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Archive for April, 2011

ABU: India expects over 800 FM radio stations soon (04/28/2011)

Posted by ElJay Arem (IMC OnAir) on April 28, 2011

Over 800 more FM radio stations will be made available in India when the FM phase-III is rolled out, while 31 new satellite TV channels are awaiting the government’s approval, Information and Broadcasting Minister Ambika Soni said today. This was reported by the Press Trust of India.

Information and Broadcasting Minister Ambika Soni“In the broadcast sector, to date, 653 satellite channels have been granted permission and 31 are awaiting permission, while the FM Phase-III to be rolled out shortly will ensure availability of 806 radio stations across 283 cities,” she said.

Mrs Soni was addressing the inaugural session of International Colloquium on Freedom of Expression & Human Rights organised by the Press Council of India in New Delhi.

Mrs Soni said the Government is committed in ensuring level playing field for different segments of the media to promote a sustainable growth process and a robust industry. She asked the media to avoid “sensationalism or trivialisation of issues” in pursuit of commercial interests.

“The media ought to act as an enabler, giving a voice to the voiceless in order to ensure that every marginal group is heard, seen and involved. (The media) should highlight issues that protect and enhance the dignity and self-esteem of such groups, hence empowering them,” she said.

(Source: © 2011 Asia-Pacific Broadcasting Union (ABU))

Posted in Economics (news), Politics (news) | Leave a Comment »

Moderation Script (04/2011): Magic of Music – Tribute to Bhimsen Joshi (Raga CDs of the Months)

Posted by ElJay Arem (IMC OnAir) on April 18, 2011


Posted in DE (German) | Leave a Comment » Analogy between Human (body) and Veena (instrument)

Posted by ElJay Arem (IMC OnAir) on April 18, 2011

Veena – Daive and Manushi Veena

There are many resemblances between the human body (God made Veena) and man made Veena. These secrets are revealed in a book by name, “SANDHYA VANDANEEYA TATVARTHA” and “VEDA PRAKASIKE” written and published by Mr. YEDA TOREY SUBRAMANYA SARMA in Kannada language in the year 1936.Many secrets of Veena were mentioned in this book. A few points are given below:

  • Veena has 24 frets, 4 strings on the frets and 3 on the side.
  • The top 1st string Sarani indicates – the RigVeda
  • 2nd string Panchama indicates – YajurVeda
  • 3rd string Mandara indicates – Sama Veda
  • 4th string Anumandra indicates the AtharvaVeda.

All these 4 strings bear the Suddha Satva guna. The 24 frets get their importance by the nada produced from them and not because of the metal used.As we see in the universe the three states viz., creation, sustenance and merger (Srusti, Shiti and Laya) even in Nada we see the same three states.Likewise, the 24 frets representing 12 Sruthees in two octaves (24) indicate the 24 letters (Aksharas) of GAAYATHRI MANTHRA.


Veena has been compared to human body. The human back-bone (Spinal Chord) stands straight from the Mooladhara (the seat of the body) up to the head.In the top of the head exists the Brahma Randhra. Just like the 24 frets of the Veena, human back bone has 24 divisions.

According to the anatomy, the back bone has 7 cervicles, 12 thorasic and 5 lumbar vertibrays.In Veena the distance between each fret is broad in the lower octaves and becomes less while proceeding towards the higher octaves.Similarly the back bone is thick at the Mooladhara and the distance between each ring becomes less while proceeding towards the Brahma randhra.The Mandara Sthaayi Swara starts from the seat point of the human back bone and as it proceeds towards the Brahma Randhram situated in the Sahasraram, the pitch or sruti increases. It is here, where the life of music is situated.The nada born out of the union of prana (life) and agni (fire) starts from the Mooladhaara at low sruti and reaches the Sahasrakamala crossing the Swaadhisthana, Manipoora, Anaahata, Visuddha, Aagna, the Shadchakras. In this course the sruti (pitch) increases.This shows the resemblance between the Daivi Veena and man made Veena. So it is definite that to attain Moksha nada yoga is a correct path, and for practising nada yoga Veena is an appropriate instrument. Saarngadeva has pointed out, each part of Veena is an abode for a particular deity.


As all the deities reside in Veena it is Sarva Mangala, because all sins are driven away.“INDIRA PATRIKAA BRAHMA TUMBURNAABHIHI SARASWATEE-DORIKO VAASUKIR JEEVAH SUDHAA MSUH SAURIKA RAVIH-The above Verse describes the deities and their places in Veena . G.N.Balasubramanyam in his book ‘Veena’ has said like this:


Hence Veena is considered to be Moksha dayaka liberating instrument. Many Gods have played many instruments but only Veena has been given such Godly sacred position. According to Sadguru Sri Shivananda Murthy the veena nada becomes a part of our body if played for 120 hours. It means that the nadopaasana done internally (inside the mind or body) and that which is done externally by playing the instrument becomes one, and upasana shakti is generated.Here it is appropriate to remember the Kriti. ‘Meenakshi Me Mudam Dehi’ of Dikshitar. He attained Moksha (liberation) while playing this kriti on veena.

Nada is of two varieties, Ahata Nada and Anahata Nada. The Ahata Nada is one that is born out of the union of Prana (life) and agni (fire).The inner sound that travels from the Navel (Nabhi) to the throat is Anahata Nada. Hence, the teeth and the tongue have no role to play. This Anahatam is the Nadam which pervades the entire universe including inhaling and exhaling. The entire nature is nothing but Nadopasana. Thus the person gets immersed in the nadam, and cuts out the existence of the universe. Hence there is no diversion of mind and life. This is Anahatam.

Sadguru Sri Shivanandamurthy has said that by manipulating, disciplining the shatchakras one can hear the Anahata nadam in the center of the body. This is attaining the first stage through Nadopasana.The second stage is the Brahmadi lokam and the 3rd the Brahmanubhooti. (Salvation-for attaining salvation Pranavopasana is Katha yogam. If examined, this katha yogam is also Nada Brahma Upasana. This Pranavopasana is in the Anahata Chakra (Centre of the chest). This Pranavam (OM) the most inner sound of inhaling and exhaling breath is nothing but the Parabrahmam, the Paramatma. It is this which exists in the Jivatma (soul) and in the Trimurty’s (the paramatma).Thus it is seen as Nada Brahmam. Based on this a human does Pranavopasana in Anahatam and attains salvation. This is the main point in Kathopanishat. When one becomes master of this, Nadam becomes the body. This is what Tyagaraja said in his kriti “NADA TANUMANISAM” and revealed the great secret.


The review and analasys of Tyagaraja kritis gives us the knowledge which we can get by studying Brahma-Suthras and Upanishads. To understand Thyagaraya’s Krithees, and playing them on Veena is nothing but yoga, great knowledge of yoga which is the pathway to liberation.Veena consists of all dieties and this itself is the yoga sadhana for attaining salvation. Thus it reveals shiva manovidham SARVAM SIVAMAYAM.

(Source: (c) 13/04/2011 (18:06:37) – The Veena (Bangalore) – Author: Prashanth)

Posted in Culture (news) | Leave a Comment »

Raga CDs of the Months (04/11): Magic in Music – A Tribute to Bhimsen Joshi

Posted by ElJay Arem (IMC OnAir) on April 11, 2011

Can you imagine India in 1933 ? – It was the year, when Gandhi stepped into hunger strike against caste discrimination. In the same year a small boy at the age of 11 years hit the road alone obsessed to find a music teacher. Bhimsen Gururaj Joshi was his name, member of a Brahmin family, son of a school teacher and the eldest with 15 siblings. Joshi’s mother died very early.

Bhimsen Joshi and his “Golden Voice” of 3 octaves should have a big influence onto North Indian classical music considerably till his death in January 2011. In the obituary of Indian Express one could read: “The voice of the  last Titan of North Indian Classics now remains always muted, but his melodies will always continue.” IMC OnAir’s new radio show “Magic in music” is a tribute to this exceptional artist, to Bhimsen Joshi (02/04/1922 – 01/24/2011).

date of broadcasting …

18th April 2011 – 11:00 p.m. (CEST)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Der Autoliebhaber Bhimsen Joshi fuhr Mercedes

The sportive car lover Bhimsen Joshi drove Mercedes

Joshi at the age of 14 years found his master (guru). He was Rambhau Kundgolkar. We know this actor and singer of North Indian Classics (Hindustani) rather common as Pandit Sawai Gandharva. He lived from 1886 to 1952. The greatest merit of Pandit Gandharva is the popularization of the vocal style in the tradition of Kirana Gharana. Saway Gandharva had pupils like Bhimsen Joshi and the famous female vocalist Gangubai Hangal. Herefore we refer to our radio show “Dr. Gangubai Hangal – Voice of Tradition“.

The majority of the singers of Hindustani traditionally belong to the Kirana Gharana. This music school was considerably created by Abdul Karim Khan and his cousin Abdul Wahid Khan and dominated till the 40th and 50th of last century. Abdul Karim and Abdul Wahid revolutionized the modern singing form of Khayal style. They added a slow tempo, Vilambit. So each note of a Raga scala, note for note can be defined by the singer in a performance.
Affected by the South Indian Classics (Carnatic) Abdul Karim Khan payed special attention to the ornamental art. The patterns are wavy and consist only of the note material of the Raga form itself (Sargam Taan). It is an attribute of vocals in Kirana Gharana style that the second note “Rishabh” is played/sung as “komal” which means neither diminished (flat) nor increased (major) and it’s intonation isn’t stressed (“soft corner”).

For his own artistic development Bhimsen Joshi had woven also style elements from other Gharanas (beside the Kirana Gharana) into his indiviual singing and interpretation style.

At the age of 31 years Bhimsen Joshi created the Sawai Gandharva Sangeet Mahotsav, in honours of his teacher Sawai Gandharva and as platform for the singing art of Kirana Gharana. Today the three days event is simply well-known as Sawai, which always takes place in December. It is one of the most important festivals, if not even that most important for Indian Classical music worldwide. Since 1953 the music festival Sawai Gandharva takes place annually in Pune and was led by Bhimseh Joshi himself for 49 years, until 2002. Today the Sawai is organized by Bhimsen’s son Shrinivas Joshi. For each new and upcoming generation of musicians of Indian Classics an invitation for the Sawai Gandharva is a guarantee for the beginning of a professional career.

Very late in the year 2008 Bhimsen Joshi received the “Jewel from India”, the Bharat Ratna. It is the highest civil order of India. The Bharat Ratna was assigned first time in the year 1954. With the Bharat Ratna artists, e.g. litterateurs and scientists are decorated for their social earnings/services. Beside Bhimsen Joshi received musicians the Bharat Ratna such as sitar legend Ravi Shankar (1999) or Lata Mangeshkar (2001) who is a female vocalist for Indian film (Bollywood).

Bharatratna Pandit Bhimsen Joshi Kaladalan: The music library, located on the ground floor, has 28 cubicles each of which is equipped with a computer and headphones. Music lovers can enjoy the music for which they will be charged. (Source: Sakaal Times)

Bharatratna Pandit Bhimsen Joshi Kaladalan (Pune, Vasantrao Bagul garden grounds, Sahakar Nagar): The music library, located on the ground floor, has 28 cubicles each of which is equipped with a computer and headphones. Music lovers can enjoy the music for which they will be charged. (Source: Sakaal Times (04/2011))

The inheritance of Bhimsen Joshi will not only live on in the form of memories and honors. With an inauguration celebration in February 2011 the city administration of Pune designated a new art center in appreciation of Pandit Bhimsen Joshi as “Bharatratna Pandit Bhimsen Joshi Kaladalan“… and the Federal State government presented a music scholarship for classical music in memories of the legend Bhimsen Joshi.

Bhimsen Joshi sung duets (Jugalbandi) with great vocal maestros like Pt. Jasraj, Ustad Rashid Khan or
with Dr. Balamurali Krishna (BMK) in two different languages (Joshi in Hindi and BMK in South Indian languages)…


Posted in ENG (English), IMC OnAir - News | 2 Comments »

Raga CDs des Monats (04/11): Die Magie der Musik – eine Hommage an Bhimsen Joshi.

Posted by ElJay Arem (IMC OnAir) on April 11, 2011

Stellen wir uns das Indien im Jahre 1933 vor. Es war die Zeit, als Gandhi in den Hungerstreik gegen die Diskriminierung niederer Kasten trat. Hier machte sich ein kleiner Junge aus einer Brahmanenfamilie im Alter von 11 Jahren alleine auf den Weg, um einen Musiklehrer zu finden. Bhimsen Gururaj Joshi war sein Name, Sohn von einem Schullehrer und und ältester Sproß mit 15 Geschwistern. Joshi’s Mutter starb sehr früh war.

Bhimsen Joshi sollte mit seiner “Goldenen Stimme” mit 3 Oktaven Umfang den Gesang der nordindischen Klassik massgeblich mitprägen, bis zu seine Ableben im Janur 2011. Im Nachruf von Indian Express war zu lesen: “Die Stimme des letzten Titan der nordindischen Klassik bleibt nun für immer stumm, aber seine Melodien werden immer fortbestehen.” Unsere heutige Sendung “Die Magie der Musik” ist eine Hommage an diesen Ausnahmekünstler, an Bimsen Joshi (04.02.1922 – 24.01.2011).


18. April 2011 – 23:00 p.m. (CET)
broadcasting planstreaming (Internet Radio & Mobile Radio) | podCast

Der Autoliebhaber Bhimsen Joshi fuhr Mercedes

Der Autoliebhaber Bhimsen Joshi fuhr Mercedes

Seinen Meister (Guru) fand Joshi im Alter von 14 Jahren. Es war Rambhau Kundgolkar. Heute ist uns dieser Schauspieler und Sänger der nordindischen Klassik eher geläufig als Pandit Sawai Gandharva. Er lebte von 1886 bis 1952. Der herausragende Verdienst von Pandit Gandharva um die indische Klassik ist die Popularisierung eines Gesangsstiles, in der Tradition der Kirana Gharana. Neben Bhimsen Joshi gehörte zu den Schülern von Saway Gandharva die großartige Sängern Gangubai Hangal. Wir verweisen dazu auf die Sendung “Dr. Gangubai Hangal – Voice of Tradition“.

Die Mehrzahl der Sänger der nordindischen Klassik kommen aus der Tradition der Kirana Gharana. Sie wurde massgeblich von Abdul Karim Khan und seinem Cousin Abdul Wahid Khan bis in die 40er und 50er Jahre des letzten Jahrhunderts geprägt.
Abdul Karim und Abdul Wahid revolutionierten die moderne Gesangsform Khayal. Sie fügten ein langsames Tempi hinzu, Vilambit. So kann vom dem Sänger jede Note einer Ragaskala, Note für Note in einer Gesangsdarbietung beschrieben werden.
Beeinflusst von der südindischen Klassik, hat Abdul Karim Khan dem Einsatz einer  Ornamentik besonderem Augenmerk geschenkt. Die Muster sind wellenförmig und setzen sich aus dem Notenmaterial der Ragaform zusammen. Es ist ein Markenzeichen von Gesangsinterpretationen im Stile der Kirana Gharana, dass die zweite Note, Rishabh als “natürlich”, d.h. weder vermindert noch erhöht und auch nicht betont gespielt wird.

Neben der Kirana Gharana hatte Bhimsen Joshi in seiner eigenen künstlerischen Entwicklung auch Stilelemente aus anderen Gharanas in einen ihm ganz eigenen Gesangs- und Interpretationsstil eingeflochten.

Schon im Alter von nur 31 Jahren gründete Bhimsen Joshi das Sawai Gandharva Sangeet Mahotsav, zu Ehren seines Lehrers Sawai Gandharva und als Plattform für die Gesangskunst der Kirana Gharana. Heute ist der 3-tägige Event einfach bekannt als Sawai, er findet immer im Dezember statt. Es ist eines der wichtigsten Festivals, wenn nicht gar das Wichtigstes für die indisch-klassische Musik. Seit 1953 findet das Musikfestival Sawai Gandharva alljährlich in Pune statt und wurde von Bimseh Joshi selbst  49 Jahre lang geleitet, bis 2002. Heute organisiert sein Sohn Shrinivas Joshi das Festival. Für jeden Nachwuchsmusiker der indischen Klassik bedeutet eine Einladung zum Sawai Gandharva der Beginn einer professionellen Musikerkarriere.

Erst sehr spät, im Jahre 2008 erhielt Bhimsen Joshi den “Juwel von Indien”, den Bharat Ratna. Es ist der höchste Zivilorden Indiens. Er wurde das erste Mal im Jahre 1954 vergeben. Mit dem Bharat Ratna werden Künstler, Literaten und Wissenschaftler für ihre gesellschaftlichen Verdienste ausgezeichnet. Neben Bhimsen Joshi erhielten den Bharat Rathna Musiker wie die Sitarlegende Ravi Shankar  (1999) oder Lata Mangeshkar (2001), eine berühmte Sängerin des Indischen Films(Bollywood).

Bharatratna Pandit Bhimsen Joshi Kaladalan: The music library, located on the ground floor, has 28 cubicles each of which is equipped with a computer and headphones. Music lovers can enjoy the music for which they will be charged. (Source: Sakaal Times)

Bharatratna Pandit Bhimsen Joshi Kaladalan (Pune, Vasantrao Bagul garden grounds, Sahakar Nagar): The music library, located on the ground floor, has 28 cubicles each of which is equipped with a computer and headphones. Music lovers can enjoy the music for which they will be charged. (Source: Sakaal Times (04/2011))

Mit einer Einweihungsfeier im Februar 2011 hat die Stadtverwaltung von Pune ein neues Kunstzentrum in Würdigung von Pandit Bhimsen Joshi benannt als “Bharatratna Pandit Bhimsen Joshi Kaladalan“… und die Landesregierung legte ein Musikstipendium für klassische Musik in Gedenken an die Legende Bhimsen Joshi auf.

Bhimsen Joshi sung duets (Jugalbandi) with great vocal maestros like Pt. Jasraj, Ustad Rashid Khan or
with Dr. Balamurali Krishna (BMK) in two different languages (Joshi in Hindi and BMK in South Indian languages)…


Posted in DE (German), IMC OnAir - News | Leave a Comment »

37. Freiberger Jazztage: Piano-Sonderkonzert mit Mike Herting (16.04.2011 / Bergbaumuseum)

Posted by ElJay Arem (IMC OnAir) on April 7, 2011


Mike Herting (Pianist, Komponist, Dirigent)

Mike Herting (Pianist, Komponist, Dirigent, Produzent)

Als Pianist,Komponist und Produzent ist Mike Herting seit Anfang der 80er Jahre in Deutschland aktiv. Er war der Gründer der ambitionierten Jazz-Rockgruppe „Headband“ und gehörte zum Kölner Trio „Härte 10“, einer experimentellen Funk-Rockformation.
Die Zusammenarbeit mit dem amerikanischen Altsaxophonisten Charlie Mariano beginnt 1982 und setzte sich bis zu dessen Tode fort. Mariano war auch Mitglied der „International Commission for the Prevention of Musical Bordercontrol“, die Mike Herting Anfang der 90er Jahre ins Leben gerufen hat-mit Musikern wie Manfred Schoof, Paul Shigihara, Dave King,Ramesh Shotham,Ade Odukoya,Gerry Ngu und Michael Küttner.

Ebenfalls in den 80er Jahren begann Mike Herting als Produzent zu arbeiten. Der Welthit „New York,Rio,Tokyo“ von der Gruppe „Trio Rio“ sowie das Album „Shilly Shally“ von“Fritz Brause“ entstanden unter seiner Betreuung ebenso wie CDs von Senta Berger und Uli Tukur.
Neben seiner Tätigkeit als Instrumentalist ist Mike Herting als Komponist des Musicals „Yellow Line“ sowie zahlreichen Theater- und Filmmusiken hervorgetreten. So schrieb er unter anderem für das Schauspielhaus Hamburg eine Bühnenmusik zu “Hamlet“, komponierte für die Dokumentarserie „Im Bannkreis des Nordens“ (Arte/ZDF) sowie die Musik zu Michael Verhoevens „Das schreckliche Mädchen“.

Seit 1998 ist Mike Herting als Gastdirigent, Komponist und Arrangeur bei der WDR-Bigband tätig. Gastsolisten des gefeierten Crossoverprojekts zwischen Jazzrock-,Big Band-Tradition und Weltmusik im Februar 1999 im Kölner Stadtgarten waren unter anderem der tunesische Sänger und Oud-Spieler Dhafer Youssef und Charlie Mariano.

Das musikalische Grossprojekt“Sketches of Bangalore“, das Musiker aus Indien und USA mit der WDR-Bigband zusammenführte bildete im Oktober mit Konzerten in der Philharmonie Köln sowie bei den Leverkusener Jazztagen den Höhepunkt in der musikalischen Arbeit des Jahres 2000.

Seit 2004 ist Mike Herting auch Gastdirigent des Rundfunkorchesters des WDR. Im Oktober 2004 leitete er die Philharmonische Hommage „Königin der Nacht“. Ebenfalls im Oktober beginnt eine Tournee der WDR-Bigband mit Wolfgang Niedecken anlässlich der Veröffentlichung der von Mike Herting arrangierten CD-Produktion „NiedeckenKoeln“.

2007 zum Kurator der Ruhrtriennale für die Festivalreihe „Century of Song“ bestellt, ermöglicht Mike Herting eine Zusammenarbeit führender Musikern aus verschiedenen Kontinenten wie Mory Kante und R.A. Ramamani . Ein weiteres herausragendes Grossprojekt mit der WDR-Bigband unter der Leitung von Mike Herting verbindet den indischen Mandolin-Virtuosen U.Srinivas mit der Sängerin Ramamani und Charlie Mariano.

2009 sieht die erste Zusammenarbeit von Mike Herting und dem BuJazzO. Ebenfalls zum erstenmal arbeitet KCP4 mit dem Ensemble „Renga“ des London Philharmonic Orchestra zusammen. Nach einem Konzert in London 2009 führen Renga und KCP4 im April 2010 eine gemeinsame Indientournee durch.

„Mike Herting´s Bruderschaft“ ist sein neuestes Projekt und umfasst Kompositionen der letzten zwei Jahre, die er unter dem Titel „Tunes for the Brotherhood“ in verschiedenen Besetzungen vom Solo bis zum Sextett aufführt.

Geschichte der Freiberger Jazztage

37sten Freiberger Jazz Tage 2011

Schon in den sechziger Jahren galt die alte Bergbau- und Hochschulstadt Freiberg als eine Hochburg des Jazz. Viele bekannte Musiker dieses Genres gaben sich hier die Klinke in die Hand. Natürlich blieb alles im Rahmen der DDR-Szene, von einem Auftritt Edda Camerons abgesehen, die 1970 im Dom begeisterte. Um das Jahr 1970 begann in Freiberg besonders unter den Studenten das Jazzfieber zu grassieren. Einige Enthusiasten beschlossen, ein Jazzfestival auf die Beine zu stellen. Gemeinsam mit dem Sender \”Stimme der DDR\” wurden die 1. Freiberger Jazztage organisiert. Eine wichtige Rolle spielte dabei das Freiberger Jazz Quintett, damals eine sehr beliebte Band. Sie trat in jenem Jahr erfolgreich bei dem Festival auf und wurde somit erst- und leider letztmals über den Äther gesendet. Als Highlight wurde das Prager Jazz Trio mit Jin Stivin geholt.

Ein Anfang war also gemacht. Zum Leidwesen vieler Fans löste sich bald danach das Freiberger Jazz Quintett auf und es entstand eine Lücke. Geschlossen wurde diese erst 1973 durch einen neuen, jazzbegeisterten Studentenclubchef, der sein Hauptaugenmerk auf die Organisation von Jazzkonzerten legte. Konsequent arbeitete man von nun an an der Vorbereitung der 2. Freiberger Jazztage, und die gingen dann vom 2. bis 4. April 1974 über die Bühne. Veranstalter war allein der Studentenclub.
Auf der Bühne der \”Alten Mensa\” standen in jenem Jahr Gruppen wie \”FEZ\”, \”Synopsis\”, \”Ulli Gumpert Big Band\”, \”SUM\” und die \”Theo Schumann Combo\” – der Erfolg war gewaltig. Das auffallende und werbewirksame Plakat ist erhalten und hat eine gewisse Tradition mitbegründet – nämlich mit möglichst einfachen Mitteln, ohne viel Geld und auf laienkünstlerischer Basis für unsere Veranstaltungen zu werben.
1976 machte der Rundfunk der DDR Aufnahmen und das Ergebnis ist noch heute auf der Amiga-Platte von Ernst-Ludwig Petrowsky zu hören. Damals spielte Petrowsky gleich zweimal, zuerst im Sextett und am nächsten Tag im Trio mit Klaus Koch und Günter Sommer. Und deren \”Wandertag in Freiberg\” füllt immerhin eine ganze Plattenseite.

Mitte der siebziger Jahre begann der Jazz in der DDR etwas salonfähiger zu werden, und bald hatte jede Hochschulstadt, die etwas auf sich hielt, ihr mehr oder weniger bedeutendes Festival. Es entstand so etwas wie gesunde Konkurrenz. In dieser Zeit wurde es besonders wichtig, dass man internationale Gäste auf dem Plakat stehen hatte. Zunächst kamen die Musiker aus den \”befreundeten Bruderländern\”, später standen dann Künstler aus dem Westen auf der Bühne. 1978 und 1979 machte das \”Peter Brötzmann Trio\” im \”Großen Hörsaal\” Furore. Die Euphorie jener Zeit gilt bis heute als legendär. Von nun an zierten viele Namen europäischer Spitzenmusiker die Plakate der alljährlichen Jazzfestivals. So waren Fred van Hove, Barre Phillips, Jay Oliver, Tony Oxley, Sirone, Phil Minton, Gunter Hampel, Willi Kellers, Friedhelm Schönfeld und Kent Carter hier. Probleme gab es in all den Jahren viele, so war die Unterbringung der Musiker ein schwieriges Problem. Die zwei heruntergekommenen Hotels waren oft schon ausgebucht, so dass selbst international erlauchte Gäste mit einem Sofa bei diesem oder jenem Jazzclubmitglied vorlieb nehmen mussten. Dies hatte natürlich den Vorteil, dass dadurch ab und an in einer Gastwohnung noch eine kleine Jam Session stattfand. Oft mussten sich die Organisatoren beim Erstellen des Programmes unglaubliche Dinge einfallen lassen, um das Auge und das Ohr der Zensur zu umgehen. Da wurden Namen oder Nationalitäten geändert oder es wurden Gruppen, die als anrüchig galten, einfach vergessen zu melden. Um westliche Musiker zum Spielen bei Jam Sessions zu bewegen, musste die \”Interhotelschlafpflicht\” umgangen werden, da sich diese in den Bezirksstädten befanden. Vergessen waren all diese Widrigkeiten schnell, wenn ein gefüllter Saal Erfolg bescheinigte oder die Gäste von nah und fern des Lobes voll waren.

Von Niederlagen und Rückschlägen berichtet man nicht gern, aber auch ihrer wollen wir gedenken. So konnten 1991 keine Jazztage stattfinden, da in dieser Zeit wohl der kulturelle Tiefpunkt im Osten Deutschlands erreicht war. Der Jazzclub war vom Winde verweht und der Studentenclub rang ums überleben. Um so höher ist es zu bewerten, dass sich einige Leute doch nicht entmutigen ließen und mit der Organisation eines Jazzfestes unter neuen Bedingungen begannen. Eine enorme Aufwertung erhielt das Ganze durch ein Angebot des Intendanten des Freiberger Stadttheaters, dieses Haus für Jazzkonzerte zu nutzen.

Und mittlerweile möchten viele die gediegene Konzertatmosphäre im Theater nicht mehr missen. Seit einigen Jahren gibt es eine Jazzveranstaltung für Kinder – also auch wir kümmern uns um Publikumsnachwuchs. Das allgegenwärtige finanzielle Problem macht die Ausrichtung eines anspruchsvollen Programms natürlich immer wieder zu einer Herausforderung.

Nach der Insolvenz des Studentenclubs im Jahre 2006 sprang dankenswerterweise das Studentenwerk als Träger für die IG Jazz ein und die Organisation des Festival ist damit erst einmal abgesichert. In den letzten Jahren ist es uns immer wieder gelungen, interessante Konzerte zu organisieren, z.B. mit Joachim Kühn Trio, Chris Jarrett, Tab Two, Klaus Doldinger und vielen anderen mehr.

(Quelle: 04/2011 – Jazzclub Freiburg | 37. Freiberger JazzTage | Piano-Sonderkonzert: Mike Herting | Zur Geschichte)

Posted in Live around the globe | Leave a Comment »

New Delhi: Dr.Kamala Shankar & Pt. Rajeev Janardan (Jugalbandi Concert)

Posted by ElJay Arem (IMC OnAir) on April 6, 2011

Jugalbandi concert:
Dr. Kamala Shankar (Slide Guitar) & Pt. Rajeev Janardan (Sitar)

Time: Thursday, April 7 · 6:00pm – 9:00pm
Location: Chinmay Centre Lodhi Road New Delhi
Further: G.S. Rajan (Flute) and Krishna Mohan Mishra (Kathak)

Shankara Arts Foundation

The Shankara Arts Foundation is estabilished at Varanasi by Dr. Smt. Kamala Shankar and Pt. Rajeev Janardan. Varanasi is well known as the city of Lord Shankar (Shiva). That is why the Foundation is named Shankara, which is the name of a Raga too, i.e. Raga Shankara.

The main objectives of the Foundation is to provide high skilled training in music, and the mission is to promote and encourage artists based exclusively on talent, and not by inheritance of musical legacy by birth alone.The Foundation gives the opportunity to maintain high level of music through the audio and video recordings of the legendary artists, at the same time it teaches the right aspects of learning classical music in a Guru-Shishya-Parampara way.

Shankara Arts Foundation conducts workshops and lecture-demostration series every quarterly and there is the Shankara Music Festival, helds every year in December, dedicated to Smt. M.S. Subbulakshmi, which gives the platform for the established as well as young, talented artists.

(Source: 04/2011 – Facebook | (official website)

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Musikmesse Frankfurt 2011: presentation from the business press conference (April 5, 2011)

Posted by ElJay Arem (IMC OnAir) on April 5, 2011


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Frankfurt: Musikmesse and Prolight + Sound set a new exhibitor record (05.04.2011)

Posted by ElJay Arem (IMC OnAir) on April 5, 2011

Musikmesse and Prolight + Sound set a new exhibitor record

* Musikmesse and Prolight + Sound set a new exhibitor record
* More exhibitors at Musikmesse: 1,511 companies from 50 countries
* Four days of business, concerts and meetings

The international Musikmesse in Frankfurt am Main opens its doors tomorrow with an increased number of exhibitors that, for the first time since the financial crisis, has once again cleared the 1,500 hurdle. Over the next four days, Musikmesse – the world’s biggest trade fair for musical instruments, sheet music, music production and music business connections – will present the products and services of 1,511 exhibitors (2010:1,496) from 50 countries in Frankfurt am Main. With this product spectrum and the unrivalled complementary programme of 1,000 live concerts, autograph sessions and workshops, Musikmesse 2011 will once again make the world’s capital for the industry, trade, musicians and music lovers.

Together with the concurrent Prolight + Sound, which presents technologies and services for events and entertainment, this year’s Musikmesse has set a new record: “Altogether, 2,384 exhibitors are making presentations at the two fairs. The companies come from 55 countries around the world – more than ever before – and the two fairs also reflect this very encouraging overall result. For the first time since 2009, Musikmesse has cleared the 1,500 exhibitor hurdle again while Prolight + Sound is distinguished by an all-time record of 873 exhibitors”, said Detlef Braun, Member of the Board of Management of Messe Frankfurt, on the eve of the two fairs.

“Musikmesse and Prolight + Sound are once again in the process of demonstrating their unparalleled power of attraction for both the domestic and international music and entertainment markets. Moreover, two events of national significance – the PRG LEA Live Entertainment Award and the German Pianist Award – will also be held for the first time within the framework of the two fairs.”

With 1,511 exhibitors (2010: 1,496), Musikmesse 2011 has beaten the figures for the previous year and reflects the trend towards stabilisation in a market that, following the 2009 / 2010 crisis, can now report a slight increase in demand again. “The large number of exhibitors from 50 countries of the world (2010: 46) and the six percent growth in the number of companies representing the German musical-instrument industry constitute impressive evidence of the consistency and resistance of the Musikmesse and its ex­hibitors. All in all, this has consolidated the position of Musikmesse as the leading international trade fair for the sector”, adds Detlef Braun.

This year, the driving force behind the increased exhibitor numbers is the domestic market – altogether 577 German exhibitors are taking part, an increase of six percent compared to 2010. Over the years, the German market for musical instruments and accessories has proved to be extremely resistant to crises. This is due, on the one hand, to the structure of the sector, which is powered by export oriented, small to medium-sized companies that produce products of the highest quality. On the other hand, it is a consequence of the importance attached to culture and cultural services in , which also led to a slight increase in domestic demand in 2010. The other top-ten exhibitor nations are the People’s Republic of (147), the (139), (106), (68), (62), (42), (40), (34) and (33).

“We are very pleased to welcome many new companies to the fair. German manufacturers are distinguished by innovative and imagina­tive ideas, particularly when it comes to combining traditional musical instruments with new mobile developments”, adds Detlef Braun. As in the past, the exhibitors of Musikmesse 2011 include all important national and international brands, service providers and distributors.

With a series of important accompanying events, Musikmesse underscores not only the experiential character of the fair but also brings together important parts of the ‘music’ value chain at the same time and place for the four days of the fair. With the PRG LEA, the Live Entertainment Award, Messe Frankfurt has attached another music-business module to Musikmesse. By bringing together the live business, as well as concert promoters and booking agencies, with the exhibitors and visitors of Musikmesse and Prolight + Sound, the two fairs generate valuable synergies for all participants. The great stability of the live event sector, especially in comparison to other entertainment fields, leaves little doubt about the high degree of interest in live events and, therefore, in musical instruments and accessories.

On the public day (Saturday, 9 April), Musikmesse will be a magnet not only for the world of music professionals but also for music lovers from all points of the compass. And something for all tastes will be offered on the Musikmesse stages. The Agora Stage in front of Hall 3 is the main stage of the fair and the venue for almost 100 concerts. The Acoustic Stage is characterised by somewhat quieter tones. On Saturday, the PRG LEA Stage in the Festhalle will be the setting for a variety of awards ceremonies and concerts, including one by the German rock-pop band Silbermond.

Many artists and bands have already announced they will be giving concerts on the Musikmesse stages or live gigs or autograph ses­sions at the exhibition stands. They include Stefanie Heinzmann, Christoph Schneider (Rammstein), the rhythm section of PINK, Darryl Jones (Rolling Stones bassist), Bertram Engel (Maffay), Tom Coster (Santana), members of the Scorpions, Orianthi (guitarist with Michael Jackson), Bootsy Collins and many musicians of Revolerheld, Phil Collins and Fettes Brot. Metal fans are equally well catered for with members of bands such as Megadeath, Kreator, Avantasia, Whitesnake, Masterplan, Behemoth, Blind Guardian, Primal Fear, Mother’s Finest and Rage scheduled to play live or give autographs.

An absolute highlight for younger visitors is the music4kids area where, during the week of the fair, around 8,000 children will be given the chance to discover and try out musical instruments in a variety of experiential worlds. The atmosphere will be more professional during the final round of SchoolJam, the great competition for German school bands on Friday when eight bands will compete for the title of ‘Germany’s Best School Band’. They will play to an audience of hundreds and demonstrate their skills on the professional open-air stage. Headlining the event is the popular band Sunrise Avenue.

With the Musikbiz area in Hall 4.1, the Musikmesse has extended the spectrum covered to include representatives of the music industry, i.e., labels, aggregators, radio and television music stations, concert promoters, online platforms and music training institutes. This is where up-and-coming bands demonstrate their abilities.

Musikmesse is also the setting for numerous awards ceremonies for personalities and products. Every year, Messe Frankfurt and the Federal Association of German Musical Instrument Manu­facturers (Bundesverband der Deutschen Musikinstrumenten-Hersteller e. V. – BDMH) present the Frankfurt Music Prize on the eve of the fair. This year, it goes to mezzo soprano Anne Sofie von Otter. For the first time, this year’s presentation will take place during the PRG LEA Awards when stars of the music scene honour the people behind the scenes, e.g., concert promoters, agents, venue operators and artists’ managers. The German Musical Instrument Award is given for outstanding achievements in the field of musical-instrument making. Sponsored by the Federal Ministry of Economics and Technology (Bundesministerium für Wirtschaft und Technologie – BMWi), this year’s award goes to two bass-trumpet manufacturers and two guitar makers. The Musikmesse International Press Award (MIPA) honours the best musical instruments, accessories and pro-audio equipment of 2010/2011 – the judges are journalists from 112 specialist magazines worldwide. The German Pianist Award is for aspiring interpreters of piano music. Organised by Musikmesse in cooperation with the International Piano Forum, the award carries a prize of € 20,000 Euro.

Details of all events, stars, autograph sessions and concerts on the stages and at the exhibition stands can be found in our list of events at or on the Musikmesse website at

(Souce: 04/05/2011 – Messe Frankfurt)

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Frankfurt: International Trade Fair for Musical Instruments, Sheet Music, Music Production and Music Business Connections (4th-9th April 2011)

Posted by ElJay Arem (IMC OnAir) on April 4, 2011

International Trade Fair for Music 2011 – “mission for music”

Four-day event:
Trade-visitor days: 6 to 8 April 2011
Public day: 9 April 2011 – Hours of opening from 09.00 to 18.00

Trends from the fields of musical-instrument making, digital music production, electronic music, music literature and music marketing

Musikmesse Saturday, 9 April 2011:
the whole world of musical instruments for consumers

Musikbiz – platform for the music industry in Hall 4.1

Public Day with over 50 live acts on the stages, see stars live and at autograph sessions

Vintage Show – exhibition of rare and special instruments, a journey through the history of music in Hall 4.1


  • Music4Kids: six-day participatory exhibition revolving around music, acoustics and instruments
  • Awards for musicians, celebrities and instrument makers
  • Competitions for young people, panel discussions
  • Interesting workshops about music making, and concerts on a variety of event stages

(Source: 12/2010 – Musikmesse Frankfurt)

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