IMC – India meets Classic presents …

… radio shows for Indian (Music) Culture

Archive for the ‘FestivalReport’ Category

special feature: From India to Europe… FestivalReport (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on March 21, 2016

Part 1 and 2 of FestivalReport2007 is presented under the topic „Alternation of Generations ? – Music conferences & competitions of procreation“. In part 1 „IMC OnAir“ lights up the current music scene in India. Part 2 gives a view of the new generation competitions and international festival scene…

d a t e s   o f   b r o a d c a s t i n g

part 1 and 2Monday, 21st March 2016 – 04:00-05:58 pm CET @ TIDE Radio
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

IMC OnAir presents the two hours special show „From India to Europe – Festival Report 2007“. The programme attaches to the Festival Report 2006. Here some interesting and worth knowing details were introduced to history and the development of Indian music festivals, the so called Sangita Sammelana-s.

IMC-Special-FESTIVALREPORT2006-Screensplash-30092006-1-small-230-210 (1)

All broadcastings of the past you get access to by free PodCast for re-listening as MP3 independently from time and place (see Podcasting | News)…

The Sangita Sammelana-s enjoy internationally an increasing popularity. The origin hands back to the 18th century. Until today the Indian classical music of North and South India can retain it’s character as chamber music on the large stages in Kolkatta, New Dehli, Mumbai, Pune and Chennai.

music:
Raga Jog, Raga Mishra Mand, Raga Tilak Kamod (old form: Kambodi or Kamodi), Raga Sohini, Raga Hamsadwani, Raga Mishra Khamaj, Thumri, Raga Bageshri, Rag Bhairavi, Dhrupad, Pakhawaj Solo (Paran), Thumri (Light Indian Classical Music), Misra Pilu – Jiya Mora Na Lage

artists:
Begum Parveen Sultana (Vocals), Rajan & Sajan Mishra (vocal brothers), Taalyogi Suresh Talwalkar (Tabla), Dr. Kamala Shankar (Shankar Guitar) & Rajeev Janardan (Sitar), Subhra Guha (Vocals), Hariprasad Chaurasia (Bansuri / Flute), Kumar Bose (Tabla), Shahid Parvez (Sitar / Tabla / Vocals), Shashank Subramanium (Bansuri / Flute), Sandeep Das (Tabla), Suchismita & Debopriya Chatterjee (Flute Sisters), Sukhvinder Singh (Tabla), Patri Satish Kumar (Mridangam), Bahauddin Dagar (Dhrupad / Rudra Veena), Ravishankar Upadhyay (Pakhawaj), Ikram Khan (Sarangi), Shishirchandra Bhatt (Harmonium), Kaushiki Chakrabarty (Vocals)

festivals:
Savai Gandharva Music Festival (Pune), 13th ITC Sangeet Sammelan (Bangelore), MRI Music & Dance Festival 2005 / Annual Music & Drama Festival 2006 (Chennai), Saptak Festival (Ahmedabad, Gujarat), Darbar South Asian Music Festival (U.K.)

Posted in FestivalReport | Leave a Comment »

special feature: From India to Europe… FestivalReport (Teil 1 und 2)

Posted by ElJay Arem (IMC OnAir) on March 21, 2016

IMC präsentiert … From India to Europe… FestivalReport (Teil 1 u. 2)
– Generationenwechsel ? – Musikkonferenzen & Nachwuchswettbewerbe

IMC OnAir praesentiert das 2-stuendige special „From India to Europe – Festivalreport 2007“. Es schliesst an den Festivalreport 2006 an. Hier wurde bereits einiges Interessantes und Wissenswertes zur Geschichte und Entwickung der indischen Musikfestivals, der Sangita Sammelana-s vorgestellt.

Teil 1 u. 2 von FestivalReport 2007 stehen unter der Themenueberschrift “Generationenwechsel ? – Musikkonferenzen & Nachwuchswettbewerbe”. Im Teil 1 beleuchtet IMC OnAir die aktuelle Musikszene in Indien. Teil 2 gibt einen Blick auf die Nachwuchswettbewerbe und internationale Festivalszene.

S e n d e t e r m i n e …

Teil 1 und 2:  Montag, 21. März 2016 – 22:00-23:58 Uhr CET@ TIDE Radio (DE) 
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Alle zurueckliegenden Sendungen finden Sie auch als kostenlosen PodCast zum Nachhoeren (siehe Archiv).

IMC-Special-FESTIVALREPORT2006-Screensplash-30092006-1-small-230-210 (1)

Die indischen Musikfestivals erfreuen sich international einer wachsenden Beliebtheit. Der Ursprung der Sangita Sammelana-s, reicht bis ins 18. Jahrhundert zurueck. Den Charakter als Kammermusik hat sich die indisch klassische Musik Nord- und Suedindiens auf den grossen Buehnen in Kolkatta, Neu-Dehli, Mumbai, Pune und Chennai bis heute bewahren koennen.

 

Musik:
Raga Jog, Raga Mishra Mand, Raga Tilak Kamod (old form: Kambodi or Kamodi), Raga Sohini, Raga Hamsadwani, Raga Mishra Khamaj, Thumri, Raga Bageshri, Rag Bhairavi, Dhrupad, Pakhawaj Solo (Paran), Thumri (Light Indian Classical Music), Misra Pilu – Jiya Mora Na Lage

Künstler:
Begum Parveen Sultana (Vocals), Rajan & Sajan Mishra (vocal brothers), Taalyogi Suresh Talwalkar (Tabla), Dr. Kamala Shankar (Shankar Guitar) & Rajeev Janardan (Sitar), Subhra Guha (Vocals), Hariprasad Chaurasia (Bansuri / Flute), Kumar Bose (Tabla), Shahid Parvez (Sitar / Tabla / Vocals), Shashank Subramanium (Bansuri / Flute), Sandeep Das (Tabla), Suchismita & Debopriya Chatterjee (Flute Sisters), Sukhvinder Singh (Tabla), Patri Satish Kumar (Mridangam), Bahauddin Dagar (Dhrupad / Rudra Veena), Ravishankar Upadhyay (Pakhawaj), Ikram Khan (Sarangi), Shishirchandra Bhatt (Harmonium), Kaushiki Chakrabarty (Vocals)

Festivals:
Savai Gandharva Music Festival (Pune), 13th ITC Sangeet Sammelan (Bangelore), MRI Music & Dance Festival 2005 / Annual Music & Drama Festival 2006 (Chennai), Saptak Festival (Ahmedabad, Gujarat), Darbar South Asian Music Festival (U.K.)

Posted in FestivalReport | Leave a Comment »

special feature: From India to Europe… FestivalReport (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on February 21, 2016

Part 1 and 2 of FestivalReport 2007 is presented under the topic „Alternation of Generations ? – Music conferences & competitions of procreation“. In part 1 „IMC OnAir“ lights up the current music scene in India. Part 2 gives a view of the new generation competitions and international festival scene…

d a t e s   o f   b r o a d c a s t i n g …

part 1 and 2: Sunday, 21st February 2016 – 09:00-11:00 am EST @ radio multicult.fm (DE)
(premiere: 07/30/2007 (part 1) + 08/13/2007 (part 2) @ TIDE Radio) 
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

IMC OnAir presents the two hours special show „From India to Europe – Festival Report 2007“. The programme attaches to the Festival Report 2006. Here some interesting and worth knowing details were introduced to history and the development of Indian music festivals, the so called Sangita Sammelana-s.

All broadcastings of the past you get access to by free PodCast for re-listening as MP3 independently from time and place (see archive)…

IMC-Special-FESTIVALREPORT2006-Screensplash-30092006-1-small-230-210 (1)The Sangita Sammelana-s enjoy internationally an increasing popularity. The origin hands back to the 18th century. Until today the Indian classical music of North and South India can retain it’s character as chamber music on the large stages in Kolkatta, New Dehli, Mumbai, Pune and Chennai.

music:
Raga Jog, Raga Mishra Mand, Raga Tilak Kamod (old form: Kambodi or Kamodi), Raga Sohini, Raga Hamsadwani, Raga Mishra Khamaj, Thumri, Raga Bageshri, Rag Bhairavi, Dhrupad, Pakhawaj Solo (Paran), Thumri (Light Indian Classical Music), Misra Pilu – Jiya Mora Na Lage

artists:
Begum Parveen Sultana (Vocals), Rajan & Sajan Mishra (vocal brothers), Taalyogi Suresh Talwalkar (Tabla), Dr. Kamala Shankar (Shankar Guitar) & Rajeev Janardan (Sitar), Subhra Guha (Vocals), Hariprasad Chaurasia (Bansuri / Flute), Kumar Bose (Tabla), Shahid Parvez (Sitar / Tabla / Vocals), Shashank Subramanium (Bansuri / Flute), Sandeep Das (Tabla), Suchismita & Debopriya Chatterjee (Flute Sisters), Sukhvinder Singh (Tabla), Patri Satish Kumar (Mridangam), Bahauddin Dagar (Dhrupad / Rudra Veena), Ravishankar Upadhyay (Pakhawaj), Ikram Khan (Sarangi), Shishirchandra Bhatt (Harmonium), Kaushiki Chakrabarty (Vocals)

festivals:
Savai Gandharva Music Festival (Pune), 13th ITC Sangeet Sammelan (Bangelore), MRI Music & Dance Festival 2005 / Annual Music & Drama Festival 2006 (Chennai), Saptak Festival (Ahmedabad, Gujarat), Darbar South Asian Music Festival (U.K.)

Posted in FestivalReport | Leave a Comment »

special feature: From India to Europe… FestivalReport (Teil 1 und 2)

Posted by ElJay Arem (IMC OnAir) on February 21, 2016

IMC präsentiert … From India to Europe… FestivalReport (Teil 1 u. 2)
– Generationenwechsel ? – Musikkonferenzen & Nachwuchswettbewerbe

IMC OnAir praesentiert das 2-stuendige special „From India to Europe – Festivalreport 2007“. Es schliesst an den Festivalreport 2006 an. Hier wurde bereits einiges Interessantes und Wissenswertes zur Geschichte und Entwickung der indischen Musikfestivals, der Sangita Sammelana-s vorgestellt.

Teil 1 u. 2 von FestivalReport 2007 stehen unter der Themenueberschrift “Generationenwechsel ? – Musikkonferenzen & Nachwuchswettbewerbe”. Im Teil 1 beleuchtet IMC OnAir die aktuelle Musikszene in Indien. Teil 2 gibt einen Blick auf die Nachwuchswettbewerbe und internationale Festivalszene.

S e n d e t e r m i n e …

Teil 1 und 2:  Sonntag, 21. Februar 2016 – 15:00-17:00 Uhr CET@ radio multicult.fm (DE)
(Premiere: 30.07.2007 (Teil 1) + 31.08.2007 (Teil 2) @ TIDE Radio) 
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Alle zurueckliegenden Sendungen finden Sie auch als kostenlosen PodCast zum Nachhoeren (siehe Archiv).

IMC-Special-FESTIVALREPORT2006-Screensplash-30092006-1-small-230-210 (1)

Die indischen Musikfestivals erfreuen sich international einer wachsenden Beliebtheit. Der Ursprung der Sangita Sammelana-s, reicht bis ins 18. Jahrhundert zurueck. Den Charakter als Kammermusik hat sich die indisch klassische Musik Nord- und Suedindiens auf den grossen Buehnen in Kolkatta, Neu-Dehli, Mumbai, Pune und Chennai bis heute bewahren koennen.

 

Musik:
Raga Jog, Raga Mishra Mand, Raga Tilak Kamod (old form: Kambodi or Kamodi), Raga Sohini, Raga Hamsadwani, Raga Mishra Khamaj, Thumri, Raga Bageshri, Rag Bhairavi, Dhrupad, Pakhawaj Solo (Paran), Thumri (Light Indian Classical Music), Misra Pilu – Jiya Mora Na Lage

Künstler:
Begum Parveen Sultana (Vocals), Rajan & Sajan Mishra (vocal brothers), Taalyogi Suresh Talwalkar (Tabla), Dr. Kamala Shankar (Shankar Guitar) & Rajeev Janardan (Sitar), Subhra Guha (Vocals), Hariprasad Chaurasia (Bansuri / Flute), Kumar Bose (Tabla), Shahid Parvez (Sitar / Tabla / Vocals), Shashank Subramanium (Bansuri / Flute), Sandeep Das (Tabla), Suchismita & Debopriya Chatterjee (Flute Sisters), Sukhvinder Singh (Tabla), Patri Satish Kumar (Mridangam), Bahauddin Dagar (Dhrupad / Rudra Veena), Ravishankar Upadhyay (Pakhawaj), Ikram Khan (Sarangi), Shishirchandra Bhatt (Harmonium), Kaushiki Chakrabarty (Vocals)

Festivals:
Savai Gandharva Music Festival (Pune), 13th ITC Sangeet Sammelan (Bangelore), MRI Music & Dance Festival 2005 / Annual Music & Drama Festival 2006 (Chennai), Saptak Festival (Ahmedabad, Gujarat), Darbar South Asian Music Festival (U.K.)

Posted in FestivalReport | Leave a Comment »

special feature: From India to Europe… FestivalReport (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on February 16, 2016

From India to Europe … FestivalReport.
– Sangita Sammelana-s … Indian Music Festivals

IMC OnAir presents it’s special feature “From India to Europe … FestivalReport” in a two hours show broadcasted via radio + podcasting.

The FestivalReport2006 has it’s focus on the history and development of the biggest music festivals in India, so called “Sangita Sammelana-s“. Moving from the 20th to the 21st century the festival culture nowadyas presents itself to the live audience far over the borders of India.

d a t e   o f   b r o a d c a s t i n g

part 1 and 2Tuesday, 16th Febr 2016 – 04:00-05:58 pm EST (10:00-11:58 pm CET) @ TIDE Radio (DE)

History & India’s democracy …

IMC-Special-FESTIVALREPORT2006-Screensplash-30092006-1-small-230-210The origin of the Indian music festivals can be dated back to the 18th century. One of the eldest Festivals for Dance and Music is the Chennai Dance & Music Festival, which has it’s roots in the first Margazhi Festival in 1927 … It is astonishing from most of these fantastic festivals there exist only some few live recordings being published.

At the end of the 19th century Raja S.M. Tagore had proclaimed as a rich landowner from Bengale a campaign in favor of the Indian Classical Music. He published or let publish different art works and gifted collections of instruments to museums in Europe. Rabindranath Tagore has been descended from this family as India’s most famous and genius universal scholar and nobel prize winner for literature (1922).

During that time period first time music weeks were organized, so called “sagita sammelana-s” (music festivals). Herefore to all great virtuosos an invitation was extended.

Short behind the setting up of the Federal Republic of India on 26th January 1950 the importance of the Indian music culture far over the frontier have been recognized. At the inauguration of the Sangeet Natak Academy in 1953 in New Dehli it is approved as following (quotation):

indiamapIndia’s precious heritage of music, drama and dance is one which we must cherish and develop. We must do so not only for our own sake but also as our contribution to the cultural heritage of mankind. Nowhere is it truer than in the field of art that to sustain means to create. Traditions cannot be preserved but can only be created afresh. It will be the aim of this Akademi to preserve our traditions by offering them an institutional form …

– Maulana Azad
28th of January 1953 (New Dehli)

Tradition …

The Indian music festivals are a specific form of care of tradition on the sub continent as it is expressed by the names of many of the festivals to express the recognition and to honour the diligence in art work of India’s famous music maestros.

200px-TyagarajaAll metropoles in India dispose of an annual and profiled festival programme for Indian Classical Music. From the south west head in Tirvandrum, in Chennai (former Madras on the East coast), in Mumbai on the west cost to both capitals of India, New-Deli as the main capital and head office for politics and administration and Kolkatta (former Calcutta) as the cultural capital many considerable events extist: Tansen Music Festival (Tansen Sangeet Sammelan), Thyagaraja Music Festival, Savai Gandharva Music Festival Pune, Saptak Music Festival, Soorya Festival, Swati Tirunal Festival, ShriKrishna Gana Sabha, Madras Music Academy Festival, Vasanta Habba, SRA Music Festival, Swami Vivekanand Birthday Music Festival, ITC Sangeet Sammelan or Dover Lane Music Festival & Music Conference.

Vocalists-and-TanpuraThe audience enjoys the the visits of numerous great musicians, the “who’s who” of Indian Classical Music. Even the younger generation of artists get the chance to perform with the best of their owns.

Far over India the sangita sammelana-s pleasure a growing popularity and derivation worldwide.

Indian-Dance-CoupleSince centuries between India and Europe exist economic and diplomatic relationships. However late in 1985 the cultural spectacle “Cultural Festival of India”, an event of 33 days duration took place in London, which was unique in the Western world till that time. Indian Music and it’s melodies, the sciences and spirituality of India, the arts and architecture were being presented. All decorations had been manufactured in India and being transported by ship to England.

In the last decades, during the immigration wave from the British Commonwealth in the fivtees and sixtees existed several endeavours to keep alive the cultural heritage of India on different continents.

This kind of cultural consciousness following the tradition of India’s music festivals is being reflected in the music events from Australia, North America (New York, Washington, Baltimore and Detroit) to Asia (Hongkong, Singapore and Japane) and Europe (England, Switzerland, Belgium, Italy, Norway and France):

Lakshminarayana Global Music Festival, Charindaa – The Festival of Indian Music in Australia, Festival of Universal Sacred Music (New York / U.S.A.), Southampton Mela Festival, Raga Festival 2006, a concert edition in the West Midlands Englands, darban – South Asian Music Festival, world new music festival and others more.

Posted in FestivalReport, IMC OnAir - News | Leave a Comment »

special feature: From India to Europe… FestivalReport “World of Indian Rhythms” (Teil 1 u. 2)

Posted by ElJay Arem (IMC OnAir) on January 18, 2016

From India to Europe… FestivalReport (Teil 1/2)
– The World of Indian Rhythms… Tabla Solos vom Darbar South Asian Music Festival 2006

Die Förderinitiative “IMC – India meets Classic” präsentiert zu Indien’s Festivalsaison (jährl. Dez.-Febr.) in einer 2-stündigen Sendung – das special “From India to Europe – FestivalReport” (Teil 1 u. 2). Er steht unter der Themenüberschrift “World of Indian Rhythms” und schliesst an die reguläre Sendung “Raga CDs des Monats” mit dem Thema “Tala – der indische Rhythmuszirkel” (Tala – Indian Rhythm Cycles) an.

In Teil 1 werden TablaSolos von drei der herausragenden Meister auf dem indischen Trommpelpaar der nordindischen Klassik präsentiert, mit Live-Aufnahmen vom Darbar South Asian Music Festival (in 2006).

S e n d e t e r m i n e  (Teil 1 u. 2)…

Montag, 18. Januar 2016 – 22:00-23:58 Uhr CET @ TIDE Radio (DE)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Das Darbar South Asian Music Festival war in seinem Gründungsjahr vom 3. bis 5. März 2006 neben einer Vielzahl von Künstlern und Sängern der indischen Klassik eine Plattform für einige der herausragendsten Tablaspieler unserer Zeit. Es präsentierten sich in Begleitung des Sarangi-Maestros Ramesh Mishra

  • Pandit Anindo Chatterjee, der herausragende Repräsentant der Farrukhabad Gharana, eine der 6 Musikschulen (eine Art Stilrichtung der indischen Trommel)
  • Pandit Swapan Chaudhuri, Vertreter der Lucknow Gharana und
  • Pandit Kumar Bose, Statthalter der Benares Tabla Gharana.

Pandit Anindo Chatterjee (Farrukhabad Gharana)Pandit Kumar Bose (Benares Tabla Gharana)Pandit Swapan Chaudhuri (Lucknow Tabla Gharana)
Pt. Anindo Chatterjee | Pt. Kumar Bose | Pt. Swapan Chaudhuri
3 x Tabla Solos @ Darbar South Asian Music Festival 2006

Indien besitzt eine Vielzahl von Trommeln und Schlaginstrumenten. Zu den ältesten Rhythmusinstrumenten für die indische Klassik zählt der Mridangam, eine klassische Trommel, deren Namen bereits im 3. vorchristlichen Jahrtausend im Rigweda auftaucht.

In der nordindischen Klassik hat sich die grössere Ausführung des Mridangam etabliert: der Pakhavaj mit einem tiefen, vollen Klang und einer Vielzahl von Anschlagstechniken.

Die Tabla ist eine Art zweigeteilter Mridangam. Eine kleinere, aus Holz gefertigte Trommel, der eigentlichen Tabla und die aus Metall gefertigte, tiefergestimmte Basstrommel, die Baya heisst. Tabla und Baya sind mit Ziegenhaut bespannt

Der Tablaspieler ist gleichermassen Solist und Begleitmusiker für das Hauptinstrument oder den Sänger. Einem Tabla-Maestro steht eine grosse Bandbreite von kompositorischen Formen zur Verfügung, auf deren Grundlage improvisatorisch das Ragaspiel des Hauptinstruments ergänzt und eigenständig gestaltet werden kann.

From India to Europe… FestivalReport (Teil 2/2)
– The World of Indian Rhythms… MRIDANGAM

In Teil 2 unseres specials “FestivalReport” mit Sendetermin am 18.01.2016 – 22:00-23:58 Uhr @ TIDE Radio (und weltweit als webradio) stellen wir dem dominierenden Trommelpaar der nordindischen Klassik, der Tabla ihren Compagnion der südindischen Klassik, der karnatischen Musik gegenüber… der Mridangam.

Mridangam leitet sich aus dem Sanskrit ab, “Mrid” bedeutet Lehm oder Erde und “Ang” der Körper. Mridangams wurden früher aus gehärtetem Ton hergestellt. Zugunsten der Haltbarkeit entwickelte sich eine Bauweise aus verschiedenen Hölzern.

Mit der Entwicklung des Mridangam hat sich auch das rhythmische System der Talas (oder Taalams) in der südindischen Klassik entwickelt. Heute gilt der Mridangam als der typischer Vertereter der südindischen Klassik.

Der Mridangam ist das Instrument der Götter – “Deva Vaadyam“. In antiken Hindu-Skulpturen, Malereien und Mythologien wird der Mridangam als das von verschiedenen Gottheiten gewählte Instrument beschrieben: Ganesha, der Beschützer und Nandi, der Gefährte von Lord Shiva.

Während die Tabla für den Solisten die rhythmische Struktur in festgelegten Mustern, den s.g. Thekas fixiert, übernehmen in der südindischen Klassik die Musiker selbst durch definierte Handbewegungen die Zählabfolge in einem festgelegten Tempo. Damit ist der Mridangist in seinem Spiel freier für ein improvisatorisches Spiel.

Zudem bietet der technische Aufbau des Mridangams, besonders in der Zusammensetzung der beiden Membranen ein komplexeres Spektrum der Klangharmonik und einen kürzeren Nachhall (sustain).

Während des 20sten Jahrhunderts haben die grossen Maestros s.g. Mridangam-Schulen mit unterschiedlichen Spieltechniken entwickelt. Zwei herausragende Schulen sind die Puddukottai– und Thanjavur-Schule.

In unseren Hörbeispielen spielen auf dem Mridangam: Srimushnam V. Raja Rao, Sri Guruwayur Dorai, Chelvaraju, Sri Anantha Gopalakrishnan, Mannargudi A Easwaran … in Begleitung von Sri N. RaviKiran auf der ChitraVeena, des Flötisten Dr. N. Ramani und Violinisten Sri Mannu Ranjith, und den Sängern Manasi Prasad und Dr. M Balamuralikrishna.

Vocalist Dr. M. Balamuralikrishna (01/2008 – Kuthiramalika Palace, Thiruvananthapuram) | M. A. Easwaran | Sri G. Dorai (Mridangam)

. Dr. M. Balamuralikrishna (Jan 2008 - Kuthiramalika Palace, Thiruvananthapuram). Mannargudi A. Easwaran (Mridangam Solo).Guruvayur Dorai (Mridangam Maestro).

S. V. Raja Rao (Mridangam) | Dr. N. Ramani (Flute) | N. RaviKiran (ChitraVeena)

S. V. Raja Rao (Mridangam) | Dr. N. Ramani (Flute) | N. RaviKiran (ChitraVeena)

Die Aufnahmen stammten vom Harballabh Sangeet Sammelan, dem Indian Music Festival in Farifax, Kalifornien, dem Salt Lake City Thyagaraja Festival (Utah Universität), dem Chleveland Thyagaraja Festival, dem Swathi Sangeethotsavam, Chembai Sangeethotsavam und Chennai Dance & Music Festival.

Das Shree Baba Harballabh Sangeet Sammelan zählt weltweit als das älteste Festival für die nordindische Klassik. Es feierte am 25. Dezember 2007 sein 132-Jähriges. Alljährlich findet das Harballabh am letzten Wochenende im Dezember in Jalandhar City statt. Bereits im Jahre 1919 besuchte der Vater der indischen Nation, Mahatma Gandhi das Festival.

Das 10-tägige Thygaraja Festivals of Music & Dance in Thiruvaiyaru, im südindischen Bundesstaat Tamil Nadu wurde im Jahre 2007 zum 65sten Mal veranstaltet.

Thyagaraja wurde am 4. Mai 1767 geboren und lebte bis zum 6. Januar 1847. Seinen Namen erhielt er nach Lord Thyagaraja, der Gottheit des Tempels in Thiruvarur. Thyagaraja gehörte mit Muthuswami Dikshitar und Syama Sastri dem Dreigestirn der südindischen Klassik an. Thyagaraja komponierte hunderte von Liedern, die meist die Hindugottheit Rama preisen.

Thyagaraja Festivals haben sich an vielen Plätzen Indiens und in der ganzen Welt etabliert, in Toronto, Colombo, Seattle an der Unitarian Church Universität oder in Durban, dem südafrikanischen Urlaubsmekka.

Salt Lake City im US Bundeststaat Utah hatte 1997 sein erstes Thyagaraja Music Festival auf dem Campus der Universität von Utah veranstaltet. Über die Jahre hat sich dieses alljährlich im Mai stattfindende Musikereignis zu einem der herausragenden Festivals für indische Klassik ausserhalb Indiens – ganz in der Tradition der indischen Sangeeta Sammelanas entwickelt.
Das Cleveland Tyagaraja Aradhana ist in Nordamerika das grösste Festival zur indischen Klassik mit mehr als 8000 Besuchern. Es fand erstmals 1978 statt. Im März 2008 (21.03.-30.03.) feierte das 10-tägige Festival sein 31stes Bestehen…

Das Swathi Sangeethotsavam wird von der Landesregierung Keralias in Anerkennung an Swathi Thirunal Rama Varnam veranstaltet. Der Maharaja Swathi Thirunal lebte von 1813-1848.
Das Swathi Sangeethotsavam findet im Kuthiramalika-Palast statt, in der Nähe von Thiruvanananthapuram-City. An dem Veranstaltungsort des 7-tägigen Festivals komponierte der “König der Poeten” viele seiner Musikstücke. Als Linguist und Regent aus der Travancore-Dynastie hatte Swathi Thirunal die kulturelle Entwicklung Keralas nachhaltig beeinflusst und durch sein Schaffen gleichermassen um die nordindische und südindische Klassik bereichert.
Das Festival findet jährlich vom 6.-12. Januar statt und hat seinen programmatischen Schwerpunkt in der Aufführung der Kompositionen von Swathi Thirunal.

Seit 1974 findet im Guruvayur Shri Krishna Tempel (Thrissur, Kerala) jährlich ein Musikfestival zu Gedenken des Sängers Chembai Vaidyanathan Bhagawathar statt, das Chembai Sangeethotsavan.

Das Chennai Dance & Music Festival nahme im Jahre 1927 mit der All-India Music Conference seinen Anfang. In einem Geflecht von hunderten von Kulturorganisationen, den Sabhas werden s.g. Kutcheris – Konzerte organisiert. Allen voran steht auch heute noch, seit der Gründung des Festivals, die Madras Music Academy.
Die Festival-Saison von Chennai sucht seinesgleichen… Von hier geht der Impuls für den gesamten Süden Indiens aus: zur Bewahrung kultureller Traditionen, gleichermassen für die Talentförderung und als Motor der Musikindustrie.

Einige akkustische Eindrücke…

Posted in FestivalReport, IMC OnAir - News | Leave a Comment »

special feature: From India to Europe… FestivalReport “World of Indian Rhythms” (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on January 18, 2016

From India to Europe… FestivalReport (part 1)
– The World of Indian Rhythms… Tabla Solos @ Darbar South Asian Music Festival 2006

The promotion initiative “IMC – India meets Classic” presents during India’s festival season (December – February) it’s special feature of two hours broadcasting (part 1 and 2):  “From India to Europe – FestivalReport“.

The FestivalReport is set under the topic “World of Indian Rhythms” and attaches to the regular monthly show “Raga CDs of the months” with the topic “Tala – Indian Rhythm Cycles”.

part 1 presents „Tabla Solos“ of three outstanding masters on the Tabla, the Indian drum pair of North Indian Classics (Hindustani music), a documentary of live recordings of the Darbar South Asian Music Festival (in 2006).

Founded in the year 2006 the Darbar South Asian Music Festival  took place from 3rd till 5th March. Apart from a multiplicity of artists and singers of Indian Classics it was a platform for some of the most outstanding Tabla players of our time. All three have been accompanied by the Sarangi maestro Ramesh Mishra

  • Pandit Anindo Chatterjee, the outstanding representative of the Farrukhabad Gharana, one of six (6) Tabla schools (style of Indian drum play)
  • Pandit Swapan Chaudhuri, representative of Lucknow Gharana and
  • Pandit Kumar Bose, governor of the Benares Tabla Gharana.

Pandit Anindo Chatterjee (Farrukhabad Gharana)Pandit Kumar Bose (Benares Tabla Gharana)Pandit Swapan Chaudhuri (Lucknow Tabla Gharana)

Pt. Anindo Chatterjee | Pt. Kumar Bose | Pt. Swapan Chaudhuri
3 x Tabla Solos @ Darbar South Asian Music Festival 2006

India possesses a multiplicity of drums and percussion instruments. Among the oldest rhythm instruments for Indian classics ranks the Mridangam, a traditional drum.  Its name already appears in the Rigweda in the 3rd pre-Christian millennium.

In North Indian Classics (Hindustani music) the Pakhavaj was established, a larger execution of the Mridangam. The Pakhavaj is characterized by a deep, full sound and a multiplicity of percussion techniques.

The Tabla is a kind of “splitted Pakhavaj/Mridangam”, a drum pair. The smaller drum, the Tabla is manufactured from wood. The deep sounding bass drum is called Baya and made of metal. Tabla and Baya both are covered with goat skin.

The Tabla player is equally soloist and accompanist for the main instrument or singer. A large range of compositorial forms are at the disposal to a Tabla maestro, he basis his improvisations on arranged independently within a raga performance and same supplementing the main instrument or vocalist.

d a t e s   o f   b r o a d c a s t i n g (part 1 and 2)…

Mon, 18th January 2016 – 04:00-05:58 pm EST (10:00-11:58 pm CET) @ TIDE Radio (DE)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

From India to Europe… FestivalReport (part 2)
– The World of Indian Rhythms… MRIDANGAM

In part 2 of our special we face the tabla with its compagnon, the Mridangam of South Indian Classics (Carnatic music)… with broadcasting on 18th January 2016 (4:00 pm EST / 10:00 pm CET @ TIDE Radio (and worldwide as webradio)).

The word „mridangam“ is derived from the Sanskritmrid” and means loam or earth and “ang” as the body. In former times mridangams were made of tempered clay/tone. In favor of the durability manifacturing developed to use different woods. Today the mridangam is considered as the typical representative of South Indian Classics.

The mridangam is seen as the instrument of the Gods – “Deva Vaadyam“. In ancient Hindu sculptures, painting and mythologies the Mridangam is described as the instrument selected by different divinities: Ganesha, the protector and Nandi, the companion of Lord Shiva.

With the development of the Mridangam same the rhythmic system of the Talas (or Taalams) progressed in South Indian music. The rhythmic structure of Hindustani music is defined in fixed patterns for a soloist on the Tabla, so called theka-s. In Carnatic music the musicians themselves count the beats by defined hand movements (waves) in a fixed speed. Thus the mridangist is more independent for his improvisational play.

The technical structure of the Mridangam offers particularly by the composition of two membranes and a shorter sustain (compared with the Tabla) a more complex spectrum and variety of  harmonic sound.

During the 20th century the big maestros established so called Mridangam schools with different play techniques. Two outstanding schools are the Puddukottai and Thanjavur school.

Our listening examples on the Mridangam: Srimushnam V. Raja Rao, Sri Guruwayur Dorai, Chelvaraju, Sri Anantha Gopalakrishnan, Mannargudi A Easwaran… accompanied by Sri N. RaviKiran on the ChitraVeena, flute player Dr. N. Ramani, violinist Sri Mannu Ranjith and the vocalists Manasi Prasad and Dr. M. Balamuralikrishna.

Vocalist Dr. M. Balamuralikrishna (01/2008 – Kuthiramalika Palace, Thiruvananthapuram) | M. A. Easwaran | Sri G. Dorai (Mridangam)

.Dr. M. Balamuralikrishna (Jan 2008 - Kuthiramalika Palace, Thiruvananthapuram).Mannargudi A. Easwaran (Mridangam Solo).Guruvayur Dorai (Mridangam Maestro).

S. V. Raja Rao (Mridangam) | Dr. N. Ramani (Flute) | N. RaviKiran (ChitraVeena)

S. V. Raja Rao (Mridangam) | Dr. N. Ramani (Flute) | N. RaviKiran (ChitraVeena)

The recordings are audio documents from the Harballabh Sangeet Sammelan, the Indian Music Festival in Farifax (California), the Salt Lake City Thyagaraja Festival (Utah University), the Chleveland Thyagaraja Festival, the Swathi Sangeethotsavam, Chembai Sangeethotsavam and Chennai Dance & Music Festival.

World-wide the Shree Baba Harballabh Sangeet Sammelan counts among the oldest festivals for North Indian Classics. On 25 December 2007 its 132 years anniversary was celebrated. Annually the Harballabh takes place on the last weekend in December in Jalandhar City. Already in the year 1919 Mahatma Gandhi – father of the Indian nation – visited the festival.

In the year 2007 the 10 days Thygaraja Festival of Music & Dance was organized 65th times in Thiruvaiyaru, in Federal State Tamil Nadu – South India.

Thyagaraja was born on 4th May 1767 and lived till 6th January 1847. He received his name after Lord Thyagaraja, the divinity of the temples in Thiruvarur. Thyagaraja belonged to the trinity of South Indian Classics, together with Muthuswami Dikshitar and Syama Sastri. Thyagaraja composed hundreds of songs, which usually praises the Hindu deity Rama.

Thyagaraja festivals were established at many places inf India and in the whole world, e.g. in Toronto, Colombo, Seattle (Unitarian Church University) or in Durban, the mekka for tourists in South Africa.

Salt Lake City in US federal state Utah had organized 1997 its 1st Thyagaraja Music Festival on the campus of the University of Utah. Over the years this annually music event in May has established itself as one of the outstanding festivals for Indian Classics outside of India – completely in the tradition of the Indian Sangeeta Sammelana-s.

The Cleveland Tyagaraja Aradhana is the largest festival for Indian classics in North America with more than 8000 visitors. In March 2008 (21st – 30th) the 10 days festival celebrated its 31st edition. It took place for the first time in 1978.

The Swathi Sangeethotsavam is organized by the Federal State Government of Kerala in acknowledgment of Swathi Thirunal Rama Varnam. The Maharaja Swathi Thirunal lived from 1813 till 1848.
The Swathi Sangeethotsavam takes place as a seven day event in the Kuthiramalika palace, close to the Thiruvanananthapuram City. At this place the “king of poets” composed many of his music pieces. As linguist and as regent of the Travancore dynasty Swathi Thirunal had affected the cultural development of Kerala very effectively and by his art work he had enriched both North Indian and South Indian Classics.  The festival is dated annually from 6th till 12th January and has its programmatical emphasis on the performances of Swathi Thirunal compositions.

Since 1974 in the Guruvayur Shri Krishna temple (Thrissur, Kerala) anually takes place a music festival in memory of the singer Chembai Vaidyanathan Bhagawathar: the Chembai Sangeethotsavan.

The Chennai Dance & Music festival had its beginning in the year 1927 with the All India Music Conference. Concerts (Kutcheris) are organized by a network of hundreds of cultural organizations (Sabhas). All in front till today since the establishment of the festival stands the  Madras Music Academy.

The Festival season of Chennai speaks for itself… from here the impulse for the entire South of India proceeds: retaining cultural traditions, equally for talent promotion and as engine of the music industry.

Some accoustical impressions…

Posted in FestivalReport, IMC OnAir - News | Leave a Comment »

IMC – India meets Classic presents… special feature “From India to Europe… Festival Report” (long version / 2 hours)

Posted by ElJay Arem (IMC OnAir) on January 17, 2016

Guru Shishya Parampara (Kolkatta)
1989 … Bhimsen Joshi (Khayal Vocalist)

IMC-Special-FESTIVALREPORT2006-Screensplash-30092006-1-small-230-210 (1)Savai Gandharva Music Festival (Pune)
1992 … H. Chourasia (Bansuri / Bamboo flute) & Z. Hussein (Tabla)
1999 … Bhimsen Joshi (Khayal Vocalist)

Live @ Calcutta
1995 … Nikhil Banerjee (Sitar)

Sangeete Gandharva Mahotsav 1995 (New Dehli)
Saptarishi – Constellation of Stars …
/ Shobha Gurtu (Vocalist)
/ Sh. Sharma (Santoor)

Saptak Music Festival (Ahmedabad / Gujarat)
2001 … Kumar Bose (Tabla)
2002 … Wasifuddin Dagar (Vocalist – Dhrupad style)
2004 … Daya Shankar (Shehnai)

dates of broadcasting  (part 1 & 2)…

Sunday, 17th Jan 2016 – 9:00-11:00 am EST (3:00-5:00 pm CET) @ radio multicult.fm (DE)
(Premiere: 30th Sept. 2006 @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Posted in FestivalReport | Leave a Comment »

special feature: From India to Europe… FestivalReport “World of Indian Rhythms” (Teil 1 u. 2)

Posted by ElJay Arem (IMC OnAir) on December 20, 2015

From India to Europe… FestivalReport (Teil 1/2)
– The World of Indian Rhythms… Tabla Solos vom Darbar South Asian Music Festival 2006

Die Förderinitiative “IMC – India meets Classic” präsentiert kurz vor Weihnachten 2015 in einer 2-stündigen Sendung – wie jeden 3. Sonntag auf radio multicult.fm – das special “From India to Europe – FestivalReport” (Teil 1 u. 2). Er steht unter der Themenüberschrift “World of Indian Rhythms” und schliesst an die reguläre Sendung “Raga CDs des Monats” mit dem Thema “Tala – der indische Rhythmuszirkel” (Tala – Indian Rhythm Cycles) an.

In Teil 1 werden TablaSolos von drei der herausragenden Meister auf dem indischen Trommpelpaar der nordindischen Klassik präsentiert, mit Live-Aufnahmen vom Darbar South Asian Music Festival (in 2006).

S e n d e t e r m i n e  (Teil 1 u. 2)…

Sonntag, 20. Dezember 2015 – 15:00-17:00 Uhr CET @ radio multicult.fm (DE)
(Premiere: 19.08.2008 (Teil 1) u. 26.08.2008 (Teil 2) @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Das Darbar South Asian Music Festival war in seinem Gründungsjahr vom 3. bis 5. März 2006 neben einer Vielzahl von Künstlern und Sängern der indischen Klassik eine Plattform für einige der herausragendsten Tablaspieler unserer Zeit. Es präsentierten sich in Begleitung des Sarangi-Maestros Ramesh Mishra

  • Pandit Anindo Chatterjee, der herausragende Repräsentant der Farrukhabad Gharana, eine der 6 Musikschulen (eine Art Stilrichtung der indischen Trommel)
  • Pandit Swapan Chaudhuri, Vertreter der Lucknow Gharana und
  • Pandit Kumar Bose, Statthalter der Benares Tabla Gharana.

Pandit Anindo Chatterjee (Farrukhabad Gharana)Pandit Kumar Bose (Benares Tabla Gharana)Pandit Swapan Chaudhuri (Lucknow Tabla Gharana)
Pt. Anindo Chatterjee | Pt. Kumar Bose | Pt. Swapan Chaudhuri
3 x Tabla Solos @ Darbar South Asian Music Festival 2006

Indien besitzt eine Vielzahl von Trommeln und Schlaginstrumenten. Zu den ältesten Rhythmusinstrumenten für die indische Klassik zählt der Mridangam, eine klassische Trommel, deren Namen bereits im 3. vorchristlichen Jahrtausend im Rigweda auftaucht.

In der nordindischen Klassik hat sich die grössere Ausführung des Mridangam etabliert: der Pakhavaj mit einem tiefen, vollen Klang und einer Vielzahl von Anschlagstechniken.

Die Tabla ist eine Art zweigeteilter Mridangam. Eine kleinere, aus Holz gefertigte Trommel, der eigentlichen Tabla und die aus Metall gefertigte, tiefergestimmte Basstrommel, die Baya heisst. Tabla und Baya sind mit Ziegenhaut bespannt

Der Tablaspieler ist gleichermassen Solist und Begleitmusiker für das Hauptinstrument oder den Sänger. Einem Tabla-Maestro steht eine grosse Bandbreite von kompositorischen Formen zur Verfügung, auf deren Grundlage improvisatorisch das Ragaspiel des Hauptinstruments ergänzt und eigenständig gestaltet werden kann.

From India to Europe… FestivalReport (Teil 2/2)
– The World of Indian Rhythms… MRIDANGAM

In Teil 2 unseres specials “FestivalReport” mit Sendetermin am 20.12.2015 (15:00-17:00 Uhr) stellen wir dem dominierenden Trommelpaar der nordindischen Klassik, der Tabla ihren Compagnion der südindischen Klassik, der karnatischen Musik gegenüber… der Mridangam.

Mridangam leitet sich aus dem Sanskrit ab, “Mrid” bedeutet Lehm oder Erde und “Ang” der Körper. Mridangams wurden früher aus gehärtetem Ton hergestellt. Zugunsten der Haltbarkeit entwickelte sich eine Bauweise aus verschiedenen Hölzern.

Mit der Entwicklung des Mridangam hat sich auch das rhythmische System der Talas (oder Taalams) in der südindischen Klassik entwickelt. Heute gilt der Mridangam als der typischer Vertereter der südindischen Klassik.

Der Mridangam ist das Instrument der Götter – “Deva Vaadyam“. In antiken Hindu-Skulpturen, Malereien und Mythologien wird der Mridangam als das von verschiedenen Gottheiten gewählte Instrument beschrieben: Ganesha, der Beschützer und Nandi, der Gefährte von Lord Shiva.

Während die Tabla für den Solisten die rhythmische Struktur in festgelegten Mustern, den s.g. Thekas fixiert, übernehmen in der südindischen Klassik die Musiker selbst durch definierte Handbewegungen die Zählabfolge in einem festgelegten Tempo. Damit ist der Mridangist in seinem Spiel freier für ein improvisatorisches Spiel.

Zudem bietet der technische Aufbau des Mridangams, besonders in der Zusammensetzung der beiden Membranen ein komplexeres Spektrum der Klangharmonik und einen kürzeren Nachhall (sustain).

Während des 20sten Jahrhunderts haben die grossen Maestros s.g. Mridangam-Schulen mit unterschiedlichen Spieltechniken entwickelt. Zwei herausragende Schulen sind die Puddukottai– und Thanjavur-Schule.

In unseren Hörbeispielen spielen auf dem Mridangam: Srimushnam V. Raja Rao, Sri Guruwayur Dorai, Chelvaraju, Sri Anantha Gopalakrishnan, Mannargudi A Easwaran … in Begleitung von Sri N. RaviKiran auf der ChitraVeena, des Flötisten Dr. N. Ramani und Violinisten Sri Mannu Ranjith, und den Sängern Manasi Prasad und Dr. M Balamuralikrishna.

Vocalist Dr. M. Balamuralikrishna (01/2008 – Kuthiramalika Palace, Thiruvananthapuram) | M. A. Easwaran | Sri G. Dorai (Mridangam)

. Dr. M. Balamuralikrishna (Jan 2008 - Kuthiramalika Palace, Thiruvananthapuram). Mannargudi A. Easwaran (Mridangam Solo).Guruvayur Dorai (Mridangam Maestro).

S. V. Raja Rao (Mridangam) | Dr. N. Ramani (Flute) | N. RaviKiran (ChitraVeena)

S. V. Raja Rao (Mridangam) | Dr. N. Ramani (Flute) | N. RaviKiran (ChitraVeena)

Die Aufnahmen stammten vom Harballabh Sangeet Sammelan, dem Indian Music Festival in Farifax, Kalifornien, dem Salt Lake City Thyagaraja Festival (Utah Universität), dem Chleveland Thyagaraja Festival, dem Swathi Sangeethotsavam, Chembai Sangeethotsavam und Chennai Dance & Music Festival.

Das Shree Baba Harballabh Sangeet Sammelan zählt weltweit als das älteste Festival für die nordindische Klassik. Es feierte am 25. Dezember 2007 sein 132-Jähriges. Alljährlich findet das Harballabh am letzten Wochenende im Dezember in Jalandhar City statt. Bereits im Jahre 1919 besuchte der Vater der indischen Nation, Mahatma Gandhi das Festival.

Das 10-tägige Thygaraja Festivals of Music & Dance in Thiruvaiyaru, im südindischen Bundesstaat Tamil Nadu wurde im Jahre 2007 zum 65sten Mal veranstaltet.

Thyagaraja wurde am 4. Mai 1767 geboren und lebte bis zum 6. Januar 1847. Seinen Namen erhielt er nach Lord Thyagaraja, der Gottheit des Tempels in Thiruvarur. Thyagaraja gehörte mit Muthuswami Dikshitar und Syama Sastri dem Dreigestirn der südindischen Klassik an. Thyagaraja komponierte hunderte von Liedern, die meist die Hindugottheit Rama preisen.

Thyagaraja Festivals haben sich an vielen Plätzen Indiens und in der ganzen Welt etabliert, in Toronto, Colombo, Seattle an der Unitarian Church Universität oder in Durban, dem südafrikanischen Urlaubsmekka.

Salt Lake City im US Bundeststaat Utah hatte 1997 sein erstes Thyagaraja Music Festival auf dem Campus der Universität von Utah veranstaltet. Über die Jahre hat sich dieses alljährlich im Mai stattfindende Musikereignis zu einem der herausragenden Festivals für indische Klassik ausserhalb Indiens – ganz in der Tradition der indischen Sangeeta Sammelanas entwickelt.
Das Cleveland Tyagaraja Aradhana ist in Nordamerika das grösste Festival zur indischen Klassik mit mehr als 8000 Besuchern. Es fand erstmals 1978 statt. Im März 2008 (21.03.-30.03.) feierte das 10-tägige Festival sein 31stes Bestehen…

Das Swathi Sangeethotsavam wird von der Landesregierung Keralias in Anerkennung an Swathi Thirunal Rama Varnam veranstaltet. Der Maharaja Swathi Thirunal lebte von 1813-1848.
Das Swathi Sangeethotsavam findet im Kuthiramalika-Palast statt, in der Nähe von Thiruvanananthapuram-City. An dem Veranstaltungsort des 7-tägigen Festivals komponierte der “König der Poeten” viele seiner Musikstücke. Als Linguist und Regent aus der Travancore-Dynastie hatte Swathi Thirunal die kulturelle Entwicklung Keralas nachhaltig beeinflusst und durch sein Schaffen gleichermassen um die nordindische und südindische Klassik bereichert.
Das Festival findet jährlich vom 6.-12. Januar statt und hat seinen programmatischen Schwerpunkt in der Aufführung der Kompositionen von Swathi Thirunal.

Seit 1974 findet im Guruvayur Shri Krishna Tempel (Thrissur, Kerala) jährlich ein Musikfestival zu Gedenken des Sängers Chembai Vaidyanathan Bhagawathar statt, das Chembai Sangeethotsavan.

Das Chennai Dance & Music Festival nahme im Jahre 1927 mit der All-India Music Conference seinen Anfang. In einem Geflecht von hunderten von Kulturorganisationen, den Sabhas werden s.g. Kutcheris – Konzerte organisiert. Allen voran steht auch heute noch, seit der Gründung des Festivals, die Madras Music Academy.
Die Festival-Saison von Chennai sucht seinesgleichen… Von hier geht der Impuls für den gesamten Süden Indiens aus: zur Bewahrung kultureller Traditionen, gleichermassen für die Talentförderung und als Motor der Musikindustrie.

Einige akkustische Eindrücke…

Posted in FestivalReport, IMC OnAir - News | Leave a Comment »

special feature: From India to Europe… FestivalReport “World of Indian Rhythms” (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on December 20, 2015

From India to Europe… FestivalReport (part 1)
– The World of Indian Rhythms… Tabla Solos @ Darbar South Asian Music Festival 2006

The promotion initiative “IMC – India meets Classic” presents close to Xmas 2015 a special feature of two hours broadcasting (part 1 and 2):  “From India to Europe – FestivalReport“.

The FestivalReport is set under the topic “World of Indian Rhythms” and attaches to the regular monthly show “Raga CDs of the months” with the topic “Tala – Indian Rhythm Cycles”.

part 1 presents „Tabla Solos“ of three outstanding masters on the Tabla, the Indian drum pair of North Indian Classics (Hindustani music), a documentary of live recordings of the Darbar South Asian Music Festival (in 2006).

Founded in the year 2006 the Darbar South Asian Music Festival  took place from 3rd till 5th March. Apart from a multiplicity of artists and singers of Indian Classics it was a platform for some of the most outstanding Tabla players of our time. All three have been accompanied by the Sarangi maestro Ramesh Mishra

  • Pandit Anindo Chatterjee, the outstanding representative of the Farrukhabad Gharana, one of six (6) Tabla schools (style of Indian drum play)
  • Pandit Swapan Chaudhuri, representative of Lucknow Gharana and
  • Pandit Kumar Bose, governor of the Benares Tabla Gharana.

Pandit Anindo Chatterjee (Farrukhabad Gharana)Pandit Kumar Bose (Benares Tabla Gharana)Pandit Swapan Chaudhuri (Lucknow Tabla Gharana)

Pt. Anindo Chatterjee | Pt. Kumar Bose | Pt. Swapan Chaudhuri
3 x Tabla Solos @ Darbar South Asian Music Festival 2006

India possesses a multiplicity of drums and percussion instruments. Among the oldest rhythm instruments for Indian classics ranks the Mridangam, a traditional drum.  Its name already appears in the Rigweda in the 3rd pre-Christian millennium.

In North Indian Classics (Hindustani music) the Pakhavaj was established, a larger execution of the Mridangam. The Pakhavaj is characterized by a deep, full sound and a multiplicity of percussion techniques.

The Tabla is a kind of “splitted Pakhavaj/Mridangam”, a drum pair. The smaller drum, the Tabla is manufactured from wood. The deep sounding bass drum is called Baya and made of metal. Tabla and Baya both are covered with goat skin.

The Tabla player is equally soloist and accompanist for the main instrument or singer. A large range of compositorial forms are at the disposal to a Tabla maestro, he basis his improvisations on arranged independently within a raga performance and same supplementing the main instrument or vocalist.

d a t e s   o f   b r o a d c a s t i n g (part 1 and 2)…

Sun, 20th Dec 2015 – 09:00-11:00 am EST (03:00-05:00 pm CET) @ radio multicult.fm (DE)
(premiere: 19th and 26th Aug 2008 @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

From India to Europe… FestivalReport (part 2)
– The World of Indian Rhythms… MRIDANGAM

In part 2 of our special we face the tabla with its compagnon, the Mridangam of South Indian Classics (Carnatic music)… with broadcasting on 20th December 2015 (10:00 am EST / 04:00 pm CET @ radio multicult.fm (and worldwide as webradio)).

The word „mridangam“ is derived from the Sanskritmrid” and means loam or earth and “ang” as the body. In former times mridangams were made of tempered clay/tone. In favor of the durability manifacturing developed to use different woods. Today the mridangam is considered as the typical representative of South Indian Classics.

The mridangam is seen as the instrument of the Gods – “Deva Vaadyam“. In ancient Hindu sculptures, painting and mythologies the Mridangam is described as the instrument selected by different divinities: Ganesha, the protector and Nandi, the companion of Lord Shiva.

With the development of the Mridangam same the rhythmic system of the Talas (or Taalams) progressed in South Indian music. The rhythmic structure of Hindustani music is defined in fixed patterns for a soloist on the Tabla, so called theka-s. In Carnatic music the musicians themselves count the beats by defined hand movements (waves) in a fixed speed. Thus the mridangist is more independent for his improvisational play.

The technical structure of the Mridangam offers particularly by the composition of two membranes and a shorter sustain (compared with the Tabla) a more complex spectrum and variety of  harmonic sound.

During the 20th century the big maestros established so called Mridangam schools with different play techniques. Two outstanding schools are the Puddukottai and Thanjavur school.

Our listening examples on the Mridangam: Srimushnam V. Raja Rao, Sri Guruwayur Dorai, Chelvaraju, Sri Anantha Gopalakrishnan, Mannargudi A Easwaran… accompanied by Sri N. RaviKiran on the ChitraVeena, flute player Dr. N. Ramani, violinist Sri Mannu Ranjith and the vocalists Manasi Prasad and Dr. M. Balamuralikrishna.

Vocalist Dr. M. Balamuralikrishna (01/2008 – Kuthiramalika Palace, Thiruvananthapuram) | M. A. Easwaran | Sri G. Dorai (Mridangam)

.Dr. M. Balamuralikrishna (Jan 2008 - Kuthiramalika Palace, Thiruvananthapuram).Mannargudi A. Easwaran (Mridangam Solo).Guruvayur Dorai (Mridangam Maestro).

S. V. Raja Rao (Mridangam) | Dr. N. Ramani (Flute) | N. RaviKiran (ChitraVeena)

S. V. Raja Rao (Mridangam) | Dr. N. Ramani (Flute) | N. RaviKiran (ChitraVeena)

The recordings are audio documents from the Harballabh Sangeet Sammelan, the Indian Music Festival in Farifax (California), the Salt Lake City Thyagaraja Festival (Utah University), the Chleveland Thyagaraja Festival, the Swathi Sangeethotsavam, Chembai Sangeethotsavam and Chennai Dance & Music Festival.

World-wide the Shree Baba Harballabh Sangeet Sammelan counts among the oldest festivals for North Indian Classics. On 25 December 2007 its 132 years anniversary was celebrated. Annually the Harballabh takes place on the last weekend in December in Jalandhar City. Already in the year 1919 Mahatma Gandhi – father of the Indian nation – visited the festival.

In the year 2007 the 10 days Thygaraja Festival of Music & Dance was organized 65th times in Thiruvaiyaru, in Federal State Tamil Nadu – South India.

Thyagaraja was born on 4th May 1767 and lived till 6th January 1847. He received his name after Lord Thyagaraja, the divinity of the temples in Thiruvarur. Thyagaraja belonged to the trinity of South Indian Classics, together with Muthuswami Dikshitar and Syama Sastri. Thyagaraja composed hundreds of songs, which usually praises the Hindu deity Rama.

Thyagaraja festivals were established at many places inf India and in the whole world, e.g. in Toronto, Colombo, Seattle (Unitarian Church University) or in Durban, the mekka for tourists in South Africa.

Salt Lake City in US federal state Utah had organized 1997 its 1st Thyagaraja Music Festival on the campus of the University of Utah. Over the years this annually music event in May has established itself as one of the outstanding festivals for Indian Classics outside of India – completely in the tradition of the Indian Sangeeta Sammelana-s.

The Cleveland Tyagaraja Aradhana is the largest festival for Indian classics in North America with more than 8000 visitors. In March 2008 (21st – 30th) the 10 days festival celebrated its 31st edition. It took place for the first time in 1978.

The Swathi Sangeethotsavam is organized by the Federal State Government of Kerala in acknowledgment of Swathi Thirunal Rama Varnam. The Maharaja Swathi Thirunal lived from 1813 till 1848.
The Swathi Sangeethotsavam takes place as a seven day event in the Kuthiramalika palace, close to the Thiruvanananthapuram City. At this place the “king of poets” composed many of his music pieces. As linguist and as regent of the Travancore dynasty Swathi Thirunal had affected the cultural development of Kerala very effectively and by his art work he had enriched both North Indian and South Indian Classics.  The festival is dated annually from 6th till 12th January and has its programmatical emphasis on the performances of Swathi Thirunal compositions.

Since 1974 in the Guruvayur Shri Krishna temple (Thrissur, Kerala) anually takes place a music festival in memory of the singer Chembai Vaidyanathan Bhagawathar: the Chembai Sangeethotsavan.

The Chennai Dance & Music festival had its beginning in the year 1927 with the All India Music Conference. Concerts (Kutcheris) are organized by a network of hundreds of cultural organizations (Sabhas). All in front till today since the establishment of the festival stands the  Madras Music Academy.

The Festival season of Chennai speaks for itself… from here the impulse for the entire South of India proceeds: retaining cultural traditions, equally for talent promotion and as engine of the music industry.

Some accoustical impressions…

Posted in FestivalReport, IMC OnAir - News | Leave a Comment »

 
%d bloggers like this: