David Garland and Terrance McKnight co-host a live broadcast of the Orpheus Chamber Orchestra in concert at Carnegie Hall.
Featured is the world premiere of legendary virtuoso sitarist and composer Ravi Shankar’s third Concerto for Sitar and Orchestra, performed by his daughter Anoushka Shankar.
WNYC listeners experience the excitement from an exclusive vantage point, as David brings you the view from the front of the house – while Terrance comments on the action backstage, with live interviews from the artists.
The Program:
MOZART – Incidental Music from Thamos, King of Egypt
RAVI SHANKAR – 3# Concerto for Sitar & Orchestra (world premiere)
KODÁLY – Summer Evening
HAYDN – Symphony No. 99 (in E-flat)
Related Content:
Orpheus Chamber Orchestra is running a 12-part webisode series documenting the rehearsal process for Ravi Shankar’s new Sitar Concerto. Watch the series on WNYC.org
Anoushka Shankar and the Orpheus Chamber Orchestra recently gave an open rehearsal of Ravi Shankar’s third Concerto for Sitar and Orchestra at the Asia Society… Watch the video
ElJay Arem, founder of the promotion initiative IMC – India meets Classic – broadcasting “IMC OnAir” since March 2006 as the single all years radio programme for Indian (Music) Culture in the whole German language area – was invited in 2008 by the initiator Fank Felix Debatin (1000Mikes), to participate in the 1st RadioCamp 2009, Hamburg.
The event will take place on the MediaCampus Finkenau, an area of the private University for Film, Journalism and Medias (HamburgMediaSchool) where IMC OnAir’s home channel TideRadio 96.0is settled… a home run!
The motto of this unique radio “open conference”:
Radio of the Future – Future of the Radio…
RadioCamp 2009 will give us the chance for all who are broadcasting as public radio, web radio, via web 2.0 platforms or radio communities to go deep into the discurs about forms and formats, concepts and technologies, convergence, marketing, media services, measurement and media controlling, licensing…
Also visit this section for information on the awards and medals given by the President to the people from armed forces for their supreme courage, leadership and devotion towards our motherland as well as to individuals from civil society for their distinguished services in their respective fields.
Also have a look at the children who won the National Bravery Awards this year for showing extraordinary valour and bravery…
India’s ace sitar player and inventor of the zitar, Niladri Kumarwill present PRIORITY, featuring Niladri Kumar on the zitar, Gino Banks on drums, Satyajiit Talwalkar on the tabla, Agnelo Fernandes on keyboard, Elvis Lobo on the guitar, Anand Sharma’s vocal and Sheldon D’silva on bass
Time and Place
Start Time: Tuesday, January 27, 2009 at 10:00pm End Time: Wednesday, January 28, 2009 at 12:00am Location: Hard Rock Cafe City/Town: Mumbai, India
16th ITC Sangeet Sammelan – Kolkata (16th-17th Jan 2009) Tribute to a Legend – Ustad Ali Ahmad Hussain Khan
The 16th ITC Sangeet Sammelan, Kolkata began at the Aldeen lawns on Friday, January 16, 2009. In pursuance of its aims to promote, preserve, propagate and present the heritage of Hindustani Raga Sangeet, this year’s Sammelan had been planned as a tribute to the age-old Indian tradition of teaching – the Guru-Shishya Parampara, the methodology that has been used at the Academy for the last 30 years. Mr Nazeeb Arif, Vice President, Corporate Communications Department, ITC Ltd, was the Chief Guest, while ITC-SRA gurus Ustad Abdul Rashid Khan and Vidushi Girija Devi came to the dais to light the inaugural lamp. The coveted ITC Award was presented to Ustad Ali Ahmad Hussain Khan, a senior Shehnai player of Kolkata. In his acceptance speech, the Ustad praised the commendable work done by the Academy and hoped that this would continue so that the age-old traditions that are under constant threat in the present-day scenario, would remain alive.
On Friday, the evening began with a vocal performance by Kumari Manali Bose, disciple of ITC-SRA guru Pandit Arun Bhaduri. She has been an ITC-SRA scholar since June 2006. The young vocalist began with khayals in Raga Marwa, the first set to vilambit ektala ‘Jhajhana mora jhanakayee’, followed by another set to drut teentala ‘Bandhori bandhanawad’, followed by a tarana in drut teentala. She then presented a tappa in Mishra Kafi, ‘Ho mian bejanewale’. She was accompanied on the tabla by Shri Sandip Kumar Ray Chaudhuri, while ex-scholar Shrimati Rupashree Bhattacharya played the harmonium. Her performance was followed by a shehnai recital by ITC Awardee Ustad Ali Ahmad Hussain Khan, who began with alap, jod, gat in teentala and jhala, in Raga Gorakh Kalyan. He concluded with a dhun. Shri Samar Saha accompanied him on the tabla, while his son provided shehnai support. This was followed by a vocal recital by ITC-SRA Guru Pandit Ulhas Kashalkar with his disciples Samarth Nagarkar and Sameehan Kashalkar. Samarth has been an ITC-SRA scholar since July 2003, while Sameehan became a scholar in June 2003. The artiste began with khayals in Raga Sampurna Malkauns ‘Baraja rahi’, set to vilambit teentala and ‘Kita dhundana jaun’ in drut teentala. This was followed by khayals in Raga Shahana ‘More aae kunwar kanhaee’ in jhaptala and ‘Mandirwa mein mori aaj’ in drut ektala. He concluded with ‘Karan mori lagi’ set to teentala in Raga Bhairavi. He was accompanied by Shri Swapan Mukherjee on the tabla and Shri Jyoti Goho on the harmonium.
The second day’s programme began with a sarod recital by Shri Abir Hossain, ITC-SRA scholar since March 2002, disciple of Pandit Buddhadev Das Gupta. He played alap, jod, vilambit & drut teentala gats and jhala in Raga Shudh Sarang. He was accompanied on the tabla by Shri Samar Saha. Next to perform was ITC-SRA guru Pandit Arun Bhaduri with his disciple Adarsh Saxena, a scholar of the Academy since October, 2005. He began his performance with khayals in Raga Bhimpalasi, ‘Bari beguman na karie’ set to ektala and ‘Karam karo more sai’ set to teentala. He then presented khayals in Raga Hansadhwani ‘Lagi lagan pati sakhi sanga’, set to teentala and ‘Khan pan sudh budh sab bisar gairi ali’ in drut ektala He concluded with a dadra ‘Tadpe bin balam mora jiya’. He was accompanied by Shri Tarak Saha on the tabla and Shri Jyoti Goho on the harmonium. The next item was a tabla recital by Pandit Anindo Chatterjee, disciple of late Pandit Jnan Prokash Ghosh, Expert Committee Member when the Academy was founded. He presented teentala, with innumerable variations including tishra jati, peshkar, qaida of Punjab & Lucknow gharanas, qaida rela of Benaras gharana, gat, tukra and chakradhar to name a few. The nagma in Raga Madhuwanti was provided by Shri Ramesh Mishra, while his disciple Rupak Bhattacharya provided tabla support. After a short interval that evening, Ustad Mashkoor Ali Khan presented a vocal recital, with vocal support by his disciples Arshad Ali Khan and Sandip Bhattacharya. Arshad has been a scholar of the Academy since 1992, when he was but a child, while Sandip became a scholar in 2003. The artiste began with khayals in Raga Puriya Kalyan, ‘Ras ke bhare dekhe tore nain’ set to vilambit jhumra tala and a tarana in teentala. He concluded with the popular bandish ‘Koyelia kook sunawe’ in Mishra Khamaj. He was accompanied by Shri Gopal Mishra on the tabla and Shrimati Rupashree Bhattacharya on the harmonium. After this was the sarod and sitar jugalbandi by ITC-SRA gurus Pandit Buddhadev Das Gupta and Pandit Manilal Nag, accompanied on the tabla by Pandit Ananda Gopal Bandopadhyay. They played alap, jod, vilambit & drut teentala gat and jhala in Raga Kaunsi Kanhara. The concluding item that evening was Pandit Ajoy Chakrabarty’s vocal recital, accompanied by his disciples Anal Chatterjee and Deborshi Bhattacharjee. Both Anal and Deborshi became scholars of the Academy in December 2008, although they have been learning from their guru for several years. He presented khayals in Raga Bihag, ‘Kan mo Karanphool’ in vilambit ektala, ‘Chinta na kar re’ in jhaptala and ‘Ab to rat logi’ in teentala. He concluded with the famous ‘Hari om tatsat’, providing a befitting finale for the Sammelan.
Speakers and panelists from India, Canada, USA, and Germany
Saturday January 23
9:00 – Registration and Coffee
9:30 to 5:30: Welcome and Opening Remarks
– Mapping the Domain: Vision and objective of the Conference
– Chandralekha: A Tribute
A tribute to modern Indian dance pioneer Chandralekha featuring talks
and discussion on her life and art, her approach to choreography,
experiences of working with her and acquiring her choreography.
– Four Contemporary Choreographers of India
Sunday January 24
9:00 – Registration and Coffee
9:30 to 5:30:
– Contested Space: What is “Contemporary?” What is “Traditional”
in Indian dance? How does this compare with other dance cultures?
– Contemporary Dance: A Matter of Movement?
– Contemporary Dance: A Matter of Choreography?
– Contemporary Dance: New Themes and Modes of Presentation
– When a Tradition Modernizes
Festival Performances Program
January 23 – Opening Night: Menaka Thakkar Dance Company – MTDC (Toronto) – Chandralekha’s “Shakti” Urs Dietrich (Germany) – Herzkammern (Heart Chambers) – North American Premiere Susanne Linke (Germany) – Kaikou – Yin (Transmigration) – North American Premiere
January 24:
The Chandralekha Group (India) – Sharira (Fire/Desire)
January 28:
Aditi Mangaldas Dance Company – The Drishtikon Dance Foundation (India) – Timeless
Sinha Danse (Montreal) – Quebasian Rhapsody
January 30:
Usha Dance Entourage (India & Edmonton) – Nari, Nari, Nari…My Love
Natasha Bakht (Ottawa) – White Space Ipsita Nova Dance Projects (Toronto) – Unspoken & Two Doors Down
January 31: inDANCE – Hari Krishnan (India & Toronto) – Bollywood Hopscotch & Seven Graces
Sampradaya Dance Creations – Lata Pada (Mississauga) – shunya
To download the conference brochure in “pdf” format, click here.
Kala Nidhi Fine Arts of Canada
– Promoting traditions and nurturing contemporary works in Indian dance –
since 1993
Kala Nidhi Fine Arts of Canada
Sudha Khandwani, Artistic Director
295 Maplehurst Avenue
Toronto, ON M2N 3C5
Canada
Tel: (416)229 0369
Fax: (416)250-1871
E-Mail: kalanidhi@kalanidhifinearts.org
The International Indie Summit at MIDEM is the place where indies discuss issues, share solutions and meet people who can help them grow their business.
Organized in association with Impala & WIN, the International Indie Summit is chaired by Emmanuel Legrand, Editor of Impact Magazine.
International Indie Summit on Tuesday, 20th of January 2009 afternoon…
Labels artists call home
More and more artists are setting up their own label, not simply vanity labels to release they own productions, but full-fledged structures to sign, nurture and develop other artists. Sign of the times? Desire to take control of the creative and business process? Hear the story of some of today’s most creative labels (Bella Union, Buzzin’ Fly, DiamondTraxx, …) from their founders in a panel where art meets commerce!
Indies in the digital landscape
Collectively, indies represent one of the world’s biggest catalogue. However, many digital platforms or services have launched in recent times without any content from indie labels. What are the opportunities to be taken advantage of by digital services and indie labels? What could be done to improve the climate between them? Expect stimulating debate with representatives from both sides.
International Indie Summit Workshops on Wednesday, 21st of January 2009 morning
Getting started in America
Breaking in the US remains the ultimate goal for many executives in the music industry, but cracking the world’s largest music market is not that simple, and can be costly. Specialists of the US market — distributors, aggregators, managers, lawyers — will provide expert views on how to best approach the market.
How to manage the financial crisis?
In times of economic crisis like today, with recession looming and sparse credit, indie labels have problems of their own. How can they weather the storm with limited damages? Finance and management experts offer their solutions.
IAEL legal workshop
Learn how to negotiate at best distribution deals for artists & labels
BE THERE WHEN THE MUSICAL YEAR KICKS OFF!
MIDEM 2009 will offer you access to 9,000 key professionals from 90 countries for four days of high-level meetings, concerts and unparalleled conferences.
MIDEM is where all the sectors involved in the business of music come together to explore new possibilities for the coming years: recording & publishing, A&R, images & brands, digital & mobile.
Register to MIDEM/ MidemNet before November 17 to save 25%
MIDEM 2009, the World’s Music Market: 18-21 January 2009
MidemNet, Music business in the digital age: 17-18 January 2009
IMC OnAir – IMCRadio.Net der Förderinitiative “IMC – India meets Classic” präsentiert seine erste Radiosendung im Jahre 2009 mit einem Portrait: “Kunnakudi Vaidyanathan – Die sprechende Violine!“.
Unsere Portraitsendung ist Dr. Kunnakudi R. Vaidyanathan ( 2.3.1935 – 8.9.2008 ) gewidmet, einem Violinisten der südindischen Klassik. Kunnakudi’s Markenzeichen und ein Ausdruck seiner tiefen religiösen Verehrung, verwurzelt im Hinduismus, war von Weitem sichtbar. Die Stirn mit einem Vibhuti, mit geweihter Asche aus Kuhdung und mit einem grossen, roten Sindoor (Vermilion-Punkt) bemalt, das Symbol der Liebe und Stärke.
Kunnakudi R. Vaidyanathan war ein höchst innovativer, technisch brillanter und beim Publikum höchst beliebten Musiker. Ihm kommt ein wesentlicher Verdienst zu, dass sein Instrument, die Violine eine Neupositionierung als Soloinstrument gefunden hat.
Kunnakudi veränderte die Interpretation der karnatischen, südindischen Klassik und der leichten Unterhaltungsmusik. Den Kriti, eine musikalische Kompositionsform, vereinfachte er in seiner spielerischen Wiedergabe, um den musikalischen Wünschen des Publikums mehr Raum zu geben.
Sendetermin: 19. Januar 2009 – 22:00 Uhr (MESTZ) (Sendewiederholung: Wiederholungstermin ab Februar ’09) broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
Der Vater, Sri Ramaswamy Sastri entschied sich, KV zu einem herausragenden Violinisten auszubilden, als er neun (9) Jahre alt war. Bereits im Alter von zwölf (12) begleitete Kunnakudi einige der herausragenden Meister jener Zeit, unter Ihnen der grossartige Vokalist der südindischen Klassik: Maharajapuram Viswanatha Iyer (1896 – 1970).
Im Alter von 22 Jahren fand Kunnakudi erstmalig bei einem Filmstar des indischen Kinos Beachtung: M.K. Thyagaraja Bhagavatar. In einem Nebenraum seiner Garderobe eines Studios in Madras spielte Kunnakudi “Bhoomiyil maanida Janmam” spielte, ein Filmsong, durch den Bhagavatar berühmt wurde.
Kunnakudi entschied im Alter von 32 Jahren, nicht mehr als Begleitmusiker aufzutreten. Sein vordringlichster Wunsch war es, die Violine von einem Begleitinstrument in ein Solo-Instrument zu verwandeln. Kunnakudi wollte der Violine einen eigenen Status verschaffen. Zwischen 1974 und 1985 gaben Kunnakudi in Begleitung des Thavilspielers Chakravarti Valayapatti A.R. Subramaniam mehr als 3.000 Konzerte. In dieser einzigartigen Kombination mit dieser selten gespielten, südindischen Trommel und einem einfachen, melodiösen Violinspiel fand Kunnakudi ein grosses Publikum.
Aus einer bereits in seiner Kindheit ausgeprägten Liebe für Filmmusik leistete Kunnakudi einen erheblichen Beitrag zur Anerkennung der süd- und nordindischen Klassik im indischen Film und für die Entwicklung der frömmigen Musik in Tamil. Die gestalterische Fähigkeit, Ragaskalen mit Filmmelodien zu verknüpfen war neben der technischen Brillanz eines der Geheimnisse für seine grosse Beliebtheit.
Kunnakudi Vaidyanathan besaß ein tiefes Vertrauen in die therapeutische Wirkung der indisch klassischen Musik. Kunnakudi gründete 1996 das Raga Research Centre mit Sitz in Chennai, dem er als Präsident vorstand und das von der Landesregierung Tamil Nadus für verschiedenste Forschungen finanziell gefördert wurde.
Im Laufe seiner Karriere ist Kunnakudi für seine Leistungen mit mehr als 200 Titeln und Ehrungen bedacht worden. Im Jahre 2005 wurde er mit dem prestigeträchtigen “Padma Shri” der indischen Regierung ausgezeichnet, 1993 erhielt er den Sangeet Natak Adademi Award der “Sangeet Natak Akademi”, die nationale Akademie für Musik, Tanz und Drama mit Sitz in Delhi und Imphal.
IMC OnAir – IMCRadio.Net of the promotion initiative “IMC – India meets Classic” presents it’s 1st show in 2009 with a portrait “Kunnakudi Vaidyanathan – The Talking Violin!“.
Our portrait is dedicated to Dr. Kunnakudi R. Vaidyanathan ( 3/2/1935 – 9/8/2008 ), a Violinist of South Indian Classics. Kunnakudi’s brand an expression of his deep religious admiration, rooted in the Hinduism, was visible from distance. The forehead painted with a Vibhuti, with dedicated ashes from cow dung and with a large red Sindoor (Vermilion point), the symbol of love and strength.
Kunnakudi R. Vaidyanathan was an innovatively, technically brilliant musician with high sympathies by the public and masses. Substantial earnings/services come to him he gave the violin a new positioning as solo instrument.
Kunnakudi changed the interpretation of Carnatic music (South Indian Classics) and Indian Light Classics. He simplified the kriti, a musical composition form in his playful rendition, in order to give the musical wishes of the public more space.
date of broadcasting: 19th January 2009 – 10:00 p.m. (CETZ) (repetition: …will be broadcasted from February on) broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
The father, Sri Ramaswamy Sastri decided to train KV becoming an outstanding Violinis. KV was nine (9) years old. Already at the age of twelve (12) Kunnakudi accompanied some of the outstanding masters of that time, among the great vocalist of South Indian Classics: Maharajapuram Viswanatha Iyer (1896 – 1970).
At the age of 22 Kunnakudi received attention 1st time by a film star of the Indian cinema: M.K. Thyagaraja Bhagavatar. Close to the warderobe of a studio in Madras Kunnakudi played “Bhoomiyil maanida Janmam”, a film score by which Bhagavatar became famous.
Kunnakudi decided at the age of 32 not to arise anymore as accompanying musician. His most urgent desire was to transform the violin of an accompanying instrument into a solo instrument. Kunnakudi wanted to provide a unique status for the violin. Between 1974 and 1985 Kunnakudi accompanied by the Thavil player Chakravarti Valayapatti A.R. Subramaniam gave more than 3,000 concerts. This combination of instruments rarely played, a South Indian drum and Kunnakudi’s simple, melodic violin play got recognitation by a large public.
From his childhood on Kunnakudi had a deep love for film music. Kunnakudi already carried a substantial contribution for acknowledgment of South and North Indian Classics in the Indian film genre and developing the devotional Tamil music. The formative ability to link Raga scales with film melodies was apart from the technical brilliance one of the secrets for Kunnakudi’s large popularity.
Kunnakudi Vaidyanathan possessed a deep confidence into the therapeutic effect of the Indian classical music. Kunnakudi founded 1996 the Raga Research Centre in Chennai, which he managed as a president and which was financially promoted by the federal state government Tamil Nadu for most diverse researches.
In the course of his career Kunnakudi was considered for his achievements with more than 200 titles and honours. In the year 2005 he was distinguished with the prestigious “Padma Shri” of the Indian government, 1993 he received the Sangeet Natak Adademi Award of the “Sangeet Natak Akademi”, the national academy for music, dance and drama with seat in Delhi and Imphal.
IMC - India meets Classic presents ... 