Chamber music hits right note in busy '97

By Gus Kairupan

JAKARTA (JP): The classical music scene -- what was it like this past year? Quiet it wasn't. In fact, "busy" would be the appropriate word to describe it, though that doesn't necessarily translate into quality, does it?

Where that is concerned we still have a long, long way to go before we reach such a level and whether we will ever get there is still the $1 million question. And the answer or answers?

So far nothing substantial can be expected.

Take, for instance, the big boys in the field, i.e. the orchestras. I have it on good authority that things are certainly not coming up roses for the Nusantara Chamber Orchestra. Other large groups are the Twilight Orchestra which also seems to be in the doldrums, and has to my knowledge not made any public appearances, although it has been featured on television.

The name Jakarta Symphony Orchestra has occasionally popped up during conversations, but otherwise it continues to be just that, a subject that is mentioned only in passing.

There have been events such as the 25th anniversary of women's magazine Femina, when a group of symphonic proportions was created ad hoc, but that was about it. An interesting comment came from a very prominent society figure who said that "it's easy to form a symphony orchestra ... just try to get a good conductor".

Interesting because it may well reflect the attitude of Jakarta's high society (exactly the class which one could reasonably expect an awareness of such things) that a symphony orchestra is merely a bunch of people playing Beethoven.

There seems to be no understanding of the institution of a symphony orchestra as a major educative and cultural force in any society, Eastern as well as Western.

Small is beautiful

Fortunately the smaller groups and soloists have presented a much better picture than the dismal performance of orchestras. Their efforts have certainly been admirable and have deservedly encountered much appreciation from the sizable audiences at their performances.

Such groups are mercifully spared the apparent tug-of-war that seems to be going on between certain interests that tear at the orchestral institutions. Among those who merit mention here are Yayasan Musik Internasional's (YMI) school of music, the all female group Nuansa Klasika, the Capella Amadeus string ensemble, the Trisutji Kamal ensemble, and Bandung's magnificent Parahiyangan University Choir, which includes the Batavia Madrigal Singers, the majority of whom are graduates of the university.

First YMI's school. It is perhaps two years old, but its activities have been noteworthy to say the least. The institute has been presenting concerts with far more regularity compared to older and better known establishments. It is still a young organization, not just in the chronological sense, but also in regards to the age of many of its teachers.

The only person of the "old school" is director Pudjiwati I. Effendi. But again, this is only a matter of chronology because Effendi has set her sights firmly on the younger generation, and in pianist Iswargia Sudarno, YMI has found the right person to coordinate musical events.

The all-women ensemble Nuansa Klasika is a first-in-the-world group that includes two American residents, violist Sharon Eng and clarinetist Karen Ellis-Chong, as well as Indonesian pianist Ary Sutedja and Korean oboist Soun Youn Yoon. Yoon, who followed her husband, a diplomat, has returned to her country, but that has not broken up the group. I understand that they are planning overseas tours.

The term "first-in-the-world" applies to the instrumental combination -- oboe, clarinet, viola and piano -- which has no equal anywhere. So in that respect this country can boast of having given birth to a new type of instrumental ensemble.

Capella Amadeus celebrates its fifth anniversary next year. In the meantime it has turned over a new leaf and this year began to venture outside Java. Its appearance at the Novotel Hotel in Medan was its debut as a musical group that counts among its missions the appreciation of classical music as far and wide as possible in Indonesia.

Capella Amadeus is no stranger to classical music lovers in Jakarta and has begun to expand its repertoire, which until recently leaned heavily toward late Baroque and classical works. A good thing too -- the wealth of works for string ensembles stretches way into the 20th century. It means a lot of very hard work for the members, the bulk of whom are still in their teens, but director Grace Sudargo is quite up to the task. The group is now preparing for a tour next year that will bring it to Surabaya and Bali.

If there is anyone who has done everything to introduce Indonesian classical music (i.e. written for Western instruments and combinations with Indonesian instruments), it is composer Trisutji Kamal. Ms. Kamal, who is also a pianist, continued her efforts in 1997, and though performances in Jakarta have been far and few in between, she merits special mention for her efforts in which she is more than ably assisted by Iswargia Sudarno.

Last, but by no means least, is the choir of Parahiyangan University in Bandung. Winning prizes seems to have become something of a regularity with this sublime choir: the Netherlands, Germany, and, this past year, Italy. No small feat, and kudos must go to conductor Avip Priatna, who is in his final year of studies in Austria.

Singing in choirs has become so much a part of some of those who have long since left the university and now live in Jakarta. These graduates have established the Batavia Madrigal Singers and join the Parahiyangan University Choir whenever it performs in this city. So far I have not heard of a performance by the Batavia Madrigal Singers, but I'm hopeful that there will be an event in the not too distant future.

Performances

Many of the events focussed on works by Brahms and Schubert, because 1997 marked the 100th anniversary of the death of Brahms, and the 200th anniversary of Schubert's birth.

Some of the performances have been truly impressive, especially those by the Parahiyangan University Choir and the activities of YMI. As for soloists, there were two foreign residents who have impressed audiences here.

The first is young Reynard Rot who hails from the U.S. He has left many classical music lovers (including me) at a loss for words to describe his amazing talent.

He was here for a year, teaching at YMI. I'm sure that his departure was much regretted by YMI, but Rott -- at the tender age of 21 -- still has many other avenues to explore. I have always thought that he was a bit young for teaching.

The other was an even younger Japanese violinist, Utako Furuse, who was a student at Jakarta International School (JIS). She first appeared in a recital presented by The Circle about two years ago, and under the guidance of Ms. Sharon Eng, has visibly, or should I say audibly, matured.

Ms. Furuse had shown herself to be a leader while at the all- Brahms concert in May, in which she took part in a piano quartet, and more recently last month in Schubert's Trout quintet. I heard her the last time in a Mendelssohn concerto at JIS, which left me with very little doubt that she is headed for the very heights in music.

In regard to venues for performances of classical music, mention must be made of the Dutch Cultural Center -- Erasmus Huis -- which this past year, and I might add many previous ones, proved to be a major place for such events. Numerous European musicians, soloists as well as ensembles, who perform there are all top class, and among Indonesian classical musicians, Erasmus Huis has long become the venue of choice, a reputation that continues until today.

All in all, 1997 was not a bad year. Orchestral music certainly appears to be in a precarious state, but chamber music is very much alive and kicking.