Pianists serenade German-RI unity<\/p>\n
By Emilie Sueur<\/p>\n
JAKARTA (JP): The banner of German-Indonesian friendship was
\nflying high at last Thursday's piano concert at Gedung Kesenian
\nJakarta. In a show of unity, Michael Leuschner performed together
\ntwice with his student Conny C. Mulawarma.<\/p>\n
Michael Leuschner was born in 1948 in Wernigerode, Germany. He
\nstarted playing the piano at 10, according to his father's wish.
\nHis father, an historian, had dreamed of being a pianist but his
\nplans were thwarted by the war.<\/p>\n
If playing the piano was not Michael Leuschner's personal
\nchoice, there are no regrets. On the contrary, at the age of 15,
\nhe already knew he would be a pianist.<\/p>\n
After graduating from high school, Leuschner began studying
\nmusicology and German literature in Gottingen. A scholarship
\nenabled him to continue his studies in London and Positano,
\nItaly.<\/p>\n
The German pianist has wide experience abroad, having served
\nas an artist in residence at the University of Western Australia
\nin Perth. He has also presented several master classes in
\nAustralia, the United States and Indonesia.<\/p>\n
Last Thursday's concert was his second in the country. But
\nthis time, he was not only here to showcase his own talents but
\nalso those of his native Indonesian student, Conny.<\/p>\n
Conny was born in North Sumatra in 1973. She began playing the
\npiano after her mother introduced her to the instrument at the
\nage of five.<\/p>\n
In high school, Conny had already set her sights on becoming a
\nprofessional pianist. In 1994 she didn't hesitate to leave for
\nGermany to attend master classes under the guidance of Prof.
\nDieter Mack and one year later Prof. Michael Leuschner, who has
\nbeen her piano teacher up to now.<\/p>\n
"Playing with Conny is a symbol of German-Indonesian ties,"
\nLeuschner says. "As I was going to perform in Indonesia, I felt I
\nhad to play with my Indonesian student." The first piece, Sonata
\nNo.1 in B flat major for two pianos by Muzio Clementi immediately
\nset the stage.<\/p>\n
The Italian composer is well-known for his creations
\nconsidered accessible for piano beginners. But the sonata No. 1
\nbelongs to a different category.<\/p>\n
The sonata is easily recognizable as it was rare at the turn
\nof the 18th century to find pieces for two pianos. Though not the
\ncomposer's most famous piece, Leuschner considers it "very
\nexquisite".<\/p>\n
Variations<\/p>\n
The German pianist then chose to play 15 Variations and Fuge
\nop. 35, also called "Eroica Variations" composed by Ludwig van
\nBeethoven. The variations were composed long before his famous
\nsymphony.<\/p>\n
The variations aim to develop in the most imaginative way
\npossible a theme exposed in the introduction. And yet,
\nBeethoven's 15 variations were quite diversified.<\/p>\n
Some were brilliant while others were more lyrical or
\nmelodious. More interesting were the variations which revealed a
\nfacetious Beethoven. The German composer seems to have taken
\npleasure in sparkling discords, or in writing music for two
\nhands.<\/p>\n
The second half of the concert, which opened with the Sonata
\nin G major op.78, D.894 composed by Franz Schubert, was
\nindubitably more musically pleasing and captivating than the
\nfirst.<\/p>\n
Leuschner admits he is fond of Schubert's music but argues he
\nhas many favorite composers. He particularly admires Schubert's
\nability to explore a range of emotions from deep feelings to
\nfrivolous fantasy.<\/p>\n
Leuschner also admires the richness in Schubert's lyrics and
\nmelodies. And yet, the sonata was full of lavish musical colors.<\/p>\n
The Sonata in G major was written in 1827, one year before
\nSchubert died of typhoid fever at age 31.<\/p>\n
The sonata, although dominated by this gloomy sentiment,
\nfloats from a wide range of moods and spirits.<\/p>\n
While Schubert was preparing himself for death, he still had
\nthe courage to fight for every day and enjoy life to the full. In
\nmusical terms, this is highlighted by his shift from dark and
\nsomber overtones to joyous and cheerful melodies.<\/p>\n
But the piece does not reflect a developing theme. As is the
\ncase in most Schubert pieces, the major trait is the freedom of
\nexpression he allowed himself. Schubert didn't write formal
\nthemes but created an atmosphere and ambiance that invites the
\nlistener to wander.<\/p>\n
Leuschner was able to capture Schubert's rich melodies,
\nmixture of colors and musical emotions successfully, highlighting
\nhis close understanding of Schubert's work. According to the
\nGerman pianist, this sonata is "the most lyrical piece that has
\never existed".<\/p>\n
L'isle Joyeuse from the French composer Claude Debussy was
\nalso a real musical delight. Not failing to live up to its
\nreputation, the music of Debussy was full of evocation and color.<\/p>\n
The composition was inspired by a masterpiece of the French
\npainter Antoine Watteau titled L'Embarquement pour l'Ile de
\nCythere (The Embarkation to Cythera).<\/p>\n
Cythera, an island near the Peloponnese, was also a place
\ndedicated to Aphrodite, goddess of love. Cythera is therefore the
\nisland of love that stirs up desire but never comes up to
\nexpectation, the island of the unreachable dream.<\/p>\n
Were you willing to open your mind and close your eyes,
\nLeuschner was able to transport you through Debussy's music to
\nthe joys of the island.<\/p>\n
Conny finally returned to the stage along with her professor
\nto play five waltzes by the romantic German composer Johannes
\nBrahms.<\/p>\n
The recital ended on a humorous note as the two embarrassed
\npianists had to wait what must have seemed like a hundred years
\nbefore someone eventually took the initiative in offering them
\nthe traditional bunch of flowers.<\/p>",
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