Pianist Marusya playing her own tune

Pianist Marusya playing her own tune

By Ida Indawati Khouw

JAKARTA (JP): We listen to the music, but we never learn to
change the tune to create a different atmosphere.

That is how composer and pianist Marusya Nainggolan Abdullah
criticized the new government, by comparing it with the
disharmony often found in music.

"Our political condition is comparable to a poor orchestra,in
which all the musicians want to play their instruments at an
allegro vivace (fast and lively) tempo with con spiritoso (high
spirit) at a fortissisimo (very loud) volume. What kind of music
will result from that? Apparently no one wants to take a
supporting role," said Marusya, who specializes in contemporary
music.

She suggested a simple formula that would encourage
politicians to model themselves on the principles of an
orchestra.

"The main thing in the orchestra is the harmony. This means
that sometimes, for example, the violin should support the other
instruments, while at other times the violin should be dominant
and the players should accept this condition," she said.

Using the same modest principle, Marusya has been able to
successfully blend traditional music in her performances.

On some occasions, she plays a melodious fusion of traditional
instruments such as the gondang from Tapanuli, the Javanese
gamelan and Sundanese instruments.

"The key lies in the willingness to learn from everybody,
sometimes even from illiterate people, like when we learn Betawi
music," said the gray-haired woman, who has studied music in
Australia and at Boston University.

With these principles, a collaboration between the educated
pianist and the simple rebana musicians, for instance, is able to
work. "I can play any kind of music, be it keroncong or dangdut
for instance," she said.

But these collaborations are not aimed at co-opting these
different types of music and making them obsolete. Rather it is
like oil floating on water; the different types of music cannot
be truly united but they are able to exist together.

Betawi music

Marusya is currently focusing her attention on Betawi music,
which may make her the only composer and pianist working with
this musical style.

"So far I don't know of any others who are concerned with
Betawi music," she said.

Listening to her play the piano with the gambang kromong
Betawi orchestra during a recent workshop was a unique and
pleasing experience.

About Betawi music itself, Marusya remarked: "It's a very good
example of bringing together music from totally different
backgrounds. There are Chinese, Arabian, Balinese and other tones
in it. And working with this kind of music is very interesting
and challenging."

Betawi music has been the inspiration behind several of her
compositions, like Tukang Koran (Newspaper Seller), Balada Betawi
(Betawi Ballad) and Anak Asongan (Sidewalk Vendor).

"It's a pity that there is so little attention paid to Betawi
music, so now it is almost only played in the background at
certain events. That's why the Betawi musicians are so pleased
when I pay attention to their music. They never even ask for
money (when playing with her) because they are just grateful to
know that there's someone who cares," she said.

After a series of rehearsals with the members of the Betawi
orchestra, Marusya said she truly began to appreciate them. "They
are real musicians. My role there was just to show them how to
make all the instruments produce good music together."

She would like to hold a Betawi music concert, but has come up
against the reality that finding sponsorships for such an event
is extremely difficult.

"It makes me resentful that it is easier to get sponsorships
for 'less-quality' performances, while sometimes I have to borrow
money from friends and relatives to stage concerts."

Born in Bogor, West Java, on Aug. 24, 1954, Marusya has become
a household name in Indonesia since first beginning to perform in
the 1970s.

She shares her knowledge as a music teacher at several
institutions, including the Jakarta School of Arts and the
Jakarta Theological Seminary.

Religious

Those who have a good ear may find that listening to one of
Marusya's compositions is something of a religious journey.

As a Christian, Marusya said many of her compositions were
inspired by verses from the Bible. She also credited many of her
ideas to Sunday sermons.

"The sermons often inspire me. For example, when the church
reverend is delivering a homily, sometimes the musical notes pop
up in my mind," she said.

That is why most of her compositions reveal the values of love
and peace.

Her composition Damai (Peace), for example, was inspired by
the bombings of several churches on Christmas Eve last year.

"The composition delivers the message that a human being has
no right to take another person's life, because that life belongs
to God," she said.

Marusya believes music is a form of prayer to God, who blesses
humans with musical talent. "So when I teach children, the first
thing I stress is that they should sing for God."

Her love of children (she has a son, Mahan, five) is
manifested in her involvement in the children choirs at her
church (GKI Kayu Putih in East Jakarta) and at the Perguruan
Cikini school.

Indeed, she is concerned about the development of the younger
generations.

"Children are the basic element of a country's future, so I
shape their feelings through music" she said.

That is why when she founded the Marusya Chamber Orchestra in
the 1990s she selected young musicians, a practice that continues
today.