Well known violist Simone Lamsma and cellist Victor Julien-Laferrière join their forces during the Utrecht International Chamber Music Festival 2018. They perform Martinů's 'Duo for Violin and Cello No. 1', a musical wonder filled with Bohemian melodies and rhythms.
Martinů: Duo for Violin and Cello No. 1, H. 157
Simone Lamsma [violin]
Victor Julien-Laferrière [cello]
Recording: Saturday the 30th of June 2018, during The Utrecht
International Chamber Music Festival in TivoliVredenburg in Utrecht.
Violinist Emmanuel Tjeknavorian, cellist Harriet Krijgh and pianist Magda Amara perform Smetana’s beautiful ‘Piano Trio in G minor’ during the Utrecht International Chamber Music Festival 2018. We all know Smetana from his musical portret ‘Má Vlast’, but his other work also embraces his home country of the Czech Republic. His ‘Piano Trio’ undeniably uses upbeat folk melodies, making it a musical fairytale.
Smetana: Piano Trio in G minor, Op. 15
Emmanuel Tjeknavorian [violin]
Harriet Krijgh [cello]
Magda Amara [piano]
Recording: Saturday the 30th of June 2018, during The Utrecht
International Chamber Music Festival in TivoliVredenburg in Utrecht.
Teental is a North Indian Rhythmic Cycle of 16 beats and is most commonly performed by artistes, be it instrumental, vocal or dance.More often than not, it is the cycle chosen for a Tabla Solo recital.
Here, young Ishaan Ghosh performs a short Solo in Teental in its most authentic form, presenting a variety of expandable as well as fixed compositions such as Peshkar, Kayda, Rela, Tukdas and Chakradaars.All of these are rare works of prolific composers over the last 150 years which, 17 year old Ishaan presents with impressive tonality, dexterity and virtuosity.
In Season 1 of HCL Maestros in Studio Live @The Peninsula Studios Ishaan is accompanied on harmonium by Tanmay Deochake.
Ishaan Ghosh
An exceptionally gifted child-prodigy with a mature and sensitive musical thought process much belying his age, young Ishaan Ghosh, born in 2000, took to Tabla naturally and gave his first brief solo tabla performance at the age of 2-1/2. An inheritor of the music of a few generations in his family, he is the grandson of Tabla-Guru, Padmabhushan Pandit Nikhil Ghosh and the grand-nephew of the legendary pioneer flautist Pannalal Ghosh. Ishaan has received focused ‘Taleem’ in traditional Tabla from his father, Pandit Nayan Ghosh, who is regarded as one of India’s front-ranking Tabla and Sitar maestros.
In 2008, Ishaan played Tabla Jugalbandi concerts with his father in Switzerland, France and Spain representing India at International Music Festivals.
At 9, he was invited to perform alongwith his father in the Indo-Occidental Symbiosis “Jugalbandi Festival” at the Kala Mandir in Kolkata and the Sangeet Natak Akademi-organized “Tabla Samaroha” in Kolhapur.
He has regularly performed at famed venues both in India and abroad such as the NCPA in Mumbai, MIT-Boston, The Institute of Culture in New York, the Stanford University, the Gerogia-Tech University in Atlanta, the World Music Institute in Chicago and the RIOJAFORUM in Spain among number of others.
In 2014, Ishaan was blessed to be invited by the Kathak legend Pandit Birju Maharaj for a Tabla solo recital at New Delhi’s Kamani Auditorium, on the maestro’s 75th birthday.
A busy performing artiste, besides accompanying his father’s sitar concerts, he has also performed with landmark figures in the field of Indian Classical Music like Sangeet Martand Pt. Jasraj, Sarod stalwarts Padmabhushan Pt Buddhadev Dasgupta and Ustad Aashish Khan, Pt. Tejendra Narayan Majumdar, violin legend Dr. N Rajam and Dr. Sangeeta Shankar, Purbayan Chatterjee, Ramakant Gaikwad, S Akash, Dilshad Khan.
He has regularly collaborated with musicians of various other genres like Jazz Guitarist Max Clouth of Germany, Mohammad Rasouli and Percussionists Fakhroddin Ghaffari and Hamidreza Rahbaralam of Iran, Hoo Eouling of China and Raho Langsepp of Estonia.
He has received the BABA ALLAUDDIN KHAN YUVA PURASKAR, a silver plaque after his performance at 150th Birth Celebrations of Ustad Allauddin Khan at Maihar, MP, in December 2013
In 2016, he was specially invited (along with his father) by the President of the United States President Jimmy Carter to give a benefit concert for the ‘HABITAT FOR HUMANITY’ project and felicitated by the President himself.
Curators: Kaushiki Chakraborty & Arunabha Deb (Hindustani) and Anil Srinivasan (Carnatic)
Produced by: Subroto Chattopadhyay & Sita Raina
Project Management for The Peninsula Studios: Avinash Chordia & Narinder Tawakley
One evening, a few years ago in Bahia, Brazil, the PFC crew and I were waiting for an 80-year-old cuica player to perform on a Song Around The World. I remember it seemed to take forever for him to make it down the hill, as he would stop off in every bar along the way for a drink and some conversation. As we waited I looked and saw a Rastaman walking across the street with his acoustic guitar in hand. I waved to him and he came over to see what we were doing with all our equipment. I told him about Playing For Change and he agreed to play a song for us while we were waiting. The result was an incredible, spontaneous performance of Dennis Brown’s “Rasta Children.” His voice reminded me of Peter Tosh and he sang with so much soul that we realized this could be an amazing Song Around The World. Just one man and his guitar playing on the street set the tone for this song and we added a worldwide band of roots musicians around him. “I and I deal with humanity…”
Playing For Change (PFC) is a movement created to inspire and connect the world through music, born from the shared belief that music has the power to break down boundaries and overcome distances between people. The primary focus of PFC is to record and film musicians performing in their natural environments and combine their talents and cultural power in innovative videos called Songs Around The World. Creating these videos motivated PFC to form the Playing For Change Band—a tangible, traveling representation of its mission, featuring musicians met along their journey; and establish the Playing For Change Foundation—a separate 501(c)3 nonprofit organization dedicated to building music and art schools for children around the world. Through these efforts, Playing For Change aims to create hope and inspiration for the future of our planet.
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Established in 1962, Audio-Technica is a worldwide group of companies devoted to the design, manufacture, marketing and distribution of problem-solving audio equipment. Initially known for state-of-the-art phonograph cartridges, A-T now creates high-performance microphones, headphones, wireless systems, mixers and electronic products for home and professional use.
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Για πρώτη φορά στην Ελλάδα, ο φλαουτίστας Jorge Salgado Correia, προσκεκλημένος του Φεστιβάλ. Με διεθνή παρουσία στον χώρο της σύγχρονης μουσικής, θα μας χαρίσει ένα πρόγραμμα με εμβληματικά έργα για σόλο φλάουτο που ξεκινάνε απο τον G. Ph. Telemann μέχρι και συνθέσεις του 21ου αι. με τη χρήση ηλεκτρονικών.
Cellist Harriet Krijgh & Friends performed Dvořák’s wonderful ‘String Sextet’ during the Utrecht International Chamber Music Festival 2018. Amongst two other musical fairytales by Chezch composers played that evening, the ‘Sextet’ by Dvořák is a staple folktale in the Bohemian musical history.
Dvořák: String Sextet in A major, Op. 48, (B. 80) for two violins, two violas and two cellos
Simone Lamsma [violin]
Candida Thompson [violin]
Pauline Sachse [viola]
Iris Juda [viola]
Harriet Krijgh [cello]
Victor Julien-Laferrière [cello]
Recording: Saterday the 30th of June 2018, during The Utrecht International Chamber Music Festival in TivoliVredenburg in Utrecht.
TM Krishna continues his performance with a Thyagaraja composition entitled Nadopasana in Raga Begada. Akkarai Subhalakshmi joins in on violin, as does Arunprakash Krishnan on mridangam, Guru Prasad on ghatam and Swaminathan Selvaganesh on kanjira. The highlight of this performance is a stunning Thani Avarthanam by Vikku Vinayakram on ghatam and later he invites the other percussion players to join in.
Έκθεση συλλεκτικής αφίσας με τίτλο «Η Δημοτική Πινακοθήκη Λάρισας – Μουσείο Γ.Ι. Κατσίγρα μέσα από τις αφίσες της» εγκαινιάστηκε την Τετάρτη 4 Ιουλίου 2018 στο φουαγιέ του αμφιθεάτρου της Πινακοθήκης. Η έκθεση περιλαμβάνει συλλεκτικές αφίσες της Δημοτικής Πινακοθήκης που σχετίζονται με εκθέσεις της από την ίδρυσή της μέχρι σήμερα.
Η έκθεση με τον προφανή τίτλο «Τόπος συνάντησης» στεγάζεται στη γκαλερί Σαπφώ από τις 12 ως τις 31 Ιουλίου. Οι τρεις καλλιτέχνες θέλουν να μεταδώσουν στους κατοίκους και τους επισκέπτες της έκθεσης όχι μια απλή καταγραφή εικόνων, αλλά επικοινωνίες, συνομιλίες, αμοιβαίες προσεγγίσεις και να ανασύρουν μνήμες, συναισθήματα, εικόνες.
The ney (Persian: نی / نای), is an end-blown flute that figures prominently in Middle Eastern music. In some of these musical traditions, it is the only wind instrument used. The ney has been played continuously for 4,500–5,000 years, making it one of the oldest musical instruments still in use.
The Persian ney consists of a hollow cylinder with finger-holes. Sometimes a brass, horn, or plastic mouthpiece is placed at the top to protect the wood from damage, and to provide a sharper and more durable edge to blow at. The ney consists of a piece of hollow cane or giant reed with five or six finger holes and one thumb hole. Modern neys may be made instead of metal or plastic tubing. The pitch of the ney varies depending on the region and the finger arrangement. A highly skilled ney player, called neyzen, can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch ranges or to facilitate playing technically difficult passages in other dastgahs or maqams.
In Romanian, the word nai is also applied to a curved pan flute while an end-blown flute resembling the Arab ney is referred to as caval.
Τρία χρόνια μετά την πρώτη της έκθεση η Κατερίνα Πέτρουλα Iraola παρουσιάζει όχι μόνο μια νέα έκθεση αλλά κυρίως μια τελείως διαφορετική δουλειά από την προηγούμενη. Μετά τα πορτρέτα της που είδαμε το χειμώνα του 2015, τώρα θέλει να δείξει τη θάλασσα που αγαπά και την εμπνέει. Έτσι η καλλιτέχνιδα μας καλεί στη gallery genesis στη νέα ατομική της έκθεση «Mare nostrum» από τις 12 ως τις 21 Ιουλίου. Καλλιτεχνική διεύθυνση Γιώργος Τζάνερης.
Le shakuhachi, cette flûte au son si particulier d'origine chinoise, sert aux moines komusōs non pas pour simplement faire de la musique, mais pour méditer. En effet, au lieu de pratiquer le Zazen (la position assise de méditation) et réciter des sutras, les komusōs jouaient de la flûte et pratiquaient ainsi le Zen du souffle.
Les komusōs ont perduré jusqu'à la restauration Meiji en 1868, mais l'un de ces moines, nomme Kinko Kurosawa, parvient à répertorier 36 de ces honkyoku (morceaux de flûte joués par les komusōs) avant qu'ils ne tombent dans l'oubli.
Dans cet album, le grand musicien Teruhisa Fukuda nous propose six morceaux de ce répertoire à la richesse musicale et historique incroyable.
Formado por músicos profesionales de varios países (Siria, Egipto, Marruecos y España) y bajo la dirección de Abdel Karim, este conjunto tiene el propósito de estudiar y difundir la música clásica árabe.
Su repertorio incluye música de todo el Oriente Medio, desde Turquía hasta Egipto, desde el día 16 hasta el siglo 19. Abdel Karim Conjunto también realiza música árabe andaluza, un género que se originó en Al-Andalus, la España islámica medieval, donde se cultiva como una forma poético-musical conocido como Muwashaha.
Música andaluza árabe ha conservado no sólo en el Magreb (Marruecos, Túnez, Argelia y Libia) bajo el nombre de Andalucía Música, Maluf, etc, sino que ha tenido una gran influencia en los países del Medio Oriente como Siria, Líbano, Egipto, etc En estos países, la música andaluza se ha cultivado con gran celo y sin apenas cambios en la tradición de la Muwashaha, conformando el núcleo de la música árabe-andaluza de Oriente, llamado así en memoria de su origen.
Este árabe culta tradición de la música oriental debe distinguirse de la que se conserva en el Magreb por sus diferencias musicales, rítmicos y literarios. Este repertorio se puede considerar como la música antigua y la música clásica, nacido en paralelo con el barroco y el clasicismo de la tradición musical occidental. Su lenguaje es, por tanto, de una enorme riqueza, a diferencia de la música andaluza, que utiliza escalas que están muy cerca de la música occidental.
Uno puede señalar el uso de los cuartos de tono, perfectamente escritas dentro de un sistema modal muy complejo llamado Maqam, así como sutiles fórmulas rítmicas llamados wazn, de dificultad que es paralelo a su belleza.
Los instrumentos utilizados han existido por siglos en los países árabes: el Nay (flauta de caña árabe), el Kanun (cítara árabe), el 'Ud (laúd árabe) y la característica de la percusión de esta música: Darbuka, Bendir y Riqq, presidido todo por la voz melodiosa del Mughanni (cantante) que teje con habilidad el sentimiento de la música con la belleza refinada de la poesía.
Al final del siglo 19 los instrumentos de arco europeos comenzaron a ser adoptada. Primero fue el violín y el violonchelo y contrabajo, realizado con una diferente, perfectamente coordinadas con los instrumentos tradicionales.
Abdel Karim, director de orquesta y Nay jugador
A pesar de que comenzó a partir de una sólida formación clásica, pronto se fue en busca de la música enraizada en el pasado, como la música de la Edad Media, el Renacimiento, el Barroco o árabes Música Clásica, aprendiendo de maestros marroquíes de Tánger y TetuanDamascus (Siria) , España, Italia, etc, y realizado estos estilos en conjuntos como "La Tierra es plana" (música medieval), "Neocantes" (Renacimiento) "Ludicus Consort y Divertimento Musicale" (barroco) y Al-Baraka (Música Tradicional de Oriente Medio y el Magreb).
Abdel Karim ha aprendido el Maqam (Mode), wazn (patrones rítmicos árabes), la técnica y la interpretación de la Nay con el especialista señaló en Oriente Medio música Noureddin Acha, en Tánger. También ha recibido clases de Ziyad Qadi Amin, (Conjunto Al-Kindi) considerado el mejor nayati (nay jugador) de Siria. En el momento en que se profundiza el conocimiento de este arte fascinante, con diversos especialistas en música árabe. Fue director y profesor de la Escuela Municipal de Música de Aracena, 1992-1996 en las asignaturas de flauta transversal y flauta grabadora. Abdel Karim fue el fundador y director del Festival de Música Antigua de Aracena (Huelva) de 1994 a 1998, así como coordinador del Primer Festival de Música Antigua de Úbeda y Baeza. "
PISTAS
1 Samai Bayati
Written-By -- Ibrahim Al-Aryan 6:17
2 Lamma Bada : Muwashaha Andalusí
Music By -- Selim Al-Masry 4:35
3 Hussak Samai : Qadim (Tradicional Turquía) 3:16
4 Yamurru Uyuban : Muwashaha Andalusí
Music By -- Omar Al-Batsh 4:26
5 Al-Kasbah : Tradicional 2:42
6 Taksim Nay : Improvisación De Nay 4:31
7 Bint Al-Balad
Music By -- Mohammad Abd Al-Wahab* 3:50
8 Habibi Ala L'Dunia : Mawwal, Improvisación Vocal Sobre Poesía Andalusí 8:31
9 Taksim Ud : Improvisación De Laúd 3:32
10 Ya Shadi Al-Halhan : Muwashaha Andalusí
Music By -- Sayed Darwish* 5:34
11 Fi L'Rawd Ana Shouft : Muwashaha Andalusí 5:11
12 Bashraf Farahfaza
Written-By -- Ismail Haqqi Bey 5:34
13 Longa Farahfaza
Written-By -- Riyad Al-Sinbati* 3:28
Credits
Bendir, Goblet Drum [Derbuka, Riqq] -- Salah Sabbagh
Cello, Coro -- Reem Shakweer
Contrabass -- Guillermo Morente
Ney, Leader -- Abdel Karim
Oud, Coro -- Hames Bitar
Strings [Kanun] -- Abdesselam Naiti
Violin -- Abdelaziz Zahriou
Vocals, Bendir, Goblet Drum [Dumbek] -- Kamal Al-Nawawi
