HarmoNYom

" A Voice for Indian Classical Music"

 

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HarmoNYom
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2011

The Music Room - 2011

  • SATURDAY OCT. 2 2010 - 8PM


    Pt. Vishwa Mohan Bhatt

    Mohan Veena

    Pt. Subhen Chatterjee - Tabla

    World Grammy Award Winner

    Pt. Vishwa Mohan Bhatt will give a Mohan-Veena concert for the opening of the

    Music Room.

    Pt. Subhen Chatterjee on Tabla.

     

    Venue: St John's Lutheran Church
    81 Christopher Street

    New York, NY 10014

    

    http://www.youtube.com/watch?v=j3l5m0_mzfo&feature=player_embedded

     

    http://www.youtube.com/watch?v=vdMbqLqeYkE&feature=player_embedded#!

     

    http://www.youtube.com/watch?v=jNc93nJ_BPE&feature=player_embedded

     

    

    HarmoNYom presents: Vishwa Mohan Bhatt & Subhen Chatterjee from India!

    Doobeedoobeedoo

    22.10.2010 

    Concert and event review

    http://www.doobeedoobeedoo.info/2010/10/22/harmonyom-presents-vishwa-mohan-bhatt/

     

    Date: October 2, 2010
    Venue: St. John’s Lutheran Church (NY)

    Text by Dawoud Kringle

     


     

    The Music Room concert series presented by HarmoNYom got off to a very good start on the cool autumn evening of October 2nd, 2010 with the presentation of slide guitar virtuoso  Pt. Vishwa Mohan Bhatt and tabla master Pt. Subhen Chatterjee.

     

    St. John’s Lutheran Church in the village provided a perfect venue for the concert. The pews had been moved to the side, allowing people to sit on the floor if they wished. It was interesting to see the decoration that Sridhar Shanmugam (Indian Classical dancer and choregrapher) festooned the church with. The resulting combination of Hindu and Christian ornamentation and color was a noticeable contrast, yet blended in a way that seemed almost natural. The dark color tones of the church seemed almost a framework for the brilliantly colored silks, rugs, and brass ornaments used in the invocation of The Music Room.

     


     

    Pt. Vishwa Mohan Bhatt is a unique figure in the world of Classical Indian music. As a teen, so the story goes, he met and was attracted to a German woman who played the guitar. Soon, he realized that he was attracted to the guitar more than he was to her! He recognized the great expressive quality of the guitar, and saw, like any true artistic visionary, the untapped potential within it. This led to him making modifications to the Hawaiian-style slide guitar so that it could facilitate playing Indian ragas. Thus was the Mohan Veena born; a Concord archtop guitar with 19 strings, played with a steel bar as a slide. Pt. Bhatt is a disciple of Pt. Ravi Shankar, and is part of the garana (school of raga) that traces its lineage back to the legendary 16th century master musician Tansen, of the Emperor Akbar’s court, and his teacher Swami Haridas. He has released many recordings, including the Grammy-winning A Meeting by the River with Ry Cooder. His style blends the Tantrakari ang (an instrumental style of music) with the Gayaki ang; producing a very vocal quality on his instrument.

     


     

    Tabla master Pt. Subhen Chatterjee is the senior disciple of Pt. Swapan Chatterjee. In addition to his flawless classical technique and accomplishments (having worked with the likes of Pt. Bhimsen Joshi, Pt. Jasraj, Ustad Shaheed Parvez Khan, Istad Aashish Khan, and others), he has also led the Indo-fusion band “Karma” and worked with Paul Horn and David Crosby. He also formed an ensemble called “Friends of Drums”, with percussionist Sivamani, which provides a platform for up-and-coming talent as well as charity work raising funds for ailing musicians.

    Pt. Bhatt and Pt. Chatterjee began with Rag Shyam Kalyan. This is to be played to invoke a meditative, spiritual mood: to “connect with Krishna.” The alap in the beginning was both beautiful and dramatic.

    He would slowly tease melodies out of the raga, and suddenly whip the notes around with an abandon matched only by its precision. The effect was amazing. His intonation was flawless, even when he was playing at breakneck speed. I noticed that his right hand technique occasionally resembled that of master guitar or banjo players of bluegrass music: especially when he played a jhalla. Pt. Chatterjee joined him in the gat, played in ektal (rhythmic cycle of 12 beats), and the two musicians blended their energies with a marvelous synchronism. The complicated and dangerous waters of raga and taal were navigated with ease. They communicated with each other as if they were friends (which they obviously are).

    Later, Pt. Bhatt would mention to the audience his gratitude for his parents, teachers, friends, and supporters, and for this music “which is written in our genes.” I have often wondered how much of any music is something that is encoded within our genetic makeup, and how much of that provides both a unifying factor and a necessary contrast with others.

    But I’m getting ahead of myself.

    The two master musicians explored this raga for quite a long time, gleefully finding new possibilities of the melody and rhythm to be examined and admired. One of the most interesting aspects of their performance is the attention to dynamics and dramatic accents, and creating effects that constantly surprise and stimulate the listener. They were at once serious and intense, yet still humorous and playful. At one point, Pt. Bhatt played a very unusual taan wherein he imitated an echo! I’ve never heard any raga master do this before; and found myself laughing with delight at the inventiveness of it.

    The first set ended with a jhalla that could only be described as pyrotechnic. In fact, Pt. Bhatt’s approach to jhalla is quite unique (while, like much of his playing, one can still hear the influence of his teacher Pt. Shankar, in fact, many times I would listen to his taans and think “Shankar’s taans!”). This is clearly attributable to his unique approach to guitar/Mohan veena.

    The second set presented a very different musical side of the duo. They began with a short version of Rag Basant in teental (16 beat cycle). Unlike the first set, his approach to the rag was more direct; in fact, he came out swinging. This was followed by a composition called “Shanti Mantra” (from his Music for Relaxation CD). This piece is a song. He sang, and invited the audience to sing with him. This piece was very different in that it has a chord progression, something that does not happen in traditional raga. It was interesting how he played the chords on his instrument. The chordal pattern and overall feel of the song were somehow vaguely reminiscent of late period Beatles (and I am not one of those people who associates Indian music with the Beatles). The chords were simple, no extended harmony like one would find in jazz. But to hear it in this context is a very pleasant surprise; and the effect was quite pretty.

    The next piece was a new composition based on a Rajistani melody. He also sang this. Pt. Chatterjee’s tablas were more subdued on this, as with the previous piece. They continued with a new song called “Sleepless Night” from their new CD. This song had, to my ears, an almost Country music feel to it. I imagine Pt. Bhatt had been exposed to Country music, and assimilated elements of it. This was followed by a short presentation of Rag Hansadawani. The tablas introduced a swinging feel to the piece. The effect was almost playful. The set concluded with a piece from A Meeting by the River. The alap had a pastoral feel to it, and somehow reminded me of the mood of rag guar sarang, but different. The introduction of the tablas gave it a joyful mood, and it ended with a breakneck teehi.

    I had the opportunity to meet and speak with Pt. Bhatt and Pt. Chatterjee before the performance. I kept my conversation brief, as they needed to prepare for their performance. Both men have that quality that all master musicians have: absolute confidence in what they do, balanced with a genuine humility and sincerity. One thing I noticed about Pt. Chatterjee was a silver pendant he wore that had the symbols of the Hindu Om, the Christian cross, and Islamic calligraphy of the name Allah. This was an eloquent statement of unity. He is soft spoken, and friendly. Pt. Bhatt is an easily outgoing, yet very gracious man; and quite well suited to the role his life has placed him in. He knows precisely what he is doing and how he is doing it. Meeting both men was a great pleasure and honor.

    HarmoNYom is to be congratulated for their presentation of Indian music concerts. New York City may look forward to the beginning of a great tradition of more presentations of this truly great music. In these times, we are all in desperate need of music that inspires and beautifies. A truly civilized society would consider this and other great music a national treasure.

    HarmoNYom’s The Music Room initiative, featuring intimate concerts with five Indian Classical Maestros for the season 2010/2011, will donate 10% of all revenues to Music Basti based in India. For more details, contact Veronique Lerebours and Girish Raj by at info@harmonyom.org.

  • SATURDAY FEBRUARY 26, 8PM

    HarmoNYom presents as part of

    The Music Room Project

     

    Outstanding Sitarist

    Ut. Shahid Parvez Khan

    on Sitar

    & talented Nitin Mitta on Tabla.

     

    Venue: St John's Lutheran Church
    81 Christopher Street

    New York, NY 10014


    Ustad Shahid Parvez Khan is privileged with both belonging to an illustrious musical family, and for achieving success in not only preserving the tradition but in pushing its boundaries to even greater heights of aesthetic beauty. He is one of the most brilliant musical gems of the famous Etawah Gharana and belongs to the seventh generation of this musical lineage. His family has produced the most revered and influential figures in Hindusthani Classical Music including the likes of Sahabdad Khansahab, Imdad Khansahab, Enayet Khansahab, Waheed Khansahab and Vilayat Khansahab.

    A very young Shahid Parvez was initiated into the rich music of the Gharana by his illustrious father and Guru Ustad Aziz Khan, a famous musician and a noted composer and the son of the legendary Sitar and Surbahar virtuoso Ustad Waheed Khansahab. Few instrumentalists have enjoyed so much of love and admiration as Ustad Shahid Parvez Khan has, from the music loving fraternity worldwide. He is a Top Grade artist of A.I.R. and a recipient of numerous national and international awards including the 'Sur Shringaar', the 'Kumar Gandharva Samman', the "M.L. Koser Award', etc. He is also a recipient of the prestigious "Sangeet Natak Academy Award" of 2006. He has performed in all major musical festivals in India and abroad including the Festival of India held in the US, Europe, USSR, Canada, Middle East, Africa and Australia, enthralling the audience everywhere.

    For Ustad Shahid Parvez Khan, the Sitar and Self are identical entities, and music is not just a discipline but life itself – vibrating and pulsating and full of colour. The power of his music is most immediately encountered in the highly charged sound quality he conjures from his Sitar and the sparkling intelligence that is the hallmark of his improvisatory music.

     

    Nitin Mitta is one of the most sought after tabla players of his generation. He has performed with some of India’s most celebrated musicians, including Pandit Jasraj, Pandits Rajan and Sajan Mishra, Pandit Vishwa Mohan Bhatt, Ustad Nishat Khan, Ustad Shahid Parvez, Pandit Nayan Ghosh and Ustad Irshad Khan.
    Nitin received his early training in Hyderabad from Pandit G. Satyanarayana and later from Pandit Arvind Mulgaonkar of Mumbai. Both his Guru's are disciples of the legendary Tabla maestro representing the Farukhabad Gharana, Ustad Amir Hussain Khan.

    Nitin has collaborated with 2011 Grammy Nominee Pianist Vijay Iyer and Guitarist Prasanna in an exciting new trio project called “Tirtha.

     

    Reserve your ticket or membership now!

    Seats are limitated!

    http://musicroom.eventbrite.com/

     

    HarmoNYom will donate 10% of all revenues to Music Basti as part of the special Fund-Raising organized "Street children" in India!

     

    MEMBERSHIP - INCLUDING ANY 3 CONCERTS:
    - INDIVIDUALS $115
    - COUPLE or PAIR $220
    - STUDENT (W/ID), SENIOR & CHILDREN (Under 18) $65

    TICKET FOR NON-MEMBER - (1 CONCERT)
    - INDIVIDUAL $40
    - STUDENT (W/ID), SENIOR & CHILDREN (under 18) $25

    Venue: St. John Lutheran's Church
    81, Christopher Street (Corner of 7 Avenue), New York, NY 10014

    (West Village)
    Subway Line 1 and Path Train (NJ): Christopher Street Stop

    http://stjohnslutheranonline.org/


    Door will open at 7:30 PM

     

    TICKETS & MEMBERSHIPS ONLINE:

    www.musicroom.eventbrite.com/
     

    HarmoNYom Team:Veronique Lerebours & Girish Raj

    Info@HarmoNYom.org

     

    Community Partners:
    WKCR 98.9 FM NY, St. John Lutheran's Church, Mukti Kitchen, Music Basti,The Anamika Navatman Project, DooBeeDooBeeDoo, Sidart Photography, Dawoud Kringle, The Epoch Times, Marcus Simpson, Vishesh Sharma,

    TV Asia, India Abroad

     

    A Master’s Master Graces Manhattan: Shahid Parvez Khan & Nitin Mitta

    DooBeeDooBeeDoo - 08.03.2011

    Concert and event review


    http://www.doobeedoobeedoo.info/2011/03/08/a-master’s-master-graces-manhattan-shahid-parvez-khan-nitin-mitta/

     


    Date: Febuary 26, 2011
    Venue: St. John’s Lutheran Church (NY)
    Presented by HarmoNYom

    Reviewed by Dawoud Kringle

     

    When a concert performed by Ustad Shaheed Parvez Khan is announced, those in the know ask two questions: Where? And When?

    While it is customary to give a brief biographical description of an artist while writing an article like this, I’m afraid it does little justice to prepare for the experience of the music itself. That said, Shaheed Parvez Khan, known affectionately by his students as Ustad-ji (a term of respect used by his students; which I will hence refer to him in this article), was born into a family of musical royalty. Belonging to the Etawah Gharana, with musical and family ancestors including Sahabadad Khan, Imdad Khan, Enayat Khan, Waheed Khan, and Vilayat Khan. He was initiated into the Gharana by his father and teacher Ustad Aziz Khan. Achieving great artistic success at an early age, he became a Top Grade Artist of A.I.R., received numerous awards, including the “Sur Shringaar,” the “Kumar Gandharva Samman,” the “M. L. Koser Award,” and the “Sangeet Natak Acadamy Award.” He has released many recordings, performed in all the major music festivals in India, and has toured the US, Europe, Russian, Canada, Middle East, Africa, and Australia.

    Joining him was New York based tabla virtuoso Nitin Mitta. Receiving his early training in Hyberadad from Pandit G. Satyanaranyana and Pandit Arvind Mulgaonkar; both disciples of Ustad Amir Hussain Khan of the Farukhabad Gharana. Mitta has performed with masters such as Pandit Vishwa Mohan Bhatt, Pandit Jasraj, Pandit Sajan Mishra, Istad Mishrat Khan, Ustad Irshad Khan, and many others. He is making a well-deserved reputation for himself as a brilliant tabla player.

    On a quiet, and mildly cold Saturday night at St. John’s Lutheran Church in New York City, HarmoNYom presented the second of its Music Room concert series. These concerts are designed to recreate the ancient music rooms of India, where intimate gatherings would allow people to experience the music in comfort and with no distractions (it may be added that they are also donating 10% of all revenues from the Music Room Series to support Music Basti; a non-profit charity bringing music education to underprivileged children in India). In front of the stage was an open area with cushions where people could sit on the floor, just like in the old days. And frankly, that’s the best way to appreciate this music.

    I arrived early, just before the sound check. Ustad-ji would arrive moments after I did. Veronique Lerebours, the founder of HarmoNYom, (producer of these concerts), and tireless purveyor of the finest Indian classical music in New York City, the production staff directed by Girish Raj, volunteers, and Ustad-ji’s students, were busy in preparation. Ustad-ji arrived and began the sound check. The people in the room were quiet while Ustad-ji played. He has that effect on people. Watching and listening to him tune is an interesting experience for any musician. He made some last minute adjustments on his sitar; an Ibrahim & Bashir SPK model. This sitar, one he’d had a hand in designing, is an extension of the Vilayat Khan design. Its tone is more pronounced in its mid range and bass and had a presence that contrasts the stereotypically metallic or trebly tone associated with the sitar (especially by those in the west, who know the sitar only through its presence in pop music.) Ustad-ji exploits the acoustic properties of the instrument well.

     


     

    A platform a little under a meter high had been set up for use as a stage. This was a good idea; it allowed good visibility for everyone in the audience. And as with other HarmoNYom produced concerts in this venue, the Indian decorations by Sridhar Shanmugam blended in an indescribable way with the traditional Christian trappings of the church.

    Ustad-ji and Mitta retired to the “green room” in the church’s basement (which wasn’t green at all, actually.) The doors were opened, and the people who had amassed outside filed in. Before long the place was packed. Everyone who is part of the classical Indian music scene in New York City was there. Such is the immensity of Ustad-ji’s well deserved reputation.

    At this point, it is probably relevant to mention the immense respect that Ustad-ji commands. It is quite noticeable. Having studied under him myself, I had the opportunity to observe what can only be described as a subculture echoing an ancient tradition. He forms an axis around which revolves a miniature society of students and aficionados. His students and assistants tend to his needs. Everywhere he goes – and he travels a lot – the events seems to coalesce into a world within a world, with him at the center. Such is the force of his personality and monumental accomplishments; balanced by a humble and unobtrusive nature.

    Finally, Ustad-ji and Mitta took the stage. After some last minute tuning, Ustad-ji announced that he would play Rag Kiwani in alap, jhaptal (10 beat cycle), rupaktal (7 beat cycle) and teental (16 beat cycle).

     


     

    Before playing, Ustad-ji entered into a noticeable state of intense concentration. He was no longer in a church performing for an audience; he immersed himself into the music. The first notes of the raga rang through the church and washed over the audience. The power of the music drew everyone into the raga’s presence and mood. Experiencing the sad and almost tragic mood of this raga as a visceral sensation was impossible to escape. For my own part, I tried taking notes to write this article. I couldn’t write. At times, the sheer beauty of a particular musical phrase brought tears to my eyes. I wasn’t alone. Many times, the audience would gasp or nearly swoon in astonishment at the music he drew from his instrument.

    He possesses a sense of drama and makes marvelous use of dynamics in his playing. He would, for example, during an alap, mute the droning strings, and coax a melody from the strings, bending each note until no more vibration could come from it; and drawing the listener into the soul of the music. Other times, while interacting with the tabla during a jor or jhalla, he would burst into a taan of blinding speed and complexity, seemingly out of nowhere, and running through the taal with unmitigated abandon, always landing on his feet. Never repeating himself, always bringing out new ideas, new colors, new shades of meaning from the raga.

    One of Ustad-ji’s trademarks is his use of the tarb (sympathetic strings.) He is not content to merely let them resonate in sympathy with a note or harmonic, nor to merely strum them as an effect. He often plucks individual notes on the tarb that blend into the melodic statement he’s making. Those with no experience playing sitar may have difficulty imagining how difficult this is.

    Often, after executing some musical impossibility, he would smile with glee and amusement. He seems to get a kick out of playing something incredibly difficult, as if he were standing aside watching some marvelous event. But this was no mere act of technical excellence (although he has plenty of that.) All the subtleties of the melodic unfolding, all the mathematical precision and aesthetic beauty of the taans were executed with an inexorable force and a natural beauty.

    Nitin Mitta communicated with Ustad-ji effortlessly. He was more than equal to the task of standing next to Ustad-Ji, and displayed a flawless mastery of the tabla. His accompaniment held the rhythm and momentum of the music, and his solos were eloquent statements of the rhythmic beauty of the taal he was playing. His tone was muscular, with a powerful presence, yet not intrusive.

    The first set ended on a quiet note; no bang at the end of a jhalla. It seemed appropriate to the mood of the raga.

    After an intermission, Ustad-ji and Mitta took to the stage again. He began with raga Bihag. The mood of this piece was a noticeable contrast to the raga in the first set. It was lighter, more playful. It was like a stroll through a garden. As the raga developed, the intensity manifested itself. They played with an abandon that would have been reckless had it not been for their superb control.

    They ended with Anar Anar; a piece based in Misra Khamaj that Ustad-ji usually ends his concerts with (and often mixes elements of other ragas with). He treated the lyrical demands of the composition with his usual mastery, imagination, and sensitivity. It was a fitting end to a marvelous concert. The music ended, and the audience came back to the mundane realities of this world a little richer, more at peace, and having had the mirrors of their souls clarified through music. Such is the service Ustad Shaheed Parvez Khan performs for humanity.

     


     

    As I said earlier in this article, I had studied with Ustad-Ji, and am personally acquainted with him. While I cannot say I am one of his best students, nor are we close, I know him as a supremely confident man, with an immense inner power; yet possessing an old world humility, quiet grace, and good humor. It’s his world; and he sees to it that you are welcome as an honored guest in it. He’s someone you immediately like and are comfortable with; yet there is no mistaking that you are in the presence of an extraordinary person.

    When I left the church, and took the train downtown, I met a woman who had attended the concert. She told me that she found the music amazing and transforming; and that it was her first experience listening to Indian classical music live.

    She couldn’t have made a better choice.

     

    http://www.doobeedoobeedoo.info/2011/03/08/a-master’s-master-graces-manhattan-shahid-parvez-khan-nitin-mitta/





    

    Classical Indian Sitarist Coming to NY!

    By Nemanja Rebic Created: February 21, 2011

    For The Epoch Times

     

    If we talk about the sitar today, one of the names that first comes to mind is Ustad Shahid Parvez Khan. His superb musicality, power of expression, and technique have left many music lovers worldwide in awe. New Yorkers will have an opportunity to hear him on Saturday, Feb. 26.

    HarmoNYom has organized The Music Room, a series of five concerts of five different styles of Indian classical music. This, the second in the series, will take place at St. John Lutheran's Church in Manhattan at 8 p.m.

    Few instrumentalists have enjoyed as much love and admiration as Khan. His students affectionately call him Ustad Ji. Ustad is an honorific title for a Muslim man in South Asia, usually used for well regarded musicians, artists, and teachers.

    Khan will be accompanied by Nittin Mitta, a New York-based tabla player who has shared the stage with some of the greatest Indian Classical musicians in the world, such as Pt. Jasraj, Dr. Prabha Atre, Pt. Rajan Sajan Mishra, Pt. Vishwa Mohan Bhatt, Smt. Veena Sahasrabuddhe, and Pt. Budhaditya Mukherjee, just to name a few.

    The Music Room provides a very intimate setting to recreate the ancient atmosphere depicted in old paintings where an audience would gather around the artist for an informal talk and performance. There are no blinding stage lights and no hard seats that separate the performer from the audience, just a place for an open exchange between the artist and the audience.

    HarmoNYom was founded in 2008 by Veronique Lerebours who, driven by her passion for music, made it a leading organization dedicated to promote the love of Indian classical music in New York. It seeks to serve as a platform for the world-renowned South Asian classical maestros, as well as emerging talents, who can enhance their exposure while allowing New Yorkers to gain awareness and appreciation of the rich Indian traditional classical music’s legacy.

    Classical Indian Music

    The Sitar is a north Indian instrument and one could say that it is the combination of the old Persian instrument “sehtar” and the Indian instrument “veena.” It was popularized in the West in the '60s when sitarist Ravi Shankar performed at big festivals in the U.S. alongside some of the most popular pop-rock acts.

    But classical Indian music is one of the oldest and greatest musical traditions in the world. About 5,000 years old, the tradition has many accounts which tell of ancient sages and yogis meditating on the Nada Brahma—the sound of the universe.

    They were observing planets and constellations and enlightened to the celestial bodies' connections with different combinations of the musical notes and rhythmical structures. In this way the concepts of Ragas and Talas were created.

    Raga is a combination of notes with certain rules around ascending and descending scales. Each raga produces a color and an emotion which is also connected to different parts of the day and seasons of

    The History of Style of Etawah Gharana

    Khan is one of the leading exponents of Etawah Gharana, a musical style of playing the sitar. Gharana means "house" or "family," and this tradition is passed on from father to son over the generations. Ustad Shahid Parvez Khan was trained by his father and guru Ustad Aziz Khan.

     

    About Ustad Shahid Parvez Khan

    * A recipient of the prestigious "Sangeet Natak Academy Award" of 2006.

    * A Top Grade artist of All India Radio and a recipient of numerous national and international awards, including the Sur Shringaar, the Kumar Gandharva Samman, and the M.L. Koser Award, among others.

    * Has performed in all major musical festivals in India and abroad including the Festival of India held in the US, Europe, USSR, Canada, the Middle East, Africa and Australia.

    * Has recorded numerous LP records, audio and video cassettes, CDs, and DVDs.

    * Gives workshops in many different parts of the world while on tour and has many disciples worldwide.

    From shahdiparvezkhan.com

    The style known as Etawah Gharana comes from one of the most ancient schools of music, the Gwalior gharana, which started with the reign of the great Mughal emperor Akbar (1542-1605). Akbar was a patron of the arts and his favorite singers at court, the legendary Miyan Tansen, came from the town of Gwalior and so this gharana was named after that town.

    Etawah Gharana was founded by Ustad Sahabdad Khan who originally learned vocals, but later took up the sitar. He later moved to the town of Etawah, from which the gharana’s name comes. Although Ustad Sahabdab Khan founded the gharana, his son Ustad Imdad developed the instruments and created an innovative style that became its characteristic sound.

    The family musical tradition continues today with Ustad Shahid Parvez who began his training at the tender age of 3. He was first trained in the classical vocal music that forms the foundation of this style of sitar playing. It transfers the emotional directness and tonal nuance of the human voice to the instrument.

    While still a boy, Ustad Ji also learned rhythm and tabla, a popular drum. This intensive early training has paid dividends for Ustad Shahid Parvez, who is now renowned both for his lyricism and compelling and intricate rhythms.

    Information about tickets for this concert and all the other Indian Classical Music events in New York can be found at http://www.harmonyom.org.

     

    Nemanja Rebic lives in Brooklyn, N.Y.

     

    Source:

    http://www.theepochtimes.com/n2/arts-entertainment/classical-indian-sitarist-coming-to-ny-51657.html

     

  • SUNDAY APRIL 17, 5PM

     

    HarmoNYom

    is proud to present its 3rd Baithak Concert as part of

    The Music Room!

     

    Maestro Shashank

    Indian Bamboo Flautist

    A BENEFIT CONCERT FOR JAPAN! Accompanied by

    Akkarai Subbulakshmi/violin

    & Parupalli Phalgun/mridangam.

     

    Opening Concert by Miya Masaoka & Akiko Sasaki.

    Duet on Japanese Koto.

     

    Venue: The Center 

    Lerner Auditorium

    208 West 13 Street, Room 301

    New York, NY 10014

    

    Maestro Shashank stormed into the music world at the age of seven.  He was the youngest musician to have been invited by The Music Academy, Chennai to perform the senior most slot of The Music Academy, (often performed by Legends of Indian Classical Music), at the age of 12  - a record yet to be broken in the history of South Indian Music.

    With scintillating, primal tones he truly sings through the most organic and ancient of all instruments. His logic-defying virtuosity is the result of a magical innate talent coupled with the best possible training. Shashank has propelled the Bamboo flute into an enviable position by his playing techniques of which “the multi flute transposed fingering technique” and the dual octave production”” have won him world acclaim. http://www.shashank.org/

     

    Akkarai S. Subbulakshmi is a violinist of the 21st Century in the field of Carnatic music. She is the daughter of renowned violinist Akkarai Swaminathan.

    Akkarai S. Subhalakshmi, a child prodigy started giving violin solo and vocal programmes at eight. She had her initial two years training at Nadha Brahma Vidyalaya of the late guru V. Janakiraman, New Delhi. She is now under the guidance of Swara Raga Sudha Violin School run by her father Akkarai S. Swaminathan. She is not only an expert violinist but also a well recognized vocalist. She is learning vocal music from Padma Bhushan P.S. Narayanaswamy and Chithra Veena N. Ravikiran.

     

    Parupalli Phalgun - Mridangam

    An extremely talented and dynamic youngster, Phalgun was trained from the age of five by the Late Radhakrishna Raju and later under his son M.L.N. Raju of AIR Vijayawada. He hails from a family of great musicians such as Parupalli Ramakrishnaiah Pantulu, the guru of vocal Maestro M. Balamurali Krishna. He has accompanied many stalwarts in the field of South Indian music including Shashank and he is currently on the faculty of The Govt. Music College, Vijayawada.

     

    The concert will be followed by a lively conversation with the artists. The evening includes complimentary Chai and Indian-inspired gourmet snacks.

    Click for more details

     

    As part of the Fund-raising 10% of all revenues will be donated to IBREA Japan!

     

    The Center - Lerner Auditorium

    208 West 13 Stree, Room 301

    New York, NY 10014 (7/8 Avenues)

     

    Tickets (1 concert): $40

    $25 (Students w/ID, Seniors & Children under 18)

    Memberships (3 concerts): $115 (Individual), $220 (Pair), $65 (Students w/ID, Seniors & Children under 18)

    Buy Tickets (Cash only at door)

    http://musicroom.eventbrite.com/

     
    Community Partners:
    WKCR 98.9 FM NY, St. John Lutheran's Church, Mukti Kitchen, Music Basti, The Anamika Navatman Project, DooBeeDooBeeDoo, Sidart Photography, Dawoud Kringle, Marcus Simpson, The Epoch Times, Vishesh Sharma, Saregama, India Abroad, I Meditate NY, IBREA


    For more details: Veronique Lerebours or Girish Raj at contact@harmonyom.org

     

    

    On behalf of HarmoNYom,

    THANK YOU to Shashank, Akkarai Subbulakshmi & Parupalli Phalgun

    for their magical performance on Sunday April 17 in NYC!

     

    (Photo courtesy Marcus Simpson)

     

    To Miya Masaoka & Akiko Sasaki for their wonderful Koto duet;

    As well to our members, music lovers, volunteers, friends, Community Partners & Media to be part of THE MUSIC ROOM project & supporting our 3rd successful fund-raising for IBREA Japan!

    It was an exceptional evening... one not to be missed!

     

    Shashank performing at The Music Room - April 17 2011 accompanied by Akkarai Subbulakshmi & Parupalli Phalgun.

     

    (Photo courtesy Marcus Simpson)

    Video Clip:

    http://www.youtube.com/watch?v=1B5_OOfazxY

    

    

  • FRIDAY MAY 2011, 8PM

     

    HarmoNYom

    is proud to present its 4th Baithak Concert as part of

    The Music Room!

     

     An exceptional evening of North Indian Classical Music with

    Maestro Dhrupad Vocalist

     

    USTAD WASIFFUDIN DAGAR


     Accompanied by Qamar Dagar & Laurence Bastit

    on tanpura

    & Mohan Shyam Sharma on Pakhawaj.

    (Photo courtesy S. Thanthoni) 

     

     Venue: 344 West 38 Street, 5 Floor, New York, NY - Get Directions  (Doors open at 7:30pm)

    Subways: A/C/E to Port Authority and 1/2/3, N/Q/R, 7 to Times Square/42 Street

    

     Tickets: $40

    $25 (Students w/ID, Seniors, Children - 18)

    Buy your TICKET now! (Limited space) http://musicroom.eventbrite.com/

    10% of all revenues to Music Basti.

     

    The concert will be followed by a lively conversation with the artists. The evening includes complimentary Chai and Indian-inspired gourmet snacks.

     

    ********************

     

    Ustad Wasifuddin Dagar was honored by the President of India with the Padma Shri award in 2010. The Padma Shri is the fourth highest civilan award in India.

     

    Ustad F. Wasifuddin Dagar represents the 20th generation of dedicated dagarvani, dhrupad singers in the Dagar family. He is the nephew of Ustad N. Zahiruddin Dagar and son of Ustad N. Faiyazuddin Dagar, the legendary younger "Dagar Brothers". Though traditionally his family has always performed dhrupad as a duet (jugalbandi), Wasif (shortened name) successfully presents the dynamic of a duet in a solo performance by maintaining the distinct musical approaches and styles of both his father and uncle.

     

    Wasif's early training was with his uncle Ustad N. Zahiruddin Dagar, and his father Ustad N. Faiyazuddin Dagar. Wasif also had the good fortune of the tutelage of his grand uncle Ustad Rahimuddin Khan Dagar, a dhrupad exponent and his grandfather's younger brother. Other elders including uncles Ustad N. Aminuddin Dagar, and Ustad N. Mohiuddin Dagar (renowned vina virtuoso) have also greatly influenced him. Wasif continues to benefit from the knowledge, experience and guidance of his uncles Ustad. R. Fahimuddin Dagar, Ustad Z. Fariduddin Dagar, and Ustad. H. Sayeeduddin Dagar.

    Since the demise of his uncle Ustad N. Zahiruddin Dagar in 1994, Wasif has been carrying on the tradition of Dagarvani solo.

     

    Pandit Mohan Shyam Sharma is one of the leading Pakhawaj players of India. He learnt pakhawaj from Pandit Tota Ram Sharma of Mathura. Pandit Mohan Shyam Sharma started his career as an accompanist with the junior Dagar brothers and toured with them, and Ustad Asad All Khan extensively in India and abroad. He has been a sought-after accompanist for all the most eminent exponents of dhrupad, vocal and instrumental indian classical music. He has accompanied world famous musicians of other styles including Pandit Ravi Shankar, Pandit Hari Prasad Chaurasia, and Ustad Amjad All Khan.

    

    ************************

     Community Partners:
    WKCR 98.9 FM NY, St. John Lutheran's Church, Mukti Kitchen, Music Basti, The Anamika Navatman Project, DooBeeDooBeeDoo, Sidart Photography, Dawoud Kringle, Marcus Simpson, The Epoch Times, India Abroad, Saregama, I Meditate NY, ITV, TV Asia, IBREA, BZH NY 

     

    Building community for musicians & music lovers, alike!


    On behalf of HarmoNYom...

     

    THANK YOU to Ustad WASIFUDDIN DAGAR,

    Qamar Dagar, Laurence Bastit and Pandit Mohan Shyam Sharma

    for their incredible dhrupad performance on Friday May 20 in NYC!

    On a full house, Ud. Wasifuddin Dagar mesmerized all music lovers with an exceptional recital, one not to be missed!

    THANK YOU as well to our members, music lovers, volunteers, friends, Community Partners & Medias for being part of The Music Room project

    & supporting our 4th successful fund-raising for

    Music Basti!

     

    ******************

    

    CANCELED!

    Ud. Mashkoor Ali Khan

    Vocalist

    On the sad news, we are sorry to announce that our 5th and LAST Concert for the season 2011 featuring great Maestro Vocalist Ustad MASHKOOR ALI KHAN from the Kirana Gharana has been canceled and will not be presented this year due to some visa issues.  

    












Dear Music Lover,

 HarmoNYom is a non-for-profit organization and sponsored project by The New York Foundation for the Arts (www.nyfa.org). It is run by a group of music lovers dedicated to promote and create awareness of Indian classical music in New York and the surrounding areas. We have a very exciting season ahead of us! With your help we will explore innovative ways of providing high quality experiences, through Indian Classical Music, as way of engaging, inspiring and challenging communities locally, nationally and internationally and make of our new project, The Music Room,  a great success for the new season 2010-2011

 Thank You for your support

and Welcome!

Veronique Lerebours

Founder/Project Director

 


*******************

 

2 Causes!



MUSIC BASTI


IBREA JAPAN



 ********************


Our Team...

 

Veronique Lerebours

Founder/Project Director - HarmoNYom

 

Girish Raj

Music Producer - Indigo

 

Ashok Ilankovan & Sriharsha Aradhya

Sound and Recording- WKCR 89.9 FM

 

Siddharth Gupta

Photographer - Sidart Photography

 

Marcus Simpson

Photographer

 

Sridhar Shanmugam

Coordination - Decor and design

 




 ********************

Membership Application

2010-2011

(To download the membership FORM, click here).



MEMBERSHIP:

(Children age 4 and below are not permitted in the concerts).

 

The Music Room series requires a subscription to 3 concerts minimum from a season of 5 concerts in 2010-2011. Individual tickets for non-members are based on availability. As the project is just launched, we are currently open to the public, but as subscriptions grow, we expect concerts space for non-members to be limited.

 

Annual membership is offered at different rates with different options: 

 

INCLUDING 5 CONCERTS:

 - Individual $175

- Couple/Pair (for 2 members) $295

- Students (With ID), Seniors & Children (Under 18) $100

- Institution or Sponsor (for 2 members) $320  **

 

INCLUDING ANY 3 CONCERTS:

- Individual (Only) $115

- Couple/Pair (for 2 members) $220

- Students (with ID), Seniors & Children (Under 18) $65

 


 

TICKET: ANY 1 CONCERT

For Non-Member (upon availability space)

- Individual only: $40

- Student (With ID): $25

Tickets for concerts are available online or at the time of concert at the venue (Cash or money order only)
Non-members are encouraged to purchase tickets in advance.

You can also reserve your tickets in advance by calling (917) 751 4077 or send us an email at info@harmonyom.org

________________________________________________________________________

 

REGISTRATION:

(To download the membership FORM, click here)

To be sent with your check or filled out on the day of the concert.

 

Name:

Address:

City:

State:

Zip code:

Telephone:

Email (Required):

 

Individual:  

Couple/Pair:  

Student/Senior/Children under 18:  

Membership - 5 Concerts:   

Membership - Any 3 Concerts: 

Ticket for 1 Concert (Non-member): 

Institution:  

Sponsor:  

100% Tax deductible: 

 

Payment by Credit Card/Online:  

Cash or money order:  

Check: 

Amount paid: $_______

________________________________________________________________________

 

PAYMENT:

You may pay the membership dues by credit card, certified check, money order or cash either online, through mail or at the concert (Cash or money order only).

 

For online registration: (Credit cards fees may apply and payments will be accepted up to 4 hours before each concert). www.musicroom.eventbrite.com/

 

For payment by check or money order:

- Individual: Payment by check or money order payable to HarmoNYom and send to: HarmoNYom, 59 Livingston Street, # 4B1, Brooklyn, NY 11201

- ** Institutions and Sponsors: Any contributions made by Institutions or Sponsors are 100% tax-deductible to the extend allowed by law. HarmoNYom is a sponsored project by NYFA (www.nyfa.org). Payment should be payable to NYFA and send to: HarmoNYom, 59 Livingston Street, # 4B1, Brooklyn, NY 11201

 

Please be sure to send us your name, address, phone number and email with any payment so we can contact you if necessary and add you on the Guest List.

________________________________________________________________________

 

MEMBERSHIP:

Membership is annual (valid for one year from October 1 2010 to September 30 2011), non refundable and non transferable (unless on exceptional basis and at the discretion of HarmoNYom’ team). Purchasing 3 concerts minimum in advance are required to become a Member. The Music Room is 5 concerts in a year • HarmoNYom notifies its members in advance of changes and/or cancellations due to unavoidable circumstances • Policies are subject to change without notice.

 

Membership Privileges:

 - Intimate & private encounters with the Maestros
- Lecture/Introduction from the artists themselves
- Gourmet snack and Masala Chai served

- Autographed CD's to be sold in the venue

- Photographs via email after each concert

- Membership card with photograph for easy

_______________________________________________________________________ 

 

INSIDE THE MUSIC ROOM:

Concert duration is approximately 2,5 hours with a short lecture or open Q/A, with an intermission of fifteen minutes • Unless otherwise notified, formal attire is not required • No food or beverages • No infants or toddlers • Kids under age 10 need to occupy the last two rows in the auditorium • No audio or video recording • No unauthorized photography (with or without flash).

________________________________________________________________________

 

QUESTIONS:

Please email our Team, Veronique Lerebours or Girish Raj.

By Email: info@harmonyom.org  

Copyright © 2009-2022 - All rights reserved. 

HarmoNYom
Brooklyn, NY 11201
Contact@HarmoNYom.org

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