Deze maand delen we met jullie een video van de research in oktober van Farewell Future Welcome World.
Daarnaast delen we hieronder een briefwisseling tussen componist Iwan Gunawan en Harijono naar aanleiding van een opname van een doorloop.
Iwan, de twee Indonesische musici en de drie Indonesische dansers komen op 17 december aan in Nederland. In de tussentijd werken we in de studio verder met de helft van de dansers en de musici van Black Pencil. Tegelijkertijd hebben we regelmatig contact met de Indonesische dansers over de ideeën, bewegingsgeneratoren en het materiaal. Bijzonder is dat zij nu bij elkaar zijn gekomen (ze wonen alle drie elders op Java) in een studio in Solo Indonesië. Omdat we elkaar al zo lang kennen is het mooi om te voelen dat ondanks de geografische afstand de artistieke dialoog verder gaat en we elkaar inspireren.
We kunnen dan ook niet wachten om eerdaags samen in de studio verder te werken aan de voorstelling.
Andrea & Harijono
Ha Iwan,
Thanks for your remarks. That is how our conversations always went. Iwan: ‘you have a nice idea but let me think a moment and I will come up with something better’.
You are right: we are still struggling with some of the transitions and I am sure, that for example, the recurring song may benefit from musical development. Also the mysterious sounding polyphonics in the beginning should last longer and still have to be developed musically.
Also, the order of events may change. When we think dramaturgically (thinking/sensing what associations an event will evoke) or structurally we have to make changes, add or insert events. This still has to be a true dialogue between us all. I still hope that some of the ancient music can blend in gamelan sonority as well.
The Indonesian dancers are still developing material in Indonesia that we can and will include. By no means are we working on a finished product.
So I am looking forward to your arrival and to continue our journey together.
Meanwhile, it has been a rewarding experience to work with “the Pencils” and it can only get better.
Ciao Iwan, see you in a week.
Harijono
SOME COMMENTS ON THE PRACTICE RESULTS
Friday, December 5, 2025
First of all, I would like to congratulate you on your efforts. At least the ideas have been put together, so we can look at them from a distance to be more objective and then critique, revise, and modify everything that has been achieved.
Second, I will try to highlight the structure, especially from a musical perspective. For me, the structure is too predictable and ultimately seems compartmentalized. The transitions between sections are not smooth and even feel forced, so that the aspects of “tension” and “release” or causality in the context of sound are not taken into account. For that, we may need some additional musical ideas as transitions between sections, creating a “rise and hit” sounds, or reducing the existing musical material to make the changes more interesting. For example: The keroncong song played “on the radio” should be slightly manipulated in terms of sonority to give it an “old style” feel, and then the way the song starts and ends can be created using various techniques such as “slow down,” “reverse,” or gliss down to give it a sinking feel, or gliss up to give it a flying and disappearing feel. This creates a certain connection between the sound of the radio and Esra's no-vibrato viola. Similarly, the second time, it needs to be connected unexpectedly (subito) with a drone from an electronic sound (organic sound) to melt with the tenor recorder and Jorge's vocals.
Okay, all of that is just one of my ideas and imaginations in developing this material. Of course, this can be explained technically, but I think we can work on this aspect later after practicing together.
Third, there is still a misunderstanding about the “impro structure” material, but that's okay because we need complete players, especially gamelan players. We can fix it later when we practice together. In addition, I feel that the “New Nursalim” material is not yet clear, and I am not sure whether a cajon is really needed to emphasize the rhythm? Or maybe it would be better to just use wind instruments?
Fourth, I like the changes to the “viola concerto.” However, it may need a little more gamelan sound, but the “Giant” percussion as indicated in the score may not be necessary.
Fifth, I think we need to create several versions of the “Choirs” section so that the repetition is not boring.
Sixth, the music for “Frankenstein” needs to be recomposed more strictly for both the short and long versions.
Seventh, I think the basic rhythmin “Sketch 2” is not quite right. I will think of a solution later.
Eighth, for “Like Postlude,” it should only be for vibraphone and gender, so that Esra or the viola sound can rest.
That's all I can say for now, and this is only a preliminary and one-sided reaction. I hope we can discuss this further when we meet. Thank you.
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Iwan Gunawan
