Open-air performance for orchestral group<\/p>\n
SURABAYA (JP): Four years and 11 performances after it was
\nestablishment, the Surabaya Symphony Orchestra (SSO) was
\nconducted by a foreign musician. Robin Clavreul, from France, had
\nbeen teaching at a master-class workshop for six weeks before
\nbeing given the honor of conducting the orchestra before the
\npublic on Friday. The concert took place in an outdoor setting at
\nMajapahit Mandarin Hotel, Surabaya.<\/p>\n
It was a farewell concert for Dimitry Ovtchinnikoff (director
\nof CCCL Surabaya), as he is leaving his post here shortly.
\nDimitry is known among Surabaya's cultural society as a person
\nconcerned with the city's cultural climate. During his tour of
\nduty, a number of Indonesian-French cooperations in the fields of
\nmusic, theater and the arts have been done. To The Jakarta Post
\nhe said he would return to France for another posting. Asked for
\nhis impression during his stay here, he said briefly, \"It's
\nfine.\" It was -- perhaps -- difficult to say that Surabaya was
\nnot very stimulating culturally.<\/p>\n
Slamet Abdul Sjukur, a Surabaya-born composer, composed a
\nspecial piece for Dimitry, whom he called \"a close friend\".
\nDedicae, the title of the composition, was also dedicated to
\nanother of Slamet's best friends, Jean-Paul Minali-Bella, also a
\nFrench musician taking part in the concert. The five-minute
\ncomposition was based on the C#-E-D# (Di-Mi-Ri) tones, which
\ncould mean Dimitry.<\/p>\n
The music was played with a sound perhaps unheard before
\nSurabaya's classical audience. It came from an arpegina, an
\ninstrument created its player, Jean-Paul Minali-Bella. It is a
\ncombination of a viola (with a'-d'-g-c strings) and cello (with
\nan additional fifth string -- the e -- which sounds as low as a
\ncello can be).<\/p>\n
Jean-Paul, a French musician of Khamerum origin, explained
\nthat he had created the arpegina three years ago. \"I was involved
\nin a music and theater group. The scores and partiturs were
\nusually written for oboe, cello and flute. We needed a special
\ninstrument which could be used as, or could simultaneously
\nreplace the viola and cello.\" He seemed happy and proud of his
\ninstrument.<\/p>\n
What is so special about it? \"Because it is new, it can play
\nall kinds of music. There is no limit. You can play classical or
\ncontemporary compositions with this,\" he explained, going on to
\ndemonstrate its sounds.<\/p>\n
Too late<\/p>\n
Robin Clavreul, who taught most SSO members in preparation for
\nthe concert, said that people started learning instruments too
\nlate in Indonesia. \"In Europe, when you start at the age of 8, it
\nis considered too late. In Indonesia, I find many people started
\nwhen they are teenagers or even adults.\"<\/p>\n
Robin also noticed that Indonesian people have long thin
\nfingers, which were good for playing string instruments. \"What
\nthey need is basic training.\" However, he seemed satisfied with
\nthe six-week training results and happily conducted them in the
\nperformance.<\/p>\n
Viola d'amor<\/p>\n
The concert was the first to be held out of doors and without
\na sound system. \"In Europe, you play concerts outdoors and
\nwithout a sound system. It seems to be a habit here to use a
\nsound system. It is not good. The sound should be natural and
\nundistorted,\" he said.<\/p>\n
SSO director Solomon Tong, the first conducted the orchestra,
\nopened with two compositions: Konserto Viola d'Amore and D minor
\nOrchestra (Antonio Vivaldi), and Jeux d'enfants (George Bizet).
\nThen, Solomon handed his orchestra over to Robin, his special
\nguest. The orchestra then played Tobor and Dedicae (Slamet Abdul
\nSjukur), Sonata for piano and arpeggione first movement (Frederic
\nChopin), Konserto Cello and Orchestra, D Mayor, Op.101 (Franz
\nJoseph Haydn), and Konserto Viola and Orchestra (Bela Bartok).<\/p>\n
Another special instrument played was the viola d'amor (love
\nviola). It is called this because the viola has double strings.
\nWhen one string is played, it affects the other string and
\nproduces a harmonious new sound, just like two lovers working
\ntogether to produce the beauty of nature.<\/p>\n
The Surabaya Symphony Orchestra was well backed by the special
\nguests, including the presence and performance of Slamet. If
\nthere was any criticism, the players should have had more
\nconfidence in themselves and played more wholeheartedly. And as
\nRobin suggested, they should be more serious in this profession.
\nHowever, this is dedicae for Surabaya, which is lacking quality
\nmusical performances. Solomon Tong said that 20 years ago,
\nnobody was learning string instruments in Surabaya. \"Everybody
\nplayed piano and organ. That's why, at present, when we play
\nconcerts, we need to invite performers from Yogyakarta and
\nJakarta.\"<\/p>\n
Five years ago, nobody had ever dreamed of having an orchestra
\nin Surabaya. Now, Solomon Tong and the Surabaya Symphony
\nOrchestra have made the unimaginable come true. Surabaya is not
\njust filled with rock and jazz anymore. (Sirikit Syah)<\/p>",
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