|Remembering Yazeed Djamin|
|Monday, 24 May 2010 16:10|
For those who don’t recognize the name above, we are very proud to introduce you the late great Indonesia’s mastermind behind bars (not literally a place but rather the musical concept), keys, and thousand pages of musical sheets, Mr. Yazeed Djamin. And thanks to Franki Raden who had written Yazeed's profile, we can get a summary of his remarkable contribution to the world of music.
Yazeed Djamin was born in Jakarta, 1952. He began to earn his piano lessons at the age of nine when he entered the YPM music school, and then studied composition and the piano with Sutarno Sutikno and Frans Haryadi at the Jakarta Institute of the Arts. His virtuosity behind the keys had already begun to be heard at a young age when he won the Electone Festival Championship in 1972 and 1974. At the period from 1974 to 1988 he continued his studies in composition and the piano at the Peabody Conservatory in Baltimore, USA, where he also studied conducting. In 1988 he was honored the Otto Ortman Award for composition (1975, 1976) and the Peabody Concerto Competition for piano performance. In 1988, he returned toIndonesia and established his role as a composer, conductor and pianist. He also initiated the Nusantara Chamber Orchestra on the same year, and later became composer-in-residence and supervisor of the National Symphony Orchestra of Malaysia in 1994. He was also awarded first prize at the International Music Festival in Sydney for his orchestral work of Nyi Ronggeng. Yazeed Djamin died in 2001 after a long bout of sickness but left all of us a noble legacy of accountable knowledge, sheer reputation, and a foundation for Indonesian music development.
In remembrance of his remarkable contribution to musical development in Indonesia, here was the (last) interview with the master himself, conducted by SGS for Listen to the World, back in 2001…
Our guest today is Yazeed Djamin; a renowned musical figure in Indonesia, who at the moment is both the composer and conductor of the Indonesian Philharmonic Orchestra.
As a musician with a strong background in Western classical music education, do you think of world music as having a strong influence in Western classical music?
It most certainly does. From ancient times, such as medieval church music and others similar to that there is very much an influence [of world music] on the development of Western classical music. And perhaps before their discovery of Asian and African music, I think the Europeans did not think that music could come from those regions, in the sense that at the time they didn’t think there was needed to mimic or adopt them as an element of their creative musical process, because they themselves already have their own playing techniques such as Hungarian Rhapsody, Romanian Rhapsody with their unique style and characteristics, or (Frederic) Chopin with his Mazurka and Polonaise, not to mention music from Russia, which after that you can say it’s been “over-used”. Thus, the 20th century began as a century of exploration for Western Composers, who look for new identities using musical elements, especially music from Asia; whether say from India, Indonesia, Japan or even from China.
What is most prominent is perhaps because (Claude) Debussy heard Balinese music during the Expo Music, then (Olivier) Messiaen also through his piano piece which I have played once, named “Canteyodyaja”, it really is an Indian music that he composed. Contribution from Asian music is most definitely very large on the development of (Western) classical music, yes.
When people talk about ethnic music, in general they immediately associate it with traditional musical instruments; but now you are forming the Indonesian Philharmonic Orchestra, which of course is oriented toward Western approaches and Western musical instruments, but then you want to elevate Indonesian music onto the world level. Can you explain further?
Yes, that’s very true. If I choose the instruments that I use, it is because how wonderful these Western musical instruments are, and they are very varied; many have voices which are just like traditional musical instruments. Except perhaps for the sound of gendang, which then forces us to find a gendang player. But if I have to use other instruments, what creates a gap for me is the difference in intonation. We can use the essence of Indonesian music in an orchestra, so that we do not need to involve players of traditional instruments, because not all orchestras of the world have those instruments. For an example, there was this one time I brought those instruments to Singapore and it was almost hopelessly hard to find a gendangplayer just to play Nyi Ronggeng. And we wound up looking for a Melayu player who didn’t understand anything.
Let’s put it this way: alternatives for those instruments can be found using Western musical instruments. For example by using the conga, or the bongo, and then learning how they play them, until how finally everyone can play. If it was up to me, if we want to become great, we must learn [to be able] to use Indonesian musical material, then transfer them to the orchestra; digest the chords, arrange, construct, I really think we can be on the same level as works from abroad.
Okay then, well while there’s this piano lying around here doing nothing, can you explain the difference in character between the various music, such as what exactly is Light Classical? And what is Baroque, or the Blues, what are they like? Or even Indonesian music?
As for Light Classic, you can say that its something like “Rhapsody in Blue” from (George) Gershwin, or “Summertime” can also be called Light Classic, since it also came from the opera Porgy and Bess; and then there’s the “Warsaw Concerto”, that’s one famous song that was made for film music. All those are Light Classic which were made on the 20th century, where most of those composers at this time don’t play in that context anymore. They now play like this…. (Yazeed plays a sample of 20th century composition)…
even a cat can play like that!
Hahaha! I think even I am stupider than a cat!
As for Blues, here’s an easy example, “Summertime” (Yazeed plays Summertime)
That’s an example of music using the Blues musical scale. This is Made in America!
And next, “Rhapsody in Blue”, with its very famous theme (Yazeed plays the theme from “Rhapsody in Blue”).
And from the (Johann Sebastian) Bach era; well in classical music we have been talking about things which they would say is taboo, if you don’t play by the rules like how Bach played, then you’re not playing piano. So they say…
Especially within German traditions which consider such music to be their music, and must be played the way Bach played. And then (Ludwig van) Beethoven with his unique trait that goes from loud, then immediately soft. For example… (Yazeed plays a composition by Beethoven)
A grandma who was trying to put a thread through a needle, would be immediately startled! Because that is his signature, piano-forte-piano-forte.
And then comes the Impressionist era, a transition, just like my favorite paintings which are the works of (Claude) Monet; And that was the era of (Joseph-Maurice) Ravel, (Claude)Debussy, (Erik) Satie, for example… (Yazeed plays some compositions from the Impressionist era) things which use Whole tone scale.
Then Classical, the era of (Wolfgang Amadeus) Mozart (Yazeed plays a Mozart piece) with his unique playing style.
To learn classical music, you have to study in school, no way around it; because the way of playing each school of music are each different.
And here, in Indonesia, we have a limited scale. (Yazeed plays the pentatonic scale)
What can you make with so few notes? But with cleverness in orchestration, this scale can become very wide (Yazeed demonstrates a development of pentatonic scale), but still with its unique color.
*This interview was originally recorded in 2001 for Listen to the World (CD) for radio purposes. Conducted in Bahasa Indonesia by SGS, translated by Ferdi Zebua. Courtesy of Sacred Bridge Foundation.
|Last Updated on Friday, 11 January 2013 19:15|