Gamelan of Central Java 3: Modes and Timbres - CD Home Page | Newest Releases More music from Indonesia

Search for music Need Help?

Gamelan of Central Java III: Modes and Timbres (Dunya/Felmay)
$17.99

Musicians
Pendhapa Gamelan of STSI Surakarta: Bambang Sosrodoro, Darsono, Djoko Santosa, Hadi Boediono, I Ketut Saba, I Nyoman Sukerna, Kuwat, Rusdyantoro, Rustopo, Sarno, Slamet Riyadi, Sugimin, Sukamso, Supardi, Suraji, Waridi
Musical Direction - Joko Purwanto
Musical Design - John Noise Manis
Date of recording July 23, 2003

See other recordings in this series: Gamelan of Central Java

Program
1. Ketawang LANGEN GITA SRINARENDRA, pelog barang - Gender based 10:19 (listen)
2. Ketawang SUBA KASTAWA, slendro sanga - Rebab based 7:46
3. Ladrang GOLONG, pelog lima - Bonang based 7:50|
4. Three short pieces from the Wayang Kulit theatre, slendro sanga 3:03
Gender and voice (Female Dhalang): Ibu Pringgo Hadiwiyono
5. Macapat ASMARADANA, slendro miring 3:50
Pesindhen: Nyi Cendaniraras; Rebab: Darsono
6. Ketawang PUSPA WARNA, slendro manyura - Gender based 6:49
7. Ladrang RAJA MANGALA, pelog nem - Rebab based 5:45
8. Ladrang SOBRANG, slendro nem - Bonang based 8:28

From the record label:
Our series of Javanese classical music recordings continues to expand, this time with a disc which investigates further the tonal and timbral qualities of a number of instruments present in gamelan ensembles.

John Noise Manis. with counsel from Joko Purwanto, both writing a commentary in the CD booklet, has chosen for this CD (recorded in studio by the master musicians of the Surakarta Conservatory) a selection of pieces that exemplify the peculiar sonorities of Javanese classical music, entrusting them to several small ensembles to draw out its wealth of subtle nuances and tonal shadings. But far from being a dry didactic exercise, Modes and Timbres, repays close listening, allowing even the untutored ear to discover for itself the astounding, limitless possibilities of the gamelan.

Each of the CD’s eight tracks underlines the particular role the different instruments of the gamelan play in the overall structure of the music,

In the first piece (Langen Gita Srinarendra) and again in the sixth (Puspa Warna) the guiding instruments comprise the suling (bamboo flute), gender (a delicate sounding metallophone) and gambang (wooden xylophone). On track 2 (Suba Kastawa) and 7 (Raja Mangala) on the other hand, most evident is the sound of the rebab (vielle), while on tracks 3 (Golong) and 8 (Sobrang) the accent falls on the bonang (a set of small gongs, which rest horizontally on a frame).

Equally interesting is the fourth piece presenting three examples of pathetan where Ibu Pringgo Hadiwiyono takes on the role of both the singer and the gender player. This musical form is typical of accompaniments to shadow puppet theatre (Wayang), whose role is to create atmospheres concordant with the events of the drama (for example, moments of suspense or joy). Track 5 (Asmaradana) also features a female vocal this time intoning a sung poem (macapat) in conversation with the sound of the rebab.