Nusantara orchestra misses the point<\/p>\n
By Gus Kairupan<\/p>\n
JAKARTA (JP): One gruesome picture I came across during my
\nlate teens was of the Dutch count of Egmont lying down with a
\nwhacking big piece of his throat hacked out rather untidily. I
\ncan't remember exactly the precise circumstances or historic era
\nthat led to the slaughter of this Dutch hero except that it was
\nduring the period when the Netherlands were the exclusive
\npossession of Spain. Colonialism being one of those things
\ngenerally frowned upon even then, the Dutch remonstrated and in
\nthe ensuing brawl one of their leaders, i.e. the aforementioned
\ncount, lost his head.<\/p>\n
Now, why would a review of concert start with a Dutch count
\nbeing thus reduced in size? Because the incident (via a
\ndramatization by Goethe) inspired Beethoven to compose something
\nabout it. The Egmont Overture was the opening piece of the
\nconcert of the Nusantara Chamber Orchestra Tuesday at the Gedung
\nKesenian Jakarta, directed by Pipin Garibaldi.<\/p>\n
I'd like to get back to the rather good program notes which
\nmention such things like \"heavy cords in the strings suggesting
\nthe cry of the oppressed,\", the \"horns and trumpets, suggesting
\nan exultant fanfare of freedom\" and suchlike. All very much to
\nthe point, except that the point was missed by the orchestra's
\ninterpretation. Egmont (like the other works in the program) is
\nprogram music, music used as a means to describe or amplify an
\noccasion, an event, a condition, a happening ... whatever. It is
\nthe type of music that requires the performer or performers to
\nhave an understanding about the subject which is given this
\nmusical treatment. It may be a description of nature and rural
\nlife (Beethoven's sixth symphony), a cathedral at the bottom of
\nthe sea (Debussy), paintings (Granados or Mussorgsky) or the
\napprentice of a sorcerer (Dukas).<\/p>\n
So, in the Egmont Overture, let the \"heavy chords\" be heavy,
\nlet the trumpets and horns blare out in \"an exultant fanfare\".
\nThis piece is very much descriptive of a revolution. None of this
\ncame out in the interpretation, The opening chords did carry some
\nconviction but things went haywire at the approach of the series
\nof four descending notes that lead, accelerando as well as
\ncrescendo, into the main theme (allegro). That small section of
\nfour descending notes requires another element that went missing:
\nabsolute unity in the strings, especially the first violins. In
\nshort, what the interpretation lacked was dynamics, articulation,
\nunity, projection, color and an understanding of what the Egmont
\nOverture is all about -- all of which the conductor should have
\nat his fingertips. I am sorry to have to say that Garibaldi did
\nnot have it, but then neither have any of the four or five
\ndirectors in this country ever shown that they have an
\nunderstanding of the subject matter of the works they conduct.
\nWhat one sees on the conductor's dais is someone giving the beat.<\/p>\n
The concert featured British saxophonist Gerald McChrystal in
\ntwo works: and oboe concerto arranged for soprano saxophone by
\nAlessandro Marcello (1684-1750) and a concerto for soprano
\nsaxophone. The Celtic, by 20th century composer D.C. Health.
\nMcChrystal, a foremost exponent of the saxophone, is in great
\ndemand in Britain and the U.S. and proved his excellence at the
\nconcert -- especially in the programmatic The Celtic, a showpiece
\nfor the soprano sax. This was the best of the program perhaps
\nbecause McChrystal \"took over\" the proceedings. The Canadian
\nviolinist playing the Tchaikovsky concerto did it, and so did the
\nIndonesian pianist who performed (if I remember correctly) a
\nProkofieff concerto.<\/p>\n
The main presentation was Schubert's sixth symphony in C-Major
\nalso known as the Little Symphony. Apart from the already listed
\ndrawbacks the performance of this work also lacked a proper
\npresentation of orchestral elements. Many of Schubert's
\ncompositions are firmly rooted in the classical form so this is
\nnot where his appeal lies. But his inventiveness and above all
\nhis lyricism are but two aspects that set him apart and among the
\nranks of the giants in music. With this symphony Schubert
\nintroduces an element which has not been heard before, i.e.
\ngiving the winds the major role in a work for orchestra. It's the
\nflutes, oboes, and horns that set the theme and the pace here,
\nwhile the strings -- otherwise the main element in an orchestra
\n-- take a back seat. Knowing this, the conductor should have made
\nsure that they stood out stronger, much stronger that they did.
\nAs for lyricism, Schubert is one composer who finds it impossible
\nnot to sing. Songs are indeed the majority of his compositions,
\nand even in non-vocal works extensive melodic lines prevail.
\nSinging there was, but it was singing a song without
\nunderstanding the words.<\/p>\n
Understanding -- that's what it is all about.<\/p>", "url": "https:\/\/jawawa.id\/newsitem\/nusantara-orchestra-misses-the-point-1447893297", "image": "" }, "sponsor": "Okusi Associates", "sponsor_url": "https:\/\/okusiassociates.com" }