Puspa, Kembang, and Sekar are three
Javanese words that can be translated as “flower”. One of the three
words appears in the title of every piece selected for this cd, so
the theme of flowers joins together the four gamelan compositions.
Three of these have sung texts, and
their main parts are translated into English - not an easy
thing to do. In fact, Javanese is not one language, but several languages
that get stratified in various dimensions - geography, social structure,
and time. It was aptly said that defining the meaning of Javanese
words is like aiming at a moving target. But why should we be concerned
with the ambiguity of the Javanese language, while we are mainly dealing
with the most ambiguous language of all, that is music?
Ketawang
PUSPA WARNA, slendro manyura.
This is perhaps the piece most widely known
in the Javanese gamelan repertoire.
It is present in a number of recordings
- most notably in two Lps (now Cds)
by Robert Brown. One of the Brown’s recordings was sent into space
with the Voyager, together with other musical
works representative of the
presence and creativity of the human race.
But normally only two stanzas - three at
most - are performed out of the original
nine of the poem written by Prince Mangkunegara
IV (1853-1881). The text
refers symbolically to nine kind of flowers.
In our recording we wanted to have
all nine stanzas.
Being
aware that the custom of playing only two or three parts probably
aims
at avoiding an excess of musical repetition,
for this recording we designed
a varying “orchestration” within the composition
- and the musicians gladly
went along with the idea.
So, the first and last stanzas are for “tutti”,
the second has a leading role for pesindhen and rebab, the third for
pesindhen and bonang, the forth privileges
the gender
and reduces the gerongan to one man, the fifth has the
siter solo, the sixth the gambang,
the seventh brings the kendhang
(drum) to the foreground, and the eighth introduces a “second”
rebab to play the part
of the gerong (male chorus).
The nine flowers referred to in the text are: kencur,
blimbing (starfruit),
duren (durian), aren (sugarpalm), gedhang
(banana tree), jati (teak),
jambé
(betel palm), kapas
(cotton plant), pandan (pandanus). Here is a translation
of
the beautiful poem by Prince Mangkunegara IV, sung by the
gerong.
Puspa Warna
"A variety of flowers"
Flower of the kencur plant
always
talked about with admiration,
her body is well-shaped
and her movements graceful,
she is so charming in speech
that one feels carried
away.
Flower of the starfruit
tree
when picked soon comes back,
she shines sweetly
indeed like a precious
jewel,
she is the queen of flowers
and the essence of women.
Flower of the durian tree
one
stops to look at it
amazed at her shape,
her sweet smiles
and her elegant speech
embrace the senses.
Flower of the sugarpalm
bends
over the durian branches,
whenever I
am looking at you
and thinking of the flower
I become wistful.
Flower of the banana tree
hangs
down over a pond,
it is appropriate for those
of noble descent
to have a demure expression
and unaffected manners.
Flower of the teak tree
scattered
all around the house,
I am standing and looking out
waiting for you
endlessly, not knowing
if I will match.
Flower of the betel palm
opens
fragrantly in the evening,
I am overwhelmed
to receive your visit
hoping
that you will grant your favour.
Flower of the cotton plant
constantly cut,
I
strongly desire
to adore you
to
fulfil your wishes
unresistingly.
Flower of the pandanus
plant
scattered on the floor,
when you come down
to my place,
do not be anxious
I will surrender.
Gendhing
bonangan KEMBANG
GEMPOL, pelog lima.
The flower giving the title to this composition
does not have an English
equivalent. We may simply enjoy the pure sound of the gamelan
in its typical
instrumental version. This is probably the sound that more
easily fascinates
the Western ear, and rightly so. It can be possibly said
that the sounds of the
rebab and of the pesindhen (female voice) - which characterise a large portion
of Javanese gamelan music - require a bit more time for the
taste to be acquired
on the part of a newcomer into gamelan music.
The second part of the piece - the minggah
- is actually in a ladrang
form
with its own title: Bayemtur.
Gendhing
KEMBANG
MARA, pelog
lima.
The title of this majestic gendhing means
litterally “the flower comes”, which
immediately indicates the symbolic context used in this and
in many musical
compositions. In this case, one interpretation has “flower”
standing for “maiden”.
The text sung in this gendhing follows the practice used
in many vocal compositions (including
the pesindhen part in PUSPA WARNA). The type of text used is known
as wangsalan
- when singing, the pesindhen draws at will from a collection of
poetic riddles.
There are two practical consequences of
this practice. Firstly, there is not a fixed
one-to-one correspondence
between a given composition and a given text. Secondly, as the pesindhen adapts a text to a piece, it can occur that
the sentences are
somewhat rearranged or stay incomplete in order to follow
the needs of the music.
The music is highly expressive in this classical form, where
the rebab and the
female voice are protagonists.
This performance was designed to have a
relatively sparse singing in the merong
(first half of the gendhing), in a way to
emphasise the stately character
of the beautiful composition. Towards the end
there is a section, sesegan,
where a change in mood takes place and a fast pace
is taken by the metallophones (bonang
and saron) without rebab
and pesindhen
- these both rejoin before the final gong.
The gendhing does not end the before the stringed instrument has played its long expressive coda (pathetan).
Ladrang
SEKAR GADHUNG, slendro manyura.
The final piece is a rarely performed one. It is much revered
and connected
with elusive mythical stories. The flower in the title is
that of a variety of
creeping edible tuber which is toxic if not cooked properly.
The content of the text,
again, is both spiritual and educational. The word that is
heard being repeated - “merdiko” - means “free” and, according
to one
interpretation, points
to the condition that the individual needs to create within
himself to be the master of his own life.
We provide a translation of what the pesindhen (P) and the
gerong (G) sing,
sometimes in close alternation.
P Tip of the finger
bone of a coconut leaf
sweetly, sweetly, to be in your power
is in fact a
remedy.
P Father, father, a whirlwind
my feelings are in turmoil
when I am in your presence
sweetly, sweetly, my feelings are in turmoil.
Free, free, free, forever.
G Sister, wearing a scarf decorated
with a “kawung” pattern
do come here
I am asking for help.
P/G
At night-time
the Great Man sets off to meditate
the army of monkeys is quiet
they are all together asleep
even brother Sudarsono
has
been asleep for a long time.
Free, free, free, forever.
P/G
Uncle, uncle, bathing the horse
just now there was a piece
of cloth
a
coconut shell carried away.
That piece of cloth, what is it?
It
is a piece of woven cloth with a silken border
hesitating
two “gadhung” flowers hanging
down.
P/G
The smoke of incense drifts off.
Clearing
the thoughts is the handsome one (Rama).
The entire world
is under his rule
but
in a very concealed way
the god Kanékaputra
descends from the sky.
The
music - somewhat surprisingly, given the pedagogical nature of the
text - is
lively and fresh, alternating and joining the voices of the
pesindhen and the male
chorus. This type of music,
both in its form and its character, comes close to
the more popular style of the classical repertoire.
A
critical review by Sumarsam
Pak
Sumarsam, born in Surakarta (Central Java), is presently adjunct
professor of music at Wesleyan University (Middletown, Conn.) and
an internationally renowned gamelan musician. He conducts workshops
and concerts throughout the world. He has written “Gamelan - Cultural
Interaction and Musical Development in Central Java”, University
of Chicago Press, 1995.
In
klenengan (traditional gamelan performance)
the progression of musical moods, from tranquil to lively, guides
musicians to select the pieces they play. This implies that the
selection of pieces is based on certain sequences of modal classification
(pathet). For example, in a night performance,
the sequence is: pieces in slendro
pathet nem or pelog pathet
lima, pieces in slendro
pathet sanga or pelog pathet nem; and ending in pieces
in slendro pathet manyura
or pelog pathet barang. In addition, the sequence
of the pieces is also arranged according to their character, following
moods progression as mentioned above.
As with any recording of gamelan, because of its time limit, this
CD cannot exactly reproduce this traditional gamelan practice. To
a certain extent the sequence and selection of the pieces follow
prescribed mood progression stated above, with the first piece (PUSPA
WARNA) as an introductory piece. In addition, the producer creatively
chose to select the pieces on the basis of the theme of flowers
(i.e., the word "flower" appears as part of the titles
of the four pieces presented in the CD).
In spite of this thematic constraint, the CD offers listeners with
enough musical variety. This is accomplished by the selection of
the pieces - they are pieces composed in various formal rhythmic
structures (two short structures, ketawang and ladrang, and two longer structures, gendhing), in two tuning systems (slendro and pelog), and
the inclusion of an instrumental piece (gendhing
bonang). These pieces present a variety of garapan or musical treatment, exemplifying various moods. In this
sense, this CD is a welcome addition to existing recordings of gamelan.
The first piece in this CD - PUSPA WARNA - deserves a special comment,
since it is presented in an unconventional way. It is a bit unusual
that, in spite of the presence of the rebab,
the gender plays the introductory melodies.
Considered as one of the most popular pieces, PUSPA WARNA is a composition
whose identity is contained in the gerongan
(the part sung by the male chorus); i.e., the piece is composed
on the basis of the gerongan
melody. There are nine verses or stanzas of poetic text originally
written for this male chorus. It is true that usually out of the
nine verses only three are sung. However, lack of evidence prevents
us from knowing with certainty whether all nine verses were ever
sung in a single performance. It is possible that the nine written
stanzas were enjoyed solely as literary work by literary circles
at the time the piece was composed (i.e., the nineteenth century,
which was known as the period of literary renaissance). The collection
of poems that PUSPA WARNA belongs to is contained in a manuscript
entitled “Sendhon Langen Swara”, attributed to Mangkunegara IV (r.
1853-1881). The collection includes nine poems: Langen Gita, Wala
Gita, Raja Swala, Sita Mardawa, Puspa Warna, Puspanjala, Taru Pala,
Puspa Giwang, and Lebda Sari. Each poem has a different number of
stanzas - with ketawang Langen
Gita having as many as twenty.
For someone who wishes to hear clearly each of the various elaborating
instruments, as well as kendhang
and singing, PUSPA WARNA in this CD is the answer. The CD presents
each or a pair of these instruments and singing as if in a lecture-demonstration,
foregrounded in turn. Certainly this is very useful for any gamelan
student who learns these instruments and gamelan singing. Musically,
this may be one of the reflections of the way listeners listen to
the music: taking turns and enjoying one or two instruments at a
time. But having a second rebab
imitating gerongan cannot
be found in any traditional gamelan practice.
The pieces in the CD, except KEMBANG GEMPOL, employ a variety of
texts sung by the singers. We have mentioned the poems of the “Sendhon
Langen Swara” collection - which includes PUSPA WARNA -
that are specific for the corresponding musical pieces (another
collection of texts and music with similar one-to-one relation,
for commemorating special court events, is “Gendhing Panembrama”).
Apart from these cases, normally a set of song texts can be sung
in different musical compositions. The use of the same text for
different pieces confirms the commonly held opinion that the role
of the pesindhen singer
in the gamelan is far removed from the role of a soloist; exceptions
can be found in a few compositional genres, such as jineman and palaran, where
the pesindhen singing functions more closely to a soloist’s role.
This leads to the question of the meaning of song texts. Informal
discussions on the meaning of the text occasionally take place among
learned listeners. In the context of a performance, however, the
texts sung by the singer cannot always be understood. In any event,
it is educationally and culturally
useful to know the meaning of these texts; hence the case for translating
them into English.
As acknowledged in the liner notes, it is not easy to translate
these song texts. Except for the nine-stanza gerongan poem in PUSPA
WARNA, originally these song texts are unaccompanied sung poetry.
What they have in common (including the “secondary” pesindhen text
in PUSPA WARNA) is their poetic design called wangsalan.
In this form, the initial lines of each verse is a riddle, describing
people, animal, or things, which points to other meanings. The word
implied by these initial lines (i.e., the answer to the riddle)
will appear completely or incompletely in the subsequent lines -
but in different contexts. These proceeding lines usually contain
moral ideas, the expression of the emotion of love, reverence to
nobility, satire, or other subjects. Below are two examples, taken
from PUSPA WARNA and SEKAR GADHUNG.
Wangsalan in the beginning song text of PUSPA WARNA:
Kembang kencur (Flower
of the kencur plant - this flower is called sedhet)
Kacaryan anggung cinatur
(Always talked about with admiration - referring to the subject
of the poem)
Sedhet kang sarira (Her
body is well-shaped - notice the word sedhet,
taken from the implied meaning of
the first line. Beside the name of the flower of the kencur plant,
sedhet also means "well-shaped",
referring to a woman with a well-shaped figure).
Wangsalan for pesindhen at the beginning of SEKAR GADHUNG:
Ujung jari (Tip of the
finger = kuku, nail)
Balung rondon ing kalapa
(Bone of coconut leaf = sada,
palm-leaf rib)
Kawenngkua (To
be in your power - notice the syllable ku,
a partial word of kuku,
from the implied meaning of the first line)
Sayekti dadi usada
(Is in fact a remedy - notice the syllable da,
derived from sada, the
word from an implied meaning of the second line).
Other song texts, usually used by the male chorus, are not necessarily
composed in wangsalan
form. The most common text-form used for the gerongan is kinanthi
- each stanza consists of six lines with ending-vowel u, i, a, i,
a, a. A text in this form becomes a generic text that can be sung
in many pieces by the male chorus. And the kinanthi
text sung in SEKAR GADHUNG is used most often. The text tells the
story of the prince Rama (referred to in the second line of the
first verse as the Great Man) from the Ramayana epic.
SEKAR GADHUNG is rarely played, perhaps because of its uniqueness.
It is one of the very few pieces with introductory melodies played
by the gambang (wooden xylophone). The piece incorporates
several elements of song texts: the generic wangsalan, isen-isen (a filling-in line, such as “Rama-Rama”
used by the pesindhen), the kinanthi
meter, and a quotation of song texts from children’s stories ("Uncle,
uncle bathing the horse, etc.”). It is curious that the words “Merdiko
salaminya” (free forever) are added as an ending-line to the kinanthi
song text. Does "free" point to the freedom to master
individual life, as the liner notes suggest? Or "free"
refers to "free Indonesia," i.e., Indonesia independent
from colonialism? (“Merdiko” is a Javanized version of the Indonesian
word “merdeka”). All things considered, SEKAR GADHUNG is really
a unique piece. Unfortunately, its origin and background are difficult
to trace.
Certainly, listeners have the prerogative to enjoy music as aesthetic
pleasure only. After all, oftentimes it is difficult to trace the
background of a piece, and sometimes the title of the piece gives
us an ambiguous picture regarding the connection between the composition
and the moods of the music. Often, when we ask musicians about the
meaning of the title of a piece, they will either say “Don’t know”
or they will interpret it according to whatever information they
might have heard from other musicians or from older musicians. In
any event, it is always exciting to figure out, interpret, or comment
on the background and meaning of these pieces.
In connection with this review, I was asked the question: “How does
a Javanese listener react to the association of a given known gendhing
with a wangsalan text that “happens” to be sung in a particular
performance?” Javanese listeners respond to a gamelan performance
following the moods of the piece (calm, dignified, animated, etc.),
the mood progression (such as the changing from one section to another),
the admiration for the pesindhen’s dexterity in andhegan or in jineman or palaran. If
they can catch the meaning of wangsalan, they may comment on it
not because of the text’s relationship with the gendhing, but because
of its moral, philosophical, romantic or other content. Many listeners
don’t even care about the meaning of these texts. In many ways listening
to gamelan is like enjoying a wayang performance
- the lakon (story) is not the only thing the audience is enjoying. The deliverance
of janturan (narration)
in stylized language, the wayang movements, the jokes, the music,
the visual artistry, the dialogue, these are all integral part of
the performance. And the audience enjoys them all together or in
turn. Often the story is minimally attended.
The sound quality of the CD is excellent. It is a studio-quality
sound; the recording was done at the STSI studio. This also means
that the CD does not project the kind of sound-scape that one hears
when gamelan is performed in traditional spaces, such as in a pendhapa
(a wall-less front hall of the house) or in a princely residence.
I understand that the producer has chosen to have an in-studio performance
for its better clarity and identification of instruments, given
the particular program presented.
1
- 22:02 - Ketawang
PUSPA WARNA slendro manyura
2
- 11:03 - Gendhing
bonang KEMBANG GEMPOL pelog lima
3
- 25:53 - Gendhing
KEMBANG MARA pelog lima
4
- 11:43 - Ladrang
SEKAR GADHUNG slendro manyura
Pesindhen: Nyi Cendaniraras
Gender: Ibu Pringga
Rebab: Suraji
Niyaga (Musicians): Darno, Darsono, Hadi Boediono,
Nyoman Sukerna, Panggiyo, Prasadiyanto, Rusdiyantoro, Rustopo, Sarno,
Sigit Astono, Slamet Riyadi, Sukamso, Supardi, Waridi.
Gamelan: The Ancient Gamelan of STSI (Sekolah Tinggi
Seni Indonesia) Surakarta
Musical Coordination: Joko Purwanto
Musical Design: John Noise Manis
Recording: June 22, 2002 at Studio Sembilanbelas of
STSI - Sound Engineer:
Iwan Onone
Mastering: Studio Nautilus, Milan
Translations: Clara Brakel
YANTRA
PRODUCTIONS