Gamelan Madu Sari was formed in Vancouver in 1986, the year of Expo ’86. For six months the Indonesian pavilion was alive from morning to night with gamelan music and dance; when Expo was over the Javanese gamelan, Kyai Madu Sari (The Venerable Essence of Honey), was donated to Simon Fraser University.

In the years following, a core group of composer-performers came together to study new and traditional Javanese and Balinese performance practices, both here and in Indonesia.. Next, collaborating with some of Indonesia’s top shadow play artists, Gamelan Madu Sari created interdisciplinary multi-media shows such as Semar in Lila Maya, some of the music from which is included here.

All the pieces on Hive combine elements of the Javanese tradition with wide-ranging influences and inspirations, from morphing minimalism (Andrew Czink’s “Stream”) to the English tradition of bell pealing (Kenneth Newby’s “Symmetries”) to the fusing of polyrhythmic frameworks, Javanese lyricism and structured improvisation (Mark Parlett’s “Inquietude”). Ben Rogalsky’s wry, touching shadow-play song “From Heaven to Earth” was inspired by the old-fashioned Indonesian folk style kroncong, which developed from 16th century Portuguese music (from the time when Portugal first colonized the Spice Islands); it combines gamelan forces with mandolin, cello and string bass. Michael O’Neill’s “Bonessongs” and Parlett’s “Inquietude” also mix different gamelan scales to approximate western tuning. Both are multi-sectional works that move between expressive poles, from introspective to explosive, their lyrics presenting contrasting perspectives on the human condition.

“Gamelan – it’s not just for Java anymore. There are several Western groups creating new works for gamelan orchestras, but Canada’s Gamelan Madu Sari do one of the most interesting jobs of fusing the heart of Javanese gamelan music with Western sensibilities. Some of the music here was created for shadow plays, although it exists wonderfully on its own. Most interesting, though, are the vocal pieces. English words juxtaposed with gamelan can seem out of sync initially, but soon take on a soothing, dreamlike quality, especially on the shifting, lengthy ‘Bonessongs.’ There’s a variety of composers, each bringing something different to the ensemble and offering real changes from track to track. There’s plenty of time for the music to be explored (the shortest cut is over five minutes), and to introduce surprises. It’s not music for casual listening, but something to sink into, complex and inviting, and utterly absorbing.” — Chris Nickson, Allmusic.com

“The performances are often stunning and the clarity of the recording is beyond reproach. Hive is a wonderful example of how structures and textures from a specific indigenous tradition can be reconciled with new approaches.” –Bill Barton, Signal to Noise

“…an ambitious, accomplished and brave group….Most of the disc, though, is great…If you like any combination of world music, electronica or contemporary classical, you’ll find something here to enjoy.” – John Whitfield, Songlines Magazine

The instruments of Gamelan Madu Sari, played by Sutrisno Hartana, Michael O’Neill, Mark Parlett, Ben Rogalsky, Kenneth Newby and others)

Vocalists: Sutrisno Hartana (1, 9), Anis Astuti (1, 7, 9), Joanna Chapman-Smith (3), Ben Rogalsky (3, 5, 8), Jessika Kenney (5, 8), D.B. Boyko (9), Christine Duncan (9)