IMC OnAir presents as it’s 2nd January show @ Radio FRO (Upper Austria) a new topic: “The Sarangi Project! … The Voice of a 100 Colours“.
(Rec.: A long version (116 min.) and with tribute to the Sarangi legend Ustad Sultan Khan was broadcasted the show “Legacy of Sultan Khan – Future of Sarangi” as world culture radio (radio multicult.fm Berlin). Some programme infos here. – You can relisten the show in our online archive: http://imcradio.net/radioarchive/2012/01/ .)
The title of the radio show “The Sarangi Project!” leans against it’s name patron of rescue initiatives for the Sarangi of the 90th (last century) in England and the U.S.A.. In far parts of India also in the neighbour regions of Nepal and Pakistan… and from music lovers all over the world, emigrants of Indian nationality the Sarangi appears in consciousness particularly threatened by extinct. – The December show follows the question whether this picture is still to be confirmed in the 21st century?
The Sarangi is an Indian bowed string instrument, the Indian fidel. Around it’s origin different myths and theories climb. The Sarangi could led back on a pupil of the large Pythagoras, the Egyptian Boo Ali Ibn Sina.
The Sarangi or Saurangi is well-known in India characteristically as “the voice of hundred colours”. The Idiom is derived from two words of the official national language Hindi: “sau” means “100” and “rang” is translated to “colour”.
date of broadcasting: 22nd January 2012– 11:00 p.m. METZ (05:00 pm EST) @ Radio FRO (A)
(premiere: 4th September 2007 @ Radio Tide 96.0 FM) broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
If one gets the Sarangi sound for the first time to the ears she or he may be surprised a little of it’s twangy, pulled, metallically sounding tone with a pronounced echo.
The Sarangi is far superior for the accentuation of Raga scales to all in the Western World known Indian instruments like the Sarod, Santoor or Sitar. The Sarangi is the most difficult instrument of India to be played.
Sir Yehudi Menuhin, the large violonist of the Western Classical period, was occupied on its numerous India journeys intensively with this music culture. He judged of the Sarangi as follows – and in special over the play of Ram Narayan, the great master of this instrument, who is in India equated with the Sarangi:
“The Sarangi embodies most authentically
the origin Indian string instrument played with a bow.
It expresses the Indian soul, it’s feelings and
Indian thinking soonest.“
IMC OnAir präsentiert auf Radio FRO in seiner 2ten Januar Sendung im neuen Jahr “Raga CDs des Monats” das Thema: “The Sarangi Project! … The Voice of a 100 Colours“.
(Hinweis: Eine Spezialsendung (116 min.) zum Tode der Sarangilegende Ustad Sultan Khan (gest.: 27.11.2011) wurde bereits am 15. Januar 2012 als WeltKulturradio (radio multicult.fm Berlin) ausgestrahlt. Programminfos hier. – Zum Nachhören auch im Online-Archiv: http://imcradio.net/radioarchive/2012/01/ )
Sendetermin… 22. Januar 2012 – 23:00 Uhr MTZ @ Radio FRO (A)
(Premiere: 4. September 2007 (21:00) @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
Sarangi ist die indische Fidel, eines der schwierigsten Instrumente Indiens. – Mitte der 90er Jahre gab es weltweit engagierte Rettungsaktionen, um sie vor dem Aussterben zu bewahren. Wie steht es heute um die Sarangi? – Sie hoeren dazu Beispiele von den renomiertesten Musikmeistern Indiens…
Hört man das erste Mal den Klang einer Sarangi, ist man ein wenig überrascht von ihrem metallischen Sound und dem langen Nachklang.
Wie kein anderes indisches Instrument ist die Sarangi weit mehr als die Sarod, Sitar oder der Santoor (Dulzimer) geeignet für die feinen Akzentuierungen der Ragaskalen. Die Sarangi ist aber auch das technisch anspruchsvollste Instrument der indischen Klassik.
Sir Yehudi Menuhin, der herausragende Violinist in der westlichen Klassik, wurde auf seinen zahlreichen Reisen nach Indien von der Musikkultur Indiens ergriffen. Er urteilte über die Sarangi und im Besonderen über den Sarangispieler Ram Narayan, einem der großen Meister dieses Instrumente:
“The Sarangi embodies most authentically
the origin Indian string instrument played with a bow.
It expresses the Indian soul, it’s feelings and
Indian thinking soonest.“
5th Intern. Conference: “Exploring New Dimensions in Fine Arts”
…
Sponsor: I.C.C.R. & Ministry of H.R.D., Delhi Venue: Agra Club (Agra) Date: 28th and 29th January 2012 (beginning with an inaugural session on Saturday @ 10.00 am)
key note/guest speakers: Prof. Stephen Slawek (Sitarist, USA), Prof. Joep Bor (Academy of Creative and Performing Arts of Leiden University, Netherlands), Dr. M.R. Azadehfar (Dean of Music Faculty, Tehran Arts University), Prof. J. Moreno (Music Therapy at Maryville University), Prof. Krishna Bisht (Delhi), Prof. Veena Vishwaroop (Khairagarh), Prof. B.P. Kamboj (Dehradoon) and other professors and scholars of different Universities
+ different Indian maestros e.g. Pandit Viswa Mohan Bhatt (Mohan Veena, Jaipur)
Musical programme:
28th January 2012 (06:00-08:00 pm) with sitar recital and a vocal recital :
Professor Stephen Slawek (Sitar, U.S.A.) & Gauri Khanna (vocal, Agra)
By Ms. Lakshmi
– January 21, 2012
Posted in: Concert reviews
Grand Pongal Music Concert by Guruvayoor Dr. T.V. Manikandan
The Famed Pongal Festival of South India falls on the 15th of January 2012. Makara Sankranthi marks the transition of the Sun into Makara rashi* (Capricorn) on its celestial path. Traditionally, this has been one of many harvest days in India. Owing to the vast geography and diversity of culture in India, this festival is celebrated for innumerable reasons and in innumerable ways depending on the climate, agricultural environment, cultural background and location. In North India it is celebrated as Lohri. Call it by whatever name – it is the bonhomie spirit of the Indian community for celebrating the life cycles that gives us grain.
In Mayur Vihar, New Delhi, this festival was celebrated with a grand concert of Guruvayoor Dr.T.V.Manikandan who is an Associate Professor, Faculty of Music &Fine Arts, Delhi University.
This concert was hosted jointly by the Subha Sidhivinayak Temple of Mayur Vihar and the Avvai* Tamil Sangam*. This instance was also astutely utilized to host this event as a commemoration concert towards the memory of Madurai Mani Iyer during this Madurai Mani Iyer Centenary year (October 25, 1912 – 1968).
Madurai Mani Iyer was a consummate Carnatic music musician, who was famous for his unique style. He was one of the most highly celebrated Carnatic vocalists during the first half of the 20th century. He was renowned for his adept skills at singing kalpana* swarams*, neraval*, and raga alapana*. His music continues to be highly regarded even today with warm nostalgia.
Dr.T.V.MANIKANDAN (Source: CarnaticIndia.com)
The surprise element was the brief pre-concert vocal rendering by two outstanding students of Dr. T.V. Manikandan. The session started with Kum. Anaka, a 10 year young school student and an ardent learner of music, took the audience by surprise and made them sit up with her sparkling rendering of Sreemaha Ganapathe in raag Naattai followed by Manavinaala kimcharadate in Nalinakaanthi.
The streak of discovery of young talent was now found in Miss Nisha, a 1st year Undergraduate student Ms. Risha Raamachandran, who sang Siddivinaayakam in Shanmukhapriya, then Saamaja varagamana in Hindolam followed by Teeraatha vilayaattu pillay in a raga malikai*. Both of them evinced serious approach to the study of Carnatic music, a natural gifted voice and received the well-deserved applause.
The much awaited main concert was a hit from the start. Dr. Manikandan justified all the various titles received from various Music Organisations in India and abroad with a very mature and dignified concert which encompassed all that was expected.
Namely being an Avvai Tamil Sangam sponsored concert, justified with a focus on many Tamil Lyrics compositions and also covered other major composers like Thyagaraja and Purandaradasa. But also being the Madurai Mani Iyer centenary concert, stole the heart of the audience with typical kritis* associated with Madurai Mani.
The concert started with the traditional invocation to Lord Ganesha with the Tamil kriti – Gana nathane guna bodhane gaja maa mukh, gathi nee ayya in raag Saranga a composition of Periyasami Thooran. This was followed by a crisp Sobillu Sapthaswara – of Thyagarajar in Raag Jaganmohini.
The following rendering of raag Begada was very soft and well delineated. The alapana* was a fountain of melody and reflected the pedigree and erudition. The kriti rendered was Kadaikkan Vaittennai Alamma Gauri Rajaraeshvari, a kriti by Ramaswamy Shivan.
And in the same spirit the concert meandered on to rare compositions Saranagathi ena nambi vandhen – Raag Shubapanthuvarali; Balakrishnan Padamalar – Composer – Papanasan Sivan.
Then appeared the desert of the evening with an exquisite rendering of the Madurai Mani fame Majanaki – jata battag in Raag Kamboji, a composition of St. Thyagaraja. This sent waves of nostalgia in the hearts and minds of the senior members of the audience who went back in the time machine reminiscing the concert of Madurai Mani Iyer. Again kudos to the well rendered raga alapana and the apt niraval and imaginative swara prastaras.
The thrill was once again attained with the typical Mani Iyer’s western note piece. This was followed by a crisp Thani avartanam* on the mridangam by Mr Jayan Dass.Mr VSK Annadurai gave able support on the violin. The concert concluded with the traditional rendering of the Mangalam*.
Dr. T.V. Manikandan’s traditional approach with purity and classicism with his melodious and clear voice took the listeners to a divine world of peace and sheer enjoyment.
Glossary
* Avvai – also Avvaiyar. Famous and important female poet of the Tamil canon
* Alapana – Alapana is a form of melodic improvisation that introduces and develops a raga (musical scale) in Indian classical music. As a term that is Sanskrit in language, alapana means “to speak, address, discourse, and communicate”. The flavor of the raga is outlined in the alapana by rendering the raga’s permitted notes in structures and phrases unique to the raga
* Kalpana – imaginative, inspired
* Kriti – a composition
* Niraval – Niraval also known as Neraval or Sahitya Vinyasa is considered to be one of the important features in the extempore improvisation aspect (Manodharma Sangita) of Carnatic music. Niraval is essentially the extempore construction, elaboration and improvisation of swaras for a particular line in the kriti,
* Raga malikai – Ragamalika, literally a garland of Ragas, is a very popular form of composition in Carnatic music. These are delightful compositions, where the various segments are set to different Ragas
* Rashi – zodiac star sign
* Sangam – gathering – organization
* swaram – The seven notes of the scale (swaras)
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