Pianists serenade German-RI unity

Pianists serenade German-RI unity

By Emilie Sueur

JAKARTA (JP): The banner of German-Indonesian friendship was
flying high at last Thursday's piano concert at Gedung Kesenian
Jakarta. In a show of unity, Michael Leuschner performed together
twice with his student Conny C. Mulawarma.

Michael Leuschner was born in 1948 in Wernigerode, Germany. He
started playing the piano at 10, according to his father's wish.
His father, an historian, had dreamed of being a pianist but his
plans were thwarted by the war.

If playing the piano was not Michael Leuschner's personal
choice, there are no regrets. On the contrary, at the age of 15,
he already knew he would be a pianist.

After graduating from high school, Leuschner began studying
musicology and German literature in Gottingen. A scholarship
enabled him to continue his studies in London and Positano,
Italy.

The German pianist has wide experience abroad, having served
as an artist in residence at the University of Western Australia
in Perth. He has also presented several master classes in
Australia, the United States and Indonesia.

Last Thursday's concert was his second in the country. But
this time, he was not only here to showcase his own talents but
also those of his native Indonesian student, Conny.

Conny was born in North Sumatra in 1973. She began playing the
piano after her mother introduced her to the instrument at the
age of five.

In high school, Conny had already set her sights on becoming a
professional pianist. In 1994 she didn't hesitate to leave for
Germany to attend master classes under the guidance of Prof.
Dieter Mack and one year later Prof. Michael Leuschner, who has
been her piano teacher up to now.

"Playing with Conny is a symbol of German-Indonesian ties,"
Leuschner says. "As I was going to perform in Indonesia, I felt I
had to play with my Indonesian student." The first piece, Sonata
No.1 in B flat major for two pianos by Muzio Clementi immediately
set the stage.

The Italian composer is well-known for his creations
considered accessible for piano beginners. But the sonata No. 1
belongs to a different category.

The sonata is easily recognizable as it was rare at the turn
of the 18th century to find pieces for two pianos. Though not the
composer's most famous piece, Leuschner considers it "very
exquisite".

Variations

The German pianist then chose to play 15 Variations and Fuge
op. 35, also called "Eroica Variations" composed by Ludwig van
Beethoven. The variations were composed long before his famous
symphony.

The variations aim to develop in the most imaginative way
possible a theme exposed in the introduction. And yet,
Beethoven's 15 variations were quite diversified.

Some were brilliant while others were more lyrical or
melodious. More interesting were the variations which revealed a
facetious Beethoven. The German composer seems to have taken
pleasure in sparkling discords, or in writing music for two
hands.

The second half of the concert, which opened with the Sonata
in G major op.78, D.894 composed by Franz Schubert, was
indubitably more musically pleasing and captivating than the
first.

Leuschner admits he is fond of Schubert's music but argues he
has many favorite composers. He particularly admires Schubert's
ability to explore a range of emotions from deep feelings to
frivolous fantasy.

Leuschner also admires the richness in Schubert's lyrics and
melodies. And yet, the sonata was full of lavish musical colors.

The Sonata in G major was written in 1827, one year before
Schubert died of typhoid fever at age 31.

The sonata, although dominated by this gloomy sentiment,
floats from a wide range of moods and spirits.

While Schubert was preparing himself for death, he still had
the courage to fight for every day and enjoy life to the full. In
musical terms, this is highlighted by his shift from dark and
somber overtones to joyous and cheerful melodies.

But the piece does not reflect a developing theme. As is the
case in most Schubert pieces, the major trait is the freedom of
expression he allowed himself. Schubert didn't write formal
themes but created an atmosphere and ambiance that invites the
listener to wander.

Leuschner was able to capture Schubert's rich melodies,
mixture of colors and musical emotions successfully, highlighting
his close understanding of Schubert's work. According to the
German pianist, this sonata is "the most lyrical piece that has
ever existed".

L'isle Joyeuse from the French composer Claude Debussy was
also a real musical delight. Not failing to live up to its
reputation, the music of Debussy was full of evocation and color.

The composition was inspired by a masterpiece of the French
painter Antoine Watteau titled L'Embarquement pour l'Ile de
Cythere (The Embarkation to Cythera).

Cythera, an island near the Peloponnese, was also a place
dedicated to Aphrodite, goddess of love. Cythera is therefore the
island of love that stirs up desire but never comes up to
expectation, the island of the unreachable dream.

Were you willing to open your mind and close your eyes,
Leuschner was able to transport you through Debussy's music to
the joys of the island.

Conny finally returned to the stage along with her professor
to play five waltzes by the romantic German composer Johannes
Brahms.

The recital ended on a humorous note as the two embarrassed
pianists had to wait what must have seemed like a hundred years
before someone eventually took the initiative in offering them
the traditional bunch of flowers.