Ladrang Wilujeng pathet manyura
Perhaps the most played of all Javanese pieces, Wilujeng (literally ‘greetings’ is traditionally used to welcome guests and bring good luck. It is often played at weddings and other important events. Here we are playing it not just to greet you the audience but to welcome these beautiful instruments to their new home.
This is a soft style piece featuring the quieter instruments and we will play in the style of Surakarta (Solo), the city in central Java just across the river from the village where the instruments were crafted.
Lancaran Wrahatbala pathet nem
This is a loud style piece, again often used as an opening / welcome piece. Like all the music we are playing tonight it is a traditional piece, the exact age and composer lost in the mists of time. However unlike western music of that age it is still very much played and heard within Java.
We will use this piece to demonstrate the instruments of the gamelan and how they fit together.
Gendhing Okrak Okrak pathet manyura
This is a ‘big’ piece in the sense that there are a large number of notes between gong notes – 64 to be precise, a contrast to the eight note cycles in pieces of Lancaran form. The notes also are played much more slowly some of the time.
It is a gendhing bonang, led by the bonang which is the rack of kettles at the front. You will notice several tempo changes – the first ‘merong’ section starts fast, becomes very slow and then speeds up and slows down again to signal the change into the second ‘inggah’ section – which starts slow and then becomes very fast.
Ketawang Subakastawa pathet sanga
A ketawang is a vocal piece and here we will demonstrate the ‘gerong’ or choral singing. Traditionally in Java it is just the men who sing this line but most western groups use mixed voices.
Subakastawa is thought to have its origins with an ancient 3 note ceremonial Gamelan in the Mangkunegaran Palace in Solo which was played to mark the birth of a child in the royal compound – with two formal wives and dozens of concubines this was a frequent occurrence! The name means sacred gift.
Lancaran Kebogiro pathet sanga
We will play another lancaran – so this piece has the same structure as Wrahatbala but a different melodic line. This piece also includes a slow section which provides a contrast.
This piece, literally ‘The Raging Buffalo’ also has royal connections – with the other (senior) palace in Solo, the Kraton Kasunanan – and is still played to accompany coronation and anniversary processions. It is also a popular ringtone in Java!
Ladrang Mugirahayu pathet manyura
This ladrang has a single section which is repeated. We will play in a dance style from the city of Jogjakarta (Jogja), the other large cultural centre in central Java, about 50 miles from Solo but with various differences in the interpretation of the traditional repertoire.
The drummer will use the smaller ciblon drum at various stages in this piece; the rhythms on this drum support the dancer. It is common to include this style of piece in concert performances even when, like today, no dancer is available. Note the interlocking patterns on the two bonangs during the ciblon sections of the piece.
The title means ‘in the hope of salvation’.
Srepegan / Sampak Manyura pathet manyura
Pathet is the concept in Javanese music most closely paralleled by ‘mode’ in Western music. It is very difficult to come up with a clear analysis of exactly what makes each pathet what it is (and there are thousands of pages of academic discourse to testify to this!). Pathet manyura is the highest in pitch of the modes and is generally considered the most ‘perfect’ or complete. It is used towards the end of performances.
The srepegan is a very short form with the gongs playing very frequently. The melodic line is very simple really just moving between the important gong notes of this pathet. The piece is used in the shadow puppet shows to depict tension and preparation for battles or journeys. We will then move into the sampak – an even shorter form with the gongs playing every note. The battle is now taking place!
Bubaran Sembung Gilang pathet sanga
A bubaran is another loud style piece, and we will play it in Jogja style. The word bubar means to disperse, and this type of piece is traditionally used at the end of performances and in Java the audience would be expected to leave while the group is playing.