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Obituari Yockie Suryoprayogo: Sang Pemberi Jiwa untuk Musik

DI sebuah panggung duduk seorang tua. Tubuhnya tinggi, sorot matanya lemah di balik kacamata. Rambutnya menipis dan tubuhnya terlihat ringkih di balik sweaternya.

“Bahasa adalah identitas. Itu kenapa bagi saya, musik yang saya ciptakan berbahasa Indonesia,” tuturnya.

Saat dia mengucapkan itu dengan pelan. Bagi saya terdengar ada kekuatan dan otoritas sekaligus kearifan sebagai begawan. Ya, dia adalah Yockie Suryoprayogo, yang sering disebut arsitek musik. Pertemuan dengannya di salah satu rangkaian diskusi di Archipelago Festival 2007 silam.

Perkenalan saya dengan Yockie dimulai saat saya belajar piano saat masih kelas 3 SMP dari seorang guru piano. Di hari pertama kursus, dia memainkan sebuah lagu. Saya yang saat itu terkesima mendengar tangannya bermain luwes di atas tuts piano. Saya terkesima akan melodi itu.

“Pernah dengar lagu ‘Angin Malam’?” tanyanya kepada saya.

Saya hanya terdiam saja, maklum saat itu yang ada dipikiranku cuma Sheila on 7, Padi, Blink 182, dan grup-grup lawas lainnya. Guru saya kemudian memutar tape yang terletak di pinggiran kelas.

Lagu yang keluar dari speaker tape itu dia ikuti mainkan dengan piano sembari mengikuti suara vokalis. Belakangan saya mengetahui kaset yang terputar itu adalah suara Chrisye dalam album Badai Pasti Berlalu.

Tapi ya, namanya bocah, saat itu saya belum melek akan kedahsyatan album tersebut. Lama berlalu, hingga saya berada di bangku kuliah.

Saat itu saya telah mengenal Rolling Stone Indonesia. Majalah ini banyak merubah pandangan saya akan musik.

Di sini saya dapat mendapat banyak referensi dan mengetahui bahwa album tersebut adalah salah satu pencapaian estetika terbaik di musik pop. Hingga di suatu di masa di 2009.

Di masa mahasiswa saya intens mendengarkan lagu Kantata dan Iwan Fals. Lagi-lagi itu disebabkan karena salah seorang senior yang biasa menemani nginap di ruangan BEM adalah penggemar Iwan Fals. Wajarlah, biar terlihat kritis dan sedikit aktipis.

Yang menarik dari lagu-lagu tersebut adalah bebunyi piano dan organ yang sedikit genit dan kadang memperkuat pesan kritik. Sebut saja salah satunya “Bento”, isian blues Yockie menjadi ornamen penting itu.

Beberapa tahun berlalu, dan masa-masa berat saya harus lalui. Saat itu saya dihadapkan pada tekanan orangtua yang senantiasa bertanya kapan saya selesai kuliah S1, saat itu saya sudah tidak memiliki jadwal kuliah lagi.

Namun, di satu sisi saya memiliki tanggung jawab untuk menyelesaikan masa kepengurusan organisasi internal fakultas—yang mengharuskan para pengurus intinya belum selesai masa S1. Di sisi lainnya, saya memiliki obsesi besar akan musik, yang bagi saya sudah terbilang gagal.

Album Badai Pasti Berlalu adalah daftar wajib yang menemani masa-masa itu, apalagi lagu-lagu di album tersebut memang cocok perenungan. Suara Chrisye dan Berlian Hutauruk menyempurnakan piano dan synthesizer Yockie dan lirik Eros Djarot. Mengingatkan pada komposisi progresif rock dan opera ala Genesis dan Procol Harum.

Ya, turut juga album Sabda Alam, Puspa Indah, Percik Pesona, Metropolitan, dan Resesi milik Chrisye. Turut juga Semut Hitam milik God Bless. Di masa itu memang saya menyukai hal yang ‘dalam-dalam’ baik secara lirik atau musik.

Saya suka menyalin ulang lirik-lirik di album ini, entah mengapa saya merasa komposisi itu memberi jiwa akan liriknya, keduanya berpadu dalam satu rangkaian.

Saya sadar bahwa lagu berlirik Bahasa Indonesia lebih memiliki kekuatan metafisik ketimbang lirik berbahasa asing. Musik itulah yang secara tidak langsung membawa saya di podium sarjana di akhir tahun 2009.

Pun juga di masa koass, lagu-lagu aransemen Yockie yang menemani saya sembari menunggu dosen. Lagu “Menjilat Matahari” adalah lagu terbaik memperbaiki mood saat dimarahi karena tidak becus mengerjakan pasien.

Lirik dan lagu “Juwita” pernah saya gunakan untuk menggombal seorang junior (sekalipun disebut norak dan ketuaan olehnya). Oh iya, “Merpati Putih”, “Citra Hitam”, dan “Angin Malam” adalah lagu yang biasa menemani saya mengerjakan refarat semalam suntuk.

***

Bagi beberapa orang Yockie adalah sosok dibenci sekaligus dicintai. Itu berhubungan dengan talentanya. Dia mengingatkan saya akan sosok dewa Apollo.

Bisa melukai dengan busurnya di satu sisi bisa memainkan musik. Dalam beberapa pengakuan, dia tidak disukai karena ceplas-ceplos dan keras sekaligus otoritatif.

Dalam wawancaranya Bersama Beritagar, dia menuturkan bagaimana konfliknya dengan Ahmad Albar dan Ian Antono, juga bagaimana banalnya kehidupan pribadinya. Juga bagaimana ketidakcocokannya dengan Eros Djarot dan Chrisye yang dilansir oleh Tirto.id.

Dia menjadi bahaduri saat menggugat rekanan bandnya dan utamanya Hanung Bramantyo saat menggunakan lagu “Kesaksian” pada film Tanda Tanya.

Yockie Suryoprayogo adalah salah seorang yang ingin saya temui dan mungkin hendak ajak diskusi. Saya selalu penasaran bagaimana dia memberi nyawa pada musik dan lirik.

Bisa memoles notasi menjadi reflektif bagi pendengar dari rock, folk, instrumentalia, hingga pop. Coba dengar bagaimana dia mampu memoles God Bless sehingga memberi nuansa orchestra dan opera.

Dengar juga bagaimana sebuah trek panjang avant-garde kritik pedas akan kondisi industri musik di “Musik Saya Adalah Saya”. Hal ini yang mungkin disebabkan disebabkan karena lingkup pergaulannya dan kegelishannya. Kepada Denny Sakrie dia berucap,

“Saya memang selalu dalam kegelisahan. Tetap mencari sesuatu dalam musik. Berbaur dengan banyak orang mulai dari insan musik, film, hingga teater.”

Kekuatan itu jarang dimiliki oleh musisi lain di Indonesia. Bagaimana dia memahami bahwa kata akan semakin kuat jika ditunjang dengan nada yang apik.

Hal yang sama dituturkan oleh Taufiq Rahman. Dilansir daru Jakarta Post, Yockie adalah sosok musisi yang penting dalam 3 dekade terakhir.

***

Tatap muka saya satu-satunya di acara tersebut. Di sana dia dipanelkan dengan Guruh Soekarno Putra, Ade Paloh, dan Mondo Gascoro.

Di sana saya mengetahui bahwa dia paham soal filosofi nada dan bagaimana hubungannya dengan pandangan dunianya. Di situ saya hendak berfoto dengannya, sayang dia terlalu cepat pulang dan dikerubungi.

Waktu berlalu dan impian saya untuk ngobrol, berfoto dan meminta tanda tangannya masih tersimpan hingga salah satu kabar bahwa dia berpulang, Senin kemarin (5/2).

Saat mendengar kabar itu saya kemudian mendengar album Sabda Alam. Di saat “Citra Hitam” mengalun, sosok guru piano saya seakan hadir dihadapan saya sembari memainkan piano.

Turut di sampingnya junior saya yang sempat saya goda hadir sembari bertutur ketus, “Huh, selera orang tua.” Roda waktu berotasi ke belakang.

Selamat tinggal sang bahaduri.

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Dhihram Tenrisau

Dokter gigi di klinik BPJS

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