Music Of Bali/Gamelan & Kecak

Amazon.com
Recorded by David Lewiston in 1987, these are fine recordings of both famous and little-heard strains of Indonesian music. In a series of recordings that include both large gamelan orchestras and small ensembles, he has captured the wide scope of the music of Bali. In addition to the gamelan works we are offered some very unique sounds: a palm bark version of the Jew's harp; a reed instrument with a distinctly "Hendrix on the bagpipes" sound. Perhaps most enjoyable is a recording of a passing parade, with various instruments, rhythms, and melodies drifting by in the sort of cacophony associated with Charles Ive's marching band works. Lewiston's offering is invaluable. -- Louis Gibson

Music Of Bali/Gamelan & Kecak,Various Artists,Nonesuch,Asia,Bali,Balinese,Gamelan,Int'l & World Music,Kecak,Pop,World Music

Explorer: Bali - Gamelan & Kecak
Average customer rating:

Unbelievable music

Explorer: Bali - Gamelan & Kecak
Various Artists
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music
Similar Items:

Bali: Gamelan Semar Pergulingan:Gamelan of the Love God

Bali: Golden Rain

Explorer: Bali - Music for the Shadow Play

Explorer: Java - Court Gamelan 2

Bali: Music from the Morning of the World

ASIN: B000084T5F
Release Date: 2003-02-25

Tracks:

Opening Parade, Bali Arts Festival
Gending Kebyar Kosalya Arini
Sekar Sungsang
Lagu Kodok (Frog Song)
Gending Sekar Gadung
Tabuh Teluh
Sulendro
Kecak
Baris

Album Description

Bali's most popular ensemble is still the large gamelan gong, consisting of 25 to 30 musicians. The principal melody instruments are metallophones, xylophone-like instruments with bronze keys. Sets of small, tuned gong kettles provide melodic ornaments, while the penetrating bass tones of great gongs punctuate larger phrases. Clashing cymbals add to the overall glitter. A flute or stringed instrument sweetens the melody. The entire structure is supported by two drummers, who create the crucial rhythmic underpinning. The kecak is uniquely Balinese. The rhythmic interlocking "tjak-tjak-tjak-tjak," chanted by a large group of male voices, originated as the accompaniment to an ancient trance dance. It is a performance of the Ramayana, where the monkey hordes come to the aid of King Rama in his battle with the evil King Rawana. The 80 members of the Sekaha Ganda Sari are heard in this kecak performance.

From the Pura Paku Alaman, Jogyakarta. K.R.T. Washington, director. Recorded in Java by Robert E. Brown. Originally released in 1989.

Customer Reviews:

Unbelievable music.......2006-10-05

I owned this recording on the original LP and am very impressed with the remastering done here. The kecak is much cleaner and more distinct without losing any of its power. Those who have not heard this music, especially the Ramayana monkey chant, are in a for a huge treat.

Bali: Gamelan Semar Pergulingan:Gamelan of the Love God

Average customer rating:

This recording is great, but...
Sensational Sounds!
Exquisite
If you were to only own one Explorer disc...
Arguably the most beautiful sound in Bali

Bali: Gamelan Semar Pergulingan:Gamelan of the Love God
Various Artists
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music
Similar Items:

Bali: Golden Rain
Music of the Gamelan Gong Kebyar, vol. 1
Java: Court Gamelan
Bali: Music from the Morning of the World
Explorer: Bali - Music for the Shadow Play

ASIN: B00007M57G
Release Date: 2003-01-28

Tracks:

Tabuh Gari
Gambang
Tabuh Pisan
Barong
Sinom Ladrang
Legong Kraton: Playon

Album Description

Of the many kinds of gamelan to be found on the tiny island of Bali, none evokes a more ethereal and enchanted sound world than the rare gamelan of the love god, Gamelan Semar Pegulingan. This is the first commercial recording of the Semar Pegulingan type of gamelan (except for three 78-rpm discs, now rare collectors' items). By the 1930s, Semar Pegulingan, which was originally a palace gamelan, was preserved in only a few villages. Now, however, the gamelan has been restored to life with a repertory that derives from the old traditions, but is strongly influenced by the innovations of 20th-century Balinese music.

Recorded in Teges Kanyinan, Pliatan, Bali, by Robert E. Brown. Originally released in 1972.

Album Description

Full Title - Bali Gamelan Semar Pegulingan Gamelan of the Love God. Of the many kinds of Gamelan to be found on the tiny island of Bali, none evokes a more ethereal and enchanted sound world than the rare gamelan of the love god, Gamelan Semar Peguilingan. This is the first commercial recording of the Semar Peguilingan type of gamelan, except for three 78-rpm discs, now rare collectors' items. Recorded in Teges Kanyinan, Pliatan, Bali by Robert E. Brown. Originally released in 1972. Slipcase. Nonesuch. 2003.

Customer Reviews:

This recording is great, but..........2004-05-25

This recording is great, but as an avid fan of Balinese music (and Indonesian music in general) I find it unfortunate that Nonesuch chose to re-release all of these old recordings en masse with new graphics, new titles in some cases, and at bargain prices, effectively flooding the market.
Many people will purchase these recordings online believing they are buying new ( " jan 28, 2003" ) recordings when in fact they are not. What's worse, the unsuspecting buyer may already have one or more of these discs in his or her collection under a different title. For example, "West Java: Sundanese Jaipong" is in fact "Tonggeret " by Idjah Hadidjah. Which, by the way, can be purchased for less right here on Amazon.
The real problem I have with Nonesuch's marketing strategy is that retailers have opted to stock this series in lieu of new recordings from different distributers. It is cheaper and easier.
I think this is a great recording. Actually, it's a classic in the genre. I'm panning it to show my dislike for Nonesuch's creation of market hegemony and the use of deceptive advertising ( to be fair, they do state that these recordings are re-releases on the back of the cd case, but if you are purchasing this on-line you obviously can't see that.)
This situation is to the detriment of fans of Balinese music and performers alike. Bali has an extremely vibrant musical culture. New compositions are being written all the time. In my opinion, the best compositions for Semar Pegulingan have been written recently.
(...)

Sensational Sounds!.......2003-12-15

Gamelan Semar Pegulingan! This has got to be the most refined all Balinese gamelan orchestras for sure! The sounds and the tones as well as the textures are so delicate and wonderful to hear. The vibration and the tinkling of the sounds of the metallophones is enough to make one think of the splendid orchestras which once served the Balinese rajas back in the old feudalistic days when it was considered divine music from the God of Love: Semara. This type of orchestra disappeared when the Dutch took over Bali in the early part of the 21st Century. Many of the gamelans which belonged to wealthy patrons and kings, often the orchestra fell into dis-use and disrepair. Due to the no patronage or anyone willing to finance such huge orchestras which would have cost a fortune to maintain back in the old days before the Dutch took over. While others soon where reforged into the more popular style known as gamelan gong kebyar which was taking Bali by storm in the early 1910s.

Colin McPhee with a few handful of musicians kept the gamelan semar pegulingan alive and its so wonderful to see the music being preserved and handed down from teacher to student as well as father to son. Old compositions being handed down and taught so that it may never be lost. I found the music to be quite relaxing especially the tuning which made it very light and airy because of the jinggling of the metallophones, the wonderful sound of the flute which gave it a unique timbre making the music more alus "refined" as it is. This is the best music I have come so far in regards to gamelan semar pegulingan. The beating of the drums and the clatters of the cymbals gently swaying as the musicians play and ornamentate on the metallophones as well as the trompong (one single musician playing a set of kettle gongs mounted on a horizontal frame, played with beaters).

The music and tracks are very wonderful, each of them carefully explained about what the music is and what the purpose is though. I found it full of information and very helpful to read as well, there are some small photographs of the instrumentation and also some of the musicians too. I enjoyed many of tracks and they seemed to be popular compositions that I have heard on other cd recording of the gamelan semar pegulingan. The most well known version of a famous dance piece known as legong kraton is the most popular. There are different genres and also different version of it. In this recording the introduction is different from compared to the one recorded by David Parson in Vol. The Music of Bali: Tirta Sari - Legong Gamelan. Slightly shorter but the same theme running through the whole piece which I found every enjoyable. Though a little loud in this version, there is no narration of the story in kawi (Old Javanese langauge - which is used in Balinese dance drama or theatre). However it has retained that gracefullness that I see in the young little legong kraton dancers as the whole story is enacted though. The climax builds to the end of the story when the Prince Lasem goes and fights his enemy whom he had abducted Princess Langkasari or Rangkasari from. In the short and fast tempo cycle the music becomes very fast and one can hear the gender (metallophones played with two beaters suspended over bamboo resonators) ornamentate the music and also emphasize the sudden movements of the dance and the battle scenes. The gong agung punctate loud but short beats, creating heavy booming tones which is typical of Balinese music. Very wonderful piece composed in regards to this heavenly dance. Danced by young girls at the ages of 7-10. The legong dancers retire by the time they start puberty.

Other recordings contain pieces that have originated from gambuh dance drama like tabuh gari which a piece performed which signaled the end of a performance. This piece contains performances on the trompong which is the lead instrument as well, elaborating its melody above the core melody which I often enjoy the metallic gong ringing. There are other pieces that were composed by the great Wayan Lotring who said he often dreamt about compositions and melodies for the gamelan semar pegulingan music. While others were tradition pieces that have been around for generations, some pieces have been revived and given a whole new playing style even though the playing style maybe different. However the music itself is still good.

The closest music of gamelan semar pegulingan that I would have to say has the same instrumentation would have to be Music of Bali: Gamelan Semar Pegulingan from the Village of Ketewel recorded by Wayne Vitale, Gamelan Semar Pegulingan of the Village of Binoh from World Music Library. These three cds I would have to recommend in regards to wanting to hear some really good semar pegulingan music. The all come from different parts of Bali but their tuning is pretty different from each other which I like at least you get some variations on regards to the tones and pitches of each orchestra. I give this cd the thumbs up. Sweet and divine music from the Balinese God of Love is indeed sweet like honey straight from a beehive.

Exquisite.......2003-10-31

The music heard on this recording is probably my favorite out of all gamelan pieces I have come across, be it recorded or live. Track 2, Gamang, never ceases to captivate me. There is something new to listen to each time I put it on, and it never tires. Certain music, owing itself to human beginnings, eventually reaches a point where there is endless wonder that is beyond human, like a tree that could never be designed by man, but might have been planted and nurtured by one. Forgetting what science my assert, something must be said for musicians that actually believe the spirit of the gods is breathing through them as they play, rather than mortal self-expression of much of western pop culture. In my opinion this can be heard in recordings such as this (if you can't make it to Bali). As a musician myself, and gamelan member, this music -- showing mastery of both composition and performance -- provides much needed inspiration and affirmation.

My other favorite recording is one called "Best of Gamelan Bali," a 6-track CD. Despite the rather tacky title, it is actually quite amazing but not available on Amazon. I believe my father got it in Bali. If anyone has recommendations, I would greatly welcome an email: akuhn@berklee.net

If you were to only own one Explorer disc..........2003-05-09

I came to own this album by an amazing stroke of luck. One day, while fishing around my favorite music store, I walked into the world music section for the first time. Feeling disgruntled with my extensive (though musically shallow) CD collection, I figured it was time to spice things up a bit. I left the store with this CD. Popping it in my car's CD player, I made it through the first ten minutes (and halfway home) when I turned around, went back to the store, and bought four more discs from Nonesuch's Indonesia series. Such is the power of the Gamelan of the Love God.

The music presented here will capture your mind and your spirit, and will whisk them away to a time and place far removed from the doldrums of everyday life. No matter where you are, or what your situation, you'll feel that warm tropical breeze overtaking your senses from the first notes, to well beyond the triumphant finale. The well-written liner notes afford tremendous insight into the Balinese gamelan style, both from a technical and a cultural vantage point. Finally, the digital remastering is a work of art that makes the music shine on even the worst stereo systems.

I now own the entire Nonesuch Indonesia series, and am currently halfway through the Africa series as well. Thanks to this CD, I've been turned on to a music that I had never heard of in my 25 sheltered years of life. However, I'll be collecting gamelan extensively from now on. If you're only going to own one disc in the Explorer series, this is it.

Arguably the most beautiful sound in Bali.......2003-04-03

Bali ý Gamelan Semar Pegulingan: The Gamelan of the Love God

The famous gamelan heard on this recording was kept in composer/ethnomusicologist Colin McPheeýs house in Bali during the 1930s, when he was collecting material for his authoritative work, ýMusic in Bali.ý It is pictured therein, as well as in McPheeýs charming autobiography about those days called ýA House in Bali.ý McPheeýs chauffeur and musical guide was I Made Lebah, one of Baliýs greatest musicians, who directs the present ensemble.

In the early 1960s, some of Dr. Mantle Hoodýs graduate students at UCLA, who had studied with Colin McPhee in the last years before his death in 1964, found their way to Bali and became acquainted with Lebah. Inevitably we all began to ask about the famous Semar Pegulingan, wondering what had become of it. Anak Agung Gde Mandra, a member of the local nobility who owned the instruments and who had been the groupýs drummer in the 1930s, conceived the idea of restoring the gamelan after some thirty years of neglect, and the instruments were collected (some, famously, from beneath Made Lebahýs bed!), refurbished, and Mandera sent them to a banjar in the south of Pliatan village, where Lebah recruited a group, largely of young men in their teens, to start learning the old repertoire.

Those men are now aging, but the group, which visited Europe and Japan in its heyday, continues to play. The present recording, however, the first ever made of the group in 1971, reflects the youthful vigor of the players in its early days. More than that, the repertoire recorded here is what Made Lebah had played at McPheeýs house in the 1930s. This recording, then, is a kind of time warp back to that wonderful period in Bali before the Second World War, when such people as McPhee, Margaret Mead and Gregory Bateson, Miguel Covarrubias, Walter Spies, and others were creating the legend of a paradise on earth called Bali.

Later on, one of the senior players in the group, Made Grindem, along with others, decided to update things by adding pieces in a newer kebyar-influenced style to the repertoire, and Made Lebah departed. However, the pieces he brought to the group, some of them from the old palace musician, Guru Lunyuh of Payangan village, McPheeýs informant, and from McPheeýs friend, the composer I Lotring of Kuta village, are still played as Lebah taught them, and remain the foundation of the Teges repertoire as it exists today.

On this recording are old pieces like Tabuh Gari and Sinom Ladrang, Lotring's famous evocation of the syncopated music of the gambang xylophone ensemble, and the complete music for a legong, Bali's reknowned classical dance, usually performed by three highly trained little girls. In this case it is the music for the Playon story, not the Legong Lasem, which is most frequently heard today. Although the legong music is now more often played on the larger gong kebyar gamelan, the more delicate gamelan pelegongan, which adds two gender instruments to the semar pegulingan ensemble, is the instrumentation for which is was conceived, and conveys its spirit most perfectly.

I feel proud to have made this recording of the rare and exceedingly beautiful Gamelan Semar Pegulingan from Teges village, and can recommend it as an aural link to the past world of the late Colin McPhee, my teacher, and the late Made Lebah, my dear good friend, sorely missed.

Tracks:

You
Sweet Grapefruit/Fireflies
On The Corner
Arang Arang
Turban Floating Away
Illusion
From The Window
Solar Eclipse

Album Description

Evergreen Club Contemporary Gamelan is an ensemble of eight professional Canadian musicians with classical western musical training and extensive performance experience. They perform and record on an extended gamelan Degung indigenous to the Indonesian province of West Java (Sunda). Founded in 1983 and based in Toronto, Canada, this unique performing ensemble is dedicated to the development and expansion of its repertoire through the commissioning of new works by composers from Canada and around the world, as well as performing traditional Sundanese music. This recording presents a selection of such traditional pieces together with recent works by Sundanese composers, all in new arrangements by Evergreen Club members.

Customer Reviews:

A soothing escape to a tropical paradise.......2005-03-12

The title says it all. It is an experience of music from another culture which in my mind is associated with a tropical paradise which I imagine existed prior to Dutch colonialism of now present day Indonesia. The gamelan orchestra consists of various sizes of suspended metallophones (percussion instruments with tuned metal bars), small bulbed gongs, large suspended gongs, and drums. With the soft gentle percussive nature of the music, the experience that I get from it is an expression of the slower tranquilizing rhythms of nature. This album is well worth the $9.98 for anyone looking to explore other realms of music.

Average customer rating:

Wonderful!
Rare Moment in Balinese Music, Timeless and Teasured!!!

Bali: Roots of Gamelan
Various Artists
Manufacturer: Arbiter
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Music of the Gamelan Gong Kebyar, vol. 1
Bali: Gamelan Semar Pergulingan:Gamelan of the Love God
Music of the Gamelan Gong Kebyar, vol. 2
Music Of Bali/Gamelan & Kecak
Explorer: Bali - Gamelan & Kecak

ASIN: B00000I7LO
Release Date: 1999-12-08

Tracks:

Kebyar Ding I: Kebyar - Gong Of Belaluan
Kebyar Ding II: Surapati - Gong Of Belaluan
Kebyar Ding III: Oncang-Oncangan - Gong Of Belaluan
Kebyar Ding IV: Batel - Gong Of Belaluan
Kebyar Ding V: Pengrang-Rangan - Gong Of Belaluan
Kebyar Ding VI: Pengawak & Pengecet - Gong Of Belaluan
Curik Ngaras - Gong Of Belaluan
Kembang Langkuas - Gong Of Belaluan
Calonarang: Sisya - Pelegongan Of Kuta
Calonarang: Ngalap Base-Ampin Lukun - Pelegongan Of Kuta
Gegenggongoan - Pelegongan Of Kuta
Gonteng (Djawa) Pengawak Solo - Pelegongan Of Kuta
Lagu 'Tabuh Gari' - Gong Of Busungbiu
Lagu 'Cocelantungan' - Gong Of Busungbiu
Selendro - Gender Wayang Of Kuta
Putih Putih Saput Anduk - Janger Group Of Abian Timbul
Lagu Gending 'Merdah' - Angklung Of Sidan
Lagu 'Ngisep Dublag' - Angklung Of Sidan
Pemungkah - Colin McPhee/Benjamin Britten/Georges Barrere
Rebong - Colin McPhee/Benjamin Britten/Georges Barrere
Gambangan - Colin McPhee/Benjamin Britten/Georges Barrere
Lagu Delem - Colin McPhee/Benjamin Britten/Georges Barrere
Tabu Telu - Colin McPhee/Benjamin Britten/Georges Barrere
Lagu Ardja - Colin McPhee/Benjamin Britten/Georges Barrere
Kambing Slem - Colin McPhee/Benjamin Britten/Georges Barrere

Amazon.com

Since the West became acquainted with it in the late 1920s, Balinese gamelan music has inspired musicologists, given birth to minimalism, and even been mimicked by electronica artists. It's easy to hear why: with its complex, polyrhythmic sounds played out on perfectly tuned gongs and chimes, gamelan music is one of the most exciting and exotic sounds heard in the world. It's gorgeous to listen to, thrilling to witness, and sounds like nothing else on earth. On The Roots of Gamelan, we're given a real treat: the earliest commercially available recordings of gamelan music (dating from 1928), along with the 1941 transcriptions that composers Colin McPhee and Benjamin Britten made in their attempt to recreate gamelan sounds with Western instrumentation (mainly, the piano). Recording quality is mediocre here, but the music pours forth. A wide variety of styles is played (from the lyrical and comedic Janger to the wildly furious Kebyar compositions) by some of the finest gamelan musicians alive in the era of recorded music. This aural history lesson is filled with delights, and it's easy to see why composers Britten and McPhee (and latter, a whole batch of New Music composers, including Harry Partch) were smitten with the music. And, though the pair are unable to convey the power of the gamelan on their Steinways, it's fascinating to hear their interpretations. --Jason Verlinde

Customer Reviews:

Wonderful!.......2002-11-27

A worthy addition to any music lover's collection.

Rare Moment in Balinese Music, Timeless and Teasured!!!.......2001-09-21

Very extraordinary cd, itýs not everyday that one would come along and find a cd with such wonderful music apart from the constant hissing since they where recorded on old records. This has to be one of the earliest recordings of Balinese gamelan music before the war or ever in the whole worldý when Bali was just opening up to tourism in the 1930s. Most of the records often indicated that the musicians were actually experimenting with new repertoires for the kebyar style which took Bali by storm a few years after the puputan massacre. This style was just slowly beginning to take root as I can still hear from the playing style they have taken repertoires from gamelan gong gede and transplanted it into the new and more modern kebyar style. The recording still has traits of that distinct old style ýgong gedeý and ýpelegonganý from the metallophones and large boss gongs as it slowly punctuates through each track, yet the music didnýt show any fast tempos, it was stately and grand but over the decades with some recordings the tempo has gone from stately to really fast and chaotic at times. Apart from the tempo speeding up over the decades, the gong gede playing style also disappeared moving away from itýs early beginnings as kebyar style was taking itýs true form that we often hear today, but somewhere along the line the gong gede style goes unnoticed and is very hard to pick up in the music and the only possible give away would be the title or the name of the piece being played which will determine whether itýs secular or ceremonial piece, or when the piece is to be played on the more ancient orchestras that the piece was intended. This has to be the original recordings to Balinese gamelan music.

Other orchestras included gamelan pelegongan which was a five tone version of the seven tone semar pegulingan or better known as ýmusic for the royal bedroom or music from the God of Love Semaraý. The gamelan pelegongan carried wonderful virtuosic sounds and repertoires from the semar pegulingan which soon became are and faded with the royal aristocracy. The sounds were divine with the light sounds, tones and colours of the music being performed for the recording. Apart from gong kebyar and pelegongan there were also gender wayang quartet with their mysterious and shimmering tones as musicians struck each key. Jangger I found was much similar to the kecak that was performed for tourists yet it was also a little bit different because it contained female vocals a rebab which is a two-stringed fiddle and a frame drum making this particularly unusual in the chanting sounding as though if it was a tribal dance. Gamelan angklung was really sweet in sound and in texture. The vibrant tones were bitter sweet and often I could actually pick out in the background the angklung or bamboo rattles which were shaken accompanying the orchestra, however with time angklung had disappeared and has only remained in name for the orchestra making it much rarer to hear in the recording.

There were also transcription of ceremonial music by Colin Mcphee and Benjamin Britten on piano which was wonderful I found it very interesting to see that the Colin Mcphee and his partner were actually experimenting with the music and it did make a contrast one piece that I was familiar with was track 19 ý Pemungkah that would be used at any ceremony at an opening piece. Track 19 ý Pemungkah is similar in playing style to Gamelan Music of Bali recorded by Deben Bhattacharya in track 2 ý Mahabharata (from a shadow play called Wayan Kulit) which played an exact opening piece in the same repertoire. Also there were transcriptions by Georges Barrere playing the flute with Colin Mcphee as the pianist.

I found this cd to be a wonderful and rare moment in music because, Colin Mcphee had put so much effort into his study of Balinese music that he made recordings that were to be or supposed to be publicised to the whole world in the form of a 78 rpm discs. The contents are pretty rare, despite the constant hissing. I guess the musicians in the gamelan where also experimenting with music and they showed a lot of skill in the playing style. The contents were great and the booklet contained a lot of information that was well researched regarding each track which is useful for the listener which is I am happy to comment on. There were a few photos including the famous composer I Wayan Lotring and a few other photos which make it more wonderful to see rare photos of musicians playing with their musical instruments. I can recommend this cd to anyone who is interested regarding the first recordings of gamelan music development with the radical kebyar style in Bali which started a few years after the Dutch takeover of Bali as well as the gamelan pelegongan, gender wayang etcý I give it the thumbs up.

Music from Bali
Average customer rating:

great collection of balinese music

Music from Bali
Pitamaha
Manufacturer: Amulet Records
ProductGroup: Music
Binding: Audio CD

General | Indonesia | Far East & Asia | International | Styles | Music
Bali | Indonesia | Far East & Asia | International | Styles | Music
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ASIN: B00006EXE9
Release Date: 2002-08-06

Tracks:

Arrival In Mas
Le Gong Dance (Serangan)
Pura Petung Sedehan
Tenganan
Mas
Puri Bagus (Bronze Duo)
Puri Bagus (Bamboo Duo)

Customer Reviews:

great collection of balinese music.......2004-09-27

This is a good collection of Balinese music containing styles which are not often available.

It has the added benefit of being a project by the late David Baker. David Baker was perhaps the best recording engineer for jazz and a great guy. He gets a great sound on this set.

Average customer rating:

Rare... timeless and stately
The most classical sound of Bali

Bali: Music for the Gong Gede
Various Artists
Manufacturer: Ocora France
ProductGroup: Music
Binding: Audio CD

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ASIN: B000027IF6
Release Date: 2000-04-25

Tracks:

Tabuh Loma-Loma
Tabuh Telu
Tabuh Pisan 1
Tabuh Enem
Tabuh Pisan 2
Galan Kangin

Customer Reviews:

Rare... timeless and stately.......2002-05-20

The recording of gamelan gong gede meaning (large gong) is a pretty interesting and somewhat unusual because, I don't even have any recordings of this type of music in my cd collections. However I do have one recording and that was from Mickey Hart's Bali: Living Art's session cd, yet the music in cd number 3 and track 3 called Wahbuti is a modern creation in the form of gong kebyar. The texture was refined and however very loud... yet at times it was pretty subtle probably from the sounds of the flute and the reyong (a set of gong chimes played by four or three men) with it's interlocking configuration.

All of the recordings on this cd are totally different from most gamelan music that I have heard. Probably it was due to the tuning and the types of instrumentation that makes up gamelan gong gede. The music is also said to be ancient and archaic and there was a legend that was attached to gamelan gong gede of Batur temple has the sleeve notes have mentioned. Very interesting and quiet mystical making it more divine in sound and colour. Gong gede music is slow and stately and totally different from many other playing styles. It can be labourious at times however with the sudden appearance of the cymbals weaving their way in and out. Rippling sounds of the trompong (10-12 kettle gongs mounted on a frame played by one musician)as it plays out the core melody and the second trompong elaborates over the first trompong. The predominant sounds are the saron (metallophones mounted on cushioned pegs and struck with mallets) creating the chiming and clanging effect making it sound timeless, also ancient. Like an era that once divine and sacred. The drumming is very loud and quiet enthusastic showing the dexerity of orchestra.

Gong gede of Tampaksiring temple is more like the kebyar style because of it's tight interlocking playing method compared with gong geee of Batur temple their playing technique is very loose and at a more slower pace. Gong gede of Tampaksiring is at a meduim pace, but the sounds of the clattering cymbals and the airy sound of the suling (flute) are drowned out by the saron as their chime away at a speedy pace. The trompong can be heard at times however it is drowned out too. The drum can be still heard and so are the punctuating sounds of the large boss gongs (gong agung or gede). One difference also for gong gede of Tampaksiring temple is that the orchestra includings a suling giving it a airyness to the whole concept. Track four Tabuh Enem parts of the repetoire are also similar to the cd titled "Roots of the Gamelan: The first recording". The last track by Gong Gede of Tampaksiring temple is at a slower and more relaxed pace. The playing style is much more gentle and also the reyong can be heard playing it's interlocking configuration above the saron and trompong as well as the drums.

I found the music very divine and mystical. Both orchestras show great skill in playing the music and the pieces of music that is shown for the recording. There aren't very many gong gede orchestras in Bali. I saw on a documentary a while ago called the Lava Hunters and in one segment which dicussed the worship of volcanoes in Bali where a sacred ceremony was held called Pancha Wali Krama where high priest of the Brahmana caste and worshippers prayed for the harmony and union of divine forces. There was a scene showing men playing the saron and the sounds that was all too familiar that stood out from other gamelans. Gong gede performed at a sacred and important ritual. It was with the 20th century that gong gede began to fade away with the royal families and the aristocracy with the Dutch takeover. Most of the orchestras fell into negelect or melted and reforged into the more popular gong kebyar which was taking Bali by storm during that turbulent time. Yet the music itself contains a stateliness that once prided itself amongst many ancient and sacred traditions. Gong kebyar was the offspring of it's ancient and grand parent gong gede. It would be a real shame if this orchestra was to disappear from the pages of world music and from Balinese culture. Music that spand several centuries and helped shape Balinese culture and beliefs... yet only a few recordings is enough to make me wonder and enjoy it's divine and mystical sounds that comes from the abodes of the Gods: Bali.

Great music and for those who collect Balinese gamelan music this should be in your collection.

The most classical sound of Bali.......2001-04-15

An exellent sample of the oldest tradition of Bali. Slow, hypnotic, avoiding the jazz-rock dexterosity of modern kebyar ... a milestone for balinese music.

Average customer rating:

fabulous album; a must have for your world-music collection
Power of the jegog

Bamboo Gamelan of Bali
Gamelan Jegog Werdi Senatana
Manufacturer: Creative Music Prod.
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bali: Gamelan Semar Pergulingan:Gamelan of the Love God
Music of the Gamelan Gong Kebyar, vol. 1
Balinese Music, Vol. 2: Barong & Keris Dance - The Fight of Good and Evil

ASIN: B000008NN4
Release Date: 1994-08-16

Tracks:

Tabuh Pengawit: Gending Truntungan
Tabuh Jagra Winungu
Tabuh Gegenderan
Tabuh Endung Geriya
Tabuh Pengalus
Tabuh Gegilakan Penutup

Customer Reviews:

fabulous album; a must have for your world-music collection.......2004-03-20

Wonderful dynamic hypno-instruments! I once heard a bamboo Gamelan play live in a museum here in Holland, Delft (or was it The Hague...?), constant buzzing of the lower pipes & sudden melody rhythm volume-changes are incredible... your brain sends it to every part of your body. ~Very warm sound overall, still the Jegog produces the same aggressive peaks as in the metal-made Gamelans. Check this out LOUD. ;-)

Enjoy,
John.

Power of the jegog.......2003-06-21

I first became familiar with the sound of the jegog from listening to the Akira soundtrack, a japanese anime movie whose score, by the amateur music group Geinoh Yamashirogumi, made terrific use of this wonderful instrument. I borrowed this CD from the library several years ago but have never been able to find a copy elswhere... Enjoying this music may require letting go of any concepts you may have about music. The liner notes describe it as being a call to work in a Balinese community. It's easy to imagine the sound of the enourmous jegogan, a bamboo tube some 10 feet in length and 1 1/2 feet in diameter, carrying for miles, like the nearly subsonic call of the elephant. It's smaller cousins generate the energetic, pulsating tones that resonate with warmth. The overall effect is at once celestial and deeply rooted in the earth. I'd recommend playing this very loudly, on a high wattage system with subs, this is music in a distilled, primal, yet highly evolved form, it is meant to be felt with the whole body and not just heard.

Average customer rating:

Balinese anthology
Beautifully Recorded Balinese Music
excellent introduction to Balinese music
Great recording and music
ancient modern music

Music Of Bali/Gamelan & Kecak
Various Artists
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

General | Far East & Asia | International | Styles | Music

Bali: Music from the Morning of the World
Bali: Roots of Gamelan
Music of the Gamelan Gong Kebyar, vol. 1
Bali: Gamelan Semar Pergulingan:Gamelan of the Love God
Music of the Gamelan Gong Kebyar, vol. 2

ASIN: B000005IZI
Release Date: 1989-05-11

Tracks:

Opening Parade, Bali Arts Festival
Gending Kebyar Kosalya Arini - Gending Kebyar Kosalya Arisni
Sekar Sungsang - Sekar Sungsang
Lagu Kodok (Frod Song)
Gending Sekar Gadung - Pak Guawan
Tabuh Teluh
Sulendro - Gender Wayang, Sukawati
Kecak
Baris

Amazon.com

Recorded by David Lewiston in 1987, these are fine recordings of both famous and little-heard strains of Indonesian music. In a series of recordings that include both large gamelan orchestras and small ensembles, he has captured the wide scope of the music of Bali. In addition to the gamelan works we are offered some very unique sounds: a palm bark version of the Jew's harp; a reed instrument with a distinctly "Hendrix on the bagpipes" sound. Perhaps most enjoyable is a recording of a passing parade, with various instruments, rhythms, and melodies drifting by in the sort of cacophony associated with Charles Ive's marching band works. Lewiston's offering is invaluable. -- Louis Gibson

Customer Reviews:

Balinese anthology.......2004-04-09

This disc is a very clean recording of a variety of Balinese musical styles. I bought the disc because I enjoy gamelan music, but it includes much more than that. The liner notes provide comprehensive information on the musical styles represented and make interesting and instructive reading for a dilettante like myself. Some tracks are peaceful and contemplative, others are frenetic and energizing, but all are fascinating to hear. Highly recommended.

Beautifully Recorded Balinese Music.......2002-07-29

This recording is a treasure. It presents a wide variety of Balinese music, from a gamelan parade, through small group "chamber music" to the large ensemble music and even a smattering of Kecak. The music is all expertly played by a wide variety of gamelan ensembles, so you get a sampling of the subtle variety of this music. It is also the best engineered field recording that I've ever heard. Unlike many of the Lyrichord and early Nonesuch Explorer series Balinese recordings, this one is digital and doesn't sound as if it was recorded on a dictaphone. Particularly with Balinese music, this is important. You want to hear all the overtones of this magical music.

If you are curious about Balinese gamelan, or if you are an afficienado, this is an essential CD.

excellent introduction to Balinese music.......2001-11-12

The cd begins with the Opening Parade of the Bali Arts Festival, June 13, 1987. You hear the ensembles approaching and passing, and it is such great fun! Excellent recording quality throughout.

The booklet enclosed is quite informative about the different Balinese instruments and orchestras featured.

Great recording and music.......2000-10-18

This cd Music of Bali/Gamelan & Kecak is a pretty good cd for sure. There are different collection of musical styles from the very popular kebyar style which sprung up a few years after the puputan "mass suicide" by the royal families of Bali who opposed the Dutch for taking over the whole island, right through to the slow and mellow style of the Bali Aga's metallophones in track 5 which was pretty light and subtle in many aspects showing the diference between the well known Balinese gamelan. Also in this recording it also features the flute ensemble which was pretty mellow and beautiful however the style is pretty Balinese and sometimes reminding me of flute music from Cambodia. Kecak or Monkey chant also features in this album as well re-enacting stories from the Ramayana between the Monkey god Hanuman who has help Prince Rama rescue is wife Sita from the evil Ravana (Rawana). The Frog Song was a pretty enjoyable track because it mimic the frogs and shows how clever the Balinese are when it comes to nature. Gender Wayan used to accompany shadow theatre was pretty light, hazy and full of drive with the metallic ringing and shimmer of the metal bars as they are being struck creating a beautiful sound. The marching band in the first track sounded like the Chinese Lion dance orchestra used to celebrate Chinese New Year. The track nine was the Baris dance a warrior dance that is packed with sudden outburst of energy and style for sure. The cd also contains a booklet packed with information about the music and it's orchestra and as well as it's purpose. This cd is a good cd for sure... it has everything jam packed with different music styles from the well known kebyar to the rare and gamelan orchestra from Tenganan with the Bali Aga's metallophones. Pack with goodies I recommend it for anyone and for those who couldn't get enough of Balinese music... then this is for you...

ancient modern music.......2000-08-26

In his amazing book Ocean of Sound, David Toop opens with a chapter on the meeting of western composers (especially Debussy) with the sounds of the Indonesian Gamelan (which are essentially orchestras of various sizes). Situating the nexus of much modern music in this meeting by finding strains of these sounds in minimalists like Steve Reich, Terry Riley, and John Cage, but also stretching into the filmic realms of Ryuchi Sakamoto, the electronics of Loop Guru, and the Free Jazz of Don Cherry, just to name a few he cites, Toop indicates the range of influence of this amazing music. David Lewiston's 1987 recordings on this compilation jubiliantly reflect this diversity, even in the fascinating opening track of various ensembles passing by in a parade showcasing the sounds of cymbals, gongs, drums, flutes, metallophones, wooden cowbells, and countless other mostly percussive sounds. The rest of the tracks on the CD are equally varied. The third track, for example, Genggong Duet, takes place with the Balinese Jew's Harp, and could almost sound like the electronic squiggles of some electronic outfits like mouse on mars or matmos; the fourth track, a Frog Song which is produced through a piece of palm bark and sounds like a reed instrument, could pass for a free-jazz improvisation. Another exciting highlight would be the 8th track, a Kecak piece that tells the Indian Legend of Hanuman. Familiar to anyone whose seen the film Baraka, this is a piece where a large group sits in a circle, moving, swaying, and chanting, tjak tjak tajk, in furious rhythm. Like the Master Musicians of Jajouka, whom William Burroughs called a "2000 year old rock band," this music sounds both ancient and progressive at the same time. An excellent introduction based on variety alone, but with digital recording, these sounds are surprisingly clean. For anyone curious about Balinese music, this would be a great place to start.