Collections of themed recordings curated by John Noise Manis
SOLO MUSIC
Keys to emotions
MACAPAT
by Rosella Balossino
Poetry and music in Java are strictly connected. Poems, in fact, are not recited but sung with melodies appropriate to the metre of the verse. These vocal compositions, called tembang in ‘ngoko Javanese’ and sekar in ‘krama Javanese’, are divided in three main groups according to their metrical scheme.
Tembang gedhé are influenced by Indian poetry. Each stanza has four lines, each line has the same number of syllables, the punctuation is in a fixed position, and the melody is rich in ornamentation.
Tembang tengahan is considered a transition style between tembang gedhé and tembang macapat. Its poetic structure is more flexible but it is still sung in a decorated style.
Tembang macapat or tembang cilik may have more than four lines in a stanza and the lines may have a different number of syllables and a different rhyming scheme. Therefore in tembang macapat stanzas may have different patterns, each identified by a particular name. For instance a stanza with five lines, respectively of 7, 10, 12, 8, and 8 syllables, with a rhyming scheme u,u,i,u,o, is calledTembang Macapat Gambuh and is represented synthetically as follows: Gambuh 7u, 10u, 12i, 8u, 8o.
Tembang macapat are sung in a free rhythm and almost without ornamentation.
There are different theories about the origin of the word “macapat” and of “tembang macapat”.
One hypothesis about the meaning of the word macapat is given by Sri Hastanto:
“The celebrated Javanese pujangga (master of letters) Ranggawarsita referred of an earlier source consisting of four volumes (or possibly chapters) concerning tembang. [….] According to Ranggawarsita, the first two volumes described the way of singing tembang gédhé, the third dealt with the way of singing tembang tengahan and the fourth discussed tembang macapat. The volumes were called in order Maca sa lagu, Maca ro lagu, Maca tri lagu, Maca pat lagu. Maca literally means “reading”, but in this context it implies a written explanation of verse-forms. It also implies an explanation of the way in which verse-forms govern the singer’s performance of the melody. Lagu means “melody” and sa, ro, tri, pat mean “first”, “second”, “third”, “fourth”. The title of the fourth volume which Ranggawarsita described, therefore, can be roughly translated as “Verse forms and how to sing them – Volume 4”. Eventually, the types of verse-form and the singing style dealt with in Volume 4 became known simply as “macapat” [maca=read, pat=four].
(Sri Hastanto p.120)
On the same subject T. Pigeaud in “Literature of Java”, Vol. I p. 20, writes:
“Macapat and mancapat, meaning “four fellows”, are expressions referring to a group of closely related units, located on the corners of a square, in accordance with cosmic order. To the Javanese mind the word mancapat suggests safety and the well-known order of the home district.”
For Sulaiman Gitosaprodjo macapat means “from village to village”, connotating macapat as songs of the common people (Gitosaprodjo, p. 207).
As the two last hypotheses suggest, macapat are popular poetry developed out of the courts and may have a very ancient origin. According to J. Kunst and Sri Hastanto they may have developed “even before Hinduism became a major influence in Java” (Sri Hastanto, p.118). However at that time macapat belonged to the popular oral tradition and we have no records since authors wrote down only poems connected with Indian religion and court life. The first written macapat appear in Central Java at the beginning of the Islamic period. (But according to Pigeaud written macapat are found in East Javanese and Balinese pre-Islamic historical literature; Pigeaud, p. 18.)
According to Darsono (see following commentary by him) macapat were invented with the purpose of spreading Islamic religion.
At the beginning of the 18th century, during the “Javanese Renaissance”, in Surakarta some court musicians started polishing and refining the macapat songs and fixed the prosody of about fifteen of them, calling them tembang cilik, “small songs”, to distinguish them from the Indian verses of the old Javanese court poems which were called tembang gedhé, “great songs”.
This kind of literature had a second blooming at the end of the 19th century, during the “Second Javanese Renaissance” when many poets, such as Ranggawarsita “the last pujangga” and princes such as Mangku Nagara IV, wrote poetic stanzas in macapat metres.
According to Sri Hastanto, until the end of the 19th century macapat were used for didactic, religious, mystic purposes and also for writing letters that were sung to the recipient without musical accompaniment.
“It was commonly believed – and frequently still is – that Friday is the day of evil spirits. According to traditional ideas, the spirits start their activities very early. Thus it was necessary to remain awake all night on Thursday in order to avoid being attacked by them. To ward off sleepiness, people sometimes sat together and sang tembang macapat in turns until dawn. The texts which were used were usually prayers to ask God’s blessing. Macapat were sung in much the same way at other religious ceremonies concerning marriage and birth.” (Sri Hastanto, p. 112-127.)
The singers, not being accompanied by any instrument, could add ornamentations and even introduce changes in tempo according to their taste, giving different renditions of the same tembang macapat in a way that sometimes made the original melodic line difficult to recognize. Jaap Kunst reports another particular use of tembang macapat:
“A peculiar and rare form of macapat singing should be mentioned here: this is called tembang pendhapa or tembang pringgitan. Every evening in the Solonese kraton, an official, belonging to the prajurit corps of the Tamtama, places himself at the foot of, and with his back to, the large central pendhapa, turns his face in the direction of the large door behind which in olden times, the Susuhunans were wont to sleep, and proceeds to sing, all night long, various macapat songs. The style of rendering this performance, however, is such that only a perfectly trained ear is able to discern that it is indeed macapat melodies that are being sung, the execution being extremely surcharged with variations and fiorituri prescribed by tradition”.
(J. Kunst, p.126.)
Each form of macapat metre has a title and is defined by the number of lines per stanza, the number of syllables for each line and the vowel of the last syllable. The number of the macapat forms is not defined but depending on the authors goes from 10 (Gitosaprodjo) to 20 (T. Pigeaud).
Nowadays the musicians consider 11 forms:
| Mijil Maskumambang Kinanthi Sinom Durma Asmaradana Gambuh Dhandhanggula Pangkur Megatruh (Duduk Wuluh) Pucung |
6 lines, 10i, 6o, 10é, 10i, 6i, 6u 4 lines, 12i, 6a, 8i, 8a 6 lines,8u, 8i, 8a, 8i, 8a, 8i 9 lines, 8a, 8i ,8a, 8i, 7i, 8u, 7a, 8i, 12a 7 lines, 12a, 7i, 6a, 7a, 8i, 5a, 7i 7 lines, 8i, 8a, 8é(o), 8a, 7a, 8u, 8a 5 lines, 7u, 10u, 12i, 8u, 8o 10 lines, 10i, 10a, 8é (o), 7u, 9i, 7a, 6u, 8a, 12i, 7a 7 lines, 8a,11i, 8u, 7a, 12u, 8a, 8i 5 lines, 12u, 8i, 8u, 8i, 8o 4 lines, 12u, 6a, 8i, 12a |
In this CD all of them are recorded both in slendro and in pelog versions. In addition also a tembang tengahan, ‘Wirangrong’, has been recorded:
| Wirangrong | 6 lines, 8i, 8o, 10u, 6i, 7a, 8a |
The origin of the titles of the macapat is mainly unknown, but supposedly these names are preceding the formalization of the written forms. Some of them have a meaning, but have no connection with the subject of any given macapat. The only one that recalls its subject is Asmaradana, where asmara means “passionate love”.
Pigeaud suggests that some names were connected with ceremonies of the pre-Islamic period or with people in charge of those ceremonies or with some poet or poem. Dhandhanggula is synonym of Dhandhan Gendhis, 13th century king of Kedhiri, who ruled over Java as Sri Gentayu, after fighting his rebellious brother Sandhang Garba. Asmaradana or Asmara Dana recalls the kakawin Smara Dahana in which Siwa, angry at Kama Jaya, the god of sensual love, who keeps intruding in his ascetic life, burns him with a glance of his third eye. Pangkur might be connected with the “officials of certain exorcist rites in Java whose incantations became secularised in the course of time” (Pigeaud). Maskumambang may recall the shamanic experience of floating. Gambuh means experienced or expert, and is connected with dances of ancient communal festivals in Java. Sinom (nom means “young”) may be connected with sinoman, a hosting activity carried out by groups of boys during community meals (wilujengan).
Each macapat metre has its own melody, which is considered to convey a particular mood. The subject of the stanza has to be in accordance with that mood. Each melody, which in its plain version is called wantah (simple), may be modified in various ways. Such modifications, indicated in the title with an appropriate word, may also modify the mood of the melody but without completely changing it. So it is possible to listen to Pangkur (Wantah) and also to Pangkur Ngrenas, Pangkur Paripurna, etc., depending on the elaboration of the melody. In the anthology “Macapat I, II, III” by Gunawan Sri Hastjarjo, we can find three wantah versions of Dhandhanggula – slendro sanga, pelog nem, pelog barang – and 26 other versions such as Dhandhanggula Buminatan, Dhandhanggula Natakusuman, Dhandhanggula Sukasih, and so on.
BIBLIOGRAPHY
TEMBANG MACAPAT
by Darsono, S. Kar., M. Hum.
The word tembang literally means flower but can be explained as a series of words or sentences which are arranged in such a way as to resemble an arrangement of colourful flowers, which look so beautiful and smell so fragrant that they attract the attention of anyone who sees them. This series of sentences is sung by a vocalist who uses the sléndro or pélog scale of the Javanese gamelan.
The singing style depends largely on the text. When the text comes from ancient Javanese sources dating 1000-1500 AD in the ancient Javanese language (kakawin), the singing style is ornamented (tembang gedhé). When the literary text dates from the middle period between1500 and 1800 AD and the language is in a transition phase, the singing style is called tembang tengahan. The texts in modern Javanese from around the year 1800 are sung with little ornamentation and are called tembang macapat or just macapat.
The appearance of tembang macapat was influenced by the oral tradition in which information was passed on by word of mouth, largely due to the fact that only a few people could read and write. Therefore, in order to convey words of religious or moral advice, or information about history, education, and so on, books were written in the form of tembang macapat, and performed on a variety of different occasions in the Javanese community. These books include Srikandhi Meguru Manah, Dewa Ruci, Centhini, Wulangreh, and Wedatama. Tembang macapat also spread to West Java and Bali, while in Central Java several different styles developed, including Surakarta style, Semarang style, and Banyumas style.
Based on the “Purwakanthi” chronicle by M. Ng. Mangunwijaya (1922), the “Titi Asri” chronicle by Supardal Hardosukarto (1925), and the “Pathokaning nyekar” chronicle by R. Harjowirogo (1925), it is stated that tembang macapat was first invented by religious leaders for the purpose of spreading the Islamic religion. For example, Tembang Durma was written by Sunan Bonang, Pocung by Sunan Muryapada, Mijil by Sunan Geseng, Kinanthi by Sunan Pajang, Dhandhanggula by Sunan Kalijogo, and so on.
Each of the eleven tembang macapat, that are widely known and also contained in the “Menak Rare” chronicle, has its own structural differences, including the number of syllables (guru wilajang) on each line, the vowels (guru lagu) used at the end of each line, and the number of gatra or lines in each tembang.
Some tembang macapat have a completely different character from each other while others are quite similar. The following is a list of the characters which are usually said to be found in each tembang macapat:
Dhandhanggula has an attractive, sympathetic, and very proper character, for which reason it is suitable for describing a variety of different feelings.
Sinom has a shrewd, romantic character and as such it is suitable for describing or portraying a person in love.
Kinanthi has a bright, happy, romantic character.
Asmaradana has a sad, anxious character.
Pangkur has a calm, powerful character.
Mijil has a sad, romantic character.
Pocung has a light-hearted character.
Durma has an angry, stern character.
Maskumambang has a sad, troubled character.
Megatruh/Duduk Wuluh has a sad, piteous character.
Gambuh has a familiar, tolerant character.
In the Javanese culture, each of these eleven tembang macapat exist in both sléndro and pélog tuning. The terms sléndro and pélog here imply the various opposites that exist in the universe, such as night and day, man and woman, happy and sad, dead and alive, and so on. Javanese people like to make connections between different events, thus the names of these tembang macapat are also related to different phases of the human life cycle, from birth to death. The order and a brief description of these human life events is as follows:
Mijil. The word mijil in Javanese means to come out or be born. After carrying a baby in the womb for 9 months and 10 days, a woman finally gives birth to a child. The birth of a baby is symbolized by tembang Mijil.
Maskumambang. A newborn baby is like a piece of clean, white paper, untainted by sin, and is also as valuable as gold. A baby is also said to be like an object floating (kumambang) on the surface of water which is blown in all directions by the wind. Therefore, it is important to bring up a child carefully to ensure that s/he will be valuable and useful for the rest of society. The existence of a baby aged around 10 months is symbolized by tembang Maskumambang.
Kinanthi. This word means accompanied by or led by the hand. When a child of around one year starts to learn to walk, the parents will hold the child’s hands carefully to make sure s/he does not fall. A child of this age is symbolized by tembang Kinanthi.
Sinom. When children grow-up they tend to be strong-willed and will go to all means to get what they want without taking into account right and wrong. This stage of life is symbolized by tembang Sinom.
Durma. Teenagers usually have no fear of anyone or anything, and are always filled with courage and conviction. This is like the character of a brave lion that never gives up. This age is symbolized by tembang Durma.
Asmaradana. This word means infatuated or in love. After finishing high school, or while at university, people are old enough to start experiencing the beauty of love and begin to become attracted by members of the opposite sex. This age of falling in love and dating is symbolized by tembang Asmaradana.
Gambuh. The word gambuh in Javanese means suitable or matching. While dating, young people weigh up each other’s characters, as well as find out about each other’s parents and families. If they feel they are well-suited in all these respects, and if they have finished studying and found a job, the next step is to get married.
Dhandhanggula. The word dhandhang means crow or raven, and gula means sugar. In this life, the peak of happiness is when people get married. To remember this happy day, people often celebrate their silver wedding anniversary after 25 years, and their golden wedding anniversary after 50 years. The peak of a person’s happiness or the occasion of a wedding is symbolized by tembang Dhandhanggula.
Pangkur. The second syllable of this word, kur, is short for the word mungkur, which means to leave behind all that is worldly oriented. When people are married with children, they wish for their family’s happiness. They leave behind their bad habits and extravagant way of life and instead do what is right for their family’s happiness. At this time of life, when people are described as being old, it is time for them to start thinking about the hereafter and doing good deeds before their life is over. This period of life is symbolized by tembang Pangkur.
Megatruh/Duduk Wuluh. Megat means apart or separate, and ruh means soul or spirit, so the meaning of megatruh is death. All of God’s creatures, including human beings, will eventually pass away. This time of death is symbolized by tembang Megatruh.
Pocung. The word pocung, or pocong, means a dead body wrapped in a shroud. A time after death.
In relation to the characters of tembang macapat outlined earlier, and the fact that Pocung has a lively, happy, joyful character, even though the word is related to death, I have been asked to comment on this apparent incongruence.
In my opinion, people should spend their lives doing good or behaving honourably in accordance with God’s command, and not do anything that is shameful or forbidden by God. In this way, we will be rewarded justly and blessed for our good deeds. This in turn will bring happiness in this life and the next. And after we die, we will be rewarded for our actions on earth and be happier and more comfortable in the hereafter. Some people are afraid to die because they cannot comprehend the idea of life after death and because during their life on earth they have failed to gain God’s grace as they have performed many bad deeds and have not lived according to His command.
I have also been asked what differential character and meaning I feel in singing or listening to a macapat in slendro versus the same in pelog.
The difference in character between macapat in slendro and in pelog is of a general nature.
Slendro and pelog are like an inseparable couple, or husband and wife. Slendro is like a man and pelog is like a woman.
In all his actions and behaviour, a man is calm, assured, simple, and undemanding, while a woman, on the contrary, is fickle, likes to make herself beautiful, and is often demanding. [Sic. Ed]
In connection with this, I should explain here that songs or tembang in slendro are usually of a very simple or unadorned nature, while songs in pelog are more varied and use more variations of cengkok, luk (melodic variations which move by step), wiled, and gregel (short melodic ornaments). [It will be noted that Pak Darsono sings all macapat in slendro, while macapat in pelog are assigned to the pesindhen. Ed]
As a final comment, I should say that the texts used in this CD have no connection between one tembang and another, as numerous sources were chosen spontaneously for the texts in this recording. Priority is given to the melody rather than the text. The texts follow no particular order and there is no particular grouping of characters that are suitable for each tembang.
TEXT AND TRANSLATION OF MACAPAT
Translation of the Javanese texts into English was the responsibility of Rosella Balossino with the collaboration of Adi Deswijaya and Janet Purwanto.
1 – Mijil slendro sanga
| Lamun sira madeg Narapati Yayi wekas ingong Apan ana ing Prabu ugerré Sastra cetha ulatana yayi Omahna dèn pasthi Wulang ing sastréku |
When you’ll become a king My brother asking me Whether there is someone who can advise the king Look for clear writings, my brother, Keep in your heart The teachings of my books. |
2 – Mijil pelog barang
| Miwah lamun aprang ndhedhingini Sru polah lok alok Ing batiné angempèk kuwanèn Iya dudu duwèké pribadi Kang mangkana yayi Prenahna dèn gupuh |
And whenever you foresee a quarrel Do shout loud and run Within your heart will emerge a hint: Although this may not belong to your character It is the one that in such a case, young brother, You shall use without hesitation. |
3 – Maskumambang slendro sanga miring
| Ana uga étang etangané kaki Lelima sinembah Dunungé sawijiwiji Sembah lelima punika |
There are also the elucubrations of an old man Greeted with a sembah by a group of five persons About how many would be, counted one by one, Those who greet him in the group of five. |
4 – Maskumambang pelog nem
| Iku pantes sira tiruwa ta kaki Miwah bapa biyung Amuruk watekkan becik Iku kaki èstokena |
It is appropriate that you emulate your grandfather And both your parents They teach you the correct behaviour Be in accordance with your elders. |
5 – Kinanthi slendro sanga
| Dhuh Déwa dhuh Jawata gung Tingalana solah mami Sèwu lara sèwu brangta Tan ana timbangé mami Yèn ta ulun tan panggiha Kalawan pangéran mami |
Oh God, oh great Gods Look at my condition One thousand people in pain one thousand in love There is no one comparable to me When I don’t meet My prince. |
6 – Kinanthi pelog barang
| Narpati Rama lingnya rum Konen sesuci reresik Anjarag sedya sujana Kusuma ari Mantili Tetéla setya sumetya Yekti sarat areresik |
Oh King Rama with fragrant words Do order to be bathed and washed Yes, to intentionally become a shrewd human being Noble brother Mantili Clearly, to be faithfully loyal Is the actual necessary condition to do the cleansing. |
7 – Sinom Malatsih slendro sanga
| Sigra manjing jroning pura Anoman ing pukul siji Katanggel wetuning wulan Anoman minggah ing wukir Wukir sajroning puri Samadyaning setusetu Ngayuh Anoman minggah Wengkoning praja kaèksi Akè katon gedhong gedhong jroning pura |
At once enters the palace Anuman at one o’clock At the rising of the moon Anuman climbs the mountain Mountain inside the palace walls In the centre of the terraces Anuman reaches higher Looks at the palace area Many stone buildings are visible. |
8 – Sinom pelog nem
| Nulada laku utama Tumrapé wong tanah Jawi Wong Agung ing Ngèksiganda Panembahan Sénapati Kapati amarsudi Sudaning hawa lan nebsu Pinesu tapa brata Tanapi ing siyang ratri Amemangun karyènak tyasing sasama |
An example of good behaviour For the people of Java Is the great man of Ngesiganda (Mataram) The venerable Senopati To intensely attain The diminishing of passions By pursuing it through meditation Day and night Creating the conditions of one’s own well-being. |
9 – Durma Ransang slendro sanga
| Wus sinamber sang putri Mantilidirja Ring sang kaga Narpati Janthayu gya mesat Ndedel ngayuh gegana Ginéndhong sang rajaputri Munggèng ngawiyat Dasamuka sira glis |
Princess Mantilidirja was seized By the Bird King Janthayu immediately takes off Rising high to the great sky Carrying on his back the daughter of the king Promptly aims to the sky Dasamuka. |
10 – Durma pelog barang
| Mituturi Sang putri Mantilidirja Yèn Ramabadra mangkin Myarsa jrih dosanya Dènira numpes ditya Ing balané Sri Bupati Mila tan nedya Ngupaya garwaneki |
Princess Mantilidirja tells that Rambadra now Is afraid that his sin be known, Having exterminated the giants The army of the King, Because then they will not Search for his wife. |
11 – Asmaradana slendro sanga
| Paduka manjinga puri Prakawis praptaning mengsah Wanara ampuh yudané Kathah bupati kang pejah Tumpes sawadyanira Prajangga Pragangsa lampus Mintrakna lan Wirupaksa |
Your excellency should enter the palace Because of the arrival of the enemies The monkeys have supernatural powers in battle There are many kings who died Exterminated with their soldiers Prajangga Pragangsa died As well as Mintrakna and Wirupaksa. |
12 – Asmaradana pelog barang
| Ujar waluyaning dadi Raharja ajur kéwala Kalulun kèlu alané Kang sami amrih raharja Tetepé sinéwaka Kawangsul kang amrih hayu Kolu kang amrih dursila |
It is told that the well-being of a prosperous existence May be badly damaged simply By being carried along by wrongdoing. Everybody hopes, in order to be happy and safe, To get a steady service at the court. The one who wants to be safe will refuse it The one who likes it is willing to do wrong. |
13 – Gambuh slendro manyura
| Déné katelu iku Si kidang suka ing patinipun Pan si gajah aléna patinirèki Si ula ing patinipun Ngandelken upasé mandos |
In that third period (of the calendar) The happy roe-deer died Then the elephant not caring of danger died And the snake found its death Because it relied on its potent poison. |
14 – Gambuh pelog nem
| Sekar Gambuh ping catur Kang cinatur polah kang kalantur Tanpa tutur katula tula katali Kadalu warsa katutuh Kapatuh pan dadi awon |
The fourth is Sekar Gambuh Telling about bad behaviour Without guidance will make one’s world tangled-up If you learn too late you’ll be disdained Getting habits that produce bad results. |
15 – Dhandhanggula slendro sanga
| Pamedharé wasitaning ati Cumanthaka aniru pujangga Dahat mudha ing batiné Nangingkedah ginunggung Datan wruh yèn akèh ngèsemi Ameksa angrumpaka Basa kang kalantur Tutur kang katulatula Tinalatèn rinuruh kalawan ririh Mrih padhang ing sasmita |
Pronouncing words of wisdom I (the author) dare to pretend to be a poet. My inner self is young But I wish to reveal my thoughts. I don’t know if many people will deride (my work) I forced myself to write a poem In copious language My words tell of difficulties Patiently and carefully proceeding To reveal clearly my inner message. |
16 – Dhandhanggula pelog nem
| Pakolihé kaduwe sang Aji Ambumboni karahayoningrat Lawan ta yayi malihé Ambecikana lurung Myangmarga ring jaban kithèki Rèhen pedhakna toya Sumber sendhang sètu Pancur pancuran telaga Urut marga wehana balé sayekti Wèh santosèng lumampah |
Things to be achieved by a king: To create well-being in the world That is, my brother, you shall Repair the narrow streets And the roads outside this town Plan them close to water Like wells, springs, dams, Fountains, ponds. Erect with much care a house along the road That give cantonment to those who walk by. |
17 – Pangkur slendro sanga
| Suka Sri Ramawijaya Mulat sagung wré prawira wus prapti Lir gora gambira catur Yayah basmèng Ngalengka Dékangbala wanara samya gulagul Samoha maha saktiman Gumregut anggegirissi |
Rama the Victorious is exultant Seeing the courageous monkeys already there Producing a frightfully gay chatter As when Ngalenka was burned. The troops of the monkeys are horrifying All have strong magical powers Forceful and frightening. |
18 – Pangkur Kasmaran pelog nem
| Ature Prabu Sugriwa Luhira dres Ragutama Narpati Sang harya Wibisana nglud Myangtaruna Leksmana Ngingseg ingseg sadaya wré kang andulu Wré tan bisa anangisi Kabèh tinon kadi tulis |
King Sugriwa reports that King Ragutama’s tears flow While the noble Wibisana pursues Young Laksmana. All the monkeys, seeing that, cry uncontrollably But monkeys cannot cry They all look petrified. |
19 – Dudukwuluh slendro sanga
| Nora kena sinelak selak pineluk Mringkang ngadhangadhang sisip Yèn loro anggep irèku Temah kèthèr maring ngening Adoh kaelettan adoh |
Do not permit hastily to be embraced By one who waits for his mistakes to be forgotten If those two think that I Will neglect to make clear Things that are remote in the past. |
20 – Megatruh pelog barang
| Sira Prabu Gunawan manembah nuhun Wong Agung ngandika malih Yayi yèn ingsun tan ayun Kang sawenèh ana angling Mbesuk ing palastraning ngong |
King Gunawan, I am grateful to your Highness For I speak once again to the great man. My brother, what I do not desire Is that there be someone who speaks In the future at the time of my death. |
21 – Pucung slendro sanga
| Ngelmu iku kalakoné kanthi laku Lekasse lawan kas Tegesé kas nyantosani Setya budya pangekesé dur angkara |
That knowledge which is obtained through experience Starts with a steady will To seriously strengthen A loyal character that overcomes passions and greed. |
22 – Pucung pelog barang
| Abot ènthèng wong duwé sanak sadulur Enthèngé yen pisah Pikiré tan dadi siji Abotipun yèn sabiyantu ing karsa |
A man has heavy and light relatives They are easy when on their own But this is not the only point of view They become difficult when one needs their help. |
23 – Wirangrong pelog nem
| Dèn samya marsudeng budi Weweka dipun waspaos Aja dumèh dumèh bisa muwus Yèn tan pantes ugi Sanadyan mung sakecap Yèn tan pantes prenahira |
Concentrate your efforts to train your mind Be always on guard and alert Do not speak, just because you can, If it is not also appropriate Not even a single word When the place is not suitable. |
A NOTE by Sukamso
The programme for this recording contains vocal music (macapat), genderan (solo music for gender), and sulingan (solo music for suling, the Javanese bamboo flute). The pieces for gender which I play in this recording use various techniques, such as grambyangan, pathetan, ada-ada, gender introduction (buka), and melody (lagu), each having different characteristics. John Noise Manis conceived the inclusion of the instrumental pieces among the vocal music as a ‘comment’ and a reflection of the mood of the preceding macapat. This makes the result not monotonous and should provide the listener with an interesting musical challenge.
Note on Track 38 – Genderan duo on Ladrang Pangkur
The performance on this track of the gender part for Ladrang Pangkur pélog barang may be divided in three sections. I play the first section (0:00 to 2:43), beginning in irama wiled ciblon, then in the second gatra of the first kenong, the irama changes to rangkep. The variations in the gender part, known as wiledan, are of an individual nature, and vary from one player to another. In the world of karawitan, differences in wiledan, and sometimes even cengkok, are not a problem. In this performance, the wiledan performed by me are the result of an accumulation of my own experience and creativity as a gender specialist.
The second section (from 2:43) of the gender part for Ladrang Pangkur pélog barang begins in irama wiled ciblon, and is performed by Ibu Kris Sukardi, the best female gender player at this time. The wiledan played by Ibu Kris are shaped by her vast experience as a gender player who often accompanies shadow puppet theatre (wayang kulit). Some of her cengkok and wiledan are different from those of other (female) gender players. She tends to play with fast rhythms and her wiledan are full of ornaments which makes her gender playing bright and melodious.
On the approach to the gong at the end of the first gong cycle, the irama changes to rangkep. After the (virtual) gong (at 4:31), the second gender player, myself, joins in, playing in laras sléndro, while Ibu Kris continues to play in laras pélog. This combination of the sléndro and pélog tuning with different wiledan creates, in my opinion, an intense, powerful, and highly attractive performance.
A NOTE by Supardi
For the suling pieces that I play in this recording, I freely chose the cengkok (musical patterns), trying to match with the preceding male or female vocal part. There are a few cengkok which are directly influenced by the macapat melody. This connection is especially clear in track 6; the suling ending in track 14 copies the preceding vocal melody.
TRACK LISTING, CONTENT, AND PERFORMERS
Track 01 – 1:09 – macapat Mijil slendro sanga – Darsono
Track 02 – 0:29 – sulingan on Mijil slendro – Supardi
Track 03 – 1:22 – macapat Mijil pelog barang – Sri Suparsih
Track 04 – 0:54 – macapat Maskumambang slendro sanga miring – Darsono
Track 05 – 1:01 – macapat Maskumambang pelog nem – Sri Suparsih
Track 06 – 0:38 – sulingan on Maskumambang pelog – Supardi
Track 07 – 1:01 – macapat Kinanthi slendro sanga – Darsono
Track 08 – 1:08 – macapat Kinanthi pelog barang – Sri Suparsih
Track 09 – 2:24 – genderan grimingan pelog – Sukamso
Track 10 – 1:36 – macapat Sinom Malatsih slendro sanga – Darsono
Track 11 – 2:21 – genderan Sendhon Abi Many slendro sanga – Sukamso
Track 12 – 1:50 – macapat Sinom pelog nem – Yayuk Sri Rahayu
Track 13 – 1:13 – macapat Durma Ransang slendro sanga – Darsono
Track 14 – 0:50 – sulingan on Durma Ransang slendro – Supardi
Track 15 – 1:22 – macapat Durma pelog barang – Sri Suparsih
Track 16 – 1:04 – macapat Asmaradana slendro sanga – Darsono
Track 17 – 1:29 – genderan Emplek-Emplek Ketepu slendro sanga – Sukamso
Track 18 – 1:23 – macapat Asmaradana pelog barang – Sri Suparsih
Track 19 – 0:45 – sulingan on Asmaradana pelog – Supardi
Track 20 – 1:00 – macapat Gambuh slendro manyura – Darsono
Track 21 – 1:17 – macapat Gambuh pelog nem – Yayuk Sri Rahayu
Track 22 – 1:36 – genderan Ada-Ada pelog nem – Sukamso
Track 23 – 1:57 – macapat Dhandhanggula slendro sanga – Darsono
Track 24 – 1:46 – genderan pathetan slendro sanga – Sukamso
Track 25 – 1:55 – macapat Dhandhanggula pelog nem – Sri Suparsih
Track 26 – 1:24 – macapat Pangkur slendro sanga – Darsono
Track 27 – 1:44 – genderan Buka Gadhung Mlati slendro sanga – Sukamso
Track 28 – 1:28 – macapat Pangkur Kasmaran pelog nem – Sri Suparsih
Track 29 – 0:38 – sulingan on Pangkur Kasmaran pelog – Supardi
Track 30 – 1:02 – macapat Dudukwuluh slendro sanga – Darsono
Track 31 – 1:08 – macapat Megatruh pelog barang – Yayuk Sri Rahayu
Track 32 – 0:21 – sulingan on Megatruh pelog – Supardi
Track 33 – 0:37 – macapat Pucung slendro sanga – Darsono
Track 34 – 0:57 – macapat Pucung pelog barang – Sri Suparsih
Track 35 – 0:47 – sulingan on Pucung pelog – Supardi
Track 36 – 3:24 – genderan Jineman pelog nem – Sukamso
Track 37 – 1:27 – tembang tengahan Wirangrong pelog nem – Darsono
Track 38 – 6:51 – genderan duo on ldr. Pangkur – Sukamso (pelog), Ibu Pringgo (pelog), Ibu Pringgo/Sukamso (pelog/slendro)
Total Time 55:20
Note: some ‘paper noise’ may be heard on Tracks 4 and 7
Performers:
Vocal: Darsono (Tracks 1, 4, 7, 10, 13, 16, 20, 23, 26, 30, 33, 37)
Sri Suparsih (Tracks 3, 5, 8, 15, 18, 25, 28, 34)
Yayuk Sri Rahayu (Tracks 12, 21, 31)
Gender: Sukamso (Tracks 9, 11, 17, 22, 24, 27, 36, 38)
Ibu Pringgo Hadiwiyono [Ibu Kris Sukardi] (Track 38)
Suling: Supardi (Tracks 2, 6, 14, 19, 29, 32, 35)
Recording of macapat – ISI Surakarta, 23 September, 2008
Recording of gender and suling – ISI Surakarta, 3 July, 2010
Musical Design, Recording, Mastering, and Photos – John Noise Manis
YANTRA – Production and Digital Release