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English text version (programme announcment) of the standard format Raga CDs of the months

A – Raga CDs of the Months (06/2016): Nazrul Sangeet – The rebel poet.

Posted by ElJay Arem (IMC OnAir) on June 12, 2016

NAZRUL SANGEET – The rebel poet…
(Subtitle: raga interpretations of songs by Kazi Nazrul Islam)

In the 20th and 30th of last century Kazi Nazrul Islam (1899-1976) was one of the most dazzling figures of Bengal music. Nazrul was a poet, publisher, journalist, actor, music director and radio producer, all in one person.

Nazrul is the founder of the modern music of Bengal, today the region of Westbengal (India) and Bangladesh (since 1971: Republic of the People of Bangladesh, former East Bengal / East Pakistan).

Nazrul succeeded it to merge elements of North Indian classics (Hindustani) with the tradition of folk music (Professor Rafiqul Islam, Kulna University – Nazrul Institute (Dhaka), 1994).

dates of broadcasting…
12th June 2016 – 05:00 p.m. EST (11:00 pm CET) @ Radio FRO (A)
(premiere: 17th Jan 2011 – 11:00 pm CET @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Kaz Nazrul Islam (um 1920) - Quelle: Wikipedia - Wiki Commons (CC-Lizen)

Kazi Nazrul Islam (um 1920) – Quelle: Wikipedia (CC-Lizenz)

Nazrul was the companion of Rabindranath Tagore, the universal genius and first Nobel prize winner for literature of India in 1913. And Nazrul’s writing identified him as political freedom fighter for the Indian freedom movement.

Nazrul was adjudged front court of British India for his commitments as poet, journalist and publisher  with one year prison in 1922/23 and publication prohibition. In 1921 appeared Nazrul’s most famous poem Bidrohi – The Rebel.

The poems and songs after Nazruls release from custody were focced more on topics of the suppressed classes and criticized the socio-economic standards and grievances in the political system. Like his  companion Tagore (1861-1941) same Nazrul resisted religious fanaticism and pleaded for the equalization of man and woman. Nazrul’s poem Nari (= woman) expresses this clearly. Nazrul did not understand ‘equal rights’ in the sense of equalization, rather as a synergy between woman and man.

Nazrul Ghazel by Nazrul

(translation from the Bangla by Farida Majid (source: nazrul.org), speaker: ElJay Arem)

Song by Nazrul: Shhunno-E-Buke (My Dearest Nightingale)

(translation by Dr. Gulshan Ara (source: nazrul.org), speaker: ElJay Arem)

In his active work time (1910-1942) Nazrul had written more than 600 Raga compositions, from which most were lost more. The later publishings by Nazrul between 1928 and 1935 cover 800 songs collected in a 10 volumes.  More than 100 songs are folk musica and about 30 are patriotic songs. (Notes: The complete work of Nazrul covers roughly approx. 4000 songs.) This song collection is called Nazrul Sangeet (or Nazrul Geeti).

(compiled by Aparna Chatterjee)

+++

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DE – Raga CDs of the Months (06/2016): 726 Years of Celestial Music.

Posted by ElJay Arem (IMC OnAir) on June 2, 2016

For all music lovers of Indian Classics around the globe the year 2011 was a tough one with  heavily mourning for the greatest music maestros. We have lost them as beloved composers or film makers, as vocalists (Rabindra Sangeet, Khayal, Dhrupad and Ghazal),   instrumentalists (on Sarangi, Flute and Sitar) or as percussionists (e.g. Tabla).

dates of broadcasting …

2th June 2016 – 03:00-04:00 pm EST (09:00 pm CET) @ radio multicult.fm (DE)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The radio show today is setup under the topic “726 years of celestial music – Review of 2011” presenting all nine (9) artists with some fine tunes. – Come in and Enjoy listening to good music !

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CH – Raga CDs of the Months (05/2016): Jugalbandi – The duet in Indian Classical Music

Posted by ElJay Arem (IMC OnAir) on May 23, 2016

The Indian classical music is performed for many centuries as the in Western style well known chamber ensemble. The term „Jugalbandi “(or jugalbhandi) literary means „twins tied together“. The introduction of the Jugalbandi cannot be dated exactly.

A Jugalbandi is at least of two soloists (vocalist or instrumentalist), who play hand-in-hand. One cannot differentiate between an accompanying instrument and a single solo player. It is like the meeting of two strangers, who step synergeticly together into a dialogue. They can be accompanied by two percussionists, e.g. on the Tabla and Pakhawaj. This constellation is named as „double Jugalbandi“.

dates of broadcasting…

23rd May 2016 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere: 19th Oct. 2009 – 40:00 p.m. EST (10:00 p.m. MESTZ) @ Radio TIDE)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

While the Khayal, a modern and elegant vocal style of North Indian Classics (Hindustani) mainly exist as solo form (Ekala) usually reserved for solo singers, the vocal duet was already known in the in oldest style of Hindustani, the Dhrupad (Rec.: The birth of the Dhrupad can approximately be dated back to 100 AC .) In the Dhrupad (vocal style) same as in other categories of music work the term appears as “yugul “. It means „pair “.

Jugal (S) = pair + bandi (A) = to bind

Bombay Sisters Ravi Shankar & Ali Akbar Kahn Wadali Brothers Senior Dagar Brothers
Bombay-Sisters-1 Ravi-Shankar-and-Ali-Akbar-Khan-1 Wadali-Brothers-1 Senior-Dagar-Brothers-1
Sikkil-Sisters-1 Vilayat-and-Shujaat-Khan-2 Rajan-and-Sajan-Mishra Nathamuni-Brothers-with-brassband-2
Sikkil Sisters Vilayat & Shujaat Khan Rajan & Sajan Mishra Nathamuni Brothers
Note: IMC OnAir’s radio show „Jugalbandi” defines the duet in Indian Classics contentwise to the identically compositorial term. The Indian musicologist Vishnu Narayan Bhatkhande created Jugalbandi compositions. Bhatkhande lived till 1936 (10 Aug 1860 – 19 Sept 1936); he is the inventor of the classification scheme of North Indian ragas, the so called Thaat system. For his Jugalbandi compositions Bhatkhande picked up a traditional raga form and confronted to it with a modern modification. By this contrast the traditional Raga melodic was clearly audible for the public (editorial note: melodic is a „content describing“ contrary to the melody as „form describing “).

Jugalbandi with Ragamala paintings (miniature painting)…

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A – Raga CDs of the Months (05/2016): Studies in Indian Classical Music (part 1).

Posted by ElJay Arem (IMC OnAir) on May 22, 2016

The promotion initiative IMC – India meets Classic will present the topic “Studies of Indian classical music” (part 1 and following). Beside original music from India this radio show will answer the substantial question for all those who are interested to study Indian music: “How to choose a teacher (Guru)?”. – The pro and cons of different methods of teaching will be lit up in this series considering the characteristics of instrumental play and Indian vocal styles.

At the latest since the musical discovery journeys of Menuhin and Coltrane the broader interest in studying Indian Classical music grew in the West. It is unbroken until today.

Yehudi Menuhin (Violin), Ravi Shankar (Sitar) and Alla Rakha (Tabla)The violin virtuoso Sir Yehudi Menuhin visited India in 1952 for the first time. Later Menuhin took lessons from the legendary sitar player Ravi Shankar. The modal concept of Indian Ragas is reflected also in the music of the jazz saxophonists John Coltrane. Coltrane’s composition “India” (from the jazz album “Live at the Village Vanguard”) originates from the year 1961, in which he met Ravi Shankar. Coltrane studied Indian religion and philosophy apart from Indian classics.

dates of broadcasting…

22th May 2016 – 05:00 pm EST (11:00 pm CET) @ Radio FRO (A)
(premiere: 21st December 2010 – 09:000 pm CET @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

For the approach to the musical training the new radio show orientates with two western terms. As there would be: music schools and music sciences.

In that more than 2000 years old system of Indian classical music of North and South India we find the similar term Gharana. The Gharana-s are less a kind of music schools in the Western sense. Gharana is a name for the heritage of a musical tradition which is overhanded mostly in oral form over many generations from teacher (guru) to pupil (shishya).
Gharana is derived from the Hindu word “Ghar“, i.e. family or house. There exist Gharana-s for singing, instrumental play, the Indian percussion instrument Tabla, for Indian dance and some wind and string instruments. In view of more than 30 existing Gharana-s we are limiting part 1 of our topic “Studies of Indian classical music” to the oldest singing form of the North Indian classical music: the Dhrupad.

Grandsons of Zakiruddin Khan and Allabande Khan - The Dagar Brothers ( from left to right): Ustad Zia Fariduddin Dagar( b1933), Ustad Nasir Zahiruddin Dagar(1932-1994), Ustad Rahim Fahimuddin Dagar(b 1927), Ustad Nasir Aminuddin Dagar(1923-2000), Ustad Zia Mohiuddin Dagar (1929-1990), Ustad Nasir Faiyazuddin Dagar(1934-1989), Ustad Hussain Sayeeduddin Dagar(b1939).

Grandsons of Zakiruddin Khan and Allabande Khan – The Dagar Brothers ( from left to right): Ustad Zia Fariduddin Dagar( b1933), Ustad Nasir Zahiruddin Dagar(1932-1994), Ustad Rahim Fahimuddin Dagar(b 1927), Ustad Nasir Aminuddin Dagar(1923-2000), Ustad Zia Mohiuddin Dagar (1929-1990), Ustad Nasir Faiyazuddin Dagar(1934-1989), Ustad Hussain Sayeeduddin Dagar(b1939).

The oldest music school for Dhrupad is the Dagar Gharana. It’s name refers directly to the Dagar Family (see below) which determines the development of the Dhrupad style until today, unbroken since more than 20 generations.

The term Gharana is not even as old as the family traditions. The social meaning of the Gharana-s became of relevance for the stylistic idendity of an artist in instrumental play or vocal lately in the midth of 19th  century. The Gharana-s of the Dhrupad style have a pre-history. All Gharana-s are attributed only to four lineages, the so called Bani-s (or Vani-s).  Bani means “word“, it is derived from the Sanskrit “Vani“, i.e. “voice“. The Banis are style concepts. The four Dhrupad Bani-s had been constituted by four outstanding musicians at the court of the mughal emperor Akbar (1542-1605). There are: Gaudhari Vani or named as Gohar or Gauri Vani in the tradition of the famous court musician Tansen, Khandari Vani of Samokhana Simbha (Naubad Khan), Nauhari Vani in the tradition of Shrichanda and Dangari or Dagar Vani of Vrija Chanda.

If one looks further back in the music history of India one discovers in the 7th century a link to the Bani-s. The four Bani-s of the Dhrupad had developed from seven in the core five (5) singing styles, the Geeti-s. These Geeti-s are: Suddha, Bhinna, Gauri, Vegswara and Sadharani. Gaudi Geeti is not far more in use.

(Source: The Dagar Tradition – www.dagardvani.org)
The Dagar Gharana

The Dagar family’s contribution to the perpetuation and enrichment of this art, while pre­serving its original purity, has been so precious, and the fact that the history of this family can be traced back for 20 generations without a break is so unique, that the family can be said to represent a microcosm of the history of Indian classical music.

Dhrupad reached its apogee in the 16th century, during the reign of the Moghul emperor Akbar. At that time there were four Schools of Dhrupad, representing this art in all its diversity. Brij Chand Rajput was of Dagar lineage, so the school of Dhrupad that he headed was called Dagar Vani. The other three Vanis, Khandar, Nauvahar and Gobarhar. respectively, almost disappeared in the course of time, and only in the Dagar Vani has the pure tradition of Dhrupad been maintained and brought down to our day. Until the 16th century the Dagars were Brahmins, but circumstances constrained their ancestor, Baba Gopal Das Pandey, to embrace Islam, and he came to be known as Baba Imam Khan Dagar . One of his two sons, Ustad Behram Khan Dagar, was the most famous and learned musician of his time, in the 18th and 19th centuries. During the 125 years of life that God granted him, he applied himself to the acquisition of a thorough knowledge of the Sanskrit sacred texts. He devoted the greater part of his life to the rigorous analysis of these texts in order to translate the formal musical rules into a pragmatic teaching method. He distilled the style of singing, the gayaki, to a degree of purity and clarity never known before, elaborating the alap and rendering singable the technical forms.

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DE – Raga CDs of the Months (05/2016): The legacy of Sultan Khan – The Future of Sarangi (short version)

Posted by ElJay Arem (IMC OnAir) on May 19, 2016

The Legacy of Ustad Sultan Khan – The Future of Sarangi

The worldwide community of friends for Indian classical music had lost in 2011 nine outstanding maestros. Among them is Ustad Sultan Khan. He died of a kidney failure on Sunday afternoon, 27 November 2011 (Note: Ustad Sultan Khan had diabetis and was dialysis patient in the last four years.)

The fan base affectionately called Sultan Khan (1940-2011) the “Sultan of Sarangi“.

dates of broadcasting …

19th May 2016 – 03:00 pm EST (09:00 pm CET) @ radio multicult.fm (DE)
(premiere: 15th January 2012 – 03:00-05:00 pm CET @ radio multicult.fm (Berlin))

broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Sarangi … Voice of 100 Colors.

The sarangi (derived from Sau-Rang: Voice of the 100 colors) is one of the string instruments of Indian classical music. The Sarangi is the Indian fiddle. The story lays back to the 13th century B.C. according to ancient writings where instruments had been described that have a similar structure as we know today by Sarangis, like the Pinaki Veena (lute).

The tuning of the clunky-looking instrument is an art in itself. The Sarangi body is hollowed out of a solid piece of wood and covered with goat skin as the resonance board, 39 strings are stretched. Of these are 35 resonance strings which are divided into four groups. 3-4 main strings (gut) are played with a horse hair stringed bow made of rosewood. Those who are concerned more about the history of the sarangi we recommend our show “The Sarangi Project – The Voice of 100 colors“.

You can re-read and re-listen this show (as all IMC shows) in our online archive  www.imcradio.net/onlinearchiv (see moderaton scripts: http://www.imcradio.net/scripts )

The Khan Family… 10 Generations with Sarangi.

Sultan Khan (1940-2011) & Sabir Khan (son)

Sultan Khan (1940-2011) & Sabir Khan (son)

Ustad Sultan Khan was initially trained by his father Gulab Khan. In 1951, Ustad Sultan Khan was 11 years old and presented himself 1st time on stage at the All-India Conference. The musicians clan Khan around Sultan Khan plays the sarangi currently in 10ter generation. Sabir Khan is the son of Sultan Khan and occurs in the footsteps of his father. Since the early 90s of last century Sabir Khan plays on stage. For a long time he accompanied his father in a duet. Sabir was trained by his father and his uncle Ustad Nasir Khan. Sabir’s cousin is Sarangi player, too. Dilshad Khan has presented himself to the European audience in June 2007 performing at the first Indian festival of Grenoble. And there is Sultan Khan’s nephew Imran Khan. Although Imran has become a sitar player by the wish of his father he was also trained by Sultan Khan.

Instrumental singing… Gayaki Ang (vocal style)

The peculiarity of Ustad Sultan Khan’s play on the Sarangi is the imitation of the singing of Indian classical music. Sultan Khan was influenced by the vocal styles of singing legend Ustad Amir Khan, Faiyaz Khan and Ghulam Ali Khan Bath. The special way of playing with instrumental interpretation of the voice is called “gayaki ang”… singing using an instrument. Ustad Imdad Khan (1848-1920) on the surbahar was among the first who introduced this technique on a stringed instrument.

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DE – Raga CDs of the Months (04-05/2016): Sikh Sangeet – Gurbani Kirtan (The Major Raags in Sikh Music) – part 1 and 2

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

Sikh Sangeet – Gurbani Kirtan (sub title: The Main Ragas in Sikh Music)

Guru Nanak Dev ji (1469 - 1539) - Quelle: www.sikh-history.com

Guru Nanak Dev ji (1469 – 1539) – Quelle: http://www.sikh-history.com

 The Hindustani music from North India and South Indian (Carnatic) music is essentially the story of the Hinduism and Moghul emperors. The ancient scripts of Hinduism are the Vedas and can be dated back until around 1200 B.C. (e.g. Rigveda). The Moghuls were represented in Northern India from 1526 to 1858, among them Akbar as the most meaingful. Akbar reigned from 1556-1605.

The Indian classical music has contributed significantly to justify the Sikhism. As the founder of the Sikh doctrine is Guru Nanak Dev (15 April 1469 – September 22, 1539 in Talwandi (now in Pakistan)) as the first of ten (10) gurus. They all lived in the period from 1469 to 1708 and have dominated the Sikhism in various ways. Nanak Dev, the first Guru started as early in the 15th century to teach as an itinerant preacher the basic principles of Sikhism on his travels. With the findings from the various religions, who met him, from Hinduism, Jainism, Islam to Sufism Guru Nanak Dev put an independent doctrine of the unity of God, or rather of the divine..

dates of broadcasting …

part 1: 17th April 2016 – 09:00-11:00 am EST (03:00-05:00 pm CET) @ radio multicult.fm (DE)
alternatively on 18th April 2016 – 04:00-05:58 pm EST (10:00-11:58 pm CET) @ TIDE Radio (DE)

part 2: 16th May 2016 – 04:00-05:58 pm EST (10:00-11:58 pm CET) @ TIDE Radio (DE)
alternatively on 22nd May 2016 – 09:00-11:00 am EST (03:00-05:00 pm CET) @ radio multicult.fm (DE)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The teaching of Sikhism is a monotheistic. Guru Dev Nanank did not speak of a God, not as a personification of the divine rather than the unknown, indeterminable, formless … omnipresent, in the spiritual sense.

In 1678 the individual writings were summed up by the 10th teacher Guru Gobind Singh, – on the basis of the Adi Granth – as the final version of Guru Granth Sahib. In the holy book of Sikhism there are a total of 1430 pages (Ang) and a plurality of Shabads (hymns). There are texts that are assigned to a specific Raga form (see table).
———————————————————————————–
31 Ragas in Guru Granth Sahib
———————————————————————————–
No. | Name of Raga | Order No. | Page Range | Page Count
——————————————————————————-
1 Asa 4 347 to 489 142
2 Bairari 13 719 to 721 2
3 Basant 25 1168 to 1197 29
4 Bhairon 24 1125 to 1168 43
5 Bihagara 7 537 to 557 20
6 Bilaval 16 795 to 859 64
7 Devagandhari 6 527 to 537 10
8 Dhanasari 10 660 to 696 36
9 Gauri 3 151 to 347 196
10 Gond 17 859 to 876 17
11 Gujari 5 489 to 527 38
12 Jaijaivanti 31 1352 to 1353 1
13 Jaitshree 11 696 to 711 15
14 Kalyan 29 1319 to 1327 8
15 Kahnra 28 1294 to 1319 25
16 Kedara 23 1118 to 1125 7
17 Maajh 2 94 to 151 57
18 Malhar 27 1254 to 1294 40
19 Mali Gaura 20 984 to 989 5
20 Maru 21 989 to 1107 118
21 Nat Narayan 19 975 to 984 9
22 Prabhati 30 1327 to 1352 25
23 Ramkali 18 876 to 975 99
24 Sarang 26 1197 to 1254 57
25 Shree 1 14 to 94 80
26 Sorath 9 595 to 660 65
27 Suhi 15 728 to 795 67
28 Tilang 14 721 to 728 7
29 Todi 12 711 to 719 8
30 Tukhari 22 1107 to 1118 11
31 Vadahans 8 557 to 595 38
—————————————————————————–

The poetry of the first 10 teachers were also complemented by the Indian wisdoms of Kabir (1440-1518) or of the poet and saint Namdev (1270-1350) and others.

Sikh pilgrim at the Golden Temple (Harmandir Sahib) in Amritsar, India

Sikh pilgrim at the Golden Temple (Harmandir Sahib) in Amritsar, India

The verses of the Guru Granth Sahib are written in their own language, in Gurmukhi. It is derived from Punjabi and Hindi and had been widespread in the Middle Ages in North India. The Gurmuki script has its origin in a variety of languages. Today it is the official written language of the Indian federal state Punjab. Gurmuki was standardized by the second Guru Angad Dev. The vocal Gurmukhi language consists of the Gurbani words. The text of the Guru Granth Sahib is therefore referred to as Gurbanigurbani. Gurbani is literally “the spoken word of the Master, the Guru,” which gives the student and pupil’s full attention. The Sanskrit word “guru” is more than just a teacher. For a Sikh it means teacher + spiritual leader at the same time.
Unlike in Hinduism in which one must be born, everyone can commit to Sikhism. Here we come across the idea of reincarnation. The caste system is rejected as in the Indian Constitution. Worldwide, the numbers of Sikhs are estimated to something less than 30 million. The majority live in northern India, in Punjab, the border area between India and Pakistan. After the Great Migration has begun in the 19th century, the larger Sikh diasporas developed in Canada, East Africa, the Middle East, England, Australia and New Zealand.

When you enter a Sikh temple, the Guru Granth Sahib Tront in the center. Since 1708 it is the official book of Sikhism, in unchanged form. After entering the temple, a Sikh bows symbolically n front of the holy book to honor the teachers (gurus). The Sikh religious services and celebrations are open to everyone, regardless of its origin or religion.

About Guru Nanak Dev…

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CH– Raga CDs of the months (05/2016): Tradition & Modernity – A Tribute to Ali Akbar Khan.

Posted by ElJay Arem (IMC OnAir) on May 9, 2016

(1922-2009)

(1922-2009)

A Tribute to Ali Akbar Khan“- IM OnAir’s radio show in May 2016 honours one of the Legends on the Sarod, the Johann Sebastian Bach of North Indian Classics or simply Khansahib as Ali Akbar Khan was called in India affectionately.

Ali Akbar Khan died in the morning on 18th of June 2009 at the age of 87, within his family circle at home in San Anselmo, California. Since 2004 Ali Akbar Khan was dialysis patient. In 2006 last time he visited India for a performance at the Dover Lane Music Festival (Music Conference) in Kolkata…

Tribute (extract) by Ustad Zakir Hussain (Tabla Maestro) on the burial day (June, 21st -Mt. Tamalpais Cemetary (2500 5th Ave, San Rafael, CA 94901))

(Source: Kamla Bhatt @ Youtube, 26th June 2009)

Beside annual world concert tours and as film composer he worked for more than four (4) decades particularly as an outstanding music teacher – in the Ali Akbar College of Music (AACM) which was founded by him.

dates of broadcasting…

9th May 2016 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere: 20th July 2009 – 10:00 pm METZ @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Khansahib was an exception at the firmament of Indian music. He understood music as an universal language.  Music as food of the soul, a musical sound affecting everybody’s heart and spirit.
For Ali Akbar Khan the Indian Ragas are of timeless eternity, into which the life is embedded with its short moments. In an interview with Gautam Chatterjee of the Indian daily news paper The Hindu, in the issue on 17 February 2006 Khansahib describes as following:

„The bliss, the joy of Ragas one experiences if one dies for it. Death is the condition for this blessedness. For a Raga we live, and we die for it. That is the whole secret, which it concerns in the teacher pupil relationship, Guru Shishya Parampara.

The musical, the emotional effect of a Ragas develops from the understanding for the temporal interspace – between the notes. On a note for one moment to remain, it is as if one would inhale deeply, in order to understand that the pause between the next two notes is to be considered as the time for breathing in and out. To walk from one note to the next is difficult enough, to arrange it with a disruption is almost impossible. One may succeed only by indulging oneself in this task a whole lifelong.“

How about the invaluable legacy of Ali Akbar Khan? – Khansahib leaves seven sons and 4 daughters form three marriages. His oldest son Aaashish Khan is a renowned Sarod player, two further sons, Alam and Malik play also the instrument of their father. The family Khan feel constrained resuming the Ali Akbar College for Music (AACM) and the Ali Akbar Khan Library.

Ali Akbar Khan leaves us an immeasurable fund of audio documents. Since 2007 with conveyances more than 1000 concerts with 1500 hours play time and approx. 6000 documented lessons are reformatted for the structure of a digital library. Until today approx. 2000 hours audio material are archived.

IMC OnAir delivers to you smoothing your ears some beautiful tunes: the ragas Chandranandan, Darbari Kanra, Gauri Manjari, Medhavi, Manj Khammaj, Sindhi Bhairavi and Jogiya Kalengra.

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A – Raga CDs of the Months (05/2016): KALPITA SANGITA – Compositions in Indian Classics.

Posted by ElJay Arem (IMC OnAir) on May 8, 2016

SURDAS & SHYAM MANOHAR (Lihto/Print) - Artist: Vasudeo H.Pandya

SURDAS (sage /composer) & SHYAM MANOHAR

The promotion initiative IMC – India meets Classic has presented so fare Indian Classical Music in it’s monthly radio broadcastings on the basis of raga scales.

For North Indian Classics (Hindustani music) the Ragas are classified according to the Thaat system with 10 parent scales. The Carnatic music (South Indian Classics) exist 72 ragams of the Melakarta system.

Raga scales aren’t melody forms, in the sense of composed music pieces “note-for-note” with fixed keys (major and minor)  or exact defined modulations (dynamics) for each bar by written notations.

Ragas are to be understood as more than a complex sete of rules. Ragas are a framework, in it the interpreter freely can move – vocally or instrumentally. Ragas are  monophon (without chords).

The micro-tonal structure (shruti-s) and complex rhythm system (Taala)  guarantee an extremely ornamental art. Raga performances are multifaceted.

dates of broadcasting…

8th May 2016 – 05:00 pm EST (11:00 pm CET) @ Radio FRO (A)
(premiere: 16th Nov 2010 – 09:00 pm CET @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Amir Khusro and Hazrat Nizam-ud-Awaliya (Hyderabad, circa 1750-70 A.D., National Museum, New Delhi)

Amir Kushro (composer)

A compositional understanding as in Western classical music does not exist in Indian Classics. But the term ‘composition’ is used also in Indian music.
The term Kalpita Sangita defines the ‘recitative music‘ while Manodharma Sangita means the ‘creative music‘.

Kalpita Sangita is an interpretation form which applies to existing compositions: original compositions or creations of other composers. A composer is called Vaggeyakara.

On the other hand Manodharma Sangita is created by a vocalist or instrumentalist ‘ex tempore‘ spontaneously, a kind of improvisational style as known in Jazz, on the basis of the modal structure of  Indian raga scales.
The radio broadcasting in November “Raga CDs of the Months” is occupied with the compositional concept of Kalpita Sangita.

Sources of pictures (paintings):

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DE – Raga CDs of the Months (05/2016): pentatonic ragas – 5 tone scales

Posted by ElJay Arem (IMC OnAir) on May 5, 2016

The pentatonical ragas (scale of notes with five tones) are far common in India, equally in North Indian Classic (Hindustani) as in South Indian Music (Carnatic). The pentatonical ragas create a multi layered spectrum, a musical taste which can be regognized easily by the listeners. A magical power is being attributed to these ragas …

dates of broadcasting …

5th May 2016 – 03:00 pm EST (09:00 pm CET) @ radio multicult.fm (DE)
(premiere: 25th December 2006 @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The material of notes originally was used for religious ceremonies and rites in many cultures all over the world… first it had consisted of only two tones, was developed to three tone scales and progressed in the antique Greece to a scale of four tones (tetra chord system).

A more differentiated scaling form of the five tone music (so called pentatonic) was formed particularly in East and South Asia, in front in China, Japan and India. Also in Blues and Afro American music the 5 tone scheme is in practice.

Contrary to our western music culture the Indian Classical Music and the raga-s aim at an atmospheric sound picture by instrumental or vocal improvisation to connect with certain feelings, tendencyfully paintings conveying a special atmosphere and with emotional expressions.

The 5 tone raga Malkauns for example reflects a portrait of the dark, secret one and is helping to a menthal stabilization. The Raga Durga carries the names of the ambivalent, semi terrible hindustic goddess Durga. The penthatonic raga Bhupali is awarded a healing, positive effect, which shifts the listener into an easy, joyfully and relaxed tension.

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CH – Raga CDs of the Months (04/2016): Raags, Ghazals and Goethe…

Posted by ElJay Arem (IMC OnAir) on April 25, 2016

The word Ghazel originates from the Arabean-Persian word Gazal. Its roots back to the Arabian world of the 6th, 7th century. In Turkish we find this poetry form as Gazel.

Beside in Parsi, the Persian language of the Pashtunes, and in Hindi and Urdu, which is spoken in Pakistan, Ghazals have been established in many other languages as expression and verse form of poetry. Far beyond India, Pakistan and Afghanistan to Anglo-American, Hebrew and German linguistic area inside Ghazals experienced a large interest; in Spanish Federico Garcia Lorca experimented with the Ghazal form.

The traditional Ghazal form has love as a melancholy expression, life and metaphysical questions as literary objects.

In the literature Ghazel pretty often is defined as a form of Indian light classical style within the Indian classical music. IMC OnAir’s show will demonstrate that it behaves differently with this structural form of poetry.

dates of broadcasting…

25th April 2016 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere: 15th June 2009 – 10:00 pm CET @ TIDE Radio)
InternetStream (Web & Mobile Radio) | PodCasting | broadcasting plan

The Ghazal wins it’s expressiveness by an „impersonal note“, into which the reader respectively listener can interprate the own individual mental state. Ghazals live in their emotional expression by a coding, a symbolic, indirect address and of opposed characters, as for example the separation pain of an unfulfilled love in divine form, on a metaphysical, universal, spiritual level…

The film industry of India and Pakistan contributed substantially to the popularization of the Ghazals. Their variety in the expression of love and emotional state like togetherness, desire, pain of separation, apathy and in the form of sullenness or regret, the priority meaning of the word and gentle nature of the Ghazals found a multiplicity of interpreters in Mumbai, the Bollywood metropolis and in Lollywood, the analogue of Pakistan’s film industry.

Outstanding Ghazal composers of India & Pakistan (Urdu ghazals)…

200px-Hafez,_the_Persian 20060921-rumi_jalal Ghalib
Hafiz or Hafez
(1315-1390)
Muhammad Jalaluddin Rumi
(13th century)
Mirza Assadullah Khan Galib
(1797-1869)
152Daagh-Dehlvi 200px-Iqbal

pic23-Faiz-Ahmed-Faiz

mehdi-hassan
Daag Dehlvi
(1831-1905)
Muhammad Iqbal (1877-1938) Faiz Amed Faiz
(1911-1984)
Mehdi Hassan
(1927)

Johann Wolfgang von Goethe

J.W. v. Goethe

J.W. v. Goethe

J. W. v. Goethe is considered as a founder of the „world literature“. Beside his work for music, theology and sciences he showed large interest in the Persian and Arabian literature.

By a non-fictional writing style in aphorisms together with Friedrich Schiller as the prominent figures of the Weimar classicism Goethe had a relevant influence onto Germany’s philosophy and far beyond the European borders.

Goethe & Hafiz – „West-Eastern Divan“

Goethe wrote the compilation “West-Eastern Diwan” as one of his late works, between Schiller’s death in the year 1805 up to its dying in March 1832.

The compilation was probably written between 1814 and 1819. It was published in the year 1827 in an extended edition. The West-Eastern Divan covers completely in the sense of its original meaning 12 books (see Gutenberg project).

The „West-Eastern Divan“ may be understood according to its time as an expression of intercultural exchange, a Western-Eastern approach between the Orient (Asia) and Occident. In the second book, the book Hafis (Hafis name) Goethe had concretely taken reference to the Persian poet and Ghazal maestro Hafiz.

Hafiz-Goethe-Denkmal (Weimar)

Hafiz Goethe monument (Weimar)

Goethe had been influenced by Hafiz (or Hafez) for his interest in Persian literature Goethe had been influenced by Hafiz (or Hafez) considerably. Till today the Hafez-Goethe monument in Weimar reminds of this relationship.

Goethe found large acknowledgment for the „West-Eastern Diwan“ in the Middle East and in South Asia. As the answer to Goethe’s Diwan the national poet of Pakistan Muhammad Iqbal published 1924 his work „Payam e Mashriq“ (The Message of the East).

Also companions of Goethe were concerned in similar way with eastern, Arabean or South Asian topics and availed the Ghazal for their poetic arts. The German poet J. M. Friedrich Rückert (05/16/1788-01/31/1866) was translator and professor for Eastern languages and wrote 1839 the „Brahmanische Erzählungen“ (Brahmin narrations). It covers 6 volumes, in which Rückert used extensively the Ghazal as poetry form.

The poet August von Platen (Karl August Georg Maximilian Count of Platen Hallermünde – 10/24/1796-12/05/1835) published 1821 “Die Ghaselen” and 1823 „Die Neuen Ghaselen“.

The philosopher Georg Friedrich Daumer (03/05/1800-12/14/1875) showed with „Hafis“ his exeptional poetic virtuosity published in 1846 in Hamburg, a free interpretation of the songs of famous Persian poets.

Faiz-Ghazal: Aaj bazaar main pa ba jolan chalo
– CD “Faiz Ki Yaad Mein” (2004) | singer: Nayyara Noor

(English translation by poet Anis Zuberi (Toronto, Canada))


 aaj bazaar main pa bajolan chalo
 Chashm-e-nam, jaan-e-shoreeda kafi nahin
 Tohmat-e-ishq-posheeda kafi nahin
 aaj bazaar main pa-bajolan chalo
 Dast afshan chalo, mast-o-raqsan chalo
 Khak bar sar chalo, khoon badaman chalo
 Rah takta hai sub shehr-e-janaan chalo
 Hakim-e-shehr bhi, majma-e-aam bhi
 Teer-e-ilzam bhi, sang-e-dushnam bhi
 Subh-e-nashaad bhi, roz-e-naakaam bhi
 Unka dum-saaz apnay siwa kaun hai
 Shehr-e-janaan main ab baa-sifa kaun hai
 Dast-e-qatil kay shayan raha kaun hai
 Rakht-e-dil bandh lo, dil figaro chalo
 Phir hameen qatl ho aain yaro chalo
 

 let us walk in bazaar in shackles
 wet eyes and restless soul is not enough
 being charged for nurturing concealed love is not enough
 let us walk in bazaar in shackles
 let us go with afshan in hand, in trance and dancing
 go with dust on head and blood on garb
 Go as the city of my beloved is waiting
 Citys ruler and crowd of commoners
 arrow of false charge, stone of accusation
 morning of sorrow, day of failure
 who is their friend except me
 who is untainted in the city of beloved
 who deserve the killers or executioners hand
 get ready for the journey of heart, go wounded heart
 let me go to be executed
 

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