Musicians of ISI Surakarta, Group of the Impermanence - Gamelan of Central Java - 36 Music of Remembrance and Redemption (2021) [Hi-Res]
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BAND/ARTIST: Musicians of ISI Surakarta, Group of the Impermanence
- Title: Gamelan of Central Java - 36 Music of Remembrance and Redemption
- Year Of Release: 2021
- Label: YANTRA
- Genre: World
- Quality: 16-bit/44.1kHz FLAC / 24-bit/44.1kHz FLAC & booklet
- Total Time: 01:08:54
- Total Size: 310; 657 MB
- WebSite: Album Preview
It wasn’t easy to fnd out what the Javanese equivalent of the Western idea of 'music of remembrance' could be. In the Western culture – leaving aside the 'funeral music' that historically has accompanied offcial ceremonies in certain national and regional areas – the notion of remembrance music generally calls on pieces of the classical repertoire that are somber in character.
In Java, I have asked several persons, especially musicians, what pieces of the traditional repertoire or what type of gamelan music would mostly suit and be used for remembering the dead, particularly in a private context, when feelings of affections tied and tie the living to the deceased. Answers have been inconclusive and ambivalent. Objective observation does not help much, as it can happen that, for example, for a function of slametan (or mulyarars), where musicians commemorate another musician who has passed away, a piece named 'Wilujeng' is often played (possibly by candlelight). But, this well-known title is also played as welcome music, or as an opening to a klenengan (concert). The meaning of 'wilujeng' is varied, according to the context. It's a well-wishing expression carrying such meanings as salvation, prosperity, good news, etc. Thus, we have to infer and make explicit something that is a likely component of the Javanese cultural context: contrary to the Western feeling and practice, for some people in Java memorial music should not be sad and mournful – in a remembrance function such music would attract malevolent spirits and might bring further deaths and ills. The music should rather be untroubled and serene, so as to attract benevolent spirits who will accompany the journey of the deceased and protect the living.
But then the Wilujeng piece can be played in different laras (pelog or slendro), in different pathets, and with different treatments. Which means that that music can be 'changed' and adapted to create various types of feelings, including the somber, refective ones which in the West are standard for the circumstance. Thus, the situation remains fuid and undetermined, as is often the case with the rich and complex Javanese culture. Bapak Sumarsam, whom I had asked for guidance, aknowledges that some research is needed on the subject, but also states that, clearly, there is no uniform practice and that the music community occasionally tends to create new expressions for remembrance functions.
The present album does not claim to be representative of Javanese remembrance music – nor I think that such objective be attainable. Most of the pieces were indicated by the excellent and competent musicians of ISI Surakarta. Whether they prevalently had in mind their interpretation of the Western notion of remembrance, or their own authentic notion, I cannot really tell.
In any case, the initial piece in the present programme, Laler Menggeng, does fulfll the character and intent that I subjectively meant to include in the album. This is a recording of the music that was actually played by a small ensemble of four performers – three young Yogyanese musicians and Daniel Wolf – on the lawn of the Montebello residence for a special remembrance. John Noise Manis
Tracklist:
01. Group of the Impermanence - Gendhing Laler Menggeng slendro sanga (Montebello Version) (13:19)
02. Musicians of ISI Surakarta - Ketawang Sinom Logondhang slendro sanga (07:56)
03. Musicians of ISI Surakarta - Ktw Gd Tlutur Ldr Panjangilang Ktw Dhandhangula Tlutur Ayak-Ayakan Tlutur slendro sanga (21:29)
04. Musicians of ISI Surakarta - Ladrang Turun Sih pelog lima (15:22)
05. Musicians of ISI Surakarta - Ketawang Mijil Dhempel slendro sanga (gendhing kemanak) (10:48)
In Java, I have asked several persons, especially musicians, what pieces of the traditional repertoire or what type of gamelan music would mostly suit and be used for remembering the dead, particularly in a private context, when feelings of affections tied and tie the living to the deceased. Answers have been inconclusive and ambivalent. Objective observation does not help much, as it can happen that, for example, for a function of slametan (or mulyarars), where musicians commemorate another musician who has passed away, a piece named 'Wilujeng' is often played (possibly by candlelight). But, this well-known title is also played as welcome music, or as an opening to a klenengan (concert). The meaning of 'wilujeng' is varied, according to the context. It's a well-wishing expression carrying such meanings as salvation, prosperity, good news, etc. Thus, we have to infer and make explicit something that is a likely component of the Javanese cultural context: contrary to the Western feeling and practice, for some people in Java memorial music should not be sad and mournful – in a remembrance function such music would attract malevolent spirits and might bring further deaths and ills. The music should rather be untroubled and serene, so as to attract benevolent spirits who will accompany the journey of the deceased and protect the living.
But then the Wilujeng piece can be played in different laras (pelog or slendro), in different pathets, and with different treatments. Which means that that music can be 'changed' and adapted to create various types of feelings, including the somber, refective ones which in the West are standard for the circumstance. Thus, the situation remains fuid and undetermined, as is often the case with the rich and complex Javanese culture. Bapak Sumarsam, whom I had asked for guidance, aknowledges that some research is needed on the subject, but also states that, clearly, there is no uniform practice and that the music community occasionally tends to create new expressions for remembrance functions.
The present album does not claim to be representative of Javanese remembrance music – nor I think that such objective be attainable. Most of the pieces were indicated by the excellent and competent musicians of ISI Surakarta. Whether they prevalently had in mind their interpretation of the Western notion of remembrance, or their own authentic notion, I cannot really tell.
In any case, the initial piece in the present programme, Laler Menggeng, does fulfll the character and intent that I subjectively meant to include in the album. This is a recording of the music that was actually played by a small ensemble of four performers – three young Yogyanese musicians and Daniel Wolf – on the lawn of the Montebello residence for a special remembrance. John Noise Manis
Tracklist:
01. Group of the Impermanence - Gendhing Laler Menggeng slendro sanga (Montebello Version) (13:19)
02. Musicians of ISI Surakarta - Ketawang Sinom Logondhang slendro sanga (07:56)
03. Musicians of ISI Surakarta - Ktw Gd Tlutur Ldr Panjangilang Ktw Dhandhangula Tlutur Ayak-Ayakan Tlutur slendro sanga (21:29)
04. Musicians of ISI Surakarta - Ladrang Turun Sih pelog lima (15:22)
05. Musicians of ISI Surakarta - Ketawang Mijil Dhempel slendro sanga (gendhing kemanak) (10:48)
Year 2021 | World | FLAC / APE | HD & Vinyl
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