The Gamelan Orchestra from Pliatan Bali - live at The Wintergarden Theatre in London 1952

The Gamelan Orchestra - Music from Bali 
- Record Two

Argo Records - ARS 1007 - P.1952
- (XB 100-3, 4)

Gamelan orchestra from Pliatan, Indonesia led by Anak Agung Gde Mandera recorded live at Wintergarden Theatre, London 1952

This LP was also released as: [Westminster XWN 2210? - P.1957] = Argo Records - RG-2 - P.1952

Side A

2-A1 Kebiar 8'49

2-A2 Oleg 8'44

2-A3 Barong 5'32

Side B

2-B1 Djanger, Ende, Baris 18'25

This is the cover of Record One that is already here in a previous post and to be quite frank I never expected to find Record Two, but here it is! It did however cost me a pretty penny and lot of determination to be able to share it with you and present it here. It makes me very happy and I hope you can share my joy! This copy is in wonderful condition and the photography of the sleeve is a joy to behold. There is not much to add to this post as almost all I know about it is already in the previous post!

Music From Bali - Record Two

It is a commonplace of musical history that Claude Debussy was considerably influenced by the Gamelan which appeared at the Exposition Universelle in Paris during 1889. But, with the exception of a number of Dutch musicologists — notably Dr. Jaap Kunst—few Western music lovers have any knowledge of Balinese music and the opportunities of hearing it-such records that do exist being almost unknown in Great Britain and the U.S.—have been few. Indeed, so far as London and New York are concerned, the recent appearance of the Gamelan from Pliatan, Indonesia, under its brilliant director, Anak Agung Gde Mandera, is the first opportunity the music lover has had of assessing this fascinating and highly organised musical art. Unlike much Eastern music, Western ears have no difficulty in appreciating the music of Bali, and it is certain that with the issue of these, the first long playing records, made in collaboration with the Indonesian Government, many will wish to become more closely acquainted with what, is, quite clearly, a folk art in the highest stage of development, In the opinion of those but qualified to judge these records present an adequate survey of Balinese music as it is today and can safely be said to serve as a comprehensive introduction to this neglected-so far as Western ears are concerned-branch of music.

Kebiar. This dance, created during the early thirties by a famous dancer from South Bali, inspired Anak Mandera to compose what many consider to be one of the most beautiful pieces co contemporary Balinese music. Following a bold statement of the principal motif a gentle swaying accompaniment is heard underlined, as it were, by the lower gong. Working gradually towards a climax the main theme is restated in augmentation while the accompaniment becomes more excited breaking into an ostinato figure accentuated by syncopated chords on the barong. This fine example of the Kebiar was awarded the all-Bali prize in 1938.

Oleg. As in the preceding work this music accompanies a modern dance, in this instance one from North Bali. It consists of a simple melody reiterated on the Hatong or Balinese flute accompanied by a variety of complex rhythmic patterns played on the various sections of the Gamelan with a bewildering subtlety of tone colour that is an outstanding feature of this branch of Indonesian music.

Barong. Is one of the many primitive dance-plays that are highly thought of by the Balinese. Barong is a mythical animal, a fantastic lion, who protects the Balinese against evil. He fights against Rangda. Queen of the Witches, symbol of darkness. Illness and death. The music consists, in the main, of a constantly repeated figure against which the roan of the lion are heard. At the death of Rangda the gamelan bursts into a jubilant statement of the main theme bringing the work to a close on a note of triumph.

Djanger, Ende, Saris. The first of these three dances. Djanger, is a simple folk tune sung in unison by boys and girls. It is a typical example of its kind. The second, Ende, is a fighting dance. A sham duel is fought out to the stimulation of a small gamelan consisting of kendang, small gong, and tarompet. The fighters are dressed in grotesque costumes and armed with roatan sticks. Although intended as a friendly sport there have been instances of the fighters continuing to the death. The third, Baris, is a short dance-play, in which Ardjuna, the hero of the Mahabhara epic is disturbed, while fasting, by heavenly nymphs, sent by the Gods to test him to see whether he is strong enough to become their champion against the Demon King. Alarmed, the Demon King sends a wild boar against Ardjuna who kills it. His claim is disputed by the God Shin. To settle this dispute Ardjuna fights Shiva in his human form and on winning the contest is proclaimed by the Gods.

Cyril Clarke.

quoted from the record sleeve

Technical Credits. Recorded during actual performance at the Winter Garden Theatre in association with Mr. Derrick de Marney  for and on behalf of The Indonesian Government. The original magnetic tape recording and transfer of the record to disc masters was mad. by Alec Herbage, Harley Usill and Cyril Clarke. The sleeve and label was designed by Victor Ross. Photographs by Dennis de Marney.

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The Gamelan Orchestra from Pliatan Bali - live at The Wintergarden Theatre in London 1952

The Gamelan Orchestra - Music from Bali 
- Record One
Argo Records - ARS 1006 - P.1952? - (Westminster - XB 100 - 1, 2)

(there is a stamp of arrival dated 1955 on the sleeve)


Gamelan orchestra from Pliatan, Indonesia led by Anak Agung Gde Mandera recorded live at Wintergarden Theatre, London 1952


This LP was also released as: [Westminster XWN 2209 - P.1957] = Argo Records - RG-1 - P.1952




Side A

1-A1 Overture 'Kapi Radja' 3'17
1-A2 Tumililingan 11'08
1-A3 Ketjack 5'42


Side B

1-B1 Classic Legong 21'19




I suppose none of you will have a hard time imagining the rarity of this LP! It is the only copy I have seen in all years. I guess I must have been very lucky at the time to come across a copy and I remember thinking... Why do I want to have this one? Even though it was in perfect condition visually there were quite a lot of pops. A very loud intro is also, Hm, how shall I put it, not optimally recorded and surely there are better recordings of both gamelan music and ketjak.
I am very glad I did not discard it and it seems obvious that we change and with us also the priorities. But, this is really a historical document and the visit of The Gamelan Orchestra surely must have left an impact performing like they did. If not for the very first performance of Gamelan in Europe so at least one of the very first ones so I am glad I gave it the attention it now seems so obvious that it deserves! Before the concerts of this troup the gamelan and dancers from the Balinese village of Peliatan had been taken abroad “in the Dutch time” to the Paris exposition of 1931, these performances are the first modern recordings of a gamelan ensemble!


"Derrick de Marney, who recorded the London concert, was an actor with a strong interest in Java. He presented a season of Javanese dancing at the Garrick Theatre in London in 1946. An article in the Guardian in 1947 said he was arranging a further visit by Javanese dancers and hoped to bring musicians as well. Maybe this was the visit – just a bit later than planned."

Don't miss the rest of the worthwhile reading about this record on the very excellent blog by Folkcatalogue. And hopefully he can shed some more light into the confusing catalogue number to appear on the label of this record that does not exactly tally the ones he mention there.

A review in The Gramophone magazine at the time (December 1952) said: “The recent appearances of the Balinese dancers in London (under the auspices of the Indonesian Government) aroused considerable interest in their (to us) littleknown art; and Argo’s enterprise in recording a complete performance of the music—equally unfamiliar to us, and by no means so esoteric as most Oriental music— is greatly to be praised.” Read more.

Music From Bali - Record One

It is a commonplace of musical history that Claude Debussy was considerably influenced by the Gamelan which appeared at the Exposition Universelle in Paris during 1889. But, with the exception of a number of Dutch musicologists — notably Dr. Jaap Kunst—few Western music lovers have any knowledge of Balinese music and the opportunities of hearing it-such records that do exist being almost unknown in Great Britain and the U.S.—have been few. Indeed, so far as London and New York are concerned, the recent appearance of the Gamelan from Pliatan, Indonesia, under its brilliant director, Anak Agung Gde Mandera, is the first opportunity the music lover has had of assessing this fascinating and highly organised musical art. Unlike much Eastern music, Western ears have no difficulty in appreciating the music of Bali, and it is certain that with the issue of these, the first long playing records, made in collaboration with the Indonesian Government, many will wish to become more closely acquainted with what, is, quite clearly, a folk art in the highest stage of development, In the opinion of those but qualified to judge these records present an adequate survey of Balinese music as it is today and can safely be said to serve as a comprehensive introduction to this neglected-so far as Western ears are concerned-branch of music.

The Overture, ‘Kapi Radja’ shows off — Indeed it was composed for this purpose — the main characteristics of the Gamelan. Sonorous opening chords form a prelude to the statement of a typical Balinese motif which is repeated by the various instrumental groups-sometimes solo, sometimes in consort, punctuated by cymbals; this in turn leads to a modified restatement of the principal motif on the full Gamelan followed by a solo passage of great rhythmical ingenuity on the kendang, or principal drum. A further tutti passage heralds a series of variations on the main theme which are a feature of Balinese music in this genre and a short coda recalling the brilliant opening brings this vigorous toccata-like piece to a close.


Tamililingan (Bumblebees). The music to this beautiful dance, has a quality which Leonhard Huizinga has described as “pure and mysterious like moonlight; it is always the same and yet always changing, like running water. This music does not create a song for our ears ; it is a ‘state,’ such as moonlight pouring over the fields.” A softly languorous theme played on the saron barung leads to an exciting outburst on the full Gamelan, heavy syncopated chords on the benong playing the principal part which, following a climax, leads to a beautiful variation on the full saron; this is repeated fortissimo at a faster tempo and the effect of the constantly repeated motif becomes almost hypnotic. Composed by Anak Agung Gde Mandera to accompany the dance devised by Bali's leading dancer Sampih, this work may be said to represent Indonesian music at its best.


Ketjak. (Monkey Dance.) This work for unaccompanied male voice chorus is one of the finest examples of Balinese choral composition. It concerns an episode from the Ramayana in which the Army of Hanuman, the Monkey Prince, comes to help Rama rescue his kidnapped wife. The entire work Is Imbued with an extraordinary rhythmic vitality and it is hardly surprising to learn that Balinese choral music has influenced a number of the younger European composers, notably Olivier Messiaen, whose Cinq Rechants is an outstanding instance.

Legong. As in most examples of the Legong, this work, following a short solo introduction, is based on a simple motif forming the nucleus of a series of variations which, in the main, exploit the quieter timbres of the Gamelan with a subtlety that is a distinguishing characteristic of this branch of Indonesian classical musical art. The dance to which this work forms the accompaniment tells of the capture of the Princess Rangkesari by King Lasem. Though Lasem promises to give up his attacks on her father if she will yield to him. Rangkesari repulses his advances. Enraged, the king threatens her father with death. During the ensuing battle a black-bird, a bad omen, flies in front of Lasem who is killed.

Cyril Clarke.

quoted from the record sleeve

Technical Credits. Recorded during actual performance at the Winter Garden Theatre in association with Mr. Derrick de Marney  for and on behalf of The Indonesian Government. The original magnetic tape recording and transfer of the record to disc masters was mad. by Alec Herbage, Harley Usill and Cyril Clarke. The sleeve and label was designed by Victor Ross. Photographs by Dennis de Marney.



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