for duo recorder without head-joint A short piece that is built with various level of repetition in its macro and microstructure. Its basic material uses air noise in different rhythm, pulsation, and colour. The interaction plays important part as the players gradually relate more to each other. ((audio))
for flute and small percussions The piece is derived from an organic development of atomic material that is related with time and space. This idea stems from my concern with astronomical problems and facts, whereby I got the idea to shape my music in an analogy to the universe. The sound material is like small atoms of music that are gradually expanded, broken, resolved, rebuilt and recombine as if our massive universe comes from the development of a small atom that creates the existence of physical time and space ((audio))
for violoncello solo The composition consists of 12 short parts, which have different characters and figurations of glissando as basic material. The diversity of form between parts create an organic process of its dramaturgie.
for violin, clarinet Bb and piano The title of the composition "Gegen-Klang" refers to an element, which is an integral part of tonal music (Gegen-Klang is German term of a median relationship used in theory of tonal harmony). On the other hand, the word literally means that one sound against other sound (Gegen-Klang means literally in English “counter-note“). I took two core ideas for this composition from this word game. On the one hand there is a structure of different voices, which are related to each other (likewise the individual functions in tonal music) on the other hand, the contradiction and conflict come up as result from the contrasting design of individual lines. ((audio))
for sopran and big ensembleThe piece is inspired from the element of Tibetan Chant and Recitative form in Western music. These 2 kinds of music show different forms, but actually have some similarities. The pulsating tone with various colour and dynamic are taken from Tibetan chant, while short accents and flowing melody come from recitative element. The shared elements are the time-flexibility and freedom for the interpreter to form the inner figuration which then somehow influences its macrostructure. ((audio))
for piano solo The piece is actually composed for 3rd Mauricio Kagel Composition Competition. The composition shows playful and diverse piano playing in connection with the memory of childhood. The title describes the views of a child as he looked outside from the window of his room. The strange views and noises that the child experienced at that moment will be put in the music. The child itself is for me a metaphor of the people, how they experience metaphysical things with their environment. The piece is a cycle consists of 6 programmatic pieces that share common element. The main motive is triller that always present in every pieces. The triller will be transformed in various figuration and function like interruption, continual moving line, noises, static hypnotizing line, ornamental, and also as foundation to the harmonic progression.
This piece deals with an evolution process of glissando as basic material which are developed in different ways of coordination between action and reaction. The collective playing urges the players to coordinate with each other thus creating organic changes between tension and release through its process.
for chamber music and gamelan Mukena is a hood or cover that are used by female Moslem for their religious ritual. It symbolizes the border between mystery and reality as part of human life. The cover offers us a mystery and hides the reality behind it. Once it is uncovered, the mystery will loose its meaning. The lust to change the mystery to be a reality is a meaningful effort, which on the other hand also useless. The music portrays the complexity relation between mystery and reality which human try to understand. ((audio))
for clarinet Bb, cello, percussion, piano, female voice and narrator An interpretation of a famous poem by Subagyo Sastrowardoyo “Adam di Firdaus”. The music itself articulates the narrative setting and important words in the poem. The musical figure is derived from the first bar of music which then shaped into different figures refer to certain character or mood of the poem. It portrays the irony of the human existence in searching of meaning of life. ((audio))
for gamelan slendro Balungan is a musical term used in traditional Javanese gamelan to describe the basic underlying motif that acts as cantus firmus for the whole musical structure. In this composition, I use an atomic motif as the basic material for the whole compositional process. The motif is being permutated through the composition with various pulsations in each instrument. The intensity of the music is build through the interplay of confrontation and coordination between each instrument.
for Solo Piano5 Character Pieces is one of my early compositions in my composing career. It consists of 5 small pieces that are connected with a small single theme or material derived from intervallic relationship “C-F#-G” in the first piece. This theme is transposed semitone higher for next piece’s material and this process will proceed until the last piece. Although it is not intended as programmatic music, I try to bring 5 different characters and atmosphere in a musical body. The first piece has more mysterious aura and built from a very simple line that grows and then fade away. The second piece is a three-voice invention that sounds mechanical or like a mechanic toy. Third piece is more dancing and rhythmical, with much accentuation and syncopation. The fourth is build from lyrical melody in left hand and sounds melancholic. And the last is build from repetitive blocks of chords that are aggressive and penetrating. ((audio))