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.
1. BUKA TJELUK PADANG REMBULAN
katempen Gending KINANTI DJURU DEMUNG mawi ndeg-2-an kalajengaken PUSPANDJANA. Slendro Manyura
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.
Bawa means the start of a gending and functions as a buka (opening). A bawa enables a male singer, or penggerong, to show off his vocal skills and wealth of cengkok.
Retna is used to address a woman, Asmara – love, Retna Asmara means a woman in love.
Gending Kembang Widara
In day to day language kembang widara is the name of a tree.
The performance continues into Ladrang Cangklek. Kembang Widara and Ladrang Cangklek must always be performed together as a sequence. Kembang Widara continues into Ladrang Cangklek laras pelog patet nem.
Ladrang Cangklek was composed by Pakubuwono V. In this performance it contains a section of Dolanan (children’s song) Pendhisil. The word mendhisil means to stand out
3. Gending MUNTJAR minggah ladrang SUMYAR mawi kebar, mawi ndeg-2-an SEKAR PUTJUNG Pelog Barang
Pesinden : Ibu Soenarti
Muncar is to provide illumination, hence there is pandan muncar
Pandan – illumination from a kerosene light. Muncar – to shine a light
This performance of Gending Muncar composed by Pakubuwono IV, is based on the song Maskumambang; pelog barang, and does not have a specific continuation to another piece. Hence, Gending Muncar itself can continue to various other pieces such as ladrang Sumyar, ladrang Eling – eling, ladrang Ginonjing pelog barang. In this case it continues to Sumyar. Pak Cokrowarsito composed the text used in irama tanggung, which tells a dancer, how to stand, move, about the costume worn, and the movements which match the irama of the gamelan, all of which create a beautiful sight to watch. This well-known melody is sometimes used for Tari Golek Sumyar, and also for a kind of hobby horse dance named Tari Kuda-kuda.
Pucung is a tembang macapat
The meaning of the text is as follows: To become clever requires a lengthy process in which a person must go to school. One cannot simply buy a certificate. We must set out with good intentions to strengthen our work. With a clean heart and sincere intentions, we can achieve our goal without too many obstacles or temptations. This is the andegan in Sumyar.
Musically, Sumyar is pleasant to listen to, with its andegan episodes. Tembang Pucung is an opportunity for a pesinden to show off her skills, her wealth of cengkok, wilet, and gregel.
4. Gending KUWUNG KUWUNG kalajengaken RANGU RANGU terus lagu dolanan KEMBANG DJAGUNG Pelog Barang
It is said that before becoming a gending in Javanese karawitan, Gending Kuwung composed by Pakubuwono V, was performed as a gending terbang Santiswara. The gerong uses the text Kinanthi.
In performance, the form of the gending is a kind of srepeg rangu – rangu.
Rangu – rangu means confused or hesitant. Here it is performed as an introduction to the andegan by the name of Kembang Jagung.
The meaning of kuwung-kuwung is unclear but in rural areas the word kuwung refers to a shape similar to a rectangle but smaller at one end.
Rangu-rangu (occurs at about the 10 minute mark) and is used as an introduction to Kembang Jagung, (occurs about the 12.30 mark) which is a gending dolanan (children’s song).
The text for Kembang Jagung is interesting in that it is a display of satire towards the king.
During colonial times, some kings worked closely with the colonial government. While the king lived in comfort with all his needs provided for, his people lived in suffering and poverty. Today this kind of protest would be made through a demonstration but at that time the demonstration was through the text of a gending.
Kembang jagung is the name for the sinuhun (the title of the king)
Omah kampung pinggir lurung – a small house at the side of the street
Jejer telu – three in a row
Sing tengah bakal omahku – the middle one is mine
This is said to refer to the three continents of Europe, Asia, and Australia, with Indonesia in the middle.
Gempa Munggah guwa – gempa is a kind of animal which lives in the forest, similar to a deer or wild boar. This represents the poor people.
Mudun menuju bon raja – Bon raja (Go down to a place of recreation for the king)
Why go there? To pick soka flowers – beautiful flowers
Translated the protest reads:
“Do not work closely with the colonial government as it only suppresses the poor people.
If this happens, I will overthrow those who inflict harm on the poor people.
If you continue, I will fight you.
If you retreat, you will be harmed because there is no choice.”