PROGRAM

Presenting: Compositions by Trisutji Kamal

Pianists : Trisutji Kamal

Iswargia R. Sudarno

Soprano : Fitri Muliati

Traditional voice and Balinese percussions:

I Gusti Kompyang Raka

I Ketut Budiyasa

1. AL-IHLASH (THE UNITY) - 1998

Ensemble

2. REVELATIONS OF THE ISLAMIC HOLY MONTH - 1984

a. Ramadhan (Fastng month)

b. Malam Takbir (Evening of worship)

c. Idul Fitri (The day after Fasting Month)

Duo piano

Percussionist: I Ketut Budiyasa

3. TRILOGY - 1997

a. Prologue

b. Dialogue

c. Epilogue

Ensemble

4. QURBAN (Sacrifice) - 1997

2nd Movement of SUITA IDUL ADHA

Duo piano and Rebanas

5. FATE

2nd Act of MOUNT AGUNG - 1963-1970

Ensemble

P R O G R A M N O T E

1. AL-IHLASH (THE UNITY) 1998

This composition is based on the surah Al-Ihlash, which is one of the most important prayers in Islam. It contains only 4 verses and has been called the essence of the Holy Qur'an. Surrendering completely to Allah, the Omnipotent is the essential teaching in Islam, as all hopes is depending on Allah, He who has no child and who has never been born as a child. The transelated verses of this prayer are as follows:

In the name of Allah, the Beneficent, the Merciful

- Say, He is Allah, the One

- Allah the eternally Besought of all

- He begtteth not nor was begotten

- And there is none comparable unto Him

The compositions initiates with the reciting of the verses originally in Arabic with the style of Qur'anic reading. Afterwhich it is sung in the Indonesian language with a freer style that is developed by the composer with the interactions of the 2 pianos and the Indonesian percussions. The melodic and rhythmical design developed among the musical instruments is based on the Tajwid (correct pronounciation of reading the the Qur'an) of the verses of the surah.

As a coda the composer uses the zikir (repeating continuously the name of Allah) La Ilaha il Allah meaning there no God but Allah, thus creating a meditaive atmosphere of total surrender, especially if the audience (or partly) participate spontaniously in this.

2. REVELATIONS OF THE ISLAMIC HOLY MONTH (1984)

This is a suite expressing the atmospheres and experiences of the Islamic Holy Month of Ramadhan. It is in three parts:

a. Ramadhan (Fasting Month) . b. Malam Takbir (Takbir Evening)

c. Idul Fitri (The day after Fasting Month).

Ramadhan (Fasting Month)

This piece is in free form. The composer wants to express in total freedom all that each individual experiences spiritually in thefasting month, a month of purification to Moslem, where every one surrenders to Allah completely by fasting and praying more intensively in the evenings after the break of the fasting. The atmosphere of the serenity is transfered into music undescribable in words. In certain places of the piece the percussed strings of lower register with the left hand, and almost at the end some strings plucked with the finger

makes this piece characteristic.

Malam Takbir (Evening of worship)

The joy and released feeling of the end of the Fasting Month is happily expressed in this piece. To all Moslems, the end of the Fasting Month is like being reborn like a baby, pure without sin.

The use of percussed strings on the lower register opens the piece like the call of the Bedung (big drum) to call people to pray and then the chant of the Imam calling "Allahu Akbar" (God is Great) follows very solemnly in monodic style, after which the Malam Takbir theme known to all Moslems and recited on this occasion enters majestically, immitating people reciting simultaniously in mosque and everywhere. Then a second musical idea is introduced, developing spontaniously in gay passages, reaching a climax of fulfilment with octaves leading towards a section in melancolic mood. The Allahu Akbar theme emmerges after a free improvisation like passage modulating three times towards the end.

Idul Fitri (The day after Fasting Month)

The next morning after completing the Ramadhan is a day of triumph and gratitude. Moslems go to mosques or open fields where the Solat Ied (morning prayers) are being organized, wearing festive clothing. In the Indonesia traditions, on this day people visit and pay hommage to each other, especially to parents and elderly people to ask forgivenss. This is always a happy and cheerful day. This short piece is an expression of the above mentioned occasion.

3. TRILOGY (1997)

As the title suggests, this composition is in three parts with the titles Prologue, Dialogue and Epilogue. Each piece is complete in itself but is connected one to another in its basic idea of expressing man's deepest emotions to make others understand what he has to say about the essence and nuances of life, like entering into an environment full of love, harmony, expectations and hope. This piece is written for an ensemble of two pianos, violin or female voice, traditional voice, Indonesian bamboo instruments like "Bumbung" (bamboo xylophones), bamboo flute, Kentongan (bamboo percussions) and other Indonesian percussions.

The music is composed with basic themes but musicians are given the freedom to improvise in certain parts.

a. Prologue: is meant to suggest and create an atmosphere of entering into a different atmosphere. Musically inspired by the Suluk, a special kind of recitation and singing by the dalang (conductor/leader) in the beginning of a shadow play performance, thus introducing the spectators entering into a world of imagination.

The opening verses written in Indonesian by the composer herself, but recited in Balinese language are as follows:

We offer you this song

as a token of simplicity

We offer you this song

to share our feelings

We offer you this song

with a heart full of love

We offer you this song

with garlands of sounds full of romance

We offer you this song

creating colours and athmospheres.

The words sung by the female voice are taken at random from the main poem, focussing on atmosphere, simplicity, romance, sharing of feelings etc. always ending on a vocal sound "a" for melismatic purposes. The style of singing should be more ethnic , with freedom in improvising grace notes etc. thus a special kind of technique of singing is required in some parts.The blending of the various musical instruments makes this part of the composition very special.

b. Dialogue: this part is like an interlude where people interact with the differences of idea and emotions but focussing only the nuances of love and harmony. The accompanying rhythmical design by the rebana and words being sung after the exposure of the theme is basically taken from the Zikir (repeated praying) rhythm.

Ya Rahman, Ya Rahim. (the Beneficent, the Merciful)

This part is most expressive.

c. Epilogue: is inspired by the idea of a Javanese welcome song called "Panembrama". In this piece it is a final address to welcome into the world of sounds expressing joy. The unique use of vocal notes with some words having no meaning but has an influence of exclamation like: "Ayo" (come on), "Ya'e ya'o", "Plakser ", "Yangsir-yangsor" (Balinese) "Horee" (expression of joy) and sounds is inspired by mouth music found in some parts of Indonesia.

4. SUITA IDUL-ADHA - (1997).

This composition is based on a piece with the same title composed in 1986. The composer practically rewrote the piece completely for two pianos and rebana and made many changements. Unlike other compositions written before the composer makes use of mallets and small cymbles to percuss the strings of the piano and also the strings are plucked with the fingers giving special effects in the piece. This suite is in three parts:

- Prophet Ibrahim's dream

- Qurban (sacrifice)

- Victory.

Expressing the struggle and bitter experiences of Prophet Ibrahim to obey the will of God, which ends in victory.

The use of mallets and percussed strings in Prophet Ibrahim's dream is meant to create the atmosphere in a dream and even by percussing and plucking at random the strings and changing to play on the keyboard is not disturbing and give unique nuances.

In Qurban (Secrifice) the 2nd pianist starts the glissandi on the strings of the higher register using small Egyptian cymbels creating an effect like sharpening a knive, while the 1st piano proceeds in chords very softly. This part is full of sadness and provokes the emotions of the prophet as a father to sacifice his son to obey God's Will.

Victory is an expression of joy. To obey God's Will leads to unpredicted results of happiness, peace of mind and fullfilments. A simple gay theme innitiates the piece and which is being developed fully later where the rebana (Moslem tambourine) plays in important part in the interactions between the 2 pianos as the piece ends into a climax.

5. FATE

from MOUNT AGUNG Act 2 (1963-1970)

Inspired by the great erruption of Mount Agung in Bali in the year 1963, the composer started to write the music in Rome for an Indonesian contemporary ballet, but the 3 act ballet was finished in Jakarta in January 1970,after having studied the traditions of Bali. Originally it is written for an ensemble of piano quatre mains with flute ,cello, timpany, percussions and Balinese percussions. The second act Fate is transcribed for 2 pianos violin or female voice, traditional voice and Balinese percussions, the duration for concert purposes is shortened to 20 minutes. The music for the second act starts with a love duet scene of the bridal night, followed by a bad dream as a bad omen after which the God of Gunung Agung makes preparations to errupt, the struggle between nature and man comes into reality and man is too weak to win. The newlyweds are seperated from each other and Fate is God's Will. The bride is left alone in the midst of disaster, hysterically she searches the body of the groom amongst the dead and lava with no result and she mourns in a very sad song. At the end she is not able to support her grief and faints.

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