Echoes from the Palace

Sam-Ang Sam Ensemble - Echoes from the Palace

released in 1996

Performers:

Sam-Ang Sam - sralai thomm, vocals, music director

Musicians for all tracks except "Robaim Me Ambao" and "Roeung Tipp Sangvar" are:
Ngek Chum - roneat ek, korng tauch, korng thomm
Ra Khlay - vocals
Chhieng Proeung - skor thomm
Chan Moly Sam - vocals
Malene Moly Sam - chhing
Tath Sum - roneat thung, sampho
Yan Van - vocals

Musicians for "Robaim Chhouy Chhay" are:
Saroeun Chey - vocals
Rithaony Hutajulu - korng thomm
Noeung Poeung - sampho
Chan Moly Sam - skor thomm
Malene Moly Sam - chhing
Sam-Ang Sam - sralai thomm, roneat ek, roneat thung, vocals
Sophiline Shapiro - vocals
Timothy Young - korng tauch

Musicians for "Robaim Me Ambao" and "Roeung Tipp Sangvar" include:
Khan Chea - vocals
Kong Chum - korng thomm
Son Ek - korng tauch
Theay Em - vocals
Sobon Nol - sralai thomm
Thouren Phan - vocals
Chhieng Proeung - skor thomm
Pruon Proeung - roneat ek
Bun Chan Rath Pum - chhing
Nguonly Seang - roneat thung
Tath Sum - sampho
Borin Yann - krapp

The complete pinn peat ensemble, traditionally used to accompany court dance, is composed of a wide variety of gongs, reeds, xylophones, and drums, along with vocals (chamrieng).

The instruments heard on this recording are sralai thomm (a low pitched quadruple-reed shawm), roneat ek (high pitched xylophone), roneat thung (low pitched xylophone), korng tauch (high pitched circular frame gongs), korng thomm (low pitched gongs), chhing (small cymbals), sampho (small double-headed barrel drum), skor thomm (large barrel drums), krapp (bamboo or wooden clappers) and chamrieng (vocals).

KHMER COURT DANCE

Dancing has been associated with the court of Cambodia for over a thousand years. On the walls of the Angkor temples, 1,737 apsara (celestial dancers) were carved, reflecting a period of history in which Khmer performing art reached its greatest expression. Khmer court dance, in its present form, is the continuation of this highly expressive dance tradition, of which the Khmer take great pride.
There are two general types of dance in the Khmer court repertoire. These are pure dance - pieces prefaced by the word robaim (dance) - and narrative dance or dance drama - prefaced by the word roeung (story). The former are dance pieces with occasional lyrical text. The latter are dances that portray or recount traditional stories or fables.
Khmer court dance has long been regarded as a female tradition. Women perform the major roles of king, queen, prince, princess, and demon. In the past 50 years or so the role of the monkey has been portrayed by men but prior to that it too was played by women. The varied costumes, headdresses, masks, movements, and gestures identify each of the characters. Dancers are trained from childhood in the royal palace. Traditionally, they ventured beyond palace walls only to attend the kings. Dancers are trained from age five or six for a repertoire which includes romances, myths, pure dance, narrative dance pieces, and stories from folk legends.
Since 1970 (the overthrow of the Monarchy), court dance has taken on a new image and status. It has journeyed beyond palace walls to the campus of the Royal University of Fine Arts in Phnom Penh, to the refugee camps along the Khmer-Thai border, and finally to the Khmer communities abroad, especially in Australia, Japan, France, Switzerland, Canada and the United States. In these new environments, dance has been learned and performed widely, particularly by children of Khmer communities.
This dance form is traditionally accompanied by the pinn peat ensemble of wind and percussion instruments. The chorus sings texts that recount stories while dancers convey the story lines through expressive movements and gestures.
In Cambodia, traditional music has been largely neglected and minimally produced. Khmer dance troupes, both in Cambodia and abroad, have had to use poorly recorded music for practice and training. This recording was produced to aid in the understanding and appreciation of traditional Khmer court music, and also to serve as inspiration for Khmer dance troupes around the world. (Sam-Ang Sam)

Tracklisting:

1. Robaim Monosanhchetana {6:31}

2. Robaim Tivea Prapey {4:10}

3. Robaim Neary Chea Chuor {3:51}

4. Robaim Tipp Sangvar {5:14}

5. Robaim Me Ambao {6:56}

6. Robaim Choun Por {7:55}

7. Robaim Chhouy Chhay {8:41}

8. Robaim Supheak Leak {7:09}

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