, I managed to write 4 short pieces : one choral work commissioned by ITB Choir to celebrate the Golden Anniversary of their prestigious university, and 3 songs for baritone & piano. The ITB Choral work is a festive one, based on Sapardi Djoko Damono's breathtaking & majestic sonnet (also commissioned for this event) called KITA CIPTAKAN KEMERDEKAAN (We Create Freedom). Its sketches were done on the plane from Bilbao to Jakarta and Jakarta-Surabaya-Jakarta in the last days of last month, and then it was written out completely and finished 7 days ago on Chendra's computer whose Sibelius program had gone mad. Until this minute I still haven't heard one note of that music, which will be the explanation if suddenly one or more chords would sound "avant-gardish".

The three songs for baritone & piano were done on Friday and Saturday 12th and 13th, between two concerts of mine. I wrote them for my good friend, the always F-word (I mean fabulous & fantastic) singer Joseph Kristanto "Akis" who celebrated his 39th birthday on the 15th. To those 3 songs I added 2 more older songs, one written in London during one of my stays with Chendra last spring when one day suddenly it snowed, and another piece already written for Akis one day after we rehearsed. So, this new cycle for baritone & piano is called "A untuk Akis, Alam dan Angkasa" (translated (in-)correctly it will be : A for Akis, nature and the universe). The songs are :

1. Kesetiaan Pohon (Sapardi Djoko Damono)
2. Masa Kecil di Pegunungan (Eka Budianta)
3. Salju di Musim Semi (Chendra Panatan)
4. Selokan (Sapardi Djoko Damono)
5. Berkicaulah Burungku (Eka Budianta)

I am always touched how Akis loves nature. Apart from his love and dedication to music, of course. He always thinks of his fish, and once we rehearsed at the Jakarta Conservatory and he pointed out a peculiar tree which had been there, unnoticed by me, during these years. And this is a guy who lives right in the middle of Jakarta, the most unfriendly city in the world, full of bricks, mortars ... and greedy corruptors. So, what other birthday present is more appropiate than a songcycle about nature ?
And I am so grateful to his dedication to my music ; he practically has sung, beautifully, 90% of my music for baritone ( I wish he would sing the 10% of the rest), and memorized them (no matter how strange they are) . These 5 songs is my gratitude and my celebration to his artistry and to our friendship that I highly cherish.

PS : Thanks to Akis' sister Ita for her help in its "special delivery" after lots of hassle with the printer. And another PS : just 1 day before his birthday, his fish whom I baptized under the name Nijinsky died. Requiescat in pace ...

Romeo*Juliet

So I keep my promise ! Rather late .. but hey ...

Who would have guessed that my first music for the film would be for a film about football ? I was baffled when the Indonesian film director Andibachtiar Yusuf approached me earlier this year to ask me to score the music for his "Romeo*Juliet". Yes, you got it right. But instead of Montague and Capulet, it is the Jakarta against the Bandung football fanclubs. The confrontation between them goes back to many decades, and when it happens, they are notorious for being violent. People got killed during their fights. So, you can guess how the story goes ...

... which reminds me, inevitably, of WestSide Story. It IS difficult not to have that masterpiece as a reference ! But Yusuf's film is not a musical film, so my job is a bit easier. Oh, I forgot to tell you that he wanted me and only me for this job, because of his huge crush on my duet from the cantata Ars Amatoria "Dalam Doaku" (In my Prayer). Definitely that song became an important part of the film ; in fact, the film revolved around that song. Yusuf was (is, and always will be) a great fan of rock music, and he has never fancied any kind of classical (read : soft, boring) music. But I am dubiously flattered when he discovered through my music that classical music is not that bad! Something is definitely very wrong with my music, or ... ?
For the film, I used other songs ("Kasih" and "Ketika Kau Entah Dimana", which happens to be my favorite amongst my songs) of mine, recently released in the CD "Ananda Sukarlan Vocal Works" for that film as well, besides writing quite a lot of new materials purely instrumental. So you can hear the voices of Bernadeta Astari and Joseph Kristanto in that film once in a while blasting from the cinema loudspeakers. The motifs I use for the whole soundtrack are taken from the hymn of both football clubs, and I just make some variations out of them, according to the situation which it accompanies.

This version of Romeo*Juliet is very Indonesian. I mean, the unromantic oriental type of love. Passionate, but unromantic. There is even no balcony scene in the whole film! I was quite confused when I read the script, but when I received the rough cut of the film, I honestly was pretty impressed. And I was quite inspired after I watched the rough cut. I decided that I don't have to escape from my musical style ; the film is very, very Indonesian in many ways, so that my "western" musical style would just compliment it without "stealing the show" as they say. As Aaron Copland said about writing music for films : "The best film music is the one you don't notice". In other words, you can hear it, but you don't listen to it.

The film is due to be shown in cinemas 21 throughout Indonesia starting late March 2009.

Newsflash

Sorry that this entry is a quickie one. Anyway, this is just to tell you that :

1. I am in Jakarta at the moment, although I will leave to Surabaya on the 28th, to be back in Jakarta beginning of December.

2. I have been very busy composing & recording for the film soundtrack "Romeo*Juliet" directed by Andibachtiar Yusuf. I will write about this further next week (unfortunately I have a habit of a presidential candidate : I don't keep up with my promises !)

3. Facebook : now, this is a problem. Since I have reached the limit of 5000 "friends", I cannot accept anymore friends, so I am VERY sorry. As you see, this is not my decision, but our big brother's, the facebook guys. But we have created the "Ananda Sukarlan's friends" group at facebook : you can search for it, and be a member. And yes, you STILL can send me messages through facebook ! But please do not suggest more friends for me ; you can, instead, invite all your friends to join the "Ananda Sukarlan's friends" group, once you become a member. Just click this : http://www.facebook.com/group.php?gid=41769011619 .

4. And I would like to confirm : YES, although it is still not finished, I am writing a new choral piece for the 50th anniversary celebration of the Institut Teknologi Bandung, one of the oldest and highly prestigious universities in Indonesia, celebrated in March next year. It is based on a new sonnet by Sapardi Djoko Damono, also commissioned by that mentioned choir.

I, too, have a dream

Next week, a new CD of my works for voice(s) is gonna be released. I am so happy and honoured to have the soprano Bernadeta Astari "Deta" and the baritone Joseph Kristanto "Akis" record my vocal works. Apart from the fact that they are the two singers who have specialized in almost all my music involving the human voice and have worked with me intensely in performing them, they are magnificent musicians with impeccable techical abilities, sensitive artistry and profound musical understanding.

My interest in the human voice dated back in the 1980s when I heard Benjamin Britten's Serenade for tenor, horn and strings during my student years. That was the first vocal work that has made me weep, literally weep, during its performance. Since then, I started my collection of all Peter Pears' recording of Britten's whole ouvres, so my first vocal works were just bad copies of Britten and justly enough they all ended up in my dustbin. In the 1990s, it was the poetry of Walt Whitman, William Blake and Longfellow that have helped me find my own path. Still, I was feeling uneasy for not being able to feel at home in setting words of my own language. Ilham Malayu's poems during his stay in Bangkok prison were the first poems in Indonesian that I set to music, but it wasn't until very recently that I had a huge crush with the poetry of Sapardi Djoko Damono. And then came along other great Indonesian poets : Goenawan Mohamad, Eka Budianta, Hasan Aspahani, Nirwan Dewanto, Ook Nugroho and so on. Ah, and that fascinating miniaturist lady, Medy Loekito. And with my inspirational singer friends around, my Indonesian songs just came along and took shape naturally. I feel that my best music ("best" is according to my, and only mine, not other people's standard) are written inspired by people or their artistry.

I have a dream (this is not because of Obama reminding the famous phrase of MLK), that one day Indonesia will have virtuosi of all instruments, so that they would and could inspire me to write concertos for each of them : a violin concerto, clarinet concerto, up to ... bassoon concerto, harp concerto, tuba concerto and --why not?-- a percussion concerto. And yeah, my next Concerto for piano and orchestra should not be written for myself. There are many, many highly talented young Indonesian pianists around. They will prevail. And very soon.

O BAMA, O Captain, My Captain

Many things have happened these last 2 weeks everywhere in the world, while I am just sitting around at home writing the music for the film "Romeo*Juliet" by Indonesian director Andibachtiar Yusuf.

Barack Obama became the 44th president of the USA. Now THIS is history. I won't comment anymore about it, we are all very happy not only because of that, but because the era of tyranny and stupidity of George Bush is gonna end soon. Please, Mr. Bush, just take a nice vacation during these 2 remaining months ! You don't have to make anymore decisions, nor do anything else. Just relax and enjoy your life ! That way you'll make this world a much better place, I tell you ! Jay Leno, David Letterman and all the American comedians have been very grateful to you for having provided them a wealth of materials for their shows these 8 years.

But around the same time, the Parliament in Indonesia passes the "Anti-Pornography" bill, which has almost nothing to do with anti-pornography. In fact the anti-pornography legislation could be easily misused against Indonesia's minority Christian and Hindu communities and threatens the country's pluralistic culture. And it will crush our economy (which has been mostly destroyed by corruption) that depends a lot from tourism. Not only that, it will eliminate the rich culture of Indonesia, since all the performing arts would be categorized pornographic. I "almost" don't mind if Verdi's Aida, Thomas Mann's Death in Venice or Benjamin Britten's Peter Grimes were banned for being "pornographic" in Indonesia ; they have the rest of the world to keep existing, but to wipe out traditional dances, centuries-old sculptures, masterpieces of Indonesian painters ?

I wish George W. would become president in Indonesia. He wouldn't like to make constitutions such as the Pornography Bill. He would just invade other countries, worsen our economy (won't be much damage, though ; we always have deficits and no surplus), and enlighten our days with phrases like " I know the human being and fish can coexist peacefully" or "Natural gas is hemispheric. I like to call it hemispheric in nature because it is a product that we can find in our neighborhoods."

A small step (forward) for mankind, a big step for the United States, and an enormous leap of setback for my dear country ...

Schumann, paintings, dance and young people

As I always say, I am inspired by people. And apparently, since I get older now, I realize that the element of youth inspires me more and more. Well, one always wants what one doesn't possess, right ?

But people's creations and people's opinions, love and friendship are the things which have been and still are really inspirational to me. I just finished my "noisiest" work, Schumann's Psychosis. It's written for 3 pianos with 2 pianists at each piano, therefore there are in total 12 hands with 60 nimble fingers, and a friend just revealed to me that this is the first original work written for that formation. Without realizing, I just wrote history !

In fact I agreed to write it in the beginning because it was asked for the events where three Steinway replicas from 1853 will tour South East Asia in the beginning of December. But it took me a long time to even just begin writing the first note. I realized, after weeks of remaining blank pages, that I was thinking of the pianos, those dead instruments. Beautiful, historical, but dead !

Then I started to think of how I enjoyed being with those young people during the Ananda Sukarlan Award piano competition, and thinking that 6 of them will be playing the piece. Meanwhile, Chendra, the choreographer who will do the dance for the piece, sent me thru email a painting of Asep Berlian. That painting triggered an association with Schumann's "disease" (if you can call it as such) of split personalities. With all those elements in mind, mmediately the piece sounded in my head !! I could almost sketch it from beginning to end. OK, OK, you'll say that it's like cracking a rock ; looks as if it's broken on one hit, but in fact it broke because of the 100 crushes before. So, it might have been the result of my thinking and doodlings of the past several weeks. Maybe it's true, but it just proved (even only to myself) again and again that I am not like those people such as Debussy or Turner who were inspired by landscape or nature to give birth to their arts.

Schumann's Psychosis will have those elements : joyful rhythms, but screwed up just like Schumann's multiple personalities. You'll hear it, or to be precise see it (since I think, just visually it would be quite stunning to have those 6 pianists, and I am sure Chendra will make a spectacular choreography around those 6 young musicians) at the New Year Concerts in Jogja and Jakarta, 1st and 4th of January next year respectively.

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 ?