PIANO ENSEMBLES: Piano Concert "PIANOLICIOUS MOMENT" - Sunday, 7th October 2012 @ Istituto Italiano

A Piano Concert

“Pianolicious Moment”

Life is like piano... what you get out of it depends on how you play it

One man gets nothing but discord out of piano; another gets harmony.

Study to play it correctly and it will give you forth the beauty...

Students & Directed by

JELIA MEGAWATI HERU

ISTITUTO ITALIANO

Jln. HOS Cokroaminoto 117, Menteng

Sunday, 7th October 2012

4.30 pm & 7 pm

performing

Classical to Modern Piano Music in all form of Solo & Piano Ensembles

1 piano 2 hands, 1 piano 4 hands, 1 piano 6 hands, and 2 pianos 8 hands

PROGRAM

1st Session

students of Jelia Megawati Heru

(early beginner - intermediate level)

in collaboration with

Shinning Stars Enrichment Center (Tegal)

Ruth Ellinger "Balloon Pop Polka" (for 2 pianos, 8 hands)

Ludwig van Beethoven “Für Elise” (for 2 pianos, 4 hands)

Martha Mier "Agent 003" (for 1 piano, 6 hands)

and many more...

2nd Session

(teacher & professional performers)

Special Performance Duo Guitar Piano

Michael Gunadi Widjaja - Jelia Megawati Heru

Astor Piazzolla "Oblivion"

Featuring: Mery Kasiman & Yoseph Sitompul

Mike Cornick Trilogy (for 1 piano 4 hands)

"Blue Piano Duets"

"Latin Piano Duets"

"Jazz Suite"

Twinkle Twinkle Little Star

Traditional - Jazz - Dang Dut

Arr. Michael Gunadi Widjaja

Golden Fingers Piano Ensembles

(for 2 pianos 8 hands)

William Gillock "Champagne Toccata"

Michael Gunadi Widjaja "Kemben"

Arr. Michael Gunadi Widjaja "Medley Indonesian Folksong"

Kevin Olson "Scott Joplin Rhapsody"

TICKET
IDR 75.000 (1 Session)
IDR 150.000 (2 Sessions)

More information

Michael 0818 288 006, pin: 288A49F3

email: elisabeth.jmh@gmail.com

ABOUT PIANO ENSEMBLES

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).

In 2001, studied piano with Jongky Goei, Master of Performing Arts, Chairman and Stage Art Manager of Marcia Haydée Ballet in Stuttgart, Germany.

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 Kodàly 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):

http://piano-ensembles.blogspot.com/2012/06/golden-fingers-kawai-newsletter-no-29.html

William Gillock "Champagne Toccata"

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”

PROFILE SLIDESHOW (Part 1)