Gamelan of Java - Four. Puspa Warna LYRICHORD lyrcd xxxx (2010)

Puspa Warna, the music that was sent into space with the Voyager, is presented in two long performances with different interpretations and internal ensemble variations. Also Sekar Gadhung  is presented in two different renditions allowing the two pesindhen (female singers) to compete for excellency. In middle position in the programme is the rarely-heard mystique-bound Gadhung Mlati, sung by a third outstanding pesindhen.

The liner notes include contributions by Bapak Sumarsam and Dr Sarah Weiss. The full notes in the PDF file expand on the subject of variations occurring in actual performances by Javanese musicians.

Gamelan of Java - Five. Cirebon Tradition in America LYRICHORD lyrcd xxxx (2010)

Most recordings of Javanese gamelan have thus far centered on Surakarta and Yogyakarta in south central Java. But there is another, earlier style of Javanese music that is little known: the traditional music of Cirebon. Even the most seasoned lovers of Javanese gamelan might be surprised at what they hear in this CD. All five of the classical Cirebon genres are represented, performed by Gamelan Sinar Surya, a dedicated American ensemble that effectively helps keep that tradition alive. The GSS director, Richard North, illustrates in the liner notes the well thought-out and most enjoyable programme presented.

Gamelan of Central Java - XII. Pangkur One  FELMAY fy 8166 (2010)

In the Javanese classical repertoire Pangkur denotes a music that can take many forms. From the original group of macapat (sung poetry) there are various other forms which are derived from or connected to Pangkur, such as ladrang, ketawang, palaran, court dances. Pangkur can be rendered in both the pelog and slendro scales and in almost all of the six pathets. It may also convey a broad range of moods according to gamelan formation and musicians’ garap (treatments). This first of two CDs devoted to such versatile musical theme presents the larger form (ladrang) in the full gamelan formation. Bapak Sumarsam writes the authoritative liner notes. Translation of the texts is the responsibility of Rosella Balossino.

Gamelan of Central Java - XIII. Pangkur Two  FELMAY fy 8167 (2010)

The second Pangkur CD is devoted to the reduced gamelan formation called gadhon, literally ‘side dishes’ (compared to the ‘main courses’ of Pangkur One). These ‘smaller’ pieces are not at all less worthwhile and enjoyable, and in fact they offer interesting variations and true musical gems. Also, the macapat (sung poetry), which are at the roots of the compositions, are presented and the connections illustrated by Bapak Sumarsam in his commentary. Translation of the texts was the responsibility of Rosella Balossino.

Gamelan of Central Java - XIV. Ritual Sounds of Sekaten  FELMAY fy 8168 (2010)

Following the tracks included in Volume II of the Felmay series, here are three more outstanding examples of the powerful music played during the important Sekaten religious celebration in Central Java.  Guntur Madu (Thunder of Honey) is the name of the two principal gamelan Sekati in Surakarta and Yogyakarta. We hear them play the same ancient composition, with fascinating contrasts between the two remarkable performances. The third piece presented is even more unusual music in the gamelan panorama, using voices and frame drums of Arabic origin (terbang or rebana). The liner notes tell about the misty pre-Islamic origin and the Sufi connotations of these musics; they also include a fresh commentary by Philip Corner.

Trance Gamelan in Bali  FELMAY fy 8169 (2010)

This is a one-off departure from the music of Java and an exploration of the fascinating music of Balinese temple ceremonies. By using the word 'trance' in our title we take the general Western view of a music that uses repetitive patterns and that we imagine have the potential to induce altered states of consciousness. As Wayne Vitale has remarked, in its essential spiritual meaning music for the Balinese is an Offering – not only in the obvious context of odalan (temple ceremonies) but often also in other performance situations that may be seen as secular. Although we are unable to fathom the depths and complexity of Balinese beliefs and aesthetics, we are still able to enjoy the trance-like atmospheres that suffuse the religious performances recorded here from three different situations.

The booklet commentary was written by Daniel Patrick Quinn.

Gamelan of Central Java – XV.  Returning Minimalism: In Nem  Felmay fy 8181 (2011)

If it were not for the steady 'pulse'  (which Steve Reich suggested to add to Terry Riley's 'In C' just before the 1964 première)  these three 20-minute pieces could sound like normal gamelan compositions, though outside of the classical forms. They are in fact Central Javanese versions (three selected ones from a number of sessions) of Riley's landmark work considered the beginning of minimalist music (in America).  The semi-improvisational working and the use of 'phrases' or 'modules' repeated at will are respected.  The eight musicians of ISI Surakarta did cooperate bravely and cleverly in this musical project that John Noise Manis had conceived since 1999. Daniel Quinn was present at and supervised the actual recording sessions. He writes an in-depth chronicle in the CD booklet, which also includes comments by the Javanese musicians and a somewhat provocative essay by Philip Corner.