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Below are the 20 most recent journal entries recorded in
Indian Classical Music's LiveJournal:
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|Tuesday, January 25th, 2011|
|Sunday, December 19th, 2010|
Индийские музыкальные инструменты
Дамы и Господа!!!
В наличии есть несколько пар таблы, канжира, надсварам и др.
индийские музыукальные инструменты.
Инструменты профессиональные, а не сувенирные.
Всегда лучшего качества!
|Monday, October 18th, 2010|
a weekend of hindustani vocal music
this past weekend was a great one to be in alberta for fans of hindustani vocal music. those who were willing to do a little driving had the opportunity to experience three
concerts on three consecutive nights:
- on friday, oct 15th, Uday Bhawalkar sang dhrupad in calgary
( short notes on what was sung, under the cutCollapse )
- on saturday, oct 16th, there was a double header in edmonton with Sangeeta Bandyopadhyay singing khayal, and Purnima Chaudhuri singing Thumri
( short notes on what was sung, under the cutCollapse )
- on sunday, oct 17th, Uday Bhawalkar sang dhrupad in edmonton.
( short notes on what was sung, under the cutCollapse )
there's much that one could say, but there are limits to what the human memory can retain, so i'm going to try to keep my comments brief. i'd not heard Sangeeta Bandyopadhyay before, and personally found her music the least engaging of the three. admittedly, i'm also not a big khayal fan. my reaction to Purnima-ji's concert was much the same as the last time i heard her sing
, which is no criticism at all. and i'm a bigot when it comes to dhrupad: i'm ridiculously fond of it, and of Uday-ji's approach to it.
thanks to the raga-mala societies of calgary
for making this weekend possible!
|Sunday, November 15th, 2009|
Pravin Godkhinde flute recital
yesterday evening, the edmonton raga-mala music society presented a flute recital by Pravin Godkhinde, accompanied by Charudatta Phadke on tabla.
the first half of the concert was presented very much in the khayal style. the first raga was Maru Bihag, and after an alap that was somewhat longer than one might expect in khayal performance (but not very long for all that) the compositions were in ati vilambit ektal and drut tintal. this was followed by a "thumri-dhun" (Godkhinde-ji's term) in Misra Khamaj.
the second half was more instrumental-style. the first raga was Hansadhwani (selected due to the performer's familiarity with Carnatic music?), with a full alap/jor/jhala, and compositions in vilambit rupak and drut tintal. this was followed (at the audience's demand) by a Pahari dhun.
Godkhinde kept up a friendly convesation with the audience between pieces, and occasionally included some commentary during the performance (mostly in the first half, talking about the Kirana-style taans he was playing in the Maru Bihag, and singing some of the compositions briefly). his technique left nothing to be desired, and his presentation of the ragas was clear. in the Pahari, he switched to a small flute for the composition.
Phadke's accompaniment was rarely flashy, but dependable throughout. the two artists communicated with each well throughout.
|Monday, September 7th, 2009|
two nights, two concerts
Edmonton is perhaps unusual for a North American city of its size in having two organizations producing concerts of indian classical music: jhankaar
. This past weekend, both societies presented concerts, making for a full but enjoyable weekend.
Saturday evening, Jhankaar presented Rajeev Chakraborty (sarod) and Reena Chakraborty Shrivastava (sitar), accompanied by Subhen Chatterjee (tabla). In the first half, they presented raga Hemant in alap/jor/jhala, and compositions in chartal ki sawari and tintal. In the second half, they played raga Zila Kafi, with a composition in adha, and a medley of dhuns (can one call that a "dhunmala"?) anchored by a Bengali folk song. Apparently after that, a persistent audience demanded a Bhairavi encore. The music was enjoyable, especially the interaction between the siblings—jugalbandi can sometimes feel like attempts to show each other up, but I never got that sense in their presentation. It was also nice to hear the first composition in Hemant: chartal ki sawari isn't particularly common in concerts.
Sunday evening, Raga-mala presented Samaresh Chawdhury (vocal) accompanied by Ramesh Mishra (sarangi) and Pradyut Ray (tabla). In the first half he sang vilambit ektal, drut tintal in raga Nat Bihag, and raga Kedar (compositions in madhya tintal, drut ektal). After the interval, Mishra-ji presented two brief dhuns, one from Rajasthan, which he almost followed with a Chaiti, but then noting the recent rain played a Kajri instead. The main concert resumed with a carnatic raga (the name of which I didn't catch), again presented in vilambit ektal and drut tintal. It finished with a pair of thumris in Manj Khamaj and Misra Pahari. Chawdhury-ji's voice is an amazing instrument, and his ability with tans, akar tans in particular, was astonishing.
All in all, a great weekend of music!
|Thursday, August 6th, 2009|
Wild 061 - Nosens - The Final Step
Neoclassical / Ambient / Dark Ambient / Industrial
Free Download [click here]
01. Novus Ordo Seclurum
03. XXXIII Degree
04. Blue Beam (Well To Oversee)
Co-released With Lomeanor Netlabel [Russia]
|Thursday, July 30th, 2009|
To My Beloved
6 августа, 19:00 - Московская консерватория им. П.И.Чайковского
Концерт индийской духовной музыки
в рамках международного фестиваля "Собираем Друзей"
Вишал Вардан (флейта бансури)
Анил Дикшит (табла)
В программе: вечерняя рага бупали.
Спонсор концерта - Om Balm
Вишал Вардан с детства обучался игре на флейте у своего отца, Пандита Харш Вардана. В 2002 году поступил в гурукулу великого мастера Харипрасада Чаурасии, где постигает искусство игры на бансури до настоящего сремени. Музыкант выступает не только в Индии, но и за её пределами: его концерты проходят в Бельгии, Франции, Германии.
Анил Дикшит – выдающийся исполнитель на классических индийских барабанах табла. Музыкальная традиция в его семье продолжается уже более 400 лет. Анил с раннего детства обучался игре на табла у отца, Пандита Ман Мохан Сингха. В России музыкант 4 года преподавал в Московской государственной консерватории им. Чайковского и в Культурном Центре имени Дж. Неру при посольстве Индии. Сейчас Анил посвятил себя записи дисков и концертной деятельности
Также с 30 июля по 15 сентября в Москве будут проводиться мастер-классы игры на бансури.
Запись на занятия: +79260752844 – Екатерина
|Tuesday, July 21st, 2009|
|Friday, June 19th, 2009|
|Sunday, May 31st, 2009|
Sugato Nag sitar recital
on friday evening, the edmonton raga-mala society
presented a sitar recital by Sugato Nag
, accompanied on tabla by Subhajyoti Guha
in the first half, Nag-ji gave a long-form presentation of raga Bageshri, with a full alap and three compositions (slow, medium, fast). in the second half, he opened with Darbari Kanhra, with a short alap followed by a slow composition (by his guru Buddhadev Dasgupta) and a medium composition (by ustad Vilayat Khan), after which he wandered into a different Kanhra raga (i think it may have been Lachari Kanhra), followed by a digression even further into Bahar. he followed this with a short piece in Pilu. he wanted to end the concert with some Khamaj, but the audience begged from him instead a little bit of Bhairavi. aside from the medium composition in Bageshri (which was in ektal) all the compositions were in teental.
for me the highlights were the alap and medium composition in Bageshri, and the Pilu and Bhairavi—Nag-ji brought out the emotions of the ragas best at those points. i found the Kanhra presentation interesting from an academic point of view (it sort of turned into a raga-mala, to the extent of his actually retuning his sympathetics while the performance proceeded), but ultimately less engaging. to my hear, his jor and much of the composition work sounded routine. the jhalas were of course technically impressive.
4-6 и 9-10 июня - Москва 7-8 июня – Санкт-Петербург
Мастер-класс игры на БАНСУРИ
проводят Харш Вардан и Вишал Вардан (Дели)
Послушать на YouTube
Харипрасад Чаурасия и Харш Вардан
Харш Вардан – признанный мастер игры на индийской флейте бансури, музыкант мирового уровня. Отличительной особенностью его исполнительского стиля является строгая верность традиции. Кроме того, это один из немногих музыкантов, которые не только играют на бансури, но и сами изготавливают флейты. Именно на его инструментах играет великий Харипрасад Чаурасия и его лучшие ученики. ( Подробнее...Collapse )
|Sunday, November 16th, 2008|
skill, sponaneity, communication
the Edmonton Raga-Mala Music Society
closed their 25th anniversary season in style last night with a flute recital by Deepak Ram
, accompanied by Debopriya Sarkar
in the first half, the artists started with Charukeshi - a short alap and a slow→fast composition in rupak. this was followed by a lengthier alap/jor and two tintal compositions in rag Jog. in the second half, they presented Bhoop with two compositions, a slow→medium one in matta taal, and a fast one in tintal. they ended with a dadra in misra Pilu, and the bhajan "Vaishnava Jana to tene kahiyeje".
i wasn't all that impressed with the Charukeshi - i'm not sure in retrospect if the performers weren't quite in the mood for the concert yet, or if the reviewer wasn't :-). but after that, it was all splendid and good. Ram-ji's Jog was clear to me from the first phrase, before he even introduced the raga's shuddh→komal ga calling card. the matta taal composition in Bhoop was a delightful change from the taals we're usually treated to, and was perhaps also a nod to Ram-ji's guru, Hariprasad Chaurasia, who's the only other performer i've heard playing matta taal. (the division of the taal is usually given as 2+4+3, but it felt more like 4+4+4+3+3 to me - perhaps that was the original division back when it was an 18 matra pakhawaj taal?) by the time he got to the Pilu and the bhajan, the audience was obviously completely on his side, singing along.
three words come to mind in describing the concert, in increasing order of importance. first, skill
- Ram-ji's technical capability with the flute needs no question, and let him go wherever he wanted. second, spontaneity
- one never got the sense that he was reproducing memorized material. rather, it was obvious that he was following the ragas wherever they lead him. (this meant that sometimes what he said he was going to play didn't end up matching what he ended up playing. i don't see this as a problem. in conversation with him afterwards, he mentioned that the second composition in Jog wasn't even the one he had been planning on playing.) third, and most importantly, communication
- not only between himself and Debopriya-ji (he mentioned that they've played together many times before, and one could see this from their interaction on stage - their sawal-jawab at the end of the Jog, something that generally everyone except
me enjoys, was actually musically interesting!), but also between them and the audience. one often hears the phrase "playing to the balcony" spoken with some derision, but playing for the audience
is not a bad thing at all. while the concert may not have been as introspective as some, we as the audience felt invited to join with the musicians. this became most explicit after the Bhoop, when Ram-ji actually said to the audience "i'm not sure what i should play next. what would you like?" the choices of Pilu and the bhajan were made by the audience, and then reflected back to them through Ram-ji's flute and Sarkar-ji's tabla.
so, the concert demonstrated skill in the service of spontaneity, both ultimately leading to communication. a fine end to a wonderful year of music from Raga-Mala. who knows what 2009 will bring?
|Sunday, October 26th, 2008|
Концерт Anadi Nad в Санкт-Петербурге
14 ноября, пятница, 19:30 - Anadi Nad в Санкт-Петербурге!
ANADI NAD – международный проект, объединяющий музыкантов из России и Индии.
Музыка Anadi Nad перенесёт вас в волшебный мир бесконечного звука,
который звучит глубоко внутри каждого из нас...
Инструменты: тростниковая флейта бансури, табла, перкуссия, ситар.
В программе: древнеиндийские раги и музыка индийских композиторов.
Адрес: м.Нарвская, ул. Бумажная, д.17 центр "Другой Мир".
|Tuesday, November 4th, 2008|
|Monday, November 3rd, 2008|
Jai Shiva bhajans
About 8 years ago, i bought audiotape in some small ethno-shop in Moscow, with very heartful shaivite bhajans. it was duplicate copy, so on audiocassete was written only "Jai Shiva! bhajans". I think western people singing there, and they singing really well! But still i dont know name of band or group, so i can not find CD... Maybe somebody knows?
Download Jai Shiva bhajans from yandex (104 mb)
(host is russian, tape the numbers and then click green button below, then click hiperlynk)
|Saturday, October 4th, 2008|
Kushal Das sitar recital
last night, the Edmonton Raga-Mala Music Society
presented a sitar recital by Kushal Das, accompanied by Biplab Bhattacharya. Das-ji presented one raga in each half of the concert.
- in the first half, he played raga Marwa, a favourite of this reviewer, although in my experience rarely heard in concert, perhaps because it's generally associated with the hour of sunset, after which many concerts start. (Das-ji took liberties with this, but i'm not complaining.) his alap, while enjoyable, was brief and rather informal. i'm guessing that the comparatively short time he spent in the kharaj specifically, and in alap overall, was due to his also being a surbahar player: surbahar is better suited to the long, careful alaps i prefer than is sitar. he followed the alap with compositions in slow-medium jhaptal and medium-fast tintal.
- in the second half, he presented Misra Kafi with an extremely brief alap and compositions in deepchandi and tintal.
of the two, i preferred the Marwa. i'm not sure how much of that is due to my personal appreciation of the raga and how much is due to the relative merits of the performances.
Das-ji did a few technical things worthy of mention. at the start of his jhala in marwa, he seemed to be doing a fair bit of krintan and zamzama, leaving his right hand free to just play the chikaris - an unusual but not unpleasant effect. in the kafi, at a few points he played short passages of double-stops on the baj and jodi. and even in the most furious levels of jhala performance, where other players' ulta bols and chikaris would be crashing unpleasantly on the audience's ears, Das-ji never let the volume get out of control.
finally, a few words about Battacharya-ji's tabla playing. he had been here back in May accompanying Shubhendra and Saskia, and i recall being impressed then with his approach to his instrument. my impressions were confirmed last night. his style is extremely varied, and, while he did present a number of solos, he was as interesting to listen to when "merely" accompanying, as his rendition of tala transcended theka-tapping. he seems to have found a way to keep the taal clear, while very rarely resorting to the stereotypical patterns of beats that are generally associated with it. kudos.
as i mentioned previously
, it'd be great to see some more concert reviews in this group. if you're not sure how to begin, there's a generic template here
|Sunday, September 21st, 2008|
not really a review
last night, jhankaar
presented pandits Rajan and Sajan Mishra in a concert of khayals and bhajans. normally, this is where i'd go on to present a fairly detailed review of the concert. but:
- (a) i'm not terribly familiar with khayal repetoire, which makes a good review hard for me to construct, and
- (b) i was awfully tired, and not able to give the brothers the attention they deserved
so instead i'll briefly note their program was shuddha kalyan (vilambit ektal, drut tintal), durga (madhya-drut ektal, i'm not even sure if there was a second composition) and a guru nanak bhajan in the first half; shivranjani (vilambit rupak, drut tintal) and more bhajans in the second half. i didn't even stay through to the end of the show. apologies to those who were hoping for a more comprehensive review.
(also apologies for not having any reviews up here for over a year
?!? the last three concerts i was at (Uday Bhawalkar, the Gundecha Brothers twice) were sublime, but i'm extremely biased and can't review them objectively.)
speaking of all of that, i'd love to hear concert reviews from other members of this group! who've you heard recently?