'Titian' serves up superb entertainment<\/p>\n
By Y. Bintang Prakarsa<\/p>\n
JAKARTA (JP): Titian (literally, footbridge), was a lovely and
\nentertaining performance at Gedung Kesenian Jakarta on March 11
\nand March 12 that deserved more than its meager audiences.<\/p>\n
It was a concert using human voices, various instruments and
\nother sound sources, fusing music, stage art and dance and
\nmovement. Produced under the supervision of the young
\nchoreographer Boi G. Sakti, it introduced spatial dimensions that
\nmade the music more telling.<\/p>\n
The stage set did not have a decorative function only, but
\nserved a musical purpose. Many antiphonal renditions between
\ngroups of performers were made effective by placing the groups on
\nseparate platforms (right-left, front-rear, low-high). Admirable
\nsinging, playing and movements were accomplished by 12 New
\nJakarta Ensemble instrumentalists and 17 female and male dancer-
\nvocalists from the Jakarta Arts Institute.<\/p>\n
Of course much of the credit must be given to the resourceful
\ncomposer, Epi Martison, an instructor of dance music at the
\nJakarta Arts Institute who, in the last 15 years, has gained
\nbroad national and international experience, and lately has been
\nassociated with composer Tony Prabowo.<\/p>\n
Two contrasting works were performed during the first half of
\nthe performance. The first, Titian Jemari, used various stringed
\ninstruments (Batak, Dayak, Chinese, Western, etc., plucked and
\nbowed), a flute and voice. Using drones, understated dialogue
\nbetween the instruments and vocal incantations that never reached
\nextreme loudness, the piece suggested a tranquil and reverent
\nmood.<\/p>\n
The next composition, Titian Bundo, was a collection of
\nvarious vocal utterances with stunning variety. There was much
\nsinging and non-singing, as well as an eerie contrast between
\nprocessions and haunting pentatonic chants, sung by an ensemble
\nagainst a choral ostinato, which evoked the atmosphere of a
\nreligious ritual, and violent movements and fast changing
\nconfigurations, clanging chamber pots, gargling and spitting,
\nwild screams and shrieks of jungle animals.<\/p>\n
The two other pieces, Titian Nasib and Titian Bunyi, were
\nkaleidoscope of timbres. Here, families of instruments or sound
\nsources were used successively or against each other. In Titian
\nNasib, the families were flutes (including a didjeridu), bottles,
\nglasses, percussion and voice. In Titian Bunyi, there was
\nearthenware, drums, bells and small metal and wooden objects,
\neach group contrasted more than in the previous piece. Dramatic
\neffects were created with the booming earthenware (struck on its
\nmouth by the palm), the sharp and penetrating drums and the
\nclicking and ringing of small objects played in quick succession
\nor simultaneously. This was the most exuberant piece, aptly
\nclosing the concert.<\/p>\n
One critical note. The materials were abundant, the technique
\nexcellent (the drumming was marvelous), but then what? Many
\nIndonesian composers of contemporary music devote so much of
\ntheir energies in creating new sounds, they neglect the higher
\nordering of their new-found world.<\/p>\n
They are weak in analysis and structure (see my review in The
\nJakarta Post, Oct. 2, 1999, on the failure of Sujiwo Tejo's
\nensemble to respond to Steve Reich's Six Pianos -- an irony
\nbecause Reich based his piece on interlocking rhythmic patterns
\nfound in Balinese music). Titian Bunyi used similar patterns, and
\nthis technique alone can be sophisticated by using the canon,
\npolymeter, polyrhythm, mathematical permutation, as well as pure
\nvirtuosic development.<\/p>\n
By manipulating these variables, the composer can achieve a
\nclearer, delineated scheme, which in turn would enhance its
\ndramatic effect.<\/p>\n
Nevertheless, I still think this was attractive and well-
\ncrafted music, with many memorable moments, especially the
\nchanting. It really deserves a repeat performance.<\/p>",
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