Composers Wanted!

This is a recording of the full performance of these peices froms tart to finish

Pak Wahyu Santoso Prabowo created this dance fragment partly out of a desire to have a female example of kiprahan movements and sexually-charged gandrungan movements (which is culturally/stereotypically non-feminine)—neither of which existed in the classical Central Javanese dance world yet. He chose the character Sarpakenaka of the Ramayana, as she would fit these types of movements and there was no treatment of her yet in the dance world as a main character.

Composer: Bapak I.M. Harjito. (USA)

Form: ketuk 4 kerep minggah 8, pelog lima

Classic gendhing bonang structured piece that omits the elaborating panerusan instruments. This piece features a long and stately main section which eventually leads to the hallmark fast and furious minggah section with balungan fireworks to spare.

This wonderful piece is an arrangement and reinterpretation of several classic pieces, with the addition of new vocals and a new structure. This piece was a favorite of the musicians who felt that it was very refreshing. The meaning of the name is “Cloudy Sky”. Jati Karang, which means “strong rock” is a shorter version of this piece that is a much different reinterpretation that showcases a dignified and strong personality.

Pak Wawan wrote Pepak, which means “Complete” to fill a gap in the classical gamelan repertoire. There is no other gendhing bonang piece written in pelog nem tuning. Because of this hole in the repertoire, there were no appropriate gendhing bonang songs to play in the early afternoon when pelog nem should be played. The piece is also features a range of composition techniques.

This composition is a penutup piece, which is used as a closing composition for a gamelan music concert. Often times these pieces are signature pieces for a group, that they are know for using very often. This one was written specifically for Nusantara Arts to use if they desired.

This is a lively piece that is also a beautiful tribute to Nusantara Arts. Pak Harjito used sandi asma writing technique which embeds secret words in the vocal text. The text is about the coronavirus pandemic and the creation of this composition event. the secret words hidden are Nusantara Art, Matt Dunning, and Harjito.

This was one of the most difficult compositions to learn in a short period of time by Pak Wakidis expert group of musicians. It has a unique form, requires musicians to switch tunings in the piece several times, and is a bit outside the norm of standard performance Javasnese repertoire, including Sundanese playing styles. However, the piece requires no special technique that is outside the abilities of most gamelan groups around the world

Nyi Uul wrote this beautiful jineman in honor and love for her first-born—Jangkah, who is not even 1 years old yet. She wanted the gender player to play “Relaxed, full of beauty, and also a little cute” in certain sections of the piece, deviating from standard gender technique, like calming a baby with cute but relaxed little gestures.

Pak Wiarsa is a member of the “Condhong Rumaos” amateur musician group in solo which is dedicated to classic karawitan music and often livestreams performances during Covid times. This composition is meant to convey sadness and grief: the fear of illness, the lack of work, romantic problems, and other personal matters. However the ending ketawang “Mulya” offers some hope to close out the piece.

An absolutely gorgeous gendhing and jineman with some similarities to the well known piece “Onang Onang”, but with a very unique merong section. The musicians really enjoyed playing this piece.

A slendro Manyura gendhing with a rare and beautiful Ayak with vocals that can be used in different situations.

This composition is a penutup piece, which is used as a closing composition for a gamelan music concert. Often times these pieces are signature pieces for a group, that they are know for using very often. This one was written specifically for the Pujangga Laras group to use if they desired.

Pak Wakidjo was one of the most famous gamelan drummers of all time, with his signature playing style gracing dozens if not hundreds of tape recordings during gamelan’s golden age. He was also a composer, but not very many recordings of his compositions exist. Kembang Wijaya (Kusuma) is a totally classical piece and written after Pak Wakidjo had been ill. It was a well wishing for him to get better.