Tag Archives: rri surakarta

Gending : CucuR BawuK


Lokananta – ACD 105
Klenengan Nyamleng
Keluarga Karawitan RRI Stasion Surakarta
Pimpinan : P. Atmosunarto.
Bawa : Sastrotoegiyo.
Pesinden : Soemarmi, Toekinem, Toegini.

Side A :
Bawa Sekar Ageng SUDIRAWARNA dawah Gending BONDHET kalajengaken Ketawang RAJASWALA Slendra 9.

Side B :
Gending CUCURBAWUK minggah PAREANOM kalajengaken Ldr. Srikaton terus Ketawang SUKMAILANG Slendra Manyura.

Audio Link : 

http://www.4shared.com/folder/BUQPwq10/ACD-105_Cucur_Bawuk.html

 

by Bram Palgunadi on Monday, December 6, 2010 at 7:16am

Pagelaran wayang, sejak beratus tahun yang lampau, selalu diawali dengan dimainkannya suatu konser karawitan khas, yang mengawali setiap pagelaran wayang. Konser karawitan yang sangat khas ini, lazim disebut ‘talu’ (dalam bahasa Jawa) atau ‘tatalu’ (dalam bahasa Sunda). Konser karawitan ini, dimainkan sekitar satu jam, sebelum pagelaran wayang yang sesungguhnya dimulai. Seluruh filosofi cerita kehidupan manusia, sejak ia belum ada, kemudian lahir, berubah menjadi remaja, menginjak dewasa, dan berubah menjadi tua renta, serta akhirnya sampai pada masa kembali tiada (kembali ke haribaan Yang Maha Kuasa),  diceritakan dan ditampilkan dalam sekumpulan komposisi gendhing(lagu). Ini merupakan ringkasan seluruh kehidupan manusia di ‘alam jana loka’. Sedangkan pagelaran wayang yang dimainkan semalam suntuk (sekitar 7 – 8 jam), sebenarnya hanya merupakan penggalan sepersejuta dari seluruh kehidupan manusia di dunia ini.

Dalam banyak kesempatan, pagelaran wayang (yang manapun), orang atau penonton seringkali tidak mengerti dan tidak memahami secara lengkap, mengapa selalu ada permainan konser karawitan Talu. Bahkan, banyak juga yang beranggapan bahwa dimainkannya gendhing-gendhing Talu hanya sebatas sebagai tanda bahwa pertunjukan wayang hendak dimulai. Ini merupakan pemahaman umum. Sudah barang tentu, setiap daerah mempunyai kekhasan sendiri dalam memainkan gendhing-gendhing Talu.

Di bawah ini, dikutipkan dari buku Serat Kandha Karawitan Jawi, bagaimana gendhing Talu dimainkan, apa tujuannya, apa maknanya, dan apa yang dikandung di dalamnya. Meskipun bahasan ini didasarkan kepada kebiasaan dan tradisi yang berlaku pada pagelaran wayang kulit purwa Jawa, tetapi sebenarnya berlaku universal.

Talu, adalah permainan karawitan atau permainan gamelan, yang mengawali suatu pagelaran yang sesungguhnya. Dalam hal ini, biasanya talu hanya dimainkan untuk mengawali pagelaran wayang saja. Pada saat talu, biasanya dimainkan gendhîng (lagu) khusus, yang memang digunakan untuk keperluan pengiring taluGendhîng (lagu) pengiring talu ini, lazim disebut gendhîng talu ataugendhîng patalôn. Tidak diketahui dengan pasti, sejak kapan gendhîng talu mulai dimainkan orang sebagai rangkaian gendhîng yang mengawali pagelaran wayang. Tetapi diperkirakan, sudah dimainkan orang sejak ratusan tahun yang lalu.

Permainan gendhîng talu, umumnya bertujuan:

  • Mengubah dan membuat suasana menjadi renggep, regeng, sakral, magis, dan khas wayangan’. Hal ini, disebabkan hanya pagelaran wayang yang menggunakan gendhîng talu untuk mengawali pagelaran. Selain itu, komposisi dan cara memainkan gendhîng talu sangat khas; sehingga memberikan suatu ciri tersendiri.
  • Waktu yang digunakan untuk memainkan gendhîng talu, biasanya relatif lama. Jika dimainkan secara lengkap, biasanya memakan waktu sekitar satu jam. Dalam waktu selama ini, dhalang dapat menyiapkan diri sebaik-baiknya. Demikian pula para pembantu dhalang dapat menyiapkan segala keperluan dhalang, termasuk menyiapkan dan meletakkan sesajèn(sesajian) di tempat yang sudah ditentukan.
  • Pada pagelaran wayang kulît, bagian akhir permainan gendhîng talu dimainkan dengan cara yang sangat khas. Bagian ini, digunakan untuk mengiring dhalangmenaiki panggûng pagelaran, menuju ke tempat duduknya, yaitu di sebelah kanan kothak wayang (kotak tempat menyimpan wayang). Suasana pada saatdhalang menaiki panggûng pagelaran, biasanya sangat mencekam. Pada saat dhalang mulai menaiki pangung pagelaran, biasanya lampu-lampu penerangan lainnya akan dipadamkan; dan hanya bléncông (lampu penerangan yang dipasang di atas geber/kelîr wayang) yang menyala. Dengan demikian, suasananya menjadi sangat magis.
  • Bagi penonton pagelaran, permainan gendhîng talu digunakan sebagai tanda bahwapagelaran wayang akan segera dimulai. Sedangkan bagi dhalang, permainan gendhîng talu merupakan tanda untuk mempersiapkan diri. Pada saat permainan gendhîng talu diakhiri, dhalang sudah harus duduk di tempatnya, dan siap untuk mengawali seluruh pagelaran wayang.

Gendhîng talu, biasanya mulai dimainkan para panjak, sesaat setelah pengatur acara selesai mengumumkan berbagai macam informasi yang berkait erat dengan pagelaran. Misalnya, siapa yang akan menjadi dhalang, cerita apa yang hendak dibawakan dhalang, siapa pesindhèn-nya, dari kelompok mana panjak yang mengiringi pertunjukan malam itu, siapa yang punya hajat, serta dalam rangka apa pagelaran itu dilaksanakan. Pada saat ini, biasanya penonton yang tidak duduk di ruang tamu resmi, agak tidak tenang. Hal ini, lazimnya disebabkan penonton sibuk menyiapkan dan mengatur tempat duduknya. Mereka mulai mengatur tempatnya, supaya bisa dengan leluasa melihat ke arah geber/kelîr wayang. Di sekitar tempat pagelaran, keadaan biasanya berubah perlahan-lahan menjadi lebih tenang dan hening. Anak-anak berhenti berlarian atau berhenti bermain; dan memperhatikan apa yang sedang terjadi. Continue reading

Klenengan Gobjog (Lokananta ACD001)


http://polosseni.com/mastering/kgj.html

Klenengan Gobjog.

CD Release date: 17th April 2006.

LOK 006 KLENENGAN GOBJOG?Lokananta cassette ACD 001 KLENENGAN GOBJOB was issued on 30th October 1971
Keluarga Karawitan Studio RRI Surakarta director P Atmasunarto.

1. Ldr. Ginondjing Slendro. manyura.
pesindhen: Prenjak

In addition to its use as a concert piece, Ladrang Ginondjing is also used for the dance Bondhan. In this performance the dancers carry dolls to represent small children who are rocked to sleep. They also carry umbrellas and dance on earthenware jugs.
Song text: My hansdsome younger brother
Come with me, Mother is cooking for you
An oriole bird is flying overhead, I rock you to sleep
I hope when you are older, you will dare to fight in the resistance

2. Ldr. Tirta Kentjana, Pelog Nem
pesinden: Soemarmi

The gerong text used is salisir.
The music alternates between the ciblon drum and two ladrang drums
The Selisir text contains light-hearted banter between a man and woman.
The arrangement of the piece from ladrang to ladrang is known as Gegot (gending Gecul)
This piece provided the choreographer S Ngaliman with inspiration for his dance Joko Tharub in 1976- 77.

3. Ldr. Tjluntang Rinengga – Slendro. Sanga.
Attributed to Sultan Pakubuwono IV
pesinden: Soemarmi

This text was written by Nartosabdo, It is a description taken from the shadow puppet theatre. Sometimes Nartosabdo created joint compositions. He was a puppeteer and rebab player.

Tjluntang means impudent, and this piece continues into gending Loro Wudu.
Loro means ill, Wudu means insane. This tune usually describes a comical character such as Janaka. The text tells how many people are enchanted with Janakaís beauty and believe him to be a god although he claims to be no more than a human. Not only women but men also are charmed to see him. Some give him flowers, others food and other gifts.

A most unusual aspect of this performance is that there are two choirs singing in this piece.

Continue reading

Rangu-Rangu (ACD015 Lokananta)


http://polosseni.com/mastering/rangu2.html

Rangu Rangu

CD Release date: August 17, 2006.

This CD contains all the tracks on Lokananta cassette ACD 015. The cassette was issued on the 15th of September, 1972. Keluarga Karawitan Studio RRI Surakarta led by P. Atmasunarto.

LOK 010

1. BUKA TJELUK PADANG REMBULAN

katempen Gending KINANTI DJURU DEMUNG mawi ndeg-2-an kalajengaken PUSPANDJANA. Slendro Manyura

Pesinden Tukinem

In the Javanese court or Keraton, only the inggah section of Bedaya Pangkur is used, without the ciblon drum.  The gerong and pesinden sing together.

Padang Bulan (Tjeluk Padang Rembulan ) is also known as Kinanthi Padang Bulan. In the Keraton there is a bedaya dance named Bedaya Pangkur.  The gending (tune) for Bedaya Pangkur uses Kinanthi Padang Bulan.  When Pangkur Bedaya reaches the end, or suwuk, it continues into Buka Celuk Padang Bulan. It is known as Kinanthi Padang Bulan because the beginning (buka celuk) uses the words padang bulan:

Padang bulan kekencaran

Nedhenging purnama sidhi

translated: the moon’s is brightest on the night of the full moon, (purnama sidhi).

In a traditional Javanese wedding ceremony there is a section known as kirab in which the bride and bridegroom walk past the guests and ask for their blessings.  This kirab procession sometimes uses Kinanthi Padang Bulan.

Kinanthi Juru Demung is similar to Kinanthi Padang Bulan.

What distinguishes the two is that when it is performed in slendro manyura, the text used for the bedaya dance is the text Juru Demung.  But in a concert or klenengan performance with the same balungan notation, after the juru demung text used in irama dados, the gerongan text changes to kinanthi in the irama ciblon section.  It is called Kinanthi Juru Demung because in a performance, the text kinanthi is used as well as the text juru demung.

PUSPANJANA is a musical interlude which is sometimes used when Kinanthi Juru Demung is performed as klenengan. This interlude is in ladrang form and cannot be performed alone but as a continuation of Kinanthi Juru Demung.  The text used is taken from Sekar Ageng Kusumastuti.

This tells the story of Begawan Suwandagni and his son Suwanda.  Each day Suwanda increases his wealth of mystical or spiritual knowledge.  When it is felt he has sufficient knowledge, he is sent to the city to find work as a servant of the king.  He finally leaves his village and travels to the city to serve the king, Arjuna Sosrobau.

“Oh my child, it is time for you to go to the city

Do not spend all your life in the village

You should go to the city

To the city and work for the king

My only message to you is that you continue to work hard in all things.”

The king agrees to accept him as a servant if he can prove himself by winning a contest.  The prize for the winner is a princess.  Suwanda wins the contest and is appointed as the prime minister (patih) to the king.

2. BAWA SEKAR AGENG RETNAASMARA dawah gending KEMBANG WIDARA minggah ladrang TJANGKLEK keseling lagu dolanan PENDISIL Pelog Nem

Bawa: Sastrotugijo, Pesinden: Sunarti.

Continue reading

Gambir Sawit (Lokananta ACD101)


http://polosseni.com/mastering/gsaw.html

Gambir Sawit.

CD Release date: 17th December 2005.

Gambir Sawit. The former Majapahit empire which was Hindu/Buddihst was at last penetrated by the force of Islam.

Gambir Sawit is a tune which celebrates the Hindu/Buddhist peoples’ wish to be able to convert to Islam at the end of the Majapahit empire. In the year 1478 the Majapahit empire was declining, enabling Islam to enter into that kingdom.  As many people decided to convert to the Islamic faith Sunan Kalijaga celebrated the ease with which they could do so by composing the tune Gambir Sawit, which refers to this ease of the people’s entry into Islam in happiness and without force.

Gambir Sawit is one of the primary light classical pieces in the Central Javanese repertoire. It is one of the first pieces that a musician would learn after they have mastered all the Ladrangs and the fast pieces etc.

This piece is known by all gamelan musicians who play in the Solo/Jogyanese style. It is defined as light classical because it has a longer form and therefore in Jogya but especially in Solo the rebab, the gender and the persinden get to do more improvisation. There’s more space, which makes it light classical.

This CD is a Gambir Sawit suite. It is is prefaced by a bawa sekar  “flower” song form, an introductory song by a solo male voice in the form called Sekar Ageng or big song.

The name of the melody is Rara Turidha. This bawa song has four lines. The singer comes to the fourth line and there is a melody leading to the gong which in this case is gong five.

This CD contains many variations on the Gambir Sawit theme.  Over the years musicians have created new arrangements of Gambir Sawit. These variations on Gambir Sawit are usually based on different musical techniques.

Pare Anom it is the name of a variation added to the Gambir Sawit composition. Here the word kebar refers to a special drumming technique used for dance in the gambyong tradition. Gambyong is similar to joged bumbung in Bali; it’s a social dance and it’s a little complicated in that there is an aspect of classical forms involved as well. Pare Anom is the section which is very exciting and the sarons play very distinct melodies loudly. The drum plays suddenly and extremely loud and that’s the kebar.

Next follows the minggah ciblon Pancer Ana. Minggah means to “go up” and ana means ada  “there is”. Pancer is a musical technique where you intersperse an ostinato note in the balungan between every other melodic tone. The higher note is the pancer.

Interestingly enough that is sometimes called “pacar cina”, the Chinese girlfriend. The ciblon is the drum that plays the exciting music and it’s the name of the drum but its also the name of that treatment of the music where the gending “tune” has been expanded by pulling apart the balungan a little in time and making more space, therefore giving more improvisation opportunities to the gambang, the gender , the rebab and the persinden where they actually double up on their notes. This is called a change of irama or a change of time-space. Gambyong is a social dance or street dance where women get up and choose a partner by handing the slendang to the guests. So ciblon is also part of this gambyong dance tradition and the ciblon drumming style was the one that was taken into the palace and put into classical music. It didn’t exist before that in the palace repertoire. So the ciblon Pancer Ana would be that piece that would be played for the gambyong dance.

The next piece is malik which means to reverse. To flip over to another Gambir Sawit in slendro sanga. In Central Java the transposition of a piece from pelog to slendro is fairly common. This is a laras “scale” change from pelog nem to slendro sanga which is played for a while before the musicians malik to Gambir Sawit Jangga Lana. Jangga Lana is yet another traditional arrangement of Gambir Sawit and this time in pelog nem.

This is followed by a malik to Gambir Sawit Sembung Gilang which happens to be in slendro sanga.  Sembung Gilang as well as Jangga Lana  have some kind of distinctive features. What is not distinct is the beginning section called the marong.  The marong is the beginning first section which is typically one of two gongans.  In this case it is four lines of sixteen beats so it’s a 64 beat composition and Gambir Sawit happens to be a one gongan marong. The marong will always be the same, more or less, and then when it moves into the added section it incorporates the Pancer Ana the Sembung Gilang etc.

Then they malik malih to Pare Anom.  The musicians have made a suite of most of the Gambir Sawits.

Bersama Keluaraga Karawitan RRI Surakarta kita nikmati bersama

Gending-Gending Dolanan


Kupu Kuwi (ACD-005)

Photobucket

Gending dolanan children songs in Javanese language accompanied by gamelan.
Title from container.
Additional title on container: Gending dolanan.

Performer(s): Keluarga karawitan studio RRI Surakarta ; Nyi Sumarmi (pesinden) ; Nyi Tukinem (pesinden) ; Nyi Suparni (pesinden) ; Nyi Supami (pesinden) ; Nyi Prenjak (pesinden).

Description: 1 sound cassette : analog.

Contents:

  1. Kupu kuwi pl. 6
  2. Bibis pl. 6
  3. Jamuran sl. 9
  4. Lindri sl. 9
  5. Jaratu sl. manyura
  6. Dempo pl. br.
  7. Jago kate pl. br.
  8. Cempa sl. 9
  9. Jagoan sl. 9
  10. Tatanya pl. br.

Lintang Rembulan (ACD-006)

Photobucket

Gending dolanan, songs in Javanese language accompanied by gamelan music.
Title from container.
Performer(s): Keluarga karawitan studio RRI Surakarta ; Nji Sumarmi ; Nji Tukinem.
Description: 1 sound cassette : analog.

Contents:

  1. Lintang rembulan slendro 9
  2. Emplek-emplek slendro 9
  3. Ilir- ilir slendro manyura
  4. Salake pelog 5
  5. Ima-ima pelog 6
  6. Kate-kate dipanah slendro manyura
  7. Djambe tukul pelog 6
  8. Mentok-mentok pelog 6
  9. Koning-koning pelog 6
  10. Dendeng kenting slendro.

Lokananta Logondang


http://www.dismarc.org/index.php?form=display&oaiid=SOAS%2F000000MV2146

Title : Logondang : klenengan nyamleng.
Subject : Gamelan music
Subject : Sound recordings.
Subject : Music
Subject : Indonesia
Subject : Surakarta
Subject : Songs, Javanese
Subject : Java
Description : 1 sound cassette 60min.
Description : Contents: [side A] Gd. Logondang, minggah Ldr. Eling-eling, mawi mandeg, terus Dandanggula, Sinom logondang, kalajengaken, Ktw.Gondang kasih, kasambet lancaran Gula klapa (Pl. 5). [side B]Gd. Majemuk, suwuk gropak, terus Ada-ada girisa, terus Slepegslobog, ngelik, kajantur, mawi dipun Uran-urani Gambuh,Asmaradana, pocung (Sl. 6)
Description : Gamelan music played by the group Keluarga Karawitan Studio R.R.I. Surakarta, led by P. Atmosunarto. Female singers:Tukinem, Sunarti and Tugini.
Contributor : [Indonesia] : Lokananta, [198-?] (role: Publisher)
Contributor : Tukinem, Nyi. (role: Author)
Contributor : Sunarti, Nyi. (role: Author)
Contributor : Tugini, Nyi. (role: Author)
Contributor : Atmosoenarto, P. (role: Author)
Contributor : Keluarga Karawitan R.R.I. Stasiun Surakarta. (role: Author)
Type : Sound
Place : Library (role: storage)

ACD Lokananta Logondang 033

ACD014 Lokananta Klenengan “Onang-Onang”


ACD014 Onang-Onang Cover

P. Atmosoenarto ‎– Onang-onang
Label: Lokananta Recording ‎– ACD-014
Format: Cassette, C60
Country: Indonesia
Released: 1991
Genre: Folk, World, & Country
Style:

ACD014 Onang-Onang Full

Tracklist

A1 Gending Titipati Kalajengaken Ldr. Siyem Sl.6 20:47
A2 Ladrang Asmaradana Sl.Mnyr. 9:23
B Bawa Sekar Ageng Manggalagita Dawah Gending Onang-onang Kalajengaken Ldr. Tirtakencana Pl.6 29:55

Credits

http://polosseni.com/mastering/onang2.html

1. Gending Titipati. Slendro Nem

The Gending Titipati was Paku Buwono IV’s last composition. Titipati is a symbol for the last gending. In karawitan, Gending Titipati is not only played for a klenengan or concert, but it is also used as a gending wayang. As a gending wayang, Titipati is played for the kedathonan portion, namely kedathonan Ngastina Dewi Banowati. It uses the ciblon drum. The text in gending Titipati is in the Asmaradana style, and the story is taken from Serat Menak (The Knight’s Letter). It tells the story of the Ambassador Damarwulan.

“During the Majapahit time, there once ruled a queen named Ratu Ayu Kencono Wungu. This queen was confronted by the regent of Probolinggo, Menak Jinggo who rebelled against the Majapahit. A huge army was sent to vanquish him, but they were wiped out.

Ratu Ayu Kencono Wungu received a vision that someone would come to fight with Menak Jinggo, and that this person would win. She found Damarwulan, the son-in-law of Majapahit vizier, patih Logender. He was married to Anjasmoro, the vizier’s daughter. They were newly wed.

The Queen summoned Damarwulan, and assigned him to fight with, and kill, Menak Jinggo.

Damarwulan’s heart was split in two. Eventually with difficulty he chose to leave his wife and go into battle.

He entered the kedaton of Blambangan, where Menak Jinggo resided. Both men fought a long fight. Menak Jinggo was very mighty, as he had a sakti (magical power) in him. Thrust by a spear, he laughed, stabbed by a dagger, he smiled. He could not be killed. Damarwulan finally lost the duel.

Damarwulan was a very handsome-looking knight

Thus Menak Jinggo said: ‘I will not kill you. You have such a handsome and fine face. I will not kill you straight away, instead I will use you.’”

For Javanese people, the lesson to be learned from this song is the hesistation one faces when one has to decide between one’s duty and responsibility as a citizen and one’s personal affairs.

In the transition from Titipati to Siyem, the galungan structure is unusual.

Ladrang Siyem.

The name Siyem is taken from Siam, the old name for Thailand. During the reign of Paku Buwono X (1893 until 1939), there were many dignitaries who came to visit the Kraton from foreign countries. When the dignitaries came from the Kingdom of Siam (now known as Thailand), the musicians played the Thai national anthem. Listening to this anthem, the pengrawit (musicians) from the Solo palace reckoned that there was an element similar to slendro in its melody. Later on they composed Ladrang Siyem, based on this melody. This melody is so popular that it is even used in the Ramayana dance in the Prambanan temple.

2. Ladrang Asmaradana. Slendro Manyura

Asmaradana is a type of a Javanese traditional song, dating from the Majapahit period. Majapahit has eleven types of tembang or sekar; including, Mijil, Kinanthi, Pucung, Sinom. Dhandhanggulo, Asmaradana, etc. From these tembang or sekar, the gending are composed.

The gending Asmaradana was composed during the Paku Buwono X era (also the time of Mangkunegoron IV). The prominent figure who composed these gendings was Raden Mas Harjo Tondokusumo. He was a member of the Mangkunegaran family.

This type of gending was commonly used to accompany a dance, called Langendrian, which belonged to the Mangkunegaran family. Langendrian is a form of dance where all the dancers are female.

The Asmaradana is very popular within the community. It is not only used for Langendrian, but also for Klenengan, Wayang Orang, Ketoprak and Wayang Kulit. In wayang kulit, it is used like Titipati, namely during the section of kedatonan. Asmaradana is also used for gending Beksan. There is golek Asmaradana, there is Beksan Menak Koncar. These gending use Ladrang Asmaradana.

Furthermore, because Asmaradana songs are pleasant, they are formed into smaller forms, namely Ketawang Asmaradana.

Asmaradana is a love song, and has a happy or cheerful character, rhythm, style and atmosphere. Although sometimes there is a sombre tone, still it is about love. It is like falling love; although there are tears, they are a different kind of tears. (laughter and tears which happen simultaneously).

The text is taken from Serat Menak, and the pesinden is Prenjak.

“Puspo jane awak mami, tangtu no pangestu ne tiang”

These words describe the scene where Damarwulan is dying, while Menak Jinggo hesitates in killing him.

There is a part before the gerong and sindhen come together, in kenong 1 called senggakan (punctuation). This senggakan functions as an ornament for the whole song.

The garap (a correct and appropriate technique in playing gending and singing a song) of this tune shows the happy character of the piece. It uses irama wiled, and irama rangkep. Both are used to support the happy atmosphere of the gending.

In irama rangkep or Double Tempo, the interplay between gender and bonang is very attractive, as if both instruments are communicating with each other. It is enjoyable to listen to them. Sometimes there are certain “signals” being expressed between each of the gamelan players, as if one is asking the other to come and play. Each musician contributes to the other respectively. Thus it is very appropriate if we say that gamelan karawitan is in fact a community life, where elements of togetherness, tolerance and communication play an important role in holding the community together.

Asmaradana is taken from Majapahit tembang. Each title of tembang Majapahit describes the stages of one’s life. Asmaradana is the stage where people start to fall in love, or take interest in the opposite sex.

3. Bawa Sekar Ageng Manggalagita, dawah gending Onang-onang kalajengaken. Ladrang Tirtakencana. Pelog nem.

Before the bawa is sung, it is preceded by a patetan, senggringan or tingtingan.

In karawitan, it is usually pathetan which has the function of emphasizing how the pathet feels for those who will sing the bawa.

Between the bawa and the gending, a dhawah is used. Between the bawa as an intro and the time the gong buka starts, this space is called dhawah. Dhawah means to fall, to come down. This term is only used in the Surakarta/Solo area.

The pembawa here is Pak Sastro Tugiyo, the same pembawa who sang the bawa in Gambir Sawit.

The bawa lines are basically telling that this is gending Onang-onang.

The merong part in Titipati has no gerong elements, whereas Onang-onang uses the gerong element. The gerong in Onang-onang uses the Kinanthi text.

There are many special garaps in gending Onang-onang. Usually the sindhen starts in kenong 2, but in Onang-onang she starts in kenong 1.

The suling sounds we hear in this recording are immaculate. It is very rare nowadays to find a suling player of such quality. Pak Tarina Pangrawit died only recently (2005).

One can notice when Onang-onang starts from the words sung by the sindhen “alah Bapak onang-onang.” It is apparent that the text is specifically for Onang-onang, and cannot be used in other gending.

After the gong, the tune Tirto Kencono begins.

In Onang-onang, the text used is kinanthi, whereas in Tirto Kencono, the text used has a structural characteristic called salisir.

Salisir only consists of four lines, each line consists of eight syllables while Kinanthi consist of six lines.

Onang-onang was a composition by PB IV, as was Titipati.

It was composed in pelog nem. At the beginning, onang-onang is in laras (tone) slendro, pathet sanga. Although it is presented in pelog, the kendangan (drum) still uses the kendang induk, namely, slendro songo.

Onang-onang is a happy gending, and many special garaps are being used for sindhen, rebab and gender. The irama transitions, cengkok, wilet, sindhen, gender and rebab are very complex and difficult.

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Silahkan Nikmati alunan karawitan nan indah disini

Javanese Wedding Ceremony


Upacara Pengantin :

Javanese Wedding Ceremony

Publisher : [Surakarta, Indonesia] : Lokananta Recording, 1976

source : http://www.amazon.com/LOKANANTA-Javanese-Gamelan-Ceremony-Pengantin/dp/B000FWH1F0

Classical Music from Central Java, Indonesia. This was the fourth cassette released under the Lokananta label, on 22 February, 1972. It immediately became a best seller, and has remained so until this day. The recordings were made in the studios of RRI Surakarta and the Karawitan Studio in Semarang between 1957 and 1959, amongst the first of Lokananta’s projects. The original tapes were used to master this CD. Upacara Pengantin includes a number of gendhing (pieces) that would be played during a Javanese wedding ceremony.

Tracks 1 to 4 and track 9 are used most regularly; tracks 5 to 8 are extra pieces that can be added as needed. The titles beginning with Sri are credited to Sultan Pakubuwono X, the ruler of the Kraton Surakarta from 1893 to 1937. Although Indonesia was newly independent, many traditions remained from the time of the royal courts.

  1. Lancaran Kebo Giro Pl. Br., RRI Surakarta, 6 October, 1957 (3:20) This well-known piece is played to welcome the guests as well as at the end of the ceremony. It was also chosen as the theme for the RRI Surakarta Javanese language news and is still played before and after the evening broadcast.
  2. Monggang, Pl. Lima, RRI Surakarta, 6 October, 1957 (3:13) Known as gamelan seton (seto or Saturday) because it was once played in the Surakarta Kraton every Saturday. Monggang refers to both the gamelan of three tones, and its music. It accompanied palace-sponsored bull fights in an open square called the Alun-Alun. The fights occurred between two bulls, a bull and a tiger, or a man and a tiger, and were watched by the royal ruler. Monggang has become the traditional music used to welcome wedding guests.ndonesia was a new republic. People were excited.
  3. Kodhok Ngorek Pl. Nem, Karawitan Studio Semarang, 22 April 1959 (3:20) Kodhok Ngorek, also a ceremonial gamelan, has atwo-tone repeated theme on the gamelan embellished by the piece Candra, played in slendro on the gender barung. The name of the gamelan may be translated as “croaking frog.” It is played to ensure that the couple will be blessed with children. The two notes evoke culturally significant “pairs” associated with marriage, such male and female, or life and death.
  4. Gending Udan Basuki Sl. Mn., RRI Surakarta, 12 May 1959, (9:58) This is usually performed before the wedding ceremony starts, while the guests are just beginning to arrive. This piece expresses the hope of the host that nothing has been spared to make the guests comfortable and assure that they will enjoy the evening. Sumarmi, psd.
  5. Ladrang Sri Kaloka Sl.Mn., RRI Surakarta, 14 October 1957, (10:36) The word Sri derives from the Javanese asri, meaning beautiful, and can also be translated as Raja, a royal ruler. With kaloka, meaning one who is well known, the title indicates a song about a famous king. Tukinem, psd.
  6. Ladrang Sri Rejeki Pl. Nem, RRI Surakarta, 7 October 1957, (11:55) This piece recalls the times of prosperity and economic stability under the leadership of Sultan Pakubuwono X. The wisdom of the royal leader made everyone happy; there was plenty to eat and money was flowing. Sumarmi, psd.
  7. Ladrang Wala Gita Pl. Nem, RRI Surakarta, 14 May 1959, (3:17) Sometimes Javanese people say “wala wala gita,” meaning that a family who has been through a catastrophe will be made strong by having to face the difficulty. Sumarmi, psd.
  8. Ladrang Sri Nindhita Pl. Nem, RRI Surakarta, 24 Feb 1958 (10:17) This is another piece extolling the goodness of the popular Sultan Pakubuwono X and his largesse towards his subjects. Tukinem, psd.
  9. Ladrang Gleyong Pl. Br., RRI Surakarta, 24 Feb 1958 (2:30) This is played as the guests depart. The host bids them goodbye and asks to be forgiven if he has not fulfilled their every desire. Rusmini, psd.

Panggih :

Keluarga karawitan studio RRI Surakarta ; P. Atmosoenarto (pimp.) ; Tukinem (pesinden) ; Sumarmi (pesinden) ; Prendjak (pesinden).
Publisher: [Surakarta, Indonesia] : Lokananta Recording, 1976.

  1. Ldr. wilujeng pl. br.: panganten kakung rawuh
  2. Kodok ngorek kalajengaken ktw. larasmaya pl. br.: panganten panggih, kalenggahaken
  3. Ldr. mugirahayu sl. mnyr.: ngabekten
  4. Ldr. sriwidada pl. br.: mangayubagya
  5. Ldr. tirtakencana pl. 6: martuwi/besan rawuh
  6. Ktw. langen-gita srinarendra pl. br.: temanten kirab.

Wiwahan :

Keluarga karawitan studio RRI Surakarta ; P. Atmosoenarto (pimp.) ; Tukinem (pesinden) ; Sumarmi (pesinden) ; Prendjak (pesinden).
Publisher: [Surakarta, Indonesia] : Lokananta Recording, 1976.

  1. Ktw. subakastawa sl. 9: kirab, wangsul dateng palenggahan
  2. Ayak-ayakan sl. mnyr.: temanten kabedol, nguntabaken kondur
  3. Ldr. tedak saking pl. br.: tamu bibaran
  4. Ldr. gleyong pl. 6: tamu bibaran
  5. Ktw. boyong basuki pl. br.: pahargyan ngunduh temanten
  6. Ldr. srikaton sl. mnyr.: pahargyan ngunduh temanten
  7. Ldr. srikarongron sl. 9: pahargyan ngunduh temanten.

Manguyu-uyu :

Keluarga karawitan studio RRI Surakarta ; P. Atmosoenarto (pimp.) ; Tukinem (pesinden) ; Sumarmi (pesinden) ; Prendjak (pesinden).
Publisher: [Surakarta, Indonesia] : Lokananta Recording, 1976.

  1. Gd. pramugari pl. br.: manguyu-uyu
  2. Gd. pujangga anom sl. mnyr.: manguyu-uyu
  3. Gd. angun-angun pl. br.: manguyu-uyu
  4. Gd. alas padang minggah ldr. kanda sl. mnyr.: manguyu-uyu
  5. Ktw. puspawarna sl. mnyr.: panganten putri medal, kalenggahaken
  6. Ldr. kapang2 pl. 6: panganten putri medal, kalenggahaken.

Nebus Kembar Mayang :

  1. Ayak-ayakan Sl. Pt. Mnyr
  2. Kidungan Penganten
  3. Ilir-ilir kalajengaken Ketawang Sekarteja kasambed Srepeg Palaran Sl. Pt. Mnyr
  4. Mijil Wigaringtyas Pl. Pt. 6
  5. Ketawang Nyondro Penganten Sl. Mnyr
  6. Ada-ada Penganten Katampen Srepeg Palaran

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