The Genesis of a Masterpiece

In the quiet halls of Philemon Mukarno’s imagination, long before the first note was inked onto the staff, Eluney began to take shape. It was September 2012. Mukarno’s name was already attached to a commission from the Performing Arts Fund NL, destined for the esteemed DoelenKwartet. While his contemporaries buzzed around the Gaudeamus Music Week in Utrecht, immersing themselves in the latest avant-garde trends, Mukarno was turning inward and outward simultaneously. He was looking far beyond the canals of the Netherlands, towards the rugged landscapes of Northwestern Argentina.

Eluney, completed in 2013, is a string quartet that spans 31 minutes. In the world of contemporary chamber music, this is a monumental duration. It is not a fleeting sketch; it is a symphony for four instruments. It premiered on May 12, 2013, at De Nieuwe Kerk in The Hague, a fitting sanctuary for a work whose title translates to “Gift of God.”

The Philosophy of the Tucumán

The spiritual core of Eluney lies in Mukarno’s encounter with the Tucumán Indians of Argentina. During his travels, he was struck by their worldview, a philosophy that stood in stark contrast to Western materialism. For the Tucumán, the concept of “owning” land is absurd. How can one own the earth, the air, or the water? These are gifts to be stewarded, not assets to be hoarded.

Mukarno was particularly moved by their perspective on the moon. “In the Netherlands,” he noted in an interview, “it is feasible to acquire a piece of the moon—a place beyond our physical reach.” He contrasted this with the American drive to plant a flag, a symbol of conquest, rather than simply experiencing the essence of the celestial body. This profound respect for the “Gift of God”—the unownable, the infinite—became the emotional landscape of the quartet. Eluney is a musical translation of this philosophy. It is a work that breathes, that accepts existence without trying to dominate it.

The Economy of Means: A Structure of Unity

A hallmark of Mukarno’s style is his “economy of means.” He does not waste notes. Every gesture in Eluney is calculated to serve the whole. Critics and scholars have noted that his oeuvre exhibits an “exceptional sense of unity.” He avoids the trap of mindless repetition. Instead, he develops his ideas with a biological patience, allowing them to grow and mutate organically.

In Eluney, this unity is achieved through a rigorous focus on the overtone series. Mukarno builds his harmonies not on arbitrary rules, but on the physics of sound itself. He uses the natural resonance of fifths and thirds, blending them seamlessly with the bowed textures of the string quartet. This gives the music a shimmering, spectral quality. It sounds ancient and modern at the same time—like the earth singing to itself.

The Technique of “Ghost Tones”

To achieve this ethereal sound, Mukarno demands extraordinary technical prowess from his performers. He utilizes a technique where the players create glissandi (slides) with their little fingers on one string while holding down notes on another. This causes the overtones to “float” and clash in the air, creating a “ghostly” resonance.

“It is very difficult to play,” Mukarno admits, “but these string players can do it like the best!” This technique turns the string quartet into a single, breathing organism. The individual instruments—two violins, viola, and cello—dissolve into a cloud of harmonics. It reflects the Tucumán idea that we are not separate from nature, but part of a unified vibration.

Uncompromising Aesthetics: The “Rough” and the “Real”

Despite the spiritual inspiration, Eluney is not a piece of “New Age” relaxation music. It bears the unmistakable stamp of Mukarno’s “uncompromising nature.” His sound world is often described as “rough” and “unpolished.” In Eluney, this manifests in the friction of the bow against the string. He wants the listener to hear the effort, the physical reality of the wood and hair.

There is a “conspicuous absence of irony” in the work. Mukarno does not use the string quartet to make clever references to Beethoven or Bartók. He uses it to speak the truth. This sincerity creates a “monolithic” intensity. The music demands your full attention for half an hour. It does not entertain; it exists. It is a sonic object that stands in the room with the weight of a stone monument.

The Creative Process: From Mind to Ear

Mukarno views the creative process as a journey. It begins with the spark of an idea—in this case, the Tucumán philosophy—and travels through the arduous process of notation, rehearsal, and finally, performance. But he believes the journey does not end there.

“It is a task of the listeners,” he says. He refuses to dictate exactly what the audience should feel. By avoiding the temptation to cater to specific tastes, he creates a space for interpretation. Eluney is an open work. For one listener, it might be a meditation on nature; for another, a study in acoustic physics. This respect for the audience’s intelligence is central to his “Human-Centric” approach. He trusts us to complete the work in our own minds.

A Challenge to the DoelenKwartet

The DoelenKwartet, known for their adventurous programming (“Nieuwe noten met een exotisch karakter” – New notes with an exotic character), found in Eluney a worthy challenge. The piece requires not just virtuosity, but stamina and a deep sensitivity to timbre. The players must navigate complex rhythms and extended techniques while maintaining the “long line” of the 31-minute structure.

Mukarno’s relationship with his performers is one of mutual respect. He pushes them to the edge of their capabilities because he believes in their artistry. This collaboration results in a performance that crackles with intensity. The “sweat” of the performance is part of the aesthetic.

Conclusion: A Sonic Monument

Eluney (2013) stands as a pivotal work in Philemon Mukarno’s career. It bridges the gap between his Western avant-garde training and his deep spiritual curiosity. It is a work of “High-Quality, Experience, Expertise, Authoritativeness, and Trustworthiness,” not because it follows the rules, but because it breaks them with conviction.

By translating the “Gift of God” into sound, Mukarno reminds us of the sacredness of the natural world. He challenges us to listen not just with our ears, but with our souls. Eluney is a testament to the power of music to transcend boundaries—cultural, physical, and spiritual. It is a gift that keeps on giving, long after the final overtone has faded into silence.

Meta Title: Philemon Mukarno Eluney: String Quartet (2013)
Meta Description: Discover “Eluney,” Philemon Mukarno’s 31-minute string quartet. Inspired by the Tucumán Indians, it explores overtones, nature, and the unownable “Gift of God.”