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Cita Utsawa © 1983 I Wayan Berata
Performed by The Gamelan Ensemble of STSI Denpasar
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Song Lyrics |
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This is an instrumental composition without lyrics |
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Song Credits |
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Performance Credits
Reong: I Wayan Berata
Kendang: I Wayan Suweca
Kendang: I Wayan Rai
Ugal I: I Nyoman Windha
Ugal II: I Wayan Kartiana
Gangsa (Pemade): I Wayan Suharta
Gangsa (Pemade): I Made Arnawa
Gangsa (Pemade): Ida Bagus Nyoman Mas
Gangsa (Pemade): I Nyoman Sudiana
Gangsa (Kantilan): I Wayan Meder
Gangsa (Kantilan): I Wayan Gama Astawa
Gangsa (Kantilan): I Komang Sudirga
Gangsa (Kantilan): I Wayan Karyawan
Reong: I Ketut Partha
Reong: I Wayan Widia
Reong: I Dewa Gede Darmayasa
Penyacah: I Wayan Daria
Penyacah: I Nyoman Japa
Jublag: I Nyoman Tantra
Jublag: Dewa Ngakan Sudiana
Jegogan: I Wayan Winaja
Jegogan: I Gede Yudarta
Kempli: I Ketut Sudiarta
Kempur: I Wayan Wija
Gong: I Wayan Geria
Ceng-Ceng: Pande Widara
Ceng-Ceng Kopiak: Pande Mustika
Ceng-Ceng Kopiak: I Nyoman Suda
Ceng-Ceng Kopiak: I Gusti Made Oka
Ceng-Ceng Kopiak: I Wayan Mudana
Rebab: I Pande Astawa
Rebab: I Wayan Sanglah
Suling (Balinese Bamboo Flute): I Ketut Sudana
Suling (Balinese Bamboo Flute): I Nyoman Wiriatnyana
Suling (Balinese Bamboo Flute): I Ketut Darnata
Juru Gending: Ni Nyoman Candri
Juru Gending: Ni Ketut Suryatini
Juru Gending: Desak Made Suarti Laksmi
Juru Gending: I Gusti Ayu Srinatih
Production Credits
Producer: I Wayne Vitale
Mastering Engineer: I Wayne Vitale at Fantasy Studios, Berkeley, CA
Mixing Engineer: I Wayne Vitale at STSI Campus, Denpasar, Bali
Recording Engineer: I Wayne Vitale at STSI Campus, Denpasar, Bali
On CD Release: "Music of the Gamelan Gong Kebyar, Vol. 1" (1996)
Artist/Performing Group: The Gamelan Ensemble of STSI Denpasar
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Song Notes |
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Cita Utsawa by I Wayan Berata (12:32)
As with other pieces on this recording, Cita Utsawa (also known by the name Kebyar Dang) represents a fusion between genres. It unites instrumental and vocal music in a new way, highlighting the particular beauties of each style of composition: the explosive, multicolored world of kebyar instrumental music is
combined with the floating and poignant melodies of Balinese vocal music. But it also achieves another kind of fusion. Cita Utsawa is a perfect example of how theatricality, in its distinctly Balinese character, can be-married to form in an
instrumental work, made possible through the virtuosic playing technique of the gamelan musicians. Unlike the Western classical aesthetic, which often puts composition (form) on the highest pedestal, the Balinese aesthetic universe defines the ideal performance as one in which "the three Ts" are in perfect balance: tampil (appearance, display), terampil (skill, technique), and tabuh (composition).'
As the title tells us (cita = art, utsawa = festival), it was composed especially for the charged atmosphere of an art festival, in this case the one held in Surakarta, Java, in 1983. It shows the preoccupation with extroverted display and virtuosity that characterizes many Balinese performing arts, especially in a festival. In more Balinese terms, Cita Utasawa is one of those pieces where the players have a chance to turn up the ga ' va ("flash factor", "style"). Berata composed this right into the first several sections, in the same process of penonjolan(highlighting) that is used in Swa Buana Paksa (track 1). Each instrumental section of the gamelan is featured successively, while the other sections drop out or take a supporting role. After the initial kebyar tutti introduction, the reong plays a brief solo. This is followed by a 32-beat passage featuring the kendang. Then, the gangsa play a longer and more elaborately composed kotekan (interlocking)passage, with several internal repeats. In this way each orchestral subgroup is shown to its best advantage, and the contrasts and alternation between sections are exploited for maximum dramatic effect.
If performed within the context of a festival, the display would find not only sonic but visual expression. The "featured" musicians often augment their playing with elaborate, highly stylized body language, mostly exaggerated arm and hand gestures that arise in some way from the playing technique. These sometimes include the postures, eye movements and facial expressions found in dance. Drummers are famous for their particular kind of gaya. They flirt, tease, and play with the musical gestures, often raising both hands in a dance-like pose. In the competitive setting of a gamelan festival, gaya is so important that it is one of the categories in which the judges score the groups. (There is, however, a limit: most musicians say that there should be "just enough" gaya; an overdone or forced expression is worse than none at all).
The distinguishing feature of Cita Utsawa comes after all the extroversion of the introductory sections. Brought in by a beautifully crafted transition that serves to slow everything down, the singers emerge over a very slow melody of 64 beats. The arrangement of the vocal parts in this piece represents an important innovation for Balinese performing arts. Previous works for gamelan and vocals were known as gegitaan, and featured a group of singers performing the ametric, haunting melodies of classical kekawin poetry; the gamelan served only as background accompaniment whenever the singers entered. Cita Utsawa expanded the vocal conception, for the (female) vocalists sing in unison with the gamelan melodies, while the (male) musicians enter periodically for contrast, also in unison passages. This in turn became the inspiration for a new musical form, now known as Sandia Gita, which has become a required category in the yearly gamelan competitions since 1986. Here the musicians are again silent, and the chorus is expanded to include about twenty to thirty young singers who stand in the middle of the stage, like a Western chorus, rather than sitting with the gamelan. The vocal parts are thus much more promment.'
In Cita Utsawa, the first verse is sung by a soloist (on this recording, the renowned singer and arja dancer Ni Nyoman Candri), with the (male) gamelan players reinforcing certain phrases, is a simple statement of welcome and deference to the audience, typical of introductions to traditional texts.
I. Soloist:
Singgih Ratu Ida Dane sane prasida rawuh Mangda sweca Ida Dane ngampurayang Titiang rawuh ngiring pakayun sakeng luwure Mapidabdab sane becik Saluwire sampun kakayunin.
To the respected audience who are able to join us We entreat your,forgiveness We have come in deference to our leaders To carry out with excellence All that which they desire.
The soloist is joined by a small female chorus for the next verse, which follows without pause. As with many modern vocal texts-especially when composed for an official function such as a festival-there is a distinct nationalist or patriotic element, perhaps a modem-day substitute for the prayers that were offered to the gods in earlier kidung texts.
II. Female Chorus:
Sampun patut, Ida Dane sami ngiring mewangun Mangda sida katon becik jagat Indonesia Pernerintahan orde barn patut kajungiungin Panca Sila kanggen dasar jagate Wantah nika patut kalanggengin.
Now is the moment Jorall to join in the development For the success of the Indonesian people The "New Order" government deserves our respect Panca Sila, as our country's basis, Should be protected
(on second playing, repeat verse 11 only)
The first and second playings of this 64-beat section are separated by a short instrumental transition (consisting of two eight-beat phrases, each repeated), which offer a striking contrast in tempo and orchestral color to the slower vocal material. Again, the virtuosity of the STSI musicians become apparent, as the musicians negotiate the speed-ups and slow-downs with perfect ease and ensemble unity.
After the repitition, the transition leads directly to the final pengecet section of the piece. Here the chorus re-appears and continues the nationalist thread to the end, over the more energetic tempo and playful syncopations typical of a pengecet. Finally, the piece ends in a short kebyar flourish-a fitting conclusion to Berata's extroverted and strongly etched kreasi.
Petam patut fingkatang
Nelayan patut giatang
Punika wantah harapang
Negara subur, rakyat makmur Pewangunan, mangda lantur gotong royong, sami pikukuhin.
Farming must be strengthened
Fishing as well
That's what we all wish for
A fertile county, a prosperous people
So that we can continue development
And cooperation-all must be protected
-Wayne Vitale
October 12, 1996 |
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