Neighbor: A vocalist from D’Temasik Keroncong Orchestra (Singapore) performs at the Solo Keroncong Festival 2012.

Bengawan Solo (Solo River), sung to the accompaniment of the Light Keroncong Orchestra of Yogyakarta, stunned thousands of audience members crowding the Solo Keroncong Festival 2012 held on the open stage of Pasar Triwindu, Ngarsopuro, recently.

Normally presented in a soft tone, in the hands of composer and orchestra conductor Singgih Sanjaya, the masterpiece of keroncong (traditional Indonesian music with a Portuguese flavor) maestro Gesang turned very lively.

The session used not only the standard instruments like the guitar, ukulele, cello and double bass, but also went against the mainstream through Singgih’s orchestral concepts highlighting clarinets with the support of a row of violins to produce a dynamic effect despite its outlandish character.

In another part, the Light Keroncong Orchestra fused keroncong with classical music. In presenting “Clarinet Concerto”, Singgih collaborated with musician Joost C. Flash from the Malaysian Philharmonic Orchestra. The result was a long classical instrumental piece tinged with typical keroncong beats.

Next, Singgih combined keroncong with jazz, through various regional songs from “Bandar Jakarta” (Jakarta Port) to Papua’s “Yamko Rambe Yamko” in jubilant and quick rhythms, allowing the orchestra to demonstrate its distinctive improvisations. With apparent elegance, the Light Keroncong seemed to reaffirm the openness of keroncong to creative explorations.

Diversity: Two vocalists from Pesona Dewata Bali Orchestra perform at the Solo Keroncong Festival 2012.
For two nights, Sept. 14-15, music fans and most visitors to the Keroncong Festival were so enthusiastic that those who failed to get a good view of the stage watched the show projected onto two wide screens on both sides while lying by the sides of nearby roads.

Sixteen keroncong groups from different cities joined the festival, two of which came from Singapore and the US. On the first day, the Eljasqee Ensemble from Jakarta also showed off its keroncong in energetic ensemble form, with most arrangements in the jazz tempo featuring violins and flutes in the beginning and as interludes. Eljasqee’s keroncong was no longer music for relaxation or sedentary retirees.

“Every year this festival should be able to offer diverse types of keroncong music so as to remain attractive to young people. Without something different, it would be the same as the weekly performances in Solo. We can’t force the present generation to enjoy conventional keroncong,” said Deputy Mayor of Surakarta, otherwise known as Solo, FX Hadi Rudyatmo after opening the event.

Despite the wide range of keroncong musical styles explored, extra instruments used, miscellaneous songs rendered and a lot more musical genres incorporated, this year’s festival was still graced by the performance of genuine keroncong compositions.

Solo’s Taruna Kusuma orchestra opened the show with several songs in their original arrangements such as “Keroncong Nusantara” (Keroncong Archipelago), “Kidung Perpisahan” (Farewell Song) and “Jembatan Merah” (Red Bridge). In the unique vocal style of keroncong, three youngsters managed to present them beautifully.

On the second day, the Pantai Barat keroncong orchestra, from California, USA, entertained. Starting with “Alejandro”, popularized by Lady Gaga, Russ Skelchy as orchestra leader smartly rearranged the pop song into the keroncong rhythm with a touch of the banjo, making “Alejandro” sound like a country keroncong. It was followed by “Moriesko” and “House of The Rising Sun”, climaxing in “Di Bawah Sinar Bulan Purnama” (Beneath the Moonlight) and “Kumanthil Ing Ati” (Captivated).

Western taste: Ella McDonald (right), a member of Pantai Barat orchestra (California, US), one of two foreign keroncong groups at Solo Keroncong Festival 2012.
“I fell in love with keroncong because it is typical music with a very traditional rhythm, but it can be played in many styles. Interestingly, though played in the other genres, the characteristics of keroncong aren’t lost,” Russ pointed out.

The Sixty Nine orchestra from Cilacap performed several conventional keroncong tunes like “Tanjung Perak” and “Pasar Gambir” (Gambir Market), with a wonderful rendering of the former, making the originally quick-tempo song elegantly soothing. D’Temasik from Singapore played “Takbir Aidil Fitri”, “Keindahan
Alam” (Natural Beauty), “Terkenang-kenang” (Missing You) and “Di Tanjung Katong” (At Tanjung Katong).

Pesona Dewata Bali appeared with traditional compositions evocative of the island of the gods. Jakarta’s Toegoe orchestra, though only with junior players this time, still captured the public attention with its tambourines. This group’s keroncong music was also very flexible, blending jazz, pop, reggae and rock ‘n roll.

Among the famous singers perking up the second day of the festival was Rama Aiphama, an eccentric artist from the 1980s, along with the Keroncong Pesona Jiwa orchestra of Jakarta under Koko Thole.

The vocalist, well known for his versions of old favorites, sang along with the audience in his high-pitched reggae style, prompting everybody to sway.

Winding up with “Kota Solo” (Solo city), Rama was preceded by contemporary pesinden (female gamelan singer) Sruti Respati, who emerged with “Prasetyaku” (My Vow) in a refined genuine keroncong piece. In any style, keroncong is indeed fascinating, especially because of its acceptance of musical creativity.

— Photos JP/Ganug Nugroho Adi