Kemben becomes the central theme of this composition.
In other words,
it is about the sensuality of woman.
The sensual part, but always
covered.
As a matter of composition, this composition develops an
affection of women sexual charm.
The composition consists of three parts:
• Opening
• Keroncong romance
• Dangdut hot
The opening used the pentatonic. The concept is a “Manunggaling
Kawula Gusti” or “Mandala” - from a small universe evolved into a more
complex conception of the valuable (adiluhung). Theme of primo 1 is
repeated with varied rhythmic, that enriched by secondo 1, primo 2, and
secondo 2. Octave parallels are intended to give the impression of a
theatrical, that: this is a veil of life - women, with their charm of
sexual.
The second part - Keroncong Romance, is about the nature of women.
Timid creatures, spoiled, soft, and gentle. The impression is woman who
wears kemben, walking apace, squinting eyes, a faint smile, and her hair
is slightly damp.
The third part - Hot Dang Dut, describes woman as timid creatures,
spoiled, soft, smooth, but in the sublime way it can be wild in lust and
sexual dreams. That is why in this section is used a "deconstructive"
landscape. Because when she is in lust and wild sexually, there’s no
more norm, no more rules - only a single and static harmony to indicate a
state of "trance" in crisis lust.
In Javanese tradition music
composition, there’s typical this kind of harmony in DOLALAK of
Banyumas, Sintren of Tegal, and Jathilan of Solo. Impressions in this
section are: woman with kemben, seated, with her hands holding the hair,
exposing a hairy armpit as a reflection of the wild lust. Then the
women were swaying in a trance state, covered with fragrant sandalwood,
while the kemben sags.
"JELIA's TWINKLE" (for two pianos, eight hands) by Michael Gunadi Widjaja
The TWINKLE
TWINKLE LITTLE STAR is one of the most famous songs for many decades. Its origin is a lullaby. A Nursery song with the lyric of old English
poem, that created by Jane Taylor.
The melody of this piece is stepping in common interval. So children
can relatively easy to sing out this piece. The harmony structure seems
like giving some kind of “open space” to being explored. This may be one
cause of why the twinkles composed in many different forms of music,
include as a lesson song.
Jelia asked me to make an attractive and unique arrangement for this
twinkle that contains love, passion, and true friendship among her
Suzuki colleagues. So I choose a popular music format for theme
structure with kind of dissonant chordal. It expresses the meaning that
friendship is not always going to be smooth.
In the second movement, I used one of the early Jazz form “RAGTIME” as a manifestation of dynamic relation. In Jazz someone can share the
musical passion to each other in jam session, just like friendship.
In the third movement, there is Dang Dut. Focused on the fact that it
may contain many tradition elements. As if to remind that friendship
never be loose from its cultural root. In the other side, Dang Dut is
sexy, erotic, and passionate.
In other words, this is Jelia’s Twinkle, that has a lot of side – still has the virtuosity in true friendship, but also very passionate and exciting.
I call it a composition, even the theme is not mine. Format: Piano Ensembles - 2 pianos, 8 hands
The piano is pretty much intimate instrument that work
fantastically for solo, group ensemble or orchestra. But not many know that
piano alone or a bunch of guitars can be an ensemble of its own and entertain
us with a rich range of melodies. A piano that is played by two people, three
people, or even four people could actually give you less monotone and a more
interactive performance to watch.
The importance of the solo pianist in the world of music is beyond
question, but the life of solo pianist can be lonely. The piano ensembles offers a unique
opportunity to make beautiful music with another person at the same instrument.
While the basic principles of solo performance also applied, playing piano
ensembles could be really challenging, for some of the pianists have found
themselves playing “duels” instead of “duets”.
One of the hallmarks of any fine musical group is its ensemble.
The music should sound as if played by one person. Not only the notes should
come precisely together, but in the terms of style and flexibility, allowing
the music to breathe...
Piano ensemble is the art of playing music together in the form of
1 piano 4 hands (two people at one piano), 1 piano 6 hands (three people at one
piano), 2 pianos (two peoples at two pianos), and 2 pianos 8 hands (four people
at two pianos).
The piano ensemble is, on the one hand, a genre or musical medium
that stands independently on its own merits, while on the other hand it can be
considered chamber music, like string quartet, where the players must be
prepared to change roles instantly, from soloist – shaping & projecting
melodic lines, to accompanist and back to soloist. Play with different character,
and almost limitless possibilities of its own to create a beautiful music.
This is fascinating and ongoing task because music is like a
kaleidoscope, constantly changing. That’s
why both verbal conversation in rehearsal and real musical dialogue are
essential. A different background, temperament, and preference of each person
will bring a colorful musical experience. Certainly, both partners must
submerge their egos for the good of the music itself.
The process of merging with another individual in a duo or larger
group of musicians, or with an audience, is the essence of communication. This
communication is made possible by the silent rhythm that connects everyone.
This is what allows for spontaneous magic to lift people into a perfect
synchrony where everyone can perform and experience the music as one.
One of the best reasons to play an instrument is to play with
others. Not only does it improve your playing. It’s great fun and a great way
to make connection with the others in all sorts of ways and locations.
“Never
shall I forget the time I spent with you.
Please
continue to be my friend, as you will always find me yours”
–
Ludwig van Beethoven –
WHY PIANO ENSEMBLES?
Nowadays music lovers often turn to recordings, television, and
youtube when they want to enjoy listening at home. In the late 18th & 19th centuries,
however, it was both a necessity and a great pleasure to make one's own music
at home, often in the form of piano duet. The need for 20 Fingers at the piano,
rather than 10 Fingers, was partially due to the desire of music lovers to play
piano transcriptions of orchestral pieces, chamber works, and even opera, this
being their only way of hearing such music at their own convenience, and
finding that two hands were quite inadequate for this task.
This "reading" of the scores led to a much deeper
understanding of the structure and the melodic, harmonic, rhythmic content of
the music than the merely passive listening in which we indulge today. The
piano ensembles provided the opportunity to hear and study music compositions,
and to enjoy a social interaction - making music with a friend, relative, or
colleague. The use of the piano ensembles as a means of re-hearing and
studying orchestral pieces was only the beginning; the best was yet to come.
Beside the joy that playing together brings, and the recital
potential of the young ones (pedagogical use), it also develops musicianship.
The ultimate goal for piano ensemble playing is to pay more attention, listen
to themselves, others, and hence, to the total sound. "Listening,"
in this context, compels players to stay together and balance their parts. The
art of piano ensembles playing incorporates the many aspects of beautiful,
effective solo performance (singing tone, balance, rubato where appropriate,
sensitive pedaling, etc.)
PROFILE
Jelia Megawati Heru,
M.Mus.Edu.
Music
Educator, Lecturer, Music Advisor, and Pianist
Jelia Megawati Heru started learning the piano at the age of 5.
She continued learning Classical Piano with different music teachers in
Jakarta, such as: Helen Gumanti, BA (USA) and Angelita Chandra, M.Mus.
(Belgian).
Then in 2002, she started her study in Music Education for
Instrument (Instrumental Pädagogik) at Fachhochschule Osnabrück Konservatorium,
Institut für Musikpädagogik – Germany, majoring in Classical Piano with Prof.
Ljuba Dimowa-Florian (Hungaria), minor Vocal with Torsten Meyer, Dipl. Mus.
(Hochschule für Musik u. Theater Hannover, Germany) and Jazz Piano with
Wolfang Mechsner, Dipl. Mus. (Hochschule Vechta & Münster, Germany).
During her stay in Germany, besides actively performing and
teaching music, Jelia attended many seminars and forum, such as: Forum
Musikpädagogik I with Prof. Dr. Hans Günther Sebastian (Frankfurt am Main
University); studied Solmisation Technique and Kodà ly Technique from Prof. Dr.
Malte Heygster (conductor of symphony orchestra Recklinghausen & Bielefeld,
head master of Bielefeld music school, chapel master of chamber orchestra Köln
and also an author for “Hand Book of Relative Solmisation” – Schott).
She became an active participant in various chamber music and
master class in Germany and other countries, such as: Chamber Music -
Prof. Gerard Chenuet (Nantes, France), Conducting for Ensemble and Choir
- Prof. Folker Schramm (UDK, Berlin), Contemporary Music – Prof. Imgard
Brockmann (Osnabrück, Germany), Choir Studio, Chamber Choir, Acapella and
Arrangement – Prof. Michael Schmoll (Dean of FH. Osnabrück Konservatorium,
lecturer, composer and conductor).
Then she received her Master Degree in Music Education (as Master
of Music Education – Dipl. Mus. Pedägogin) in 2005 from FH. Osnabrück
Konservatorium with cum laude. In the same year, became an active
performer for “Benefit Concert Tour for Aceh” in Hannover, Münster and
Braunschweig - Germany.
In 2006 Jelia went back for good to her homeland Indonesia, was a
keynote speaker in Universitas Negeri Jakarta (UNJ, Rawamangun) for Comparison
Study of Education System in Indonesia, active as an educator in Deutsche
Internationale Schule (DIS – German School, BSD Tangerang) and joined Institut
Musik Daya Indonesia since then as lecturer for subjects, such as: Music
Education, Music History, History of Music Instruments, Ear Training, Music
Theory and Major Piano.
In 2007, she was a Dean of Institut Musik Daya Indonesia (IMDI)
and Faculty of Music Pedagogy & Head of Piano Department.
In 2008, She's a member of the National Music Ministry of National
Education Consortium, which is tasked to develop music education curriculum for
music schools in Indonesia. In
cooperation with Tjut Nyak Deviana Daudsjah designed and developed Curriculum
of National Standarization for Music School in Indonesia (validation by the
Federal Government of National Education, known as DEPDIKNAS.
In 2009, to contribute for the development of music education in
Indonesia, she wrote books in cooperation with DEPDIKNAS “Piano Teaching’s
Guide: Note-Reading and Piano for Beginner” and “Basic Music Theory (for
all Instruments)” as guideline books for general music course in
Indonesia.
Now she is active as a music educator and academic
advisor/consultant in various music schools - for updating & upgrading
music school curriculum standard, conducting workshops to build & develop
music teachers competencies, and conduct teacher’s concert (chamber music and
piano ensembles).
Also active as seminator and keynote speaker in various cities in
Indonesia - Universitas Negeri Jakarta, Tegal Council of Arts, Sinfonia Music
Bandung, First Media Design School of Indonesia, Amazing Music Jogja Festival,
and many more...
Performer in collaboration for music education’s sake, director of
piano ensembles projects „Golden
Fingers“She created event that showcased the young teachers
that she developed to participated in her music program. The Golden Fingers is
not just an usual piano ensembles group, but a pilot project to implement the
concept of “Music from Passion”. Jelia believes that the piano ensemble is
not only about playing piano together, but it is an actual effort to liven up
the music. “Golden Fingers Piano Ensembles” was invited by the Tegal
Council of Arts on March 4th, 2012 at Taman Budaya Tegal, Central Java – as the
soft opening for the most representative cultural arena theater of the city
with capacity of 1000 seats, professional lighting, and stage.
Read Golden Fingers Piano
Ensembles Reportage
on Kawai Newsletter No. 29, 2012
(distributed all over the world):
Michael Gunadi Widjaja "Medley Indonesian Folksong"
Albert Lavignac "Gallop March"
Writer for STACCATO - the first classical music magazine in
Indonesia, and her blogs (www.jeliaedu.blogspot.com& www.piano-ensembles.blogspot.com) – to
shares thoughts and point of view about actualization & the importance of
music education to teachers, practitioners, musicians, music lovers, students,
and parents; so people could appreciate music more, feel the enjoyment of
music, and get inspired by the power of music… “Music from Passion &
Music for Life”
