The Force of Destiny: Zubin Mehta in Chennai

Krishna Thiagarajan

You notice an extraordinary moment by the way it takes control of you. In this case, the music took control. Gone was any question whether this German music had a place in Chennai. It was inspiring.

SOMETIMES LIFE takes us on strange journeys. We live content in our routines only to be shaken by the unexpected, sometimes uninvited power of a reality that cares not for our preferences and compels us to rise to a higher plane. Our routines, once broken, become a memory and life takes on new meaning. We learn that for every good event in our lives there must be a dark time as well. With every sunset we get the guarantee of a sunrise unless our time has come.

When Zubin Mehta and the Bavarian State Orchestra planned the trip to Chennai, they did not know they would be coming to honour the victims of a terrible disaster through classical music. The tsunami came without warning and brutally took thousands of lives. It left behind complete destruction. With suffering on such a large scale, it begs the question whether art can stand up to such unimaginable tragedy. Can it hold attention in a society that consumes at the click of a button? The appreciation of art requires the willingness to work for it. This knowledge cannot be bought. Consumer culture has become global and it subjugates everything, including the arts. It is easy, comfortable, and we need not think. We buy. Can art compete on such terms?

More importantly, if western classical music faces these difficulties in its home countries, then how would it hold up here? Add to that the fact that South India has a rich and vibrant culture. Can European music still add something meaningful to this? A product of Indian as well as German background, I have always found it confusing to live in harmony with these two cultures. From time to time I was tempted to choose one over the other only to find myself unable to decide. These thoughts were running through my mind as I made my way to the Music Academy on Monday night.

I thought about my own trip to Chennai. How it was a journey across the globe to reconnect with family, culture, and my long love for India. It was just a coincidence that brought me, quite unexpectedly, to this concert. I thought about the conservative programme for the performance. According to Mr. Mehta, the programme was chosen to inspire. Besides inspiring us, it would give the audience a tour of Viennese classics and Italian opera. How well can Messrs. Verdi, Schubert, and Beethoven fare in India?

Such intellectual musing came to an abrupt end as we approached the Academy. The crowds were everywhere and everybody seemed to be seeking a shortcut. It was evident that the organisers had not anticipated the demand for tickets. When this happens in Europe, an orchestra might play one programme three nights in a row to satisfy the demands. Tight scheduling, however, made this impossible here, and who knew when Mr. Mehta could return.

The atmosphere getting into the hall was decidedly not German. There was noise and dust, and finally inside sitting on a broken chair, I was not too thrilled. I noticed that the stage was too small as the musicians filed in and that there would be difficulty for some to sit, much less play. The audience was packed and extra chairs were required. Chennai needs a larger hall if this becomes a regular event.

At last Verdi filled the room. La Forza del Destino is the overture to a tragic opera. The music is meant to present an overview of all important musical themes of the opera and for those familiar with the story, it will provide an emotional overview of the plot in which the brother must kill his sister in the end. There is the theme of love cut short by a murder, the curse of a dying father, the escape and exile of the lovers only to be brought to their grim end by an unrelenting destiny. Perhaps this story sounds somewhat familiar in the context of Indian movies.

An overture can show off an orchestra’s skill and makes for a good warm-up piece but it is meant as lighter fare, music to entertain. Schubert on the other hand is pure intellect. While the programme referred to this as the Seventh Symphony, I know it as the Eight. (This one is unfinished while the Seventh did not even make it that far, it is a sketch) We get only two movements (there exists a sketch for the 3rd movement) and therefore the piece ends at the halfway point. It is music defined by the power of thematic transformation alternating dark and brooding openings with soaring lyrical themes. It ends quietly and that makes it dangerous. End loudly and fast and everybody will rise out of their seats, but soft and slow runs the risk of putting people to sleep.

The irony is that this composer is perhaps more rebellious than any other on the programme and more forward thinking as well. Without Schubert’s bending of the rules and his harmonic extensions, there would not be a Wagner, a Bruckner or a Mahler. Schubert is also the composer most credited with bringing music into the living room of the educated middle class. “Lieder,” art songs, are his most famous and important addition to the music world and, perhaps, he was something of a Michael Jackson, only much more civilised and therefore lacking financial success.

So great was his influence that most people in Germany will recognise the main theme of the first movement of this symphony, albeit with added words that are funny in German but make for a poor translation. I was looking forward to this theme. Longing to indulge in its expansiveness, its beautiful flowing line and lyricism. When the moment finally came, it did not quite work for me. This was no fault of Mr. Mehta or the orchestra who performed beautifully. Other writers have already commented on the high level of professionalism, the warm sound of the string section, the excellent brass and wind sections, and especially the flutist and clarinettist who delivered outstanding solos. The musicians played their hearts out, as Mr. Mehta said, but they had an enemy in the hall and the dry acoustics.

Then it was time for Beethoven. By writing nine symphonies, Beethoven set the standard for all who followed. Many have the image of Beethoven as an angry young man in their heads. There is more to him than that and his work falls into at least three creative style periods. This is Beethoven in his middle period. Changes in Beethoven’s creative style always came with great struggle and the music reflects this. This work shows a more serious Beethoven. He was at the top of his game as a composer with skills to allow him to break the mould and this is the piece that did it for him. An opening that acts as a musical exclamation mark then turns into very contrapuntal writing, the short motive developing into long lines. This was new and bold stuff for his time and it coincided with developments outside the arts.

There were revolutions under way. Society was changing and the middle class began to develop a political voice. The music is filled with tension that strives for release. Quiet pensive moments give way to ever-increasing texture with the orchestra swelling to new dynamic ranges that had not been done before. He developed the orchestra as an instrument to the full potential. Arguably, Beethoven’s Fifth is the most recognised symphony in the world and chances are almost anyone can hum the tune. Sometimes familiarity breeds contempt. This was not the case here.

You notice an extraordinary moment by the way it takes control of you. In this case, the music took control. It swept me up and made me forget about the seat, the hall, the city. There was just music and I was immersed in it. Although I had heard this piece may times, I listened with fresh ears and found new details and favourite spots. The musicians gave everything under Mr. Mehta’s direction and gone was any fatigue from arriving that morning, gone were any problems with the acoustics or the lack of space on stage. Everybody performed as one. Every movement made me want more and what started as a threatening musical exclamation point slowly turned into an affirmation of life.

Gone was any question whether this German music had a place in Chennai. This was a rare case of art knowing no boundaries. We seem to have no problem using a thousand words to describe when something is bad but become less articulate to explain why something is good. In this case the best indicator was the behaviour of the audience. But for the music the hall was completely silent. Everybody was too immersed in the music to notice the need for coughing, sneezing or otherwise. In fact, I would be hard pressed to say the last time I witnessed a European audience being so attentive. With the last note, everybody broke into smiles and gave the conductor and his orchestra standing ovations that elicited two more encores. It would be fair to say that the orchestra was now truly warmed up and in its element. It was inspiring to see and hear what can be done when everybody comes together and gives it all they have got. It was an extraordinary evening and an absolute success.

Much too soon we were all filing back outside, the same queue going out as we had come in. The world had us back. Waiting by the roadside, trying not to get hit by cars, scooters and buses, I felt that this had not been a coincidence after all. Sometimes life makes us take strange journeys to give us a very special gift.

(The writer is on the Piano Faculty and Director of Accompanying at the Department of Music, University of Central Arkansas, Conway, Arkansas, USA.)

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Aamir Khan ties the knot

File photo of Aamir Khan and Kiran Rao

Mumbai:

Bollywood actor Aamir Khan tied the knot with long-time friend Kiran Rao at a simple registered ceremony at his residence in suburban Bandra on Wednesday evening.

The ceremony, attended by the actor’s family and close friends, did not see the presence of any major stars, except Rani Mukherjee.

Although Mr. Khan left his residence couple of times during the day, he refused to speak to the media that had gathered outside.

The couple along with the family and friends are expected to leave for Panchgani, about 200 km from here, where they will usher in the New Year with a series of parties, expected to be attended by the film fraternity.

The couple met while Ms. Rao was assisting filmmaker Ashutosh Gowariker during the making of the film Lagaan.

The couple will go to Bangalore after the reception where Kiran’s parents will host a reception for them. — PTI

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Oleh: KHADIJAH IBRAHIM

PERNIKAHAN aktres Juliana Azman Banos, 26, dengan usahawan Mokhtar Ahmad, 33, dianggap perkahwinan paling gemilang di kalangan artis Malaysia pada tahun ini.

Juliana atau Jun adalah artis yang pandai menyimpan rahsia percintaan. Malah artis yang tidak banyak digosip itu kini mampu tersenyum riang kerana percintaan yang dipupuk selama dua tahun berakhir ke jinjang pelamin.

Selain kenduri di Johor Bahru dan Kuantan, Pahang, Jun turut meraikan rakan-rakan artis dan sahabat handai pada majlis resepsinya di Hotel Palace of the Golden Horses di Kuala Lumpur baru-baru ini.

Antara artis yang hadir pada hari bersejarahnya ialah Faizal Hussein dan isteri, Suhaila Sulaiman, Norman Hakim, Abby Abadi, Tomok, Ako Mustapha, Ruhani Rahman dan tetamu kehormat Sultan Pahang, Sultan Ahmad Shah bersama Sultanah Kalsom serta Menteri Luar, Datuk Seri Syed Hamid Albar.

Kehadiran rakan-rakan artis itu bukan sahaja menyerikan majlis perkahwinannya malah ia juga bagai memenuhi impian Jun yang ingin semua rakan artis yang pernah bekerjasama dengannya hadir menyaksikan hari perkahwinannya.

Jun yang ditemui selepas majlis resepsi itu berkata, biarpun sudah bergelar isteri, namun dia tetap meneruskan kegiatan seni sebagai penyanyi. Tambahan pula Jun akan muncul dengan album baru berjudul Mutiara Jun menerusi syarikat miliknya, Juliana Banos Sdn. Bhd.. Album yang menampilkan konsep 1980-an itu dijangka berada di pasaran Januari ini.

Menurut Jun, album yang menampilkan Audi Mok, Azlan Abu Hassan dan Azman Abu Hassan sebagai penerbit itu amat bermakna pada dirinya.

“Lagu-lagu dalam album ini mencerminkan isi hati Jun yang terpendam selama ini. Biarpun lagu-lagunya pilihan Jun namun ia tetap memenuhi kehendak pendengar masa kini,’’ katanya.

Antara lagu yang dimuatkan dalam album Mutiara Jun ialah Obsesi, Tak Perlu, Cinta Selamanya, My Own Person dan Baby.

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Oleh ABD. AZIZ ITAR

DARI kiri: Andi Rahman, Bandi dan Loloq sewaktu pelancaran album Interpretasi ++ di Kuala Lumpur baru-baru ini.

NAMA dan populariti Mawi bukan sahaja menjadi sebutan para peminat seni suara, tetapi juara Akademi Fantasia 3 (AF3) itu juga menjadi sumber ilham kepada beberapa penulis lirik lagu di Malaysia.

Loloq ialah salah seorang penulis lirik yang telah menjadikan Mawi sebagai ilham untuknya mencipta lirik lagu Aduh Tsumawi yang dinyanyikan oleh Bandi (Amuk).

Lagu yang berkisar tentang fenomena juara AF3 itu dimuatkan dalam album kompilasi Amuk terbaru berjudul Interpretasi ++.

Menurut Bandi, dia tidak berniat menumpang populariti Mawi dengan menyanyikan lagu yang dijangka mendapat sambutan daripada

para peminatnya itu.

“Secara peribadi saya tidak pernah bersua muka ataupun bersalam dengan Mawi apatah lagi untuk mengambil kesempatan atas popularitinya. Saya memang teringin mahu berjumpa dengan Mawi.

“Kebetulan saya orang Jawa dan Mawi pun orang Jawa. Dan kami sama-sama berasal dari Johor. Saya juga macam Mawi mahu menaikkan nama Felda,” kata Bandi pada sidang akhbar pelancaran Interpretasi ++ di Kuala Lumpur baru-baru ini.

Lagu Aduh Tsumawi merupakan saduran lagu Biru Mata Hitamku ciptaan Andi Rahman yang pernah dipopularkan oleh Wings.

Andi Rahman selaku pencipta lagu itu tidak keberatan untuk memberi kebenaran kepada Bandi menyanyikan semula lagu tersebut.

“Lagu itu dicipta selepas saya mengkaji tentang latar belakang Wings dan lirik asalnya juga ditulis oleh Loloq.

“Loloq nampak maksud yang saya hendak sampaikan melalui lagu itu. Jadi, apabila Loloq menulis lirik Aduh Tsumawi, saya tidak kisah kerana dia tahu apa yang sesuai untuk lagu itu,” ujar Andi Rahman.

Berikut adalah antara lirik lagu Aduh Tsumawi:

Aku rela mengekormu

Dalam ribut dalam kabut

Andai engkau tak jadi kalut

Meskipun Bandi tidak berniat mahu menumpang populariti Mawi tetapi ada antara bait lirik lagu Aduh Tsumawi dikatakan mempunyai mesej-mesej tertentu.

Bait-bait akhir itu, misalnya, dikatakan mempunyai mesej yang tersirat.

Mega sempat menghubungi Loloq untuk mendengar komennya berhubung tiga baris akhir bait lirik tersebut.

“Lirik Aduh Tsumawi memang berkisar tentang fenomena Mawi tetapi saya tidak berniat mempertikaikan kewibawaannya.

“Kalau betul dia (Mawi) seorang penyanyi yang bagus, apa salahnya dia menjadi idola para peminatnya. Bait lirik lagu itu saya tidak tujukan kepada Mawi tetapi ia terbuka kepada sesiapa sahaja.

“Saya guna perkataan ‘kalut’ dalam lirik lagu itu bagi menggambarkan tentang perangai buruk dan kewibawaan seseorang dalam masyarakat dan bukannya ditujukan kepada

Mawi semata-mata,” kata Loloq atau nama sebenarnya Rosli Khamis.

Kenyataan Loloq itu turut disokong oleh Ketua Operasi syarikat rakaman EMI (M) Sdn. Bhd., Arzmy Mohamed yang menerbitkan dan mengedarkan album tersebut.

“Kami sudah pun berbincang dengan Maestro Records yang menaungi Mawi bagi berbincang tentang isi kandungan Aduh Tsumawi sebelum lirik itu ditulis oleh Loloq.

“Freddie Fernandez (Ketua Pegawai Operasi Maestro Records) telah pun bersetuju dengan lirik lagu yang ditulis oleh Loloq itu,” ujar Arzmy.

Selain Aduh Tsumawi, lagu-lagu lain yang dimuatkan dalam album itu ialah Jangan Tinggal Daku, Sendiri, Tak Relevan, Ekspres Rakyat, Panah Beracun, Samarkand, Taming Sari, Tiada Lagi Kidungmu, Ikrar Perwira, Untukmu Sayang, Lenggang, Di Tahun 2000, Mentari Merah, Lancang Kuning, Fikirkan Boleh dan Interpretasi.

Album Interpretasi ++ sudah berada di pasaran sejak 20 Disember lalu.

- Kalut, menurut Kamus

Dewan Edisi Ketiga, bermaksud tidak teratur ataupun bercakap yang bukan-bukan.

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Gaea shines

Mumbai: Gaea shone when the horses were exercised here on Saturday morning (Dec. 24).

Outer sand

600m: Alamshara (S. Chinoy) 37. Moved freely. A bay gelding (Diffident — Private Eye) (Rupesh) 40. They ended level. Yavatcha (Baandal) 41. Easy. Gruezi (S. Fargeat) 38. Moved well.

800m: Admiral’s Force (rb) (1400-600) 56.5. Easy. Blazing Speed (Ranjane) 51.5, 600/40.5. Eased up in the straight. Tarragonna (Nilesh), Sword Of Power (Ranjane) 52, 600/41. Former trounced the latter. Acceptance (M. Narredu), Right Side (Neeraj) 57, 600/41.5. They were easy. Hoof Beats (M. Narredu), Shambala (Neeraj) 55, 600/38.5. Former superior. Ishtar (rb), Fantastic Fury (Pradeep) 56, 600/41.5. They were easy. Attia In Sunlight (S.N. Chavan) 56, 600/43. Easy. Simply Smashing (Pradeep), Queen Victoria (Kharadi) 50, 600/38.5. They were urged and former finished three lengths in front. A Royal High (S. Fargeat) 55, 600/42. Easy.

1,000m: Si Gentille (S. Fargeat) 1-5.5, 600/41.5. Handy. Prince Of Hearts (rb) 1-12, 600/42. Shaped well. Gaea (M. Narredu) 1-5, 600/38. In good shape. Paris Hilton (S. Fargeat) 1-8.5, 600/40. Moved freely.

1,200m: Nucleus (Shelar), Attention Seeker (McCulalgh) 1-23, 800/52.5, 600/40.5. Former finished two lengths ahead.

1,400m: Charlie Parker (Trainer) 1-34, 1200/1-19.5, 600/40.5. Moved well. Fiddle Faddle (S. Fargeat) 1-34, 1000/1-78, 600/41. Worked well.

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