Brill ? Young ? Local ? Thanx, but no thanx !

(a reflection on the Ananda Sukarlan Award 2008)

Congrats to those brilliant young Indonesian pianists who won prizes at the Ananda Sukarlan Award 2008 : Inge Buniardi (1st), Edith Widayani (2nd) and the three Thirds all tied : Handy Suroyo, Randy Ryan and Stephanie Onggowinoto. As a curious note, both Randy and Stephanie are both under 14 years of age. Not that we, jury members, put special attention to the early teens, but still it is amazing how they could compete with other pianists under 25.

I must say, I don't like music competitions ("oops ! Shut up, Andy !!" - "Do i contradict myself ? Very well, I contradict myself. I am large, I contain multitudes" (Walt Whitman)) . But this is the system from which we built all our musical careers, and since I couldn't think of a better way, so well, here we are. There are at least 2 participants which I personally felt they should enter the final round (I think each of the jury members had one or two of their favorite(s) who didn't manage to enter the finals), and I must admit the jury had difficulty in determining which 10 "best" pianists should enter the final round. We had 4 highly reputable jury members, and especially I am glad to greet a new friend, Henoch Kristianto as one of the jury. He is a wonder boy, graduated from Missouri who just recorded Chopin's 24 etudes. Fantastic.

But let's talk about another thing, which is my favorite theme to talk about : public acceptance to our own local music (classical) talents. There was a good audience (both quality- and quantitywise) during the final round, but I failed in one thing in this competition : to get reporters and celebrity friends to attend the final round on the 26th. Well, I shouldn't complain. Many of them have flocked at my Birthday concert at Alila Hotel held the week before the competition, and they have contributed a lot (both in publicizing and in financial aids) for the Ananda Sukarlan Award. But I would like them to hear the young local talents. Why ? Simply, coz they are really brilliant. They are the future of our country (if we have a future, with all those corruptions around). Guys, you should check the winners name I told you above. Remember them, for just a few years ahead. What else do they have to prove, besides their virtuosity and artistry ?

Can I tell you one thing, guys ? Now, most of the international piano competitions throughout Europe are won by Asian pianists. And I see that the Indonesians are catching up. The artistic world is like the stockmarket, guys. You should bet on one when it's still not high up there yet ! Are you going to let go of this opportunity ?

Every language creates its own music

I had a really nice concert 2 days ago. Aning Katamsi and Joseph Kristanto "Akis" sang sooo well, and perhaps that's my best birthday present up till now. Nothing gives greater happiness to a composer than listening to his music so well performed. I am so grateful to those two friends.And thank you for all the emails, sms, and the attendance of 120 VVIP people in the concert ! This is an entry to respond to your answers and comments.

1. What is an Indonesian opera ? Well, this relates to the question "What is Indonesian classical music" (classical in the "western" idiom), and this kind of question was asked already about 100 years ago by the Americans, and starting about 50 years ago in countries such as Japan and Australia. Basically it was answered not by mere sentences, but by the creation of music by composers such as Aaron Copland, Roy Harris, Toru Takemitsu and Peter Sculthorpe. I believe that Indonesian music is simply music written by an Indonesian composer. Therefore, my music is included, even if I live already more than 20 years abroad and carrying the (heavy) influences of European music such as those of Benjamin Britten, Stravinsky or Sibelius. Or am I wrong in self-declaring my music as "Indonesian music" ? Is it not Indonesian enough ?

2. As my opera "Mengapa Kau Culik Anak Kami" is postponed (whew ! What a relief ! The music is completely, 100% finished, but surely with all the things happening, we won't be able to stage it in this period), we are trying to fix a date for its premiere for the beginning of 2009. Of course the singers will be the same, my brilliant friends Aning and Akis. And now that I get to know Akis' voice better (this is the first time that we worked together -- with more than satisfactorical results --), I would like to revise some parts of my opera. I wouldn't like to kill him now with all my falsetti ; I still want him to sing in all my operas (God grant me a long and prosper life) of the future !

3. Now about "Songs of the Night" (Nyanyian Malam). I will have to contradict myself saying earlier that it is written for any kind of voice, male or female, as long as they are within the register (Oh yes, I would like to stress again the fact that I usually conceive a song in its exact tonality -- perhaps due to my absolute pitch--, so I always feel uncomfortable to have my songs transposed to suit the registers of the singers. Sorry for being that fussy !). There are some songs which I couldn't imagine sung by the other kind of voice, such as :
- Tidurlah Intan, for female voice (medium - high)
- Di Depan Sebuah Lukisan, for male voice (and falsetto in the end !)
- Meninggalkan Kandang, for female voice (med-high)
- Kasih, definitely for male voice and DEFINITELY with all those dangerous falsetti for the last 2 pages ! Many thanx, Akis, for those beautiful, beautiful ones you did. I know you have worked a lot for it. My appreciation is never enough !
Apart from those songs, the rest can be sung by either male or female voice.

The next few days will be completely occupied by the Ananda Sukarlan Award, a national piano competition here in Jakarta. Chendra my manager has created a new blog containing all the infos about this event ; check it out at http://www.maestroatforty.blogspot.com . Yes, it's with the www in front, I don't know how Chendra did it. Anyway, let me use this opportunity to thank Chendra as well ; he's the person behind the scene of all those events, and I just don't understand how he managed to organize all of this. These organizing business is all Greek to me. My job is just writing all those notes, which I must admit, is 10 times easier than controlling our office with 7 people working simultaneously. I don't think I can even manage writing a 7-part fugue !

Songs of the Night (Nyanyian Malam)

I have a hunch that this new cycle of mine will consist of dozens of songs. These songs were written throughout these years, and they have one thing in common : they were all written during the darkest hours of the night, and mostly when the composer was feeling lonely and miserable in a hotel room at any corners of the world. It was always the time where everybody's asleep and that there was no internet connection in the room, so my only true friend at that time were books. And most of the time, book of poems. And somehow, music just flow from those poems, so I wrote them down. Some of them can be sung by either male or female voice, so I just indicate whether they are for high, medium or low voice. Some of them even can be transposed comfortably, well, just a few, so please try to consult me first if you wanna do it anyway.

Last week I was going through my manuscripts recovering them, since I will have the honour and opportunity of premiering them with my fantastic singer friends, Aning Katamsi the soprano and "Akis" Joseph Kristanto the baritone (photos ; I especially like Akis' photo in front of my favorite "fachada" of the Sagrada Familia in Barcelona. And I found Aning's photo somewhere after googling ; that's another facet of her life, being a choir conductor) in a concert to celebrate my 40th birthday at Hotel Alila on July 17th. 5 numbers of "Songs of the Night" will be premiered in this occasion, together with my other "greatest hits" such as some songs from my cantata Ars Amatoria, the song cycle Senyap Dalam Derai and some piano pieces. This concert is a birthday gift from Chendra my manager, and from Alila Hotel, and it will be preceded by a Gala Dinner. Mmmm ! And the organizer told me that I can just be myself in that concert and I can do whatever I want. I think it's quite dangerous to suggest such a thing to me ....


If you fancy coming to this event, please contact Chendra at 0818 891038 or http://ycep@yahoo.com/

Four O, Four O, the Hobby-Horse is NOT forgot

Does that work, that pun I did from Hamlet ? Not really, eh ? Anyway, I just passed that danger zone. I am now f***ing FORTY !! Some said life begins at forty, others talk about that famous crisis of the forties. My deduction : Life begins with a crisis . Ooops ...

Many thanx for the hundreds of birthday wishes arriving through emails, friends. I love you all! You're the greatest !

Last year, the great poet Sapardi Djoko Damono gave me a special present for my birthday : Four Sonnets, beautiful ones for me. You (if you read Indonesian) can read them in this blog, in my entry in June, last year. They were even chosen as one of the 100 best poems in Indonesian (those awards are irrelevant especially when you read the few other poems by other authors included in those 100 which are sort of ...hmm, shall we say, OK); you just read those sonnets and see how moved you'd be. This year, I have received --and am deeply touched, moved and grateful-- some poems as presents from my literary friends (which I'll publish in this blog later this month), but I think a more suitable poem --at least for today --would be an existing one from Walt Whitman (obviously, not written for me, and I'd be the only one in the world who says that this is one of the 100 best poems of the galaxy or whatever) :

O ME! O life!... of the questions of these recurring;
Of the endless trains of the faithless—of cities fill’d with the foolish;
Of myself forever reproaching myself, (for who more foolish than I, and who more faithless?)
Of eyes that vainly crave the light—of the objects mean—of the struggle ever renew’d;
Of the poor results of all—of the plodding and sordid crowds I see around me;
Of the empty and useless years of the rest—with the rest me intertwined;
The question, O me! so sad, recurring—What good amid these, O me, O life?
Answer. That you are here—that life exists, and identity;
That the powerful play goes on, and you will contribute a verse. Have I contributed my verse ? Have you ? I guess this is the poem which has made me going thru these years. Certainly I identify myself with the one who answers. I am not such a pessimistic person, though I do ask those questions from time to time. One can't help it when he turns 40! But I guess what Uncle Walt means with "you will contribute a verse" is exactly that : YOUR verse, MY verse . Not anybody else's. Not going with the flow. And I think I have been doing that all my life. And I always will. I remember an advice from my parents : "Kid, I don't have the secret of success, but I have the secret of failure, and that is : trying to make everybody happy. You just CAN'T make everybody happy." You just can't.

"This Boy's had a dream" ; In memory of Prof. Dr. Fuad Hassan

Piano, piano. I've been quite pianistic these days. Writing 4-hand piano pieces for my daughter Alicia, started a two-piano piece and several etudes for piano solo. An email came last week from the Faculty of Psychology of Universitas Indonesia, asking me if I could contribute something for a concert commemorating our former minister of education, Mr. Fuad Hassan. He was the one who helped me with a scholarship to go to the Royal Conservatory of Den Haag, back in 1986. So I wrote the piece quickly (I was unusually inspired !), and wrote this program note :

A piece of music of mine to cherish the memory of our dear Prof. Dr. Fuad Hassan would be, inevitably, autobiographical. He was the person responsible for my musical education abroad, back in 1986, when things were really difficult for me. Without him, I wouldn't be where I am now. Sitting down writing the piece, my mind automatically travelled back to those years, when I was a teenager --to be precise, an ungrown-up boy. I had only dreams to follow, those kind of dreams where one could achieve anything if one really wants it. That, mixed with the uncertainties of a teenager, understanding (or not?) love for the first (few) times, the sentimental feeling of travelling far far beyond his birthplace, etcetra. Those things would sound unreal now, but were more than real in those days. Hence, "This Boy's Had a Dream" was born with an un-typical sentimentality that normally can't be found in my music. This, I feel, is the music this boy would write 20 years ago but didn't have the musical skill to write it down. Again, I hold Mr. Fuad Hassan responsible for the physical birth of this music, embedded in me for 20 years. It is unabashedly romantic, reflecting the Whitman-esque teenager not a bit tamed, untranslatable, sounding his barbaric yawp over the rooftops of the world. And Mr. Fuad Hassan understood my dreams, and realized them. Requiescat in pace, Mr. Fuad Hassan.

Rainy Saturday with apple pie

What do one do in a rainy Saturday ? Of course, with youtube, DVDs, satellite TVs etc. that's a stupid question. Anyway, we were planning yesterday to go out for lunch at the beach, but obviously it had to be cancelled. So, Raquel my wife stayed and baked an apple pie. Just like any other conservative family (and then I am against the Republicans !), we stayed at home. Meanwhile Alicia Pirena, my daughter, asked me to teach her how to write music, so with nothing else to do we both did a short one, a bit more than 1-minute long. It is for 4-hands, and since the recipe of "Apfelstrudel" was there in the kitchen, she decided to call it .. well, Apfelstrudel.

Oh, by the way, about the Haiku which was "commissioned" by Alicia. I did 12 of them and decided that that's it. So, there are 12 Haiku for Alicia, ranging from 3 to 12 bars each. From very easy to moderately difficult. Maybe I'd do the same with Apfelstrudel ; I'll write a series of works for 4-hands, with 2 hands easier than the other ones. No commissions this time, not even 1 euro ! Any technical suggestions welcome, fellow pianists and piano teachers.

My first opera : "Mengapa Kau Culik Anak Kami?" (Why did you kidnap our son?)

Now that I almost (just a few bars left to be orchestrated !) finish the writing of my first opera (it will be a long time before I will write my second ; I am totally exhausted and running out of notes!) , I dare to share with you more details about it. I wrote a bit about it last January, in relation to the death of our former dictator/president Suharto if you want to read more stuff.

It is based on a play by Seno Gumira Ajidarma which was done already (and had a huge success) in 2001 in Jakarta. The setting is in a living room of a married couple whose son, Satria, had been lost for a year, most presumably kidnapped during the Suharto dictatorship. Satria was a student and an activist, and it is unknown whether he is still alive or dead. For the world premiere, the father will be played by Joseph Kristanto (baritone) and the mother Aning Katamsi (soprano). Satria will come and go as both a flashback and in an imaginary situation in a torture chamber, being interrogated. Satria's role will be played by Chendra Panatan, who will also choreograph and direct the whole opera. Oh, and don't worry, he's not going to sing ! He will, however, undergo all the violent tortures (yes, it will be quite realistic, so don't bring under-age children to the opera) by two additional dancers.

In addition to the fantastic artists above, Tommy Prabowo will conduct an ensemble of 9 musicians which include : a string quartet, a woodwind trio, a keyboard and one percussionist. This opera is the result of a commission by the Indonesian Opera Society, and the world premiere will take place at Usmar Ismail Hall on a date that is easy to remember : 8 - 8 - 08, at 8 pm. That is the eighth of August this year. There will be another performance the day after.

Apart from the arias, there are some highlights from the opera that could be performed as separate numbers in the future. Those include a 4-minute string quartet when Satria is being interrogated and reaching out in futile to his parents, and a 2,5-minute bassoon solo piece "Satria Sendiri" (Satria alone) where Satria was alone in jail, frightened, blindfolded, but with a spirit that has not been broken.

Alicia's first commission

I was deeply immersed writing my opera today when my daughter Alicia came and said "Daddy, I want to commission you a piano piece for me to play. I want my own piano piece". The commission fee : 1 euro. Well, I certainly cannot reject a commission of this importance. By a very important commissioner. And hopefully without being cut by tax this time.

So, I wrote a very short piece in just 5 bars for her. But then I thought, this could be the beginning of a series of "haiku" for piano. It would be fun to write those sketches, one every day, after finishing my main work, the opera. In fact, those haiku can be used as a material for some bigger pieces, each concentrating on a certain colour. Let's see if this is realistic and I'll have some really tiny "mikrokosmos" for piano, for my dearest Alicia to play.