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      "body": "The presence of orchestral music in Indonesia is caused by contact with Western nations. Western influences in art have occurred much as revealed by R.M. Soedarsono following,\nWestern influences (Europe) that started from the arrival of Portuguese traders, which was followed by the presence of people (brasswind section), and percussion section (percussion section).\n\nIn the early days of the orchestra, in the Baroque period (1720) there was a small orchestra consisting only of friction instruments (6 violins, 3 viola, and 2 cellos) and continuo (harpsichord, an instrument that sounded continuously in a composition).\n\nIn the Classical Period (1790) the instrument of thump, timpani, and horn began to be used although still rare. 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Trumpet is an important instrument on board, for signs of respect.\n\nThe second stage is the music brought by Portuguese traders. Their music is carried and played by their slave slaves of Indians, Africans and Southeast Asians.\nWestern music also experienced developments in the palace environment, as stated Soedarsono in the book Indonesian Performing Arts In the Era of Globalization below:\nWestern influence on music is very prominent In the palaces of Central Java (including the Special Territory of Yogyakarta), Western music also infiltrated the gamelan ensemble. In some gending compositions or songs that accompany the dance of the baya and serimpi daughter of the Yogyakarta palace, infiltrate several Western musical instruments, such as drums, trombones, trumpets, and sometimes clarinets.\n\nThe musical performances at the Yogyakarta Palace experienced a great improvement during the reign of Sultan HB VIII (1921-1939), with the presence of Walter Spies at the end of November 1923. Spies had a huge role in the development of musical life in Yogyakarta. Spies gets a regular job as a music instructor and conductor of Kraton Orkest Jogja with a salary of 100 founsterling per month. Besides Kraton Orkest Jogja there is also Societet de Vereeniging Orkes which was founded by 1822 by plantation entrepreneur in Yogjakarta. The orchestra is led by Attilio Genocchi of Italy and Carl Gotsch of Austria.\n\nThe development of orchestral music in Indonesia is experiencing the ups and downs, in the 50s in Jakarta had been a golden era of orchestral music, but unfortunately there is no evidence of recording or physical records of orchestral music, as ever expressed by the conductor Twilite Orchestra Addie MS in the introduction to the Twilite Orchestra book written by Ninok Leksono (2004). It is based on this fact that the Twilite Orchestra is inspired to immediately make a recording album and book about Twilite Orchestra travel for ten years since its establishment.\n\nThe economic crisis that hit Indonesia in 1998 made a downturn here and there, including the survival of orchestral music. At that time the Twilite Orchestra was recorded to perform only one concert at Tanah Airku Theater Theater, TMII, whereas in previous years it was able to hold concert five times in a year. Along with the progressive political and economic development, the state of orchestra music also experienced regrowth. Several other orchestral groups such as Nusantara Symphony Orchestra (NSO), coordinated by Miranda Goeltom, were present in the society by bringing repertoire of Western classical music, from the composition of Bach's work, Mozart and so on.\n\nThe sound wealth possessed by the orchestra made Addie MS move to socialize the symphonic music to the wider community, since there was a presumption that orchestra music was identical to music that was only consumed by the upper classes only. Twilite Orchestra tries to bridge the appreciation of lower middle society about orchestra music by holding concert in public place like in mall, visiting schools, campuses like in ITB (Bandung), UGM (Jogjakarta), and ITS (Surabaya). In programs visiting schools, students are introduced to orchestral instruments, such as violin, cello, contrabass, flute and so on. 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      "body": "Hadirnya musik orkestra di Indonesia disebabkan oleh adanya kontak dengan bangsa-bangsa Barat. Pengaruh Barat dalam hal seni telah banyak terjadi seperti yang diungkapkan oleh R.M. Soedarsono berikut ini,\n\nPengaruh Barat (Eropa) yang berawal sejak datangnya para pedagang Portugis, yang kemudian disusul oleh hadirnya orang-orang (brasswind section), dan seksi perkusi (percussion section).\n\nPerkembangan awal orkestra yaitu pada jaman Barok (1720) terdapat sebuah bentuk orkestra kecil yang hanya terdiri dari instrumen gesek (6 biola, 3 viola, dan 2 cello) dan continuo (harpsichord, merupakan instrumen yang berbunyi terus menerus dalam sebuah komposisi).\n\nPada jaman Klasik (1790) instrumen terumpet, timpani, dan horn mulai digunakan walaupun masih jarang. Ciri tertentu dari orkestra klasik adalah tanpa menggunakan continuo, tapi diganti dengan seksi gesek yang lebih besar (14 biola, 6 biola, 4 cello, dan 2 double bass) dan 2 pemain untuk setiap instrumen flute, oboe, clarinet, horn, terumpet, dan timpani.\n\nKontak awal musik Barat di pulau Jawa dapat diamati dari uraian Sumarsam yang menyebutkan adanya pelaut-pelaut Eropa yang merapat di pulau Jawa berikut ini,\n\nPengenalan musik Eropa yang paling awal di Jawa dapat ditelusuri akarnya dari musik yang dibawa oleh pelayar-pelayar kapal yang singgah di pulau Jawa pada abad XVI. Francis Drake adalah contohnya, mendarat di pantai selatan Jawa, ia menuliskan dalam buku perjalanannya bahwa musisi kapal memainkan musik untuk seorang raja (atau penguasa setempat), lalu seorang raja membalas dengan permainan musiknya. Tidak ada identifikasi musik lokal ini, apakah gamelan atau ansambel musik yang lain. Musisi kapal terdiri dari 1 pemain trumpet dan empat orang (kemungkinan pemain gesek). Trumpet adalah instrumen penting di kapal, untuk tanda-tanda penghormatan.\n\nTahap kedua adalah musik yang dibawa oleh pedagang - pedagang Portugis . Musik mereka dibawa dan dimainkan oleh budakbudak mereka yang terdiri dari orang-orang India, Afrika dan Asia Tenggara .\n\nMusik Barat juga mengalami perkembangan di lingkungan keraton, sebagaimana dikemukakan Soedarsono dalam buku Seni Pertunjukan Indonesia Di Era Globalisasi di bawah ini:\n\nPengaruh Barat terhadap musik sangat menonjol Di istana-istana Jawa Tengah (termasuk Daerah Istimewa Yogyakarta), musik Barat juga menyusup ke ansambel gamelan. Dalam beberapa komposisi gending atau lagu yang mengiringi tari putri bedaya dan serimpi dari keraton Yogyakarta, menyusup beberapa instrumen musik Barat, seperti genderang, trombone, terompet, dan kadang-kadang juga klarinet.\n\n\nPertunjukan musik di Keraton Yogyakarta mengalami kemajuan pesat pada masa pemerintahan Sultan HB VIII (1921-1939), dengan kehadiran Walter Spies pada akhir November 1923. Spies mempunyai peran yang sangat besar terhadap perkembangan kehidupan musikal di Yogyakarta. Spies mendapat pekerjaan tetap sebagai instruktur musik dan dirigen Kraton Orkest Jogja dengan gaji 100 founsterling per bulan . Selain Kraton Orkest Jogja terdapat pula Orkes Societet de Vereeniging yang didirikan oleh tahun 1822 oleh pengusaha perkebunan di Yogjakarta. Orkes ini dipimpin oleh Attilio Genocchi dari Italia dan Carl Gotsch dari Austria.\n\nPerkembangan musik orkestra di Indonesia memang mengalami masa pasang-surut, pada tahun 50-an di Jakarta pernah menjadi jaman keemasan musik orkestra, namun sayang tidak ada bukti-bukti rekaman maupun catatan fisik tentang musik orkestra tersebut, seperti yang pernah diutarakan oleh conductor Twilite Orchestra Addie MS dalam pengantar buku Twilite Orchestra yang ditulis oleh Ninok Leksono (2004). Atas dasar kenyataan inilah Twilite Orchestra mendapat inspirasi untuk segera membuat album rekaman dan buku tentang perjalanan Twilite Orchestra selama sepuluh tahun sejak berdirinya.\n\nKrisis ekonomi yang melanda Indonesia pada tahun 1998 membuat keterpurukan di sana-sini, termasuk kelangsungan hidup musik orkestra. Pada waktu itu Twilite Orkestra tercatat hanya melakukan konser sekali saja yaitu di Gedung Teater Tanah Airku, TMII, padahal pada tahun – tahun sebelumnya mampu menggelar konser sebanyak lima kali dalam setahun.Seiring dengan perkembangan politik dan ekonomi yang semakin membaik, keadaan musik orkestra juga mengalami pertumbuhan kembali. Beberapa grup orkestra yang lain seperti Nusantara Symphony Orkestra (NSO) yang dikoordinasi oleh Miranda Goeltom hadir di tengah masyarakat dengan membawakan repertoar musik klasik Barat, mulai dari komposisi karya Bach, Mozart dan sebagainya.\n\nKekayaan suara yang dimiliki orkestra membuat Addie MS tergerak untuk mensosialisasikan musik simfonik ke kalangan masyarakat yang lebih luas, karena ada anggapan bahwa musik orkestra identik dengan musik yang hanya dikonsumsi oleh kalangan atas saja. Twilite Orchestra berusaha menjembatani apresiasi masyarakat menengah ke bawah tentang musik orkestra dengan menggelar konserkonser di tempat umum seperti di mall, mengunjungi sekolah-sekolah, kampus-kampus seperti di ITB (Bandung), UGM (Jogjakarta), dan ITS (Surabaya). Dalam program mengunjungi sekolah-sekolah, para siswa diperkenalkan dengan alat-alat musik orkestra, seperti biola, cello, contrabass, flute dan sebagainya. Mereka juga diajarkan secara singkat bagaimana teknik memainkan alat-alat musik tersebut.\n\n\n![image](https://img.esteem.ws/8mtao1ilfy.jpg)\n_\n ![image](https://img.esteem.ws/gmdx4jeh1y.jpg)\n_\n ![image](https://img.esteem.ws/6k191eutow.jpg)\n_\n ![image](https://img.esteem.ws/0k75rk19h5.jpg)\n\nEdisi 9 Jakarta City Philharmonic",
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