Silhouetted
8.2 Sound Voice
RAYA
Some people care about the loss that really happened. At least Raya cares. Everything was so fast, was there a sadness sharper than the loss that came so suddenly? So jerking?
Anjeli is no more
Whither? Everyone who was there was not in a capacity to tell stories, nor in a woman who gave birth to Anjeli. Starting with a light question that you do not expect will be answered with a heavy face. Finally found a mother. There were still some beauty lines on her face, but Raya caught something tired in her petals, like the cry of a year.
“Mother, where is Anjeli?”
“She's no.” That's all
“Where?”
“You Kingdom right? Anjeli often tells me about you.”
Raya lowered her head, it was not the answer she wanted but she thought it was better to choose silence, maybe it could give an answer indirectly. But all he heard was a heavy sigh. Raya raised her face to face with the brownish eyeballs of this middle-aged woman.
“Yes, I am Kingdom, I am a friend of Anjeli.”
“I know, Anjeli used to tell stories about you.”
“Then? Why did you say first?”
“Because now he can't tell you anymore!” the sound was hard
Raya lowered her head, however she did not want to open the wound again.
“I understand Mom, but at least show me the place now.”
“Why do you want to see him again?”
Raya was silent, but her gaze traced the traces of maya. He does not answer but delays for the sake of a clarity of words. It's an irony, but he also doesn't understand what's the secret behind this? But at least Raya had trained, she had once felt a sense of loss and what she now felt was more or less the same. Only this time there were no squeezes on his shoulder, no sobs (perhaps there but it was past). But sometimes the longing is still there, even though not every time but sometimes infiltrate slowly through the gap that is out of nowhere.
“I have an appointment for him.”
“What promise?”
“I want to play a song for him, new song.”
“He can't hear.”
“It's okay Bu.”
“He can't see.”
“He can't feel anything.”
“I understand it Mom, it's okay, because promise is promise.”
VIOLIN
Who says classical compositions can only be played with violins and other concert instruments? Losing it all does not mean that everything must be lost. Because yesterday I watched Alvaro Pierri [1] play at Goethe Haus Jakarta. I want to tell you a little bit about what I saw there, because I feel like I'm going back in time with the music.
He is not yet well known in Indonesia and is only the first time to perform in Southeast Asia. But he can hypnotize the audience through his guitar playing which is loaded with very poetic musical sentences, strong rhythms, and, as well as a wide range of sound volumes and an exploration of the colors of guitar tones that had never been imagined before.
The charisma of a great musician makes the audience hold their breath to listen to every note that results from the passage of his finger on this six-stringed instrument. Some viewers were moved and shed tears as Alvaro played the lyrical parts of some compositions that night. The auditorium that had begun to feel humid because the AC was turned off at the request of the maestro did not make the audience that night move from his seat.
The concert opens with five short compositions from Jakub Pollak [2] The clear melodic theme and the rhythm of the European renaissance dance presents an elegant concert opening.
Grand Sonata A Major [3] from legendary composer and violinist Nicolo Paganini became the next program menu. Pierri plays Sonata loaded with this high level of engineering difficulty with lightness and clarity, as well as a balance between melody, accompaniment, and bass. His portato game [4] reminds people of the famous 24 carprice from Paganini. In closing the first part of the concert, Alvaro played two beautiful pieces of Brazilian folklore music and concluded with Etude no.12 of Villa Lobos.
In the second part of the concert, lyrical tremolo from Campanas del Alba, the work of the composer Eduardo Sainz de la Maza, it sounds so lucid and pampering the audience for a few minutes with an illustration of a romantic afternoon atmosphere in Catalunya, the northern state of Spain bordering France.
Compositions of the Tango Nuevo kings Astor Piazzolla-Verano Porte and Compadre are played with a thick Tango rhythmic through percussive bass play, accompanied by a mixture of jazz, classical, and classical harmonies, folklore which is characteristic of Astor Piazzolla [5]. Pierri himself collaborated with the composer during his life.
The concert concluded with Sonata op.47 from Alberto Ginastera which was also the highlight of the program tonight. The four-part Sonata is a very difficult piece to play because it demands highly established engineering skills and a vast knowledge of Argentine folk music. The last part of Sonata is a dance potion Chacarera, Malambo, and Caja. The rich variety of Rasguado and percussive game techniques from Pierri opened the eyes of the audience and welcomed the end of this concert with boisterous applause.
After two encores, the audience closed the concert with a standing ovation for the Maestro.
Ah, have I told you about this? Or have I told you about a piece of music that can be played with any instrument? We don't always need a single instrument for a single acquisition, even an electric guitar can play the Devil Thrill Opus. If wanted.
So sometimes I keep my violin, and I play the whirling cries of a human through a song with an acoustic guitar, or sometimes with my little harmonica.
Turns out I found the same atmosphere, I found the same spirit. There is absolutely no sense of loss or dissatisfaction. Because I found tones that could be played again.
______________________
[1] Alvaro Pierri, Uruguayan-born international guitarist, one of the world's best guitarists
[2] Jakub Pollak (1545-1605), a royal lute composer and performer during the reign of Louis XII in Paris who supposedly wrote many of his best works while drunk
[3] Grand Sonata A Major, a work that is actually a joke from Paganini is dedicated to a mysterious woman he loves
[4] Portato: Short note
[5] Astor Piazzola, commonly performed as a Spanish Tango dance accompanist. A dance movement inspired by the matador movement. With a graceful but bold pose (reminds me of the dance that Shakuntala performed)
