Radio multicult.fm enters into insolvency on 1st April 2023 …

… seit 03/2006 bis einschliesslich 30.03.2023 beliefert die Förderinitiative IMC – India meets Classic Sender in Hamburg (Tide.radio), Österreich (radio fro / Linz) und der Schweiz (radio rasa / Schaffhausen). Über den 31.03.2023 hinaus werden die diversen Formate (India meets Classic, Indian E-music) dort unverändert und monatlich mit festen Sendeplätzen ausgestrahlt.  

Bedauerlicherweise tritt am 01.04.2023 radio multicult.fm in die Regelinsolvenz ein durch den gerichtlich eingesetzten Insolvenzverwalter mit Freistellung aller Mitarbeiter. – Mit der Einstellung des Sendebetriebs am 31.03.2023 entsprechend dem Insolvenzantrag vom 01.02.2023 beim Amtsgericht Charlottenburg geht damit vorläufig auch für die Förderinitiative IMC – India meets Classic (Hamburg) die Berlin-Ära zu Ende.

Entsprechend bestehendem Vertrag seit 10/2011 und Sendestart am 01.12.2011 in der Markthalle in Kreuzberg (Berlin) sind mit dem letzten Sendtermin auf radio multicutfm in den zurückliegenden 11 Jahren und 4 Monaten kontinuierlich mehr als 700 Sendetermine beliefert worden.

Wir bedauern die Zwangsstillegung von radio multicult.fm besonders für die HörerInnen im Grossraum Berlin mit einer Gesamt-Einwohnerzahl von zirka 6,2 Millionen.

Die nächsten Sendetermine (CEST – Euorpäische Sommerzeit):

• 7. April 2023 – jeden 1. Freitag, um 21:00 Uhr auf radio rasa: Indian E-music … the right mix of Indian vibes.
• 9./23. April 2023 – jeden 1. und 2. Sonntag, 23:00 Uhr auf Radio Fro: IMC – India meets Classic.
• 10./24. April 2023 – jeden 2. und 4. Montag, 22:00 Uhr auf radio rasa: IMC – India meets Classic.
• 14. April 2023 – jeden 2. Freitag, 21:00 Uhr auf Tide.radio: Indian E-music … the right mix of Indian vibes.
• 17. April 2023 – jeden 3. Montag, 21:00-23:00 Uhr auf Tide.radio: IMC – India meets Classic.

… since March 2006 and to this day, the promotion initiative IMC – India meets Classic has been supplying broadcasters in Hamburg (Tide.radio), Austria (radio fro / Linz) and Switzerland (radio rasa / Schaffhausen). Beyond March 31, 2023, the various formats (India meets Classic, Indian E-music) will be broadcast there unchanged and monthly with fixed broadcast slots.

On April 1st, 2023, radio multicult.fm will enter into the state of regular insolvency through the by court appointed insolvency administrator with release of all employees. – With the cessation of broadcasting operations on March 31, 2023 in accordance with the insolvency application from February 1, 2023 at the district court of Charlottenburg, the Berlin era is also coming to an end for the time being for the promotion initiative IMC – India meets Classic (Hamburg).

According to the existing contract since 10/2011 and the start of broadcasting on December 1st, 2011 in the market hall, today’s last broadcast date on radio multicult.fm has continuously supplied more than 700 broadcast dates over the past 11 years and 4 months.

We regret the closure especially for the listeners in the region of Berlin with a total population of about 6.2 million.

Next broadcasting dates (CEST – Central European Summer Time):

• April 7, 2023 – every 1st Friday at 9:00 p.m. on radio rasa: Indian E-music … the right mix of Indian vibes.
• 9./23. April 2023 – every 1st and 2nd Sunday, 11:00 p.m. on Radio Fro: IMC – India meets Classic.
• 10./24. April 2023 – every 2nd and 4th Monday, 10:00 p.m. on radio rasa: IMC – India meets Classic.
• April 14, 2023 – every 2nd Friday at 9:00 p.m. on Tide.radio: Indian E-music … the right mix of Indian vibes.
• April 17, 2023 – every 3rd Monday, 21:00-23:00 on Tide.radio: IMC – India meets Classic.

IMC – India meets Classic presents … the single all years radio programme for Indian (Music) Culture … monthly on air since April 2005

IMC – India meets Classic + Indian E-music:

Welcome to the Blog site of IMC OnAir – IMCRadio.Net, a broadcasting show on radio (cable/antenne + internet/mobile radio + podcast) as the single all years programme for Indian (Music) Culture in the whole German language area – with both German and international formats in English language.

During the phase of development and onging maintenance of this new blog, don’t hesitate to follow our webpages in traditional form:

IMC ONAir, two language website (English / German) …
– standard format “Raga CDs of the Months” (DE)
– special feature “From India to Europe … Festivalreport” (DE)
– special feature “StudioTalk” (DE/ENG)

promotion initiative IMC – India meets Classic (German site) …

TablaGroup Hamburg (German download site)

3rd – 20th Sept: All Pakistan Music Conference 2016

seen at: https://www.facebook.com/APMCPakistan

 

CH – Raga CDs des Monats (03/2016): Kunnakudi Vaidyanathan – Die sprechende Violine! (Portrait)

IMC OnAir – IMCRadio.Net der Förderinitiative “IMC – India meets Classic” präsentiert im März 2016 das Portrait: “Kunnakudi Vaidyanathan – Die sprechende Violine!“.

Kunnakudi Vaidyanathan (© Wikipedia)

Unsere IMC-Sendung ist Dr. Kunnakudi R. Vaidyanathan ( 2.3.1935 – 8.9.2008 ) gewidmet, einem Violinisten der südindischen Klassik. Kunnakudi’s Markenzeichen und ein Ausdruck seiner tiefen religiösen Verehrung, verwurzelt im Hinduismus, war von Weitem sichtbar. Die Stirn mit einem Vibhuti, mit geweihter Asche aus Kuhdung und mit einem grossen, roten Sindoor (Vermilion-Punkt) bemalt, das Symbol der Liebe und Stärke.

Kunnakudi R. Vaidyanathan war ein höchst innovativer, technisch brillanter und beim Publikum höchst beliebten Musiker. Ihm kommt ein wesentlicher Verdienst zu, dass sein Instrument, die Violine eine Neupositionierung als Soloinstrument gefunden hat.

Kunnakudi veränderte die Interpretation der karnatischen, südindischen Klassik und der leichten Unterhaltungsmusik. Den Kriti, eine musikalische Kompositionsform, vereinfachte er in seiner spielerischen Wiedergabe, um den musikalischen Wünschen des Publikums mehr Raum zu geben.

Sendetermine…

 14. März 2016 – 22:00 Uhr CET (04:00 pm EST) @ Radio RaSA (CH)
(Premiere: 19. Januar 2009 (22:00 Uhr) @ Tide Radio)
InternetStream (Web & Mobile Radio) | PodCasting | broadcasting plan

Der Vater, Sri Ramaswamy Sastri entschied sich, KV zu einem herausragenden Violinisten auszubilden, als er neun (9) Jahre alt war. Bereits im Alter von zwölf (12) begleitete Kunnakudi einige der herausragenden Meister jener Zeit, unter Ihnen der grossartige Vokalist der südindischen Klassik: Maharajapuram Viswanatha Iyer (1896 – 1970).

Im Alter von 22 Jahren fand Kunnakudi erstmalig bei einem Filmstar des indischen Kinos Beachtung: M.K. Thyagaraja Bhagavatar. In einem Nebenraum seiner Garderobe eines Studios in Madras spielte Kunnakudi “Bhoomiyil maanida Janmam” spielte, ein Filmsong, durch den Bhagavatar berühmt wurde.

Kunnakudi entschied im Alter von 32 Jahren, nicht mehr als Begleitmusiker aufzutreten. Sein vordringlichster Wunsch war es, die Violine von einem Begleitinstrument in ein Solo-Instrument zu verwandeln. Kunnakudi wollte der Violine einen eigenen Status verschaffen. Zwischen 1974 und 1985 gaben Kunnakudi in Begleitung des Thavilspielers Chakravarti Valayapatti A.R. Subramaniam mehr als 3.000 Konzerte. In dieser einzigartigen Kombination mit dieser selten gespielten, südindischen Trommel und einem einfachen, melodiösen Violinspiel fand Kunnakudi ein grosses Publikum.

Aus einer bereits in seiner Kindheit ausgeprägten Liebe für Filmmusik leistete Kunnakudi einen erheblichen Beitrag zur Anerkennung der süd- und nordindischen Klassik im indischen Film und für die Entwicklung der frömmigen Musik in Tamil. Die gestalterische Fähigkeit, Ragaskalen mit Filmmelodien zu verknüpfen war neben der technischen Brillanz eines der Geheimnisse für seine grosse Beliebtheit.

Kunnakudi Vaidyanathan besaß ein tiefes Vertrauen in die therapeutische Wirkung der indisch klassischen Musik. Kunnakudi gründete 1996 das Raga Research Centre mit Sitz in Chennai, dem er als Präsident vorstand und das von der Landesregierung Tamil Nadus für verschiedenste Forschungen finanziell gefördert wurde.

Im Laufe seiner Karriere ist Kunnakudi für seine Leistungen mit mehr als 200 Titeln und Ehrungen bedacht worden. Im Jahre 2005 wurde er mit dem prestigeträchtigen “Padma Shri” der indischen Regierung ausgezeichnet, 1993 erhielt er den Sangeet Natak Adademi Award der “Sangeet Natak Akademi”, die nationale Akademie für Musik, Tanz und Drama mit Sitz in Delhi und Imphal.

CH – Raga CDs of the Months (03/2016): The Talking Violin! – Dr. Kunnakudi R. Vaidyanathan (portrait)

IMC OnAir – IMCRadio.Net of the promotion initiative “IMC – India meets Classic” presents it’s March show 2016 with a portrait: “Kunnakudi Vaidyanathan – The Talking Violin!“.

Kunnakudi Vaidyanathan © Wikipedia

Our radio show is dedicated to Dr. Kunnakudi R. Vaidyanathan ( 3/2/1935 – 9/8/2008 ), a Violinist of South Indian Classics. Kunnakudi’s brand an expression of his deep religious admiration, rooted in the Hinduism, was visible from distance. The forehead painted with a Vibhuti, with dedicated ashes from cow dung and with a large red Sindoor (Vermilion point), the symbol of love and strength.

Kunnakudi R. Vaidyanathan was an innovatively, technically brilliant musician with high sympathies by the public and masses. Substantial earnings/services come to him he gave the violin a new positioning as solo instrument.

Kunnakudi changed the interpretation of Carnatic music (South Indian Classics) and Indian Light Classics. He simplified the kriti, a musical composition form in his playful rendition, in order to give the musical wishes of the public more space.

dates of broadcasting…

14th March 2016 – 10:00 pm CET (04:00 pm EST) @ Radio RaSA (CH)
(premiere: 19th January 2009 (10:00 pm CET) @ Radio Tide)
InternetStream (web and mobile radio)| PodCasting | broadcasting plan

The father, Sri Ramaswamy Sastri decided to train KV becoming an outstanding Violinis. KV was nine (9) years old. Already at the age of twelve (12) Kunnakudi accompanied some of the outstanding masters of that time, among the great vocalist of South Indian Classics: Maharajapuram Viswanatha Iyer (1896 – 1970).

At the age of 22 Kunnakudi received attention 1st time by a film star of the Indian cinema: M.K. Thyagaraja Bhagavatar. Close to the warderobe of a studio in Madras Kunnakudi played “Bhoomiyil maanida Janmam”, a film score by which Bhagavatar became famous.

Kunnakudi decided at the age of 32 not to arise anymore as accompanying musician. His most urgent desire was to transform the violin of an accompanying instrument into a solo instrument. Kunnakudi wanted to provide a unique status for the violin. Between 1974 and 1985 Kunnakudi accompanied by the Thavil player Chakravarti Valayapatti A.R. Subramaniam gave more than 3,000 concerts. This combination of instruments rarely played, a South Indian drum and Kunnakudi’s simple, melodic violin play got recognitation by a large public.

From his childhood on Kunnakudi had a deep love for film music. Kunnakudi already carried a substantial contribution for acknowledgment of South and North Indian Classics in the Indian film genre and developing the devotional Tamil music. The formative ability to link Raga scales with film melodies was apart from the technical brilliance one of the secrets for Kunnakudi’s large popularity.

Kunnakudi Vaidyanathan possessed a deep confidence into the therapeutic effect of the Indian classical music. Kunnakudi founded 1996 the Raga Research Centre in Chennai, which he managed as a president and which was financially promoted by the federal state government Tamil Nadu for most diverse researches.

In the course of his career Kunnakudi was considered for his achievements with more than 200 titles and honours. In the year 2005 he was distinguished with the prestigious “Padma Shri” of the Indian government, 1993 he received the Sangeet Natak Adademi Award of the “Sangeet Natak Akademi”, the national academy for music, dance and drama with seat in Delhi and Imphal.

Broadcasting @ TIDE Radio postponed for 24 hours…

The regularly broadcasting every 3rd Monday is postponed for one day because our radio station TIDE 96.0 services a live broadcasting of a University Orchestra concert in Hamburg-Harburg.

IMCRadio’s broadcasting will take place on Tuesday, 16th February instead of 15th February 2016 at same time: 04:00-05:58 pm EST (10:00-11:58 pm CET).

FB event page for tomorrow: https://www.facebook.com/events/925920980837492/

In March we will turn back to the regularly date (3rd Monday/21st March 2016).

Tks for your understanding !

 

 

R.I.P. (✞ 22nd Jan 2016) – Tabla maestro Pandit Shankar Ghosh is no more…

On Friday evening (Indian time) one of the greatest percussionists of our times found his ethernaly peace. – Our heartfully condolences go to his son Bikram Ghosh (born: Oct. 1966), his family and close friends. We all – the community of music lovers for Indian classics all around the globe had been worried since December for Shankar Ghosh. – R.I.P. /ElJay Arem (chief editor)

---

Pandit Shankar Gosh with son Bikram

Pandit Shankar Ghosh (1935 – 22 January 2016) was a noted Indian tabla player from the Farukhabad gharana of Hindustani classical music. He is also an occasional Hindustani classical singer where he follows the Patiala gharana

He was awarded the 1999-2000 Sangeet Natak Akademi Award in Tabla, the highest Indian recognition given to practicing artists, by Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama.

He had been at the ICU of the super-speciality hospital on E M Bypass, since mid December and underwent angioplasty on December 14, 2015.He had been admitted to the hospital following heart ailments, was in coma for past 40 days and died at 9 pm on 22 January, 2016.

Early life and training

He started learning training taleem in 1953 under Pandit Gyan Prakash Ghosh of Calcutta (now Kolkata), who pioneered the concept of tabla ensembles, which employed numerous tabla players playing the same pieces; a tradition later taken forward by Shankar himself. His other gurus were Pt. Gyan Prakash Ghosh,Ustad Feroz Khan, Pandit Anath Nath Bose and Pandit Sudarshan Adhikari.

Career

He started touring the US in 1960s with sarod maestro, Ustad Ali Akbar Khan and won rave reviews, and over the years he toured with Pandit Ravi Shankar, Ustad Vilayat Khan, Pandit Nikhil Banerjee, Sharan Rani, Pandit V. G. Jog. In India he has performed with vocalists such as Ustad Bade Ghulam Ali Khan, Pandit Omkarnath Thakur, Pandit Vinayakrao Patwardhan, Girija Devi and Smt. Akhtari Bai. During his stay abroad he also collaborated with artists like Greg Ellis, Pete Lockett and John Bergamo.

He has received awards like ITC Sangeet Research Academy award and the Ustad Hafiz Ali Khan award. Teaching tabla over three decades, presently he teaches in institutions at Kolkata, Paris and Bonn (former capital of Germany).

Personal life

He was married to Hindustani classical vocalist of Patiala gharana, Sanjukta Ghosh, and was the father of the tabla maestro Bickram Ghosh, whom he had also trained in tabla, and who went on to perform with musical legends like Ustad Ali Akbar Khan and Pandit RaviShankar.

(Source: 01/2016 – Wikipedia (ENG) – https://en.wikipedia.org/wiki/Shankar_Ghosh )

• Related Articles…

– Daily News & Analysis: Tabla maestro Pandit Shankar Ghosh passes away
– Outlook India‎: Pandit Shankar Ghosh, Tabla Maestro
–  The Indian Express: Tabla maestro Shankar Ghosh dead

Tabla Solo by Shankar Ghosh in 2012…

 

StudioTalk: “Music awareness by Love… from Love to Music” on Sylvester 2015

The special format “StudioTalk” offers to our listeners some very exclusive themes and talks about the world of Indian Classical Music ! – StudioTalk gives Indian music maestros, music scientists, event organisations and other specialists  the chance to present themselfs in a dialogue directly to an international and European audience.

A StudioTalk isn’t an interview form of 5 to 10 minutes small talk about concert tours, new editorials , CD or DVD projects etc. … Much more by a detailled planning and research work IMC OnAir delivers by StudioTalk a frame for specific themes and aspects to contribute an approach and deep going insight for Indian Classical Music – especially for the Europeans.

dates of broadcasting

31st Dec 2015 – 03:00-04:00 pm EST (09:00-10:00 pm CET) @ radio multicult.fm (Berlin)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

StudioTalk “Music awareness by Love… from Love to Music” with
Sarod maestro Ranajit Sengupta “onair”… (original English with German translation/over dubbing) 

We wish our musical friends, our listeners around the globe and community members of “Indian Classical ” (@ Facebook) a happy & peacefully New Year 2016 full of musically swing !

DE – Raga CDs des Monats (11/2015): RAGAS & SAX… indische Saxophonisten

Aus der Reihe “Ragas auf westlichen Instrumenten” praesentiert die Foerderinitiative IMC – India meets Classic die Sendung Ragas & indische Saxophonisten auf radio multicult.fm (Berlin, Deutschland) und weltweit als Webradio.

In den zurueckliegenden Sendungen wurden bereits zwei Instrumente des Westens ausfuehrlicher vorgestellt, die in der (sued-)indischen Klassik einen festen Platz gefunden haben: das Harmonium als Begleitinstrument und die Violine. Dieses Streichinstrument ist Bestandteil jeder Performance der suedindischen Klassik (Carnatic); als Solo-/ Hauptinstrument hat es sich besonders in der nordindischen Klassik (Hindustani) etablieren koennen.

Das Saxophon war urspruenglich fuer den Einsatz in Sinfonieorchestern gedacht. Es wurde von dem Belgier Adolphe Sax im Jahre 1840 erfunden und in Frankreich patentiert.

Sendetermine…

19. November 2015 – 21:00 Uhr MEST (03:00 pm EST) @ radio multicult.fm (DE)
(Premiere: 5. August 2008 – 21:00-21:58 Uhr MEST @ Tide Radio 96.0)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Mit dem Aufkommen des Jazz begann der eigentliche Siegeszug dieses Instrumentes in seinen unterschiedlichsten Ausfuehrungen: als Alt-, Tenor-, Sopran-, Bariton- oder gar Bass-Saxophon. Mit der Aufnahme von afrikanischen, orientalischen und auch indischen Einfluessen kommt die spirituelle Haltung des Jazz-Avantgardisten John Coltrane’s in seinem Quartett zum Ausdruck.

IndoJazz, von dem indischen Komponisten John Mayer mit dem Quintett IndoJazzFusions in den 60er Jahren (20. Jahrhundert) begruendet, hatte massgeblich auf die Etablierung des Saxophons in Indien Einfluss.

v.l.n.r.: Dr. Kadri Gopalnath, Rudresh Mahanthappa, Prasant Radhakrishnan

Besonders die Konzerte von Prasant Radhakrishnan in Indien mit Kompositionen im langsamen Tempo u. einer kontrollierten Ausfuehrung der Ornamentik indischer Ragas (s.g. Gamaka-s) haben dazu beigetragen, dass sich das Image des Saxophon als ein lautes u. schnelles Instrument, das bestenfalls dazu geeignet ist, technische UEbungen zu absolvieren, veraendert hat.

Die Verbindung zwischen Jazz und indischer Klassik, die Interpretation von Ragaskalen auf einem fuer den Jazz typischen Instrument, liegt in der modalen Struktur. Dazu der deutschen Musikjournalisten und -produzenten Joachim Ernst Berendt, international als Jazzpapst bekannt:

“Das, was all diese Musiker spielen – die asiatischen wie die westlichen – unterscheidet sich von der traditionellen europaeischen Musik dadurch, dass es “modal” ist. Das heisst, es basiert nicht auf den staendig wechselnden Akkordgeriisten, die unserer abendlaendischen Musik unterliegen, sondern auf einer Skala, einer “mode” – letztendlich auf einem einzigen Akkord – will sagen: Es ist sehr viel ruhiger, sehr viel weniger “nervoes”…“

[ Quelle: Buch “Die Welt ist Klang – Nada Brahma” (vollst.: Die Landschaft des Bewusstsein”), 1988 ]

———————–

Unsere Hoerbeispiele: indischer Jazzmusiker Rudresh Mahanthappa (Sax), zusammen mit Dr. Kadri Gopalnath (Sax) im Dakshina Ensemble, Dr. Kadri Gopalnath & Pravin Godkhindi (Bansuri – indische Bambusfloete), Prasant Radhakrishnan (Sax), der indische Komponist John Mayer (Violine), John Coltrane (Sax), Charlie Mariano (Sax) & indische Saengerin / Komponisten R.A. Ramamani (Gruenderin von Jazz Yatra).

DE – Raga CDs of the months (11/2015): RAGAS & SAX… Indian Saxophonists

Out of the series “Ragas on Western Instruments” the promotion initiative IMC – India meets Classic presents in July 2015 @ radio multicult.fm (Berlin, Germany) and worldwide as webradio the topic Ragas & Indian saxophone players.

In our shows of the past already two instruments of the West were presented, which have found a firm place in (South) Indian Classics: the Harmonium as accompaning instrument and the Violin. This bowed instrument is a component of each performance of the South Indian Classical music (Carnatic). The violin is established as solo main instrument in the North Indian Classical music (Hindustani).

Originally the saxophone was dedicated for symphonic orchestras. It was invented of the Belgian Adolphe Sax in the year 1840 and patented in France.

dates of broadcasting…

19th November 2015 – 03:00 pm EST (09:00 pm CET) @ radio multicult.fm (DE)
(premiere: 5th August 2008 – 09:00 pm CET @ Tide Radio 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

With the arising of Jazz music the triumphant advance of this instrument began in its most different remarks: as Alto, Tenor, Soprano, Baritone or Bass saxophone…

With the implementation of African, Eastern and also Indian influences the Jazz Avantguardist John Coltrane expressed his spiritual attitude in his quartet.

IndoJazz as new genre was justified of the Indian composer John Mayer with the Quintett IndoJazzFusions in the 60’s (20th century). This formation considerably had a major influence onto the establishment of the saxophone in India.

f.l.t.r.: Dr. Kadri Gopalnath, Rudresh Mahanthappa, Prasant Radhakrishnan

Particularly the concerts of Prasant Radhakrishnan in India with compositions in a slow tempo and a controlled demonstration of the ornaments of Indian Ragas (e.g. gamaka-s) have contributed that the image of the saxophone in India has changed as a loud and fast instrument, which is suitable at best to practise technical exercises.

The connection between Jazz and Indian Classical music, the interpretation of raga scales on an instrument which is typical for Jazz, lies in the modal structure. To cite the German music journalists and producer Joachim Ernst Berendt (1922-2000), internationally known as ‘Jazz Pope‘:

“What all these musicians play – the Asian like the Western – differ of the traditional European music by the fact that it is ‘modal’. This means: it is not based on the constantly changing Accordgerists, which is dominating our occidental music, more it is set up on a scale, a ‘mode’ – finally on only one chord… Want to say: It is much more calmly, very less nervous…“

[Book Source: “Die Welt ist Klang – Nada Brahma” (vollst.: Die Landschaft des Bewusstsein”), 1988 ]

----------------------

Our listening examples: Indian Jazz musician Rudresh Mahanthappa (sax) together with Dr. Kadri Gopalnath (sax) in the Dakshina Ensemble, Dr. Kadri Gopalnath & Pravin Godkhindi (Bansuri – Indian bamboo flute), Prasant Radhakrishnan (sax), the Indian composer John Mayer (violin), John Coltrane (sax), Charlie Mariano (sax) & Indian singer/composer R.A. Ramamani (founder of JazzYatra).