Conductor Jahja Ling feels close to his roots

Conductor Jahja Ling feels close to his roots

Maria Endah Hulupi
Contributor/Jakarta

Most Indonesians have never heard of Jahja Ling, but the
conductor's list of achievements -- and the fact that he was born
here -- should have them taking notice.

His musical career was forged from his early keenness in
music. At age four, Jahja began to play the piano, later studying
under Suzy Djoeandy and Rudy Laban at the Jakarta School of
Music. At 17, he won the Jakarta Piano competition.

Musical talent runs in his family.

"I heard that my grandma (who died before he was born) was a
good violinist and only one of two in Jakarta at that time. She
couldn't play anymore after she got married," said Jahja.

Although music does not offer a promising career in Indonesia,
he received full family support when he decided to make it his
profession.

"My parents were supportive, which I'm very thankful for,
because I'm the only son, and a lot of people would probably push
their sons to be a doctor or engineer, which are 'better'
careers. We musicians don't have any guarantee of being
successful."

At age 18, Jahja got a scholarship from the Rockefeller
Foundation to continue his studies at New York City's The
Juilliard School, majoring in piano. After graduation, he went to
Yale School of Music where he studied orchestral conducting under
Otto-Werner Mueller.

He was awarded the Leonard Bernstein Conducting Fellowship at
Tanglewood and later was selected by Bernstein himself, who
became one of his most influential mentors, to be a Conducting
Fellow at the Los Angeles Philharmonic Institute. In 1988 he was
a recipient of the Seaver/National Endowment for the Arts
Conductor's Award, confirming that he is a conductor of
extraordinary promise.

They are only a few of his achievements over a long, durable
career.

"I'm very thankful that my career did not soar like a jet, but
it's slow moving but very stable and steady."

He joined the Cleveland Orchestra as a pianist in 1987 and in
1988 was appointed resident conductor, a position he held until
2002. During that period, he has conducted at least 400 concerts
and 600 works with the orchestra alone. He was also founding
music director of the San Francisco symphony youth orchestra and
was recently appointed music director of the San Diego Symphony.

Now critics and influential people in the domain, including
the conductor's mentors/teachers Mueller, conductor Kurt Masur
and Bernstein, recognize his skills.

But one of the first people who noticed a remarkable talent in
a boy named Jahja was Rev. Stephen Tong, founder of Stephen Tong
Evangelistic Ministries International (STEMI).

"He played the piano during my services. Jahja is the greatest
musician ever born in Indonesia. Many Indonesians do not
appreciate a man of great talent like him. I guess that is why
cultural and artistic life in the country tends to grow weaker,"
recollected Stephen, who invited the conductor to Jakarta
recently.

"When he won a (bronze) medal (at the 1977 Arthur Rubinstein
International Piano Master Competition) in Israel, Indonesia did
not have any diplomatic relations with Israel and when he
received a certificate of honor (1978 Tchaikovsky International
Piano Competition) in Moscow, our country's relations with Russia
were not good.

"What he has achieved has surpassed discrimination of race,
religion and politics."

In his early career, Jahja had to work extra hard to prove his
worth. Being Chinese-Indonesian and having studied music in the
U.S. led to doubts about his ability to interpret the works of
European composers.

However, his musical training, including the Dutch-influenced
training from his Indonesian teachers, provided him a solid
foundation to overcome the prejudice and proved himself capable
in a domain highly dominated by European counterparts.

"It's sometimes frustrating but I'm grateful that even though
I was trained in the U.S., my teachers are from Europe -- Germany
and Poland -- and they taught me European traditions," said
Jahja, who has conducted most of the major symphony orchestras in
the U.S., including bringing respect to the Florida symphony, as
well as in various countries around the globe.

Besides his natural talent, the conductor said hard work and
preparedness to perform also contribute to his success.

"Some people said that gift is 80 percent and work is 20
percent. It's not true. A lot of people have to work 90 percent
to get there. I always have to be prepared. Do you know how many
times I had to substitute in Cleveland already? Twenty times, 20
different programs, I substituted at the last minute. No
rehearsal, no preparation."

Even after performing a score a dozen times, rehearsal is
still an important factor that helps bring out the right
interpretation of the score and establishes a harmonious bond
between the conductor and the orchestra.

"(An orchestra) is not something that can be set on auto
pilot. Music is a transition from (point A to point B). It's the
conductor's job to lead the orchestra through the transitions and
it's a complex job. Being a conductor means you are a performer,
a traffic cop, a coordinator and an interpreter at the same
time," Jahja said.

"At a certain point, you have to be away from or outside the
orchestra to make sure that everything is fine, and other times
you have to be involved in it so the orchestra knows they have to
be with you in one concept."

Moreover, a conductor must know what the composer wants and
be able to express that knowledge to make the performance alive.

"My teacher once said that he can teach the techniques,
analysis and other stuff but the one thing he cannot teach is the
chemistry with the orchestra," he said, explaining that all
conductors have their own character and personality that are
expressed in the performance.

He expresses his gratefulness about what he has achieved
through accepting the fact that every individual is unique and
has their own calling.

"I believe God has given me a mission with my talent. I serve
God with it. It's a cultural mandate and not for my own sake or
fame or wealth. I'm not worried about my career.

"I'm called probably to build (small) orchestras. Like George
Szell, he stayed and built Cleveland (orchestra) until he died.
The New York Times (once) wrote that 'George Szell created his
own (orchestra) and created the best'.

"I'm very happy with my career. I'm thankful."

After over 30 years of living in the U.S. and becoming a U.S.
citizen, Jahja has kept one thing the same.

"I still keep my name, Jahja. I did not change Jahja into John
to conceal the fact that I came from Indonesia. I want to
preserve that, so people know that not only a European can
conduct German music."