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Mario Santoso
Universitas Pelita Harapan

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An Overview of Schubert's 21 Piano Sonatas [Sekilas akan 21 Piano Sonata oleh Schubert] Mario Santoso
Jurnal SENI MUSIK Vol. 12 No. 2 (2020): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v12i2.5317

Abstract

Banyak komposer di Eropa tertarik dalam menulis piano sonata antara tahun 1750 sampai dengan 1850, dari Johann Christian Bach sampai ke Wolfgang Amadeus Mozart, dimana mereka menulis dengan jumlah sangat banyak. Tetapi, Joseph Haydn semakin tidak tertarik dalam menulis piano sonata dalam 20 tahun terakhir hidupnya, dan mengalihkan perhatiannya ke penulisan piano trio; hal serupa dengan Mozart dalam penulisan piano konserto; begitu juga Beethoven, dimana ia tidak menulis piano sonata pada tujuh tahun terakhir hidupnya. Franz Schubert (1797-1828), yang sering kali kurang mendapatkan penghargaan serupa), menulis jumlah karya vokal dan instrumental yang hampir seimbang, walaupun kecepatan menulisnya lebih lambat pada karya instrumentalnya. 21 piano sonatanya ditulis dengan proses eksperimentasi luar biasa, yang menggambarkan kehidupannya yang penuh perjuangan melawan sipilis dan kesulitan lainnya, seperti yang ia tuliskan ke temannya Leopold Kupelwieser pada tahun 1824, bahwa ia merasa sebagai makhluk yang paling tidak senang dan malang di dunia. Banyak dari karya piano sonata ini bahkan tidak selesai untuk berbgaai macam alasan. Penulis menilai 21 karya ini sebagai komposisi yang sangat luar biasa, yang menggambarkan perjalanan hidup Schubert yang singkat, namun luar biasa. Tujuan dari penulisan ini adalah untuk mempresetasikan gambaran keseluruhan akan piano sonata dari Schubert, yang ditulis antara tahun 1815-1828. The history of piano sonatas between 1750s-1850s is of particularly interest for composers during the time. Composers from Johann Christian Bach to Wolfgang Amadeus Mozart wrote several magnificent sonatas which are commonly performed in recitals. Nevertheless, Joseph Haydn became increasingly preoccupied with the piano trio; Mozart with piano concerto; Ludwig van Beethoven with no piano sonatas written during the last seven years of his life. On the other hand, Franz Schubert (1797-1828) wrote vocal and instrumental music that were almost equal, although the pace was more slowly in instrumental writing. Schubert’s piano sonatas, written with so much value of experimentation, reveal constant struggles and difficulties with his illness for many years, as he lamented to his long friend Leopold Kupelwieser in 1824 to be the most “unhappy” and “wretched” creature in the world. Many of these numbers are not even complete for various reasons. I value the writing of the 21 piano sonatas to be powerfully and extraordinarily personal that describes his rather short life journeys, yet splendidly. The purpose of this writing is to present an overview of Schubert’s complete piano sonatas written during 1815-1828.
The Lack of Philosophy in Interpreting a Musical Score and Integrating It to a Creative Performance within Overall Indonesia’s Piano Education [Kurangnya Filosofi dalam Menginterpretasi Partitur Musik dan Mengintegrasikannya ke dalam Pertunjukan Kreatif dalam Pendidikan Piano di Indonesia Secara Keseluruhan] Mario Santoso
Jurnal SENI MUSIK Vol. 13 No. 1 (2021): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v13i1.5873

Abstract

Abstract:Although piano education in Indonesia has grown significantly for the past 15 years, however, many students seem struggle with integrating philosophy as a mean of interpretation that causes lack of originality in their playing. Fundamentally, there are two problems: the focus on perfection of notes and the technical standards; and the mindset that a performance somewhat has an absolute truth, therefore, students are afraid of creatively surpassing or going beyond the vision of the composer. As a result, it is rare to see individual voices today in a performance; many good playing unfortunately become one-dimensional. Based on my 14-year university teaching, the cause to this uncreative performance is the lack of profound philosophical teaching that underlines the originality and authenticity of the students. The purpose of this writing is to describe the philosophical foundations that I summarize during my music studying and teaching career that are necessary to interpret a musical score; hence, the process of interpretation is different and the meaning we derive from the music will vary. The research methods include descriptions of the teaching from my previous professors regarding interpretation and performance; and discussion of my teaching experience with my selected students of various ages and backgrounds, whom I have worked closely for at least three years. Abstrak Bahasa Indonesia:Walaupun pendidikan piano di Indonesia telah berkembang pesat dalam 15 tahun terakhir, tetapi masih banyak murid yang masih belum sepenuhnya mengintegrasikan filosofi untuk menghasilkan interpretasi individual mereka, sehingga menyebabkan kurangnya orisinalitas dalam permainan mereka. Pada dasarnya terdapat dua masalah akan fenomena ini: fokus mereka pada kesempurnaan not dan teknik; dan pola pikir bahwa suatu pertunjukan hanya memiliki satu kebenaran mutlak; oleh karena itu, murid takut secara kreatif melampaui atau melampaui visi sang komposer. Akibatnya, jarang terlihat dan terdengar suara individu sang murid dalam sebuah pertunjukan; banyak permainan bagus sayangnya menjadi menjadi satu dimensi saja. Berdasarkan pengalaman mengajar penulis selama 14 tahun di level universitas, akar dari masalah ini adalah kurangnya filosofi berpikir dan mengajar yang mengutamakan interpretasi yang orisinal dan otentik dari seorang murid. Tujuan dari penulisan ini adalah untuk memberikan fondasi filosofis yang penulis pelajari selama karir studinya di Amerika untuk dapat menginterpretasi sebuah partitur musik; proses interpretasi dan pengertian bermusik dari setiap murid pasti berbeda. Metode penelitian meliputi deskripsi pengajaran dari profesor saya sebelumnya mengenai interpretasi dan pertunjukan musik; dan diskusi tentang pengalaman mengajar saya dengan murid pilihan saya dari berbagai usia dan latar belakang, yang telah bekerja sama dengan saya selama setidaknya tiga tahun.
Analysis of Motivic Transformation in Beethoven’s Sonata no. 31 in A-Flat Major, Op. 110 Resulting in Logical Structural Coherence Mario Santoso
Jurnal SENI MUSIK Vol. 13 No. 2 (2021): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v13i2.6032

Abstract

The legacy of Ludwig van Beethoven and his unparalleled 32 piano sonatas had become the cornerstone for nineteenth century composers that many of them were challenged to write piano sonatas of their own while simultaneously almost impossible for them to succeed unless they re-invented their works beyond traditionalism (for example Franz Liszt and his Sonata in B minor). It is almost unimaginable what nineteenth century would have been like without Beethoven’s 32 piano sonatas. In those influential works, one of the most important highlights is how Beethoven was being an economical and effective composer by writing his music with one or a few numbers of motive (usually less than five) and transforming the motive(s) into various and endless variations that resulted in such logical structural coherence. The purpose of the writing is to provide a prescriptive analysis of the motivic transformation in Beethoven’s piano sonata no. 31 in A-flat major, Op. 110, in which the whole sonata is essentially based on three motives presented in the first four measures in the first movement; the result is a 19-minute sonata, which movements are cyclic into one coherence that should be performed continuously without traditional breaks among the movements.
Evaluating the Innovative Fantasia Concept in Beethoven’s Piano Sonatas, Op. 27 “Sonata Quasi Una Fantasia” Mario Santoso; Jacklyn Laudiana
Jurnal SENI MUSIK Vol. 14 No. 1 (2022): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v14i1.6033

Abstract

Beethoven’s 32 piano sonatas are considered seminal works in Western music history as they represent perhaps more clearly than any other body of works the innovative processes that are at the core of Beethoven’s creativity as described by American musicologist Stewart Gordon. The 32 sonatas are so popular among scholars and pianists that each of them features unique innovations that are uncommonly observed by previous composers. The differences between numbers are extreme, not only just between Opus number but also within Opus number; as a result, the impact of these works upon the nineteenth century was so immediate that they quickly challenged composers to have a new standard of sonata writing by means of redefining, transforming, and elevating the genre. One of the most original works of the 32 sonatas is both numbers of Op. 27, marked “sonata quasi una fantasia” by the composer himself, in which there were no known composers who had written similarly in combining the concepts of fantasia and sonata. The fantasia concept in these two works is not expressed as common fantasia in the previous historical eras - a highly imitative contrapuntal work with many sections; Beethoven, instead, implies a new fantasia concept in Op. 27 by merging the two concepts together - one being so free and sectional, while the other being rigid in structure - into such “perfect marriage,” resulting in such original works, which became an immediate impact to the “romantic” style and its composers.
The Concept of Classic-Romantic as One Entity in Western Music History Mario Santoso
Jurnal SENI MUSIK Vol. 14 No. 2 (2022): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v14i2.6055

Abstract

Any periods of Western music history prior to 1720s - Antiquity, Medieval, Renaissance, and Baroque - can be regarded as independent eras in essence, which are marked by a definable boundary that are clearly noticeable from one another; however, the term classicism and romanticism refer to one phenomenon that is essentially dependent to one another. The two eras cover one same period since they complement each other, which extends roughly from the years of 1720s to the first decade of the twentieth century. The purpose of this writing is to provide descriptive explanations why the terms “classic” and “romantic” are two aspects of one - the same phenomenon, and of one same historical period.
Evaluation of the Idiosyncratic Style in Berlioz's Music Mario Santoso
Jurnal SENI MUSIK Vol. 15 No. 1 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i1.6782

Abstract

The nine symphonies of Beethoven provoked a crisis of confidence to all composers in the nineteenth century as they wondered how they could surpass Beethoven’s achievements and legacy. The “crisis” was felt virtually in two specific genres: instrumental music (the symphony in particular) and the piano music. Nevertheless, at least one composer stood out and saw Beethoven’s works as a form of aberration, an experiment, which became the beginning point for much further exploration - Hector Berlioz (1803-1869). He made numerous contributions to the art and craft of instrumentation, in which his writing extravagance and distinctive idiosyncratic style would pervade the rest of the century. For Berlioz, the writing of music was not strict conventions, but rather shaped “from within” by the poetic content of the music. As a result, Berlioz’s music had become question between profusion and confusion by his colleagues: big ideas but no discipline, originality but no follow-through. The purpose of this writing is to note some remarks about Berlioz’s originality and idiosyncratic style, which was different than anything anyone heard before.
Designing The Grand Narrative Approach in Teaching Western Music History to Undergraduate Students in Indonesia Mario Santoso; Sara Lorin Hernadi
Jurnal SENI MUSIK Vol. 15 No. 2 (2023): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v15i2.7486

Abstract

Learning the history of any course subject is an enormously complex quest since it keeps evolving and even shifting from its origin. The same case also applies to the study of Western music history, which itself is a historical invention due to its complexity that is simplified into “periodization” by scholars; therefore, the whole conception is still changing today. This condition should be perceived as an opportunity to continually explore this massively diverse body of music and hence apply it to student’s interpretation and performance to reshape their thoughts in approaching music that has been written years ago; indeed, the learning of music history opens limitless possibilities of exploring the emotional message behind the black notes on the score. However, the common pedagogical approach of Western music history has been discouraging to music students in general because of the “vertical” approach, which emphasizes the compartmentalized timeframe block time that seems irrelevant and disconnected to their performances today. This organization of teaching results in a lack of comprehension that learning music history should be conveyed in a chronologically sequential order into one single coherent story, in which musical styles change very gradually, often coexisting with the new style. The purpose of this writing is to provide a better pedagogical design in teaching Western music history to undergraduate students in Indonesia by understanding the course as a grand narrative - an acculturation from two ancient traditions (Europe and West Africa) that is cultivated in the United States. AbstrakMempelajari sejarah dalam berbagai bidang adalah pencarian yang sangat kompleks karena sejarah terus berkembang dan bahkan bergeser dari asalnya. Hal yang sama juga terjadi dalam studi sejarah musik Barat, yang merupakan penemuan sejarah karena kompleksitasnya yang disederhanakan dalam “periodisasi” oleh para ahli; oleh karena itu, seluruh konsep masih dapat berubah hingga hari ini. Kondisi ini harus dilihat sebagai kesempatan untuk terus mengeksplorasi musik yang sangat beragam dan menerapkannya pada interpretasi dan pertunjukan siswa untuk membentuk kembali pemikiran mereka dalam mendekati musik yang telah ditulis bertahun-tahun yang lalu. Pembelajaran sejarah musik membuka kemungkinan tak terbatas untuk mengeksplorasi pesan emosional di balik notasi pada partitur. Namun, pendekatan pedagogis umum dari sejarah musik Barat telah mengecewakan siswa pada umumnya karena pendekatan "vertikal", yang menekankan waktu blok kerangka waktu yang terkotak yang tampaknya tidak relevan dan tidak terhubung dengan pertunjukan mereka hari ini. Pengorganisasian pengajaran ini mengakibatkan kurangnya pemahaman bahwa pembelajaran sejarah musik harus disampaikan secara berurutan secara kronologis dalam satu cerita yang koheren, di mana gaya musik berubah secara sangat bertahap, dan sering kali berdampingan dengan gaya baru. Tujuan penulisan ini adalah untuk memberikan desain pedagogis yang lebih baik dalam mengajarkan sejarah musik Barat kepada mahasiswa di Indonesia dengan memahami mata kuliah sebagai naratif besar - akulturasi dari dua tradisi kuno (Eropa dan Afrika Barat) yang dibudidayakan di Amerika Serikat. 
ANALYSIS OF TONAL EXPANSION IN LISZT’S LA LUGUBRE GONDOLA Mario Santoso; Claudia Budiman
Jurnal SENI MUSIK Vol. 16 No. 1 (2024): Jurnal SENI MUSIK
Publisher : Universitas Pelita Harapan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19166/jsm.v16i1.8181

Abstract

The last 15 piano works of Franz Liszt, written during the last five years of his life (1881-1886), have fascinated musicians for their harmonic radical, often associated with prophetic harmonic procedures, including building the music on unresolved dissonant relationships, ambiguous chromatic harmonic progressions, slow-moving ostinato patterns without clear musical direction, lean and quiet textures, tremolos, many silences that interrupt the progress of the music, and monophonic recitatives. These 15 works illustrate Liszt’s experimental style at its most extreme associated with macabre/death, bizarre, and dreamlike. Historians have attributed to Liszt morbid obsession of death, starting from the passings of his two children in 1860s, and continuing with series of depressing events to his death. Specifically, four of them are related to the death of Richard Wagner (his son-in-law), including La lugubre gondola I and II, Am Grabe Richard Wagner, and R.W. - Venezia. Much of this music are articulated by various negative fantasy through within limited or lack tonal focus; hence, Liszt wrote these works clearly to the approaching exhaustion of tonality, foreshadowing sounds associated with the early twentieth century especially in the music of Debussy and Schoenberg. The purpose of this writing is to analyze the two numbers of La lugubre gondolas and evaluate the harmonic writings, in which Liszt pointed out the music to the approaching exhaustion of tonality.
Co-Authors Claudia Budiman Jacklyn Laudiana Sara Lorin Hernadi