Nusantara orchestra misses the point
By Gus Kairupan
JAKARTA (JP): One gruesome picture I came across during my late teens was of the Dutch count of Egmont lying down with a whacking big piece of his throat hacked out rather untidily. I can't remember exactly the precise circumstances or historic era that led to the slaughter of this Dutch hero except that it was during the period when the Netherlands were the exclusive possession of Spain. Colonialism being one of those things generally frowned upon even then, the Dutch remonstrated and in the ensuing brawl one of their leaders, i.e. the aforementioned count, lost his head.
Now, why would a review of concert start with a Dutch count being thus reduced in size? Because the incident (via a dramatization by Goethe) inspired Beethoven to compose something about it. The Egmont Overture was the opening piece of the concert of the Nusantara Chamber Orchestra Tuesday at the Gedung Kesenian Jakarta, directed by Pipin Garibaldi.
I'd like to get back to the rather good program notes which mention such things like "heavy cords in the strings suggesting the cry of the oppressed,", the "horns and trumpets, suggesting an exultant fanfare of freedom" and suchlike. All very much to the point, except that the point was missed by the orchestra's interpretation. Egmont (like the other works in the program) is program music, music used as a means to describe or amplify an occasion, an event, a condition, a happening ... whatever. It is the type of music that requires the performer or performers to have an understanding about the subject which is given this musical treatment. It may be a description of nature and rural life (Beethoven's sixth symphony), a cathedral at the bottom of the sea (Debussy), paintings (Granados or Mussorgsky) or the apprentice of a sorcerer (Dukas).
So, in the Egmont Overture, let the "heavy chords" be heavy, let the trumpets and horns blare out in "an exultant fanfare". This piece is very much descriptive of a revolution. None of this came out in the interpretation, The opening chords did carry some conviction but things went haywire at the approach of the series of four descending notes that lead, accelerando as well as crescendo, into the main theme (allegro). That small section of four descending notes requires another element that went missing: absolute unity in the strings, especially the first violins. In short, what the interpretation lacked was dynamics, articulation, unity, projection, color and an understanding of what the Egmont Overture is all about -- all of which the conductor should have at his fingertips. I am sorry to have to say that Garibaldi did not have it, but then neither have any of the four or five directors in this country ever shown that they have an understanding of the subject matter of the works they conduct. What one sees on the conductor's dais is someone giving the beat.
The concert featured British saxophonist Gerald McChrystal in two works: and oboe concerto arranged for soprano saxophone by Alessandro Marcello (1684-1750) and a concerto for soprano saxophone. The Celtic, by 20th century composer D.C. Health. McChrystal, a foremost exponent of the saxophone, is in great demand in Britain and the U.S. and proved his excellence at the concert -- especially in the programmatic The Celtic, a showpiece for the soprano sax. This was the best of the program perhaps because McChrystal "took over" the proceedings. The Canadian violinist playing the Tchaikovsky concerto did it, and so did the Indonesian pianist who performed (if I remember correctly) a Prokofieff concerto.
The main presentation was Schubert's sixth symphony in C-Major also known as the Little Symphony. Apart from the already listed drawbacks the performance of this work also lacked a proper presentation of orchestral elements. Many of Schubert's compositions are firmly rooted in the classical form so this is not where his appeal lies. But his inventiveness and above all his lyricism are but two aspects that set him apart and among the ranks of the giants in music. With this symphony Schubert introduces an element which has not been heard before, i.e. giving the winds the major role in a work for orchestra. It's the flutes, oboes, and horns that set the theme and the pace here, while the strings -- otherwise the main element in an orchestra -- take a back seat. Knowing this, the conductor should have made sure that they stood out stronger, much stronger that they did. As for lyricism, Schubert is one composer who finds it impossible not to sing. Songs are indeed the majority of his compositions, and even in non-vocal works extensive melodic lines prevail. Singing there was, but it was singing a song without understanding the words.
Understanding -- that's what it is all about.