Pianist Marusya playing her own tune<\/p>\n
By Ida Indawati Khouw<\/p>\n
JAKARTA (JP): We listen to the music, but we never learn to
\nchange the tune to create a different atmosphere.<\/p>\n
That is how composer and pianist Marusya Nainggolan Abdullah
\ncriticized the new government, by comparing it with the
\ndisharmony often found in music.<\/p>\n
\"Our political condition is comparable to a poor orchestra,in
\nwhich all the musicians want to play their instruments at an
\nallegro vivace (fast and lively) tempo with con spiritoso (high
\nspirit) at a fortissisimo (very loud) volume. What kind of music
\nwill result from that? Apparently no one wants to take a
\nsupporting role,\" said Marusya, who specializes in contemporary
\nmusic.<\/p>\n
She suggested a simple formula that would encourage
\npoliticians to model themselves on the principles of an
\norchestra.<\/p>\n
\"The main thing in the orchestra is the harmony. This means
\nthat sometimes, for example, the violin should support the other
\ninstruments, while at other times the violin should be dominant
\nand the players should accept this condition,\" she said.<\/p>\n
Using the same modest principle, Marusya has been able to
\nsuccessfully blend traditional music in her performances.<\/p>\n
On some occasions, she plays a melodious fusion of traditional
\ninstruments such as the gondang from Tapanuli, the Javanese
\ngamelan and Sundanese instruments.<\/p>\n
\"The key lies in the willingness to learn from everybody,
\nsometimes even from illiterate people, like when we learn Betawi
\nmusic,\" said the gray-haired woman, who has studied music in
\nAustralia and at Boston University.<\/p>\n
With these principles, a collaboration between the educated
\npianist and the simple rebana musicians, for instance, is able to
\nwork. \"I can play any kind of music, be it keroncong or dangdut
\nfor instance,\" she said.<\/p>\n
But these collaborations are not aimed at co-opting these
\ndifferent types of music and making them obsolete. Rather it is
\nlike oil floating on water; the different types of music cannot
\nbe truly united but they are able to exist together.<\/p>\n
Betawi music<\/p>\n
Marusya is currently focusing her attention on Betawi music,
\nwhich may make her the only composer and pianist working with
\nthis musical style.<\/p>\n
\"So far I don't know of any others who are concerned with
\nBetawi music,\" she said.<\/p>\n
Listening to her play the piano with the gambang kromong
\nBetawi orchestra during a recent workshop was a unique and
\npleasing experience.<\/p>\n
About Betawi music itself, Marusya remarked: \"It's a very good
\nexample of bringing together music from totally different
\nbackgrounds. There are Chinese, Arabian, Balinese and other tones
\nin it. And working with this kind of music is very interesting
\nand challenging.\"<\/p>\n
Betawi music has been the inspiration behind several of her
\ncompositions, like Tukang Koran (Newspaper Seller), Balada Betawi
\n(Betawi Ballad) and Anak Asongan (Sidewalk Vendor).<\/p>\n
\"It's a pity that there is so little attention paid to Betawi
\nmusic, so now it is almost only played in the background at
\ncertain events. That's why the Betawi musicians are so pleased
\nwhen I pay attention to their music. They never even ask for
\nmoney (when playing with her) because they are just grateful to
\nknow that there's someone who cares,\" she said.<\/p>\n
After a series of rehearsals with the members of the Betawi
\norchestra, Marusya said she truly began to appreciate them. \"They
\nare real musicians. My role there was just to show them how to
\nmake all the instruments produce good music together.\"<\/p>\n
She would like to hold a Betawi music concert, but has come up
\nagainst the reality that finding sponsorships for such an event
\nis extremely difficult.<\/p>\n
\"It makes me resentful that it is easier to get sponsorships
\nfor 'less-quality' performances, while sometimes I have to borrow
\nmoney from friends and relatives to stage concerts.\"<\/p>\n
Born in Bogor, West Java, on Aug. 24, 1954, Marusya has become
\na household name in Indonesia since first beginning to perform in
\nthe 1970s.<\/p>\n
She shares her knowledge as a music teacher at several
\ninstitutions, including the Jakarta School of Arts and the
\nJakarta Theological Seminary.<\/p>\n
Religious<\/p>\n
Those who have a good ear may find that listening to one of
\nMarusya's compositions is something of a religious journey.<\/p>\n
As a Christian, Marusya said many of her compositions were
\ninspired by verses from the Bible. She also credited many of her
\nideas to Sunday sermons.<\/p>\n
\"The sermons often inspire me. For example, when the church
\nreverend is delivering a homily, sometimes the musical notes pop
\nup in my mind,\" she said.<\/p>\n
That is why most of her compositions reveal the values of love
\nand peace.<\/p>\n
Her composition Damai (Peace), for example, was inspired by
\nthe bombings of several churches on Christmas Eve last year.<\/p>\n
\"The composition delivers the message that a human being has
\nno right to take another person's life, because that life belongs
\nto God,\" she said.<\/p>\n
Marusya believes music is a form of prayer to God, who blesses
\nhumans with musical talent. \"So when I teach children, the first
\nthing I stress is that they should sing for God.\"<\/p>\n
Her love of children (she has a son, Mahan, five) is
\nmanifested in her involvement in the children choirs at her
\nchurch (GKI Kayu Putih in East Jakarta) and at the Perguruan
\nCikini school.<\/p>\n
Indeed, she is concerned about the development of the younger
\ngenerations.<\/p>\n
\"Children are the basic element of a country's future, so I
\nshape their feelings through music\" she said.<\/p>\n
That is why when she founded the Marusya Chamber Orchestra in
\nthe 1990s she selected young musicians, a practice that continues
\ntoday.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/pianist-marusya-playing-her-own-tune-1447893297",
"image": ""
},
"sponsor": "Okusi Associates",
"sponsor_url": "https:\/\/okusiassociates.com"
}