{
    "success": true,
    "data": {
        "id": 1052567,
        "msgid": "ladies-orchestra-mesmereizes-jakartans-1447893297",
        "date": "1996-10-30 00:00:00",
        "title": "Ladies Orchestra mesmereizes Jakartans",
        "author": null,
        "source": "JP",
        "tags": null,
        "topic": null,
        "summary": "Ladies Orchestra mesmereizes Jakartans By Arif Suryobuwono JAKARTA (JP): For Indonesian women, housewives in particular, a gathering will usually mean an arisan (a rolling loan scheme). Or a time for tea or coffee which might degenerate into a gossipy Kaffekrnzchen (ladies' coffee party). But for the 14 women of the Vienna Waltz Dream Ladies Orchestra (Damenkapelle Wiener Walzertraum) featured at the autumn ball at the Shangri-la here last Friday, it means rehearsals or a concert.",
        "content": "<p>Ladies Orchestra mesmereizes Jakartans<\/p>\n<p>By Arif Suryobuwono<\/p>\n<p>JAKARTA (JP): For Indonesian women, housewives in particular,<br>\na gathering will usually mean an arisan (a rolling loan scheme).<br>\nOr a time for tea or coffee which might degenerate into a gossipy<br>\nKaffekrnzchen (ladies' coffee party).<\/p>\n<p>But for the 14 women of the Vienna Waltz Dream Ladies<br>\nOrchestra (Damenkapelle Wiener Walzertraum) featured at the<br>\nautumn ball at the Shangri-la here last Friday, it means<br>\nrehearsals or a concert.<\/p>\n<p>\"We usually practice every two weeks for three to four hours,\"<br>\nsaid the orchestra's violinist leader, Doris Dorer. The ladies do<br>\nnot belong to Dorer's orchestra only. Some are in other ladies<br>\norchestras or in mixed orchestras at the same time.<\/p>\n<p>\"Of course, we have to practice more often when we have to<br>\ngive a concert like this one,\" Dorer said. Dorer, who set up the<br>\nladies orchestra in January 1990, stressed that women are also<br>\ncapable of delivering a quality concert, and not just perform in<br>\nrestaurants, bars or coffee houses.<\/p>\n<p>Dorer proved what she said as soon as the flaxen-haired<br>\nViennese ladies became one in three-four time, extending an<br>\nirresistible invitation to dance to the audience, evenly split<br>\nbetween expats and locals. The assembled multitude took up the<br>\noffer passionately, though they seemed to be afraid of staying up<br>\ntoo late.<\/p>\n<p>In 19th-century pink tulle dresses, minus the stand-up collars<br>\n(to make holding the violins easier), the ladies were more than<br>\nable to evoke the spirit of Johann Strauss' Vienna in the 1,800<br>\nsquare meter ballroom.<\/p>\n<p>In their concert's program, they beautifully blended the<br>\ngolden era of the waltz (epitomized by Strauss) and the silver<br>\nera (Franz Lehar, Karl Komzak, Emmerich Kalman). The program<br>\nstarted with Lehar's Gold und Silber and ended with Strauss' An<br>\nder schnen blauen Donau (On the beautiful blue Danube).<\/p>\n<p>They played the instruments in a joyful way. Despite the<br>\nsomewhat formal occasion, what came across was an informal sense<br>\nof intimacy.<\/p>\n<p>Intimacy and passion for Viennese music were also apparent in<br>\nthe way Dorer gave the audience, in her thick German accent, a<br>\nbrief background to each waltz.<\/p>\n<p>Dorer, a 1985 graduate of the Vienna Conservatorium in violin<br>\nstudies, danced to the music as she was playing with her violin,<br>\nleading her group.<\/p>\n<p>The secret of their success, Dorer said, lay in their long-<br>\nstanding, intimate relationship. \"We are all old friends. We have<br>\nknown each other very well for a long, long time. This is<br>\nimportant to developing a true feeling for typical Vienna<br>\nwaltzes.\"<\/p>\n<p>She added that \"one must not stick to scores but rather pour<br>\nout the spirit of the waltz to the audience. This means that our<br>\nmembers must not be imprisoned with how the music should be<br>\ninterpreted. They must have intuition.\"<\/p>\n<p>Equally remarkable, however, was their intimacy with the<br>\ninstruments, not just the strings and the piano but also with<br>\ninstruments not commonly played by women -- trumpets, horns and<br>\ndrums.<\/p>\n<p>Pri Sulisto, owner of Jakarta's classical-music radio station,<br>\nRadio Klassik Top FM, praised the group's drummer. Sulisto,<br>\nhimself a drummer in the late 1960s, commented, \"It is rare that<br>\na woman plays a percussion instrument in such a skillful way.\"<\/p>\n<p>For the drummer, Annie Hirschvogl, however, there is nothing<br>\nspecial about her skills. \"Since I was six, I have played various<br>\nmusical instruments. At 16, I was asked by my brother to join his<br>\nband as the drummer because there was no drummer in his band. I<br>\nstarted playing the drums seriously and took percussion lessons<br>\nat Vienna's academy of music for about five years.\"<\/p>\n<p>Hirschvogl, who also teaches percussion, said that it is now<br>\nquite common for girls in Austria to play the drums. \"The number<br>\nof girls in my classes is about the same as the number of boys.<br>\nIn some classes, there are more girls,\" she said.<\/p>\n<p>The same was also true for the woodwind instruments, added<br>\ntrumpeter Elisabeth Hujer. She started playing the accordion at<br>\nthe age of 10 but later fell in love with the trumpet.<\/p>\n<p>\"We want to show that women, too, can play instruments which<br>\nhave long been regarded as men's instruments,\" said Dorer, adding<br>\nthat \"we also want to show that us women can play better than<br>\nmen.\"<\/p>\n<p>In some respects, Dorer was right. Dorer conducted Johann<br>\nStrauss' Tritsch-Tratsch polka faster than Herbert von Karajan.<br>\nNo wonder. Her idols are Willy Boskowski, one of the most<br>\nacclaimed and senior conductor in Vienna's New Year Concert, and<br>\nCarlos Kleiber.<\/p>\n<p>Dorer, who is also a violin teacher, added that women are<br>\ngenerally more diligent than men, as was confirmed by her ob<br>\nservation of the girls and boys in her classes.<\/p>\n<p>\"I think the Vienna Philharmonic Orchestra will have to admit<br>\nwomen in 20 years,\" she said. That the most celebrated orchestra<br>\nof Vienna refused to take in women musicians is also a reason why<br>\nDorer opted for a ladies orchestra rather than a mixed orchestra.<\/p>\n<p>\"We have lots of great women musicians in Austria. Why should<br>\nthey (the Vienna Philharmonic Orchestra) not accept us?\" Dorer<br>\nasked. Moreover, she added, there are many ladies orchestras in<br>\nAustria because \"they are more in demand than mixed orchestras<br>\nand because ladies often have finer feelings for the waltz.\"<\/p>\n<p>Dorer took the name \"Waltz Dream\" from an operetta by Oscar<br>\nStrauss which featured a ladies' orchestra of the same name in<br>\nits first performance in Vienna in 1907.<\/p>\n<p>\"The leader of the orchestra was nicknamed Franzi. A man broke<br>\nher heart,\" she said. Obviously, she says, she does not identify<br>\nwith Franzi. It is perhaps more suitable to associate her with<br>\n\"the Vienna Blood,\" a Johann Strauss operetta but also a nickname<br>\ngiven to singer Antonie Mansfeld. If this moniker was given to<br>\nMansfeld for her temperament, it should be given to Dorer for her<br>\nstruggle for equal rights.<\/p>",
        "url": "https:\/\/jawawa.id\/newsitem\/ladies-orchestra-mesmereizes-jakartans-1447893297",
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    "sponsor": "Okusi Associates",
    "sponsor_url": "https:\/\/okusiassociates.com"
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