Sebut Saja Namanya Bunga
Solo Guitar by Michael Gunadi Widjaja

using Roger Sadowski Guitar and KORG Tone Works Electronic Effects

Live Recording:
Jakarta, 10th August 2013

Sebut Saja Namanya Bunga - Solo Guitar by Michael Gunadi Widjaja

Michael Gunadi (guitar) plays 
Miguel Llobet's "Cancon Del Lladre"
(Song of the Thieves)

Michael Gunadi plays Miguel Llobet's "Cancon Del Lladre"

Michael Gunadi (guitar) plays
Miguel Llobet "El Testament d'Amèlia" 

Catalonian Folksong
It sounds so haunting and beautiful.

It's a tragic story...
It's about a girl, named Amelia.
One day she caught her husband make love with her mother.
Amelia dies from a broken heart, having lost her husband to her own mother. 

Amelia writes on her will that she decides to leave her husband to her mother. 

<<perquè el tingueu en cambra com fa molt temps que feu>> (which basically means: "you can have him in your bedroom, as you have already been doing for a long time>>).

So Amelia died tragically in the end.

L'Amèlia està malalta,
la filla del bon rei.
Comtes la van a veure.
Comtes i noble gent.

Ai, que el meu cor se'm nua
com un pom de clavells.

Filla, la meva filla,
de quin mal us queixeu?
El mal que jo tinc, mare,
bé prou que me'l sabeu.

Filla, la meva filla,
d'això us confessareu.
Quan sereu confessada
el testament fareu.

Un castell deixo als pobres
perquè resin a Déu.
Quatre al meu germà en Carles.
Dos a la Mare de Déu.

I a vós, la meva mare,
us deixo el marit meu
perquè el tingueu en cambra
com fa molt temps que feu.

"la meva mare" - "my mother"
"And to you, my mother, I leave my husband"

Michael Gunadi plays Miguel Llobet "El Testament d'Amèlia" on guitar

Michael Gunadi (guitar) plays 
Francisco Tarrega "Prelude"

Love, Light & Peace

Michael Gunadi plays Francisco Tarrega "Prelude" on guitar

Michael Gunadi (guitar) plays
Federico Moreno Torroba "Torija"
from: Castillos de España Suite

Castillos de España, a suite written for the classical guitar, takes the listener on a musical tour of the famous castles of Spain. 

This particular castle, Torija, is in the Guadalajara province, located just off the road between Madrid and Barcelona.

An innovative composer who introduced a Spanish folk music form, the zarzuela, to the international concert stage, Torroba (1891-1982) also composed operas. It is for his works written for the classical guitar, however, that Torroba is best remembered.

This piece has a reflective, thoughtful feel. 


Michael Gunadi plays Federico Moreno Torroba's "Torija" on guitar

Michael Gunadi plays
AC. Jobim "Garota de Ipanema" (The Girl from Ipanema)
on guitar

"The Girl From Ipanema" was the second most played song in the 20th century just behind The Beatles' hit track "Yesterday."

ABOUT The Girl from Ipanema
"Garota de Ipanema" ("The Girl from Ipanema") is a Brazilian bossa nova song. It was a worldwide hit in the mid-1960s and won a Grammy for Record of the Year in 1965. It was written in 1962, with music by Antônio Carlos Jobim and Portuguese lyrics by Vinicius de Moraes. English lyrics were written later by Norman Gimbel.

STORY BEHIND THE GIRL FROM IPANEMA
Summer 1962. Rio de Janeiro. At the Veloso Bar, a block from the beach at Ipanema, two friends—the composer Antonio Carlos Jobim and the poet Vinícius de Moraes—are drinking Brahma beer and musing about their latest song collaboration.

The duo favor the place for the good brew and the even better girl-watching opportunities. Though both are married men, they’re not above a little ogling. Especially when it comes to a neighborhood girl nicknamed Helô. Eighteen-year-old Heloisa Eneida Menezes Pais Pinto is a Carioca—a native of Rio. She’s tall and tan, with emerald green eyes and long, dark wavy hair. They’ve seen her passing by, as she’s heading to the beach or coming home from school. She has a way of walking that de Moraes calls “sheer poetry.”

Legend has it that Jobim and de Moraes were so inspired by this shapely coed, they wrote a song for her right on the bar napkins. It’s a good story, but it’s not quite true.

Following their success composing songs for the 1959 film Black Orpheus, the writers began work on a musical comedy. Conceived by de Moraes, it was called Blimp and concerned a Martian who arrives in Rio during the height of Carnaval. And what might impress a little green man the most about our planet? A beautiful girl in a bikini, of course.

Jobim and de Moraes were stalled two verses in on the song they called “Menina que Passa” (“The Girl Who Passes By”). They needed a fresh breeze of inspiration, something vivid to stir their alien visitor’s blood. Conjuring up the vision of their favorite hip-swaying distraction, they poured out all their secret longing and lust into the newly titled “Garota da Ipanema.”

Though Blimp never got off the ground, the tune became not only a hit in Brazil, but the international calling card for a style of music that charmed the world—bossa nova.

Source:
http://performingsongwriter.com/girl-from-ipanema/

Michael Gunadi plays Jobim 'Garota de Ipanema'

Michael Gunadi plays
"Bye Bye Blackbird"
composed by: Ray Henderson

Performers:
Tony Nalker - Piano
Paul Henry - Bass
Dominic Smith - Drums
from: "Swingin' Now"

"Bye Bye Blackbird" is a feel good song; it was written in 1926 by composer Ray Henderson and lyricist Mort Dixon. According to Don Tyler in his 2007 book Hit Songs 1900-1955: American Popular Music of the Pre-Rock Era, it was Henderson's third hit of the year. First popularized by Eddie Cantor, this standard has been recorded by numerous artists.

The lyrics were written with heavy-handed symbolism and can be interpreted pretty easily. A Boston area jazz singer popular in the '30s and '40s named Mae Arnotte claims the song was originally performed as a slow blues number and used the phrase "Bye Bye Blackbirds." Supposedly, the singer was leaving the big city: "No one here can love or understand me, oh, the hard luck stories they all hand me." The "they" she refers to are the blackbirds or johns in the big city. Then the singer was going home to her mother: "Where somebody waits for me, sugar's sweet, so is she." "I'll be home late tonight" supposedly indicates she lived a short distance from the big city.

Whoever the singer is, he/she is tired of whatever they've left home for and want to make a prodigal return, referred to in the second verse:

    Bluebird, bluebird, calling me far away
    I've been longing for you.
    Bluebird, bluebird, what do I hear you say?
    Skies are turning to blue, I'm like a flower that's fading here,
    Where ev'ry hour is one long tear.
    Bluebird, bluebird this is my lucky day.
    Now my dreams will come true. 

So there are really two birds in the song. The color of the birds symbolizes the singer's feelings about leaving the big city for home. The blackbird stands for the hopeless days of no sunshine while the bluebird represents clear skies and hope. 

LYRICS
Blackbird, blackbird singing the blues all day
Right outside of my door
Blackbird, blackbird who do you sit and say
There's no sunshine in store

All thru the winter you hung around
Now I begin to feel homeward bound
Blackbird, blackbird gotta be on my way
Where there's sunshine galore

Pack up all my care and woe
Here I go, singing low
Bye bye blackbird
Where somebody waits for me
Sugar's sweet, so is she
Bye bye blackbird

No one here can love and understand me
Oh, what hard luck stories they all hand me
Make my bed and light the light
I'll arrive late tonight
Blackbird, bye bye

Bluebird bluebird calling me far away
I've been longing for you
Bluebird bluebird what do I hear you say
Skies are turning to blue

I'm like a flower that's fading here
Where ev'ry hour is one long tear
Bluebird bluebird this is my lucky day
Now my dreams will come true

Pack up all my care and woe
Here I go, singing low
Bye bye blackbird
Where somebody waits for me
Sugar's sweet, so is she
Bye bye blackbird

No one here can love and understand me
Oh, what hard luck stories they all hand me
Make my bed and light the light
I'll arrive late tonight
Blackbird, bye bye

Michael Gunadi plays Bye Bye Blackbird on guitar

Michael Gunadi (guitar) plays
"Take the a Train"
composed by: Billy Strayhorn

ABOUT TAKE THE A TRAIN
This song was written by Billy Strayhorn, who played piano and wrote arrangements for Duke Ellington's band.

Strayhorn recalled that the song that became the signature opening piece for Duke Ellington and his Orchestra came to him with very little effort. In fact, he said that the music and lyrics for "Take the A Train," originally recorded on February 15, 1941 by Ellington for Victor Records, came more quickly than the subject of the song itself – the New York subway line to the Sugar Hill District of Harlem. It was so easy for him, he said it was "like writing a letter to a friend."

The fact that Ellington used the song as his orchestra's opening theme, making it his signature song, says a great deal about it and his appreciation for Strayhorn. Most bandleaders would not put a song that is not their own composition in the spotlight in this way, but the relationship between Strayhorn and Ellington was not typical. Ellington wrote in his autobiography that Strayhorn "was not, as he was often referred to by many, my alter ego. Billy Strayhorn was my right arm, my left arm, and the eyes in the back of my head."

Strayhorn had played for Ellington after a show in Pittsburgh in 1938. He mimicked the orchestra's rendition of "Sophisticated Lady," then boldly played his own version. Ellington was so impressed, it eventually led to an invitation to Ellington's home in the wealthy Sugar Hill neighborhood. Using the subway directions that Ellington gave him, 

Strayhorn wrote, "Take the A Train." He composed it in his head at a party, and then put it all on paper when he was done. He said all of his most meaningful work was written this way. When Strayhorn played the song for Ellington after a show in Newark, a partnership that would last the rest of Strayhorn's life had begun.

Even though Strayhorn wrote lyrics to go with the music, which calls to mind a subway running on its track, the lyrics that were recorded were written by vocalist Joya Sherrill. The song was already receiving radio play as an instrumental when Sherrill wrote lyrics based on what she heard in her home in Detroit. 

Michael Gunadi plays Take The A Train on guitar

Ketika hidup harus diadu bak jangkrik...

from:
CD Mixed Culture Dialogue between music and poem.
feat. Sosiawan Leak, Indonesian Poem Writer

The CD is collected by deutsche indonesische Gesselschaft in Berlin, Germany.

Gladjang (Gladiator Jangkrik) by: Michael Gunadi Widjaja

Negeri kadal, banana republic

from:
CD Mixed Culture Dialogue between music and poem.
feat. Sosiawan Leak, Indonesian Poem Writer

The CD is collected by deutsche indonesische Gesselschaft in Berlin, Germany.

Kadaleak (Negri Kadal) - by: Michael Gunadi Widjaja

from:
CD Mixed Culture Dialogue between music and poem.
feat. Sosiawan Leak, Indonesian Poem Writer

The CD is collected by deutsche indonesische Gesselschaft in Berlin, Germany.

Phobiafixx

Mandarin Love Song 
by Michael Gunadi 
(Solo Guitar)

Mandarin Love Song by Michael Gunadi (Solo Guitar)

Keagungan Tuhan 
Composed by: D'lloyd
Arr. by Michael Gunadi 
(Solo Guitar)

LYRICS
Insaflah wahai manusia
Jika diri mu bernoda
Dunia hanya naungan
'tuk makhluk ciptaan tuhan

Dengan tiada terduga
Dunia ini kan binasa
Kita kembali ke asalnya
Menghadap Tuhan Yang Esa

(chorus)
Dialah Pengasih dan Penyayang
Kepada semua insan
Janganlah ragu atau bimbang
Pada Keagungan Tuhan
Betapa Maha Besarnya
Pencipta alam semesta

Siapa selalu berbakti
Mengabdi pada Ilahi
Kan sentosa selamanya
Di dunia dan akhir masa


mgunadi

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