#zvuka

The delightful anchor for the evening

Vera Folstad hails from Bulgaria and learnt playing on the organ as well as studied Church Music at the Norwegian Academy of Music. She is a teacher of the piano and the organ at various music schools and colleges, and has performed in many festivals, programmes and church concerts.

Tronn Folstad studied classical guitar at the Oslo Conservatory. He has since performed as a guitarist at various Norwegian rock and pop groups as well as flamenco groups in numerous cities and at prestigious music festivals. He also happens to be a composer, with compositions such as 'Misa Flamenca' to his credit.

Vera Folstad

Tronn Folstad

Duo Cordoba

Duo Cordoba has been performing actively at several Music Concerts and Festivals, supported by the Municipal Government of Oslo. On their maiden visit to Moscow, the duo chose an eclectic mix of compositions – including Vivaldi and Bulgarian Folk. Both got to display their prowess at each of their instruments – performing solo and together in turns; Tronn playing some energetic and foot-tapping Flamenco music on the guitar, Vera with her soulful tunes on the organ and piano, and of course both coming together for many a duet. It was a solemn yet engaging concert with quite a few moods on display throughout, and a befitting end to what has been a spectacular month and a half of celebrating World Music!

Post-concert interaction with the audience

The  Performers at the Maliy Zal

Ustad Ashish Khan is one of the most revered figures in Hindustani Classical Music today, having received his ‘taalim’ (training) under his father as well as grandfather, Ustad Baba Allauddin Khan, who was a royal court musician and founder of the Senia Maihar School of Music. Ustad ji was the face of Indian Classical Music at the festival this year, accompanied by his nephew Shiraz Ali Khan, also on the sarod, and brother Ustad Pranesh Khan on the tabla.

Ustad Aashish Khan

Shiraz Ali Khan

Ustad Pranesh Khan

The evening began with a hauntingly beautiful rendition of the evening raga Puriya Dhanashree, and continued with the rain-invoking raga Desh Malhar, in keeping with the season in Moscow, before moving on to a 'ragamaala' (a medley of various ragas) and a captivating 'sawal jawab' (call and response) session with the tabla. Ustad Ashish ji explained the nuances of the sarod along with Shiraz, who kept perfect step all along the way, while Ustad Pranesh Khan kept the audience enthralled with impressive theatrics on the tabla. The interactive sessions were very well received by the eager Russian audience.

Connecting with the audience

The performance was met with unanimous applause by the audience members and requests for a final performance could not be ignored. Ustad ji conceded by playing the beautiful morning raga Bhairavi thus bringing the glorious evening to an end.

Passing on the Reins

In keeping with the ancient Indian principle of ‘guru-shishya parampara’ (teacher-disciple lineage / традиция учитель-ученик), while we were treated to a scintillating performance by the ‘Guru’ on the evening of 11 June, his treasured ‘Shishya’ Shri Atish Mukhopadhyay descended the following day along with his students on the historic ‘Rachmaninov Zal’ (Rachmaninov Hall) of the Moscow Conservatory and opened the Annual Students’ Concert. Atish ji is the leading exponent of the Maihar Senia Gharana from the next generation; and besides being an active disciple and performer of repute himself, also holds workshops, lecture demonstrations and teaches students at some of the most renowned music schools in India and abroad.

Starting with two very old Yaman Kalyan compositions, Atish ji along with fourteen of his students - nine vocalists, one each on the tabla, flute and guitar, and two on sitar – set the tone for the rest of the evening. They finished with a ‘Bhairavi Tarana’ composed by Bahadur Hussain Khan, descendant of Miyan Tansen of the Senia Gharana and court musician of the Great Mughal Emperor Akbar. The performance was a seamless integration of all the various instruments and vocalists that were part of it, with perfect execution of technique. They left the audience mesmerised and there was palpable pride on their faces at the end of it.

The concluding piece in the Indian Classical segment was a tabla solo by a student of Shri Gulfam Sabri, teacher of music at the Moscow Jawaharlal Nehru Culture Centre (JNCC). Accompanying her was a student of Atish ji, who played a 'nagma' (aka 'lahara', the melody refrain used to accompany the tabla) in Raag Kaafi, composed by Atish ji himself, on sitar.

It was truly a celebration to behold, with the handing down of skills from guru to shishya on virtuous display. The best part was Ustad Aashish Khan himself gracing the occasion, as a member of the audience, sending out his silent blessings to all the future torchbearers of Indian Classical Music in Russia...

Learning from the Maestro - Master Class wth Ustad ji

Students and lovers of music had the rare opportunity to learn about Indian Classical music and the sarod, one of the most important instruments in North Indian Сlassical music, from Ustad Aashish Khan himself as part of the Master Class organised by the Tchaikovsky Moscow State Conservatory on 12 June 2017. 

The class lasting over two hours saw Ustad ji talking about the tradition and practices of Indian Classical music, the techniques of playing his instrument and demonstrated musical exercises to gain an improved sense of notes, rhythm and timing. The maestro played notes from over 15 ragas, explaining their mood and nature, and their connection with the time of day and seasons. Patiently answering questions from eager students, he also emphasized the importance of rigorous ‘riyaz’ (practice / тренировка) in improving ones music skills. All in all, the day goes down in the minds of the students as a highly memorable, warm and inspiring experience!

Scenes from the Master Class

Closing shot. From L to R : Ustad Pranesh Khan, Myself, Ustad Aashish Khan, Shri Atish Mukhopadhyay, Dr. Margarita Karatygina, student and flautist Sergei Emelianov

The Mosow Conservatory Building with the Tchaikovsky Monument visible in front Naturally then, I was beyond thrilled when earlier in May this year, fellow music lover and mother figure, Debasmita di (Debasmita Moulick, Senior Journalist), introduced me to Dr. Margarita Karatygina, Musicologist and Head of the 'World Music Cultures Center' at the Conservatory. She informed us of the upcoming International Music Festival 'Vselennaya Zvuka' (Universe of Sound) which, in its 15th edition this year, would be bringing together artists and performances in Classical Music from various parts of the world. Thus, as a volunteer, photographer and Assistant to the Press, I was able to get a ringside view of the complete Festival over its full duration of a month and a half, and I couldn't be more grateful for this incredible opportunity to have come my way.

Presenting below some highlights and my personal favourite parts of the Festival… 

An Evening of Soulful Iranian Music

Kicking off the festival was the Iranian Classical Music Concert “Symmetry of Shadows”, at the Rachmaninoff Zal of the Moscow Conservatory on the 8th of May 2017. The concert featured music written by various Iranian songwriters over the years. The composer and arranger for the evening was Shahin Sarikhani, while Hosein Nursharg was the Artistic Director.

Right from the moment the concert began, a palpable tranquil and ethereal atmosphere drew the listeners right in, with the musicians performing immersed in the moment and with their eyes closed. The powerful vocals of Sarang Seyfizadeh and Alirezakili Manesh were on display through their deft technique, while all the while making it seem effortless yet full of expression. The inability to comprehend the language did not seem much of a handicap at the moment, for the appeal of the precious words in those verses could still be felt. The great synergy between the vocalists and instrumentalists – for each could not have better complemented the other – resulted in creating a powerful ambience simmering with emotions.

The complete ensemble

Vocalists Sarang Seyfizadeh and Alirezakili Manesh The compositions gave adequate room to each of the instruments that were part of the ensemble to get the spotlight in turns; namely, the 'Tar' (string instrument – one of the most important in Iranian classical music) played by Azadeh Amiri, 'Kamancheh' (Iranian bowed string instrument) played by Nazanin Ghanizadeh, Mortaza Sanayei on the 'Nei' (flute), and Maryam Molla masterfully beating on the 'Tombak' (drum). The ensemble also included members of "Anno Domini', comprising of Mikhail Akinfin on the First violin, Nataliya Dyachenko on the Second violin, Alexandra Zhelbakova playing the Viola, and Samson Tatosyan on the Cello.

'Kamancheh' played by Nazanin Ghanizadeh

Maryam Molla on the 'Tombak'

Mortaza Sanayei on the 'Nei' (flute), Alexandra Zhelbakova on the Viola and Samson Tatosyan on the Cello All in all, the evening served as a wonderful introduction to Iranian Classical music, which – with its inherent sense of purity, virtuousness and unbridled devotion – left the audience wanting more.

More Treasures from Iran – Seven Flights, Seven Breaths

The magic of Iranian Classical Music returned with renewed fervour to the 'Maliy Zal' (Little Hall) of the Tchaikovsky Moscow State Conservatory on 23 June 2017, when Hossein Nursharg teamed up with the group 'Caravan' to present the Concert 'Seven Flights, Seven Breaths'.

Hossein Nursharg was born in Borujen in Iran, and besides being one of the primary exponents of the Iranian classical music form of 'Avaz', is also an actor, consultant and cultural ambassador. Since the beginning of his association with the Moscow Conservatory in 2008, he has actively promoted the study of musical traditions of his region, and has been instrumental in the development of cultural cooperation between Russia and Iran. With his assistance, the Moscow Conservatory started offering classes in Iranian classical music, and over the years has held more than thirty concerts and launched several projects.

The performers at the Maliy Zal

Hossein Nursharg

Born from a potent concoction of the sacred chants of the 'Vedas' (ancient Hindu scriptures) and the 'Avesti' (Zoroastrian Archives), and perfected over centuries in the luxurious palatial environs of the Persian Empire, which played host to intellectual exchanges among the finest poets and philosophers from back in the day, Iranian classical music holds profound historical significance and is the very essence of one of the most ancient and richest cultures the world has ever seen. The vast repository of rhythms and melodies, created by generations of gifted composers, continues to be used by musicians to this day, and has been organized under the modal system of "Dastgāh" ('Dast' – hand; 'Gāh' – place). There are seven dastgāhs in all, namely, "Šur", "Māhur", "Segāh", "Čahārgāh", "Rāst-Panjgāh", "Homāyun" and "Navā". Further derived from dastgāhs are seven "Āvāzes" (vocal sections), with five of these being under Šur alone. The concert centered around the Afšārī āvāz under the Šur dastgāh.

Various moods of the performers

There were seven parts (seven 'breaths') to the programme, starting with "Sharaab e Gazal", a poem composed by Majid Wahid and set to the Šur dastgāh. Many "Tasnifs" (ballads) followed, such as "Ku Ye Jonun", "Negar", "Sarv-e-Hajel", "Na Godrat Ke Ba Vei Neshinam", among others, including a "Saaz o Avaz" (medley) of the Afšārī āvāz. The evening finally ended with the electrifying songs "Dush Dush" and "Tond Tond". The atmosphere remained charged throughout and the music had an enchanting and hauntingly melodious effect. The accomplished vocals of Hossein Nursharg were of course responsible for a large part of the magic; but giving him abundant support were members of the group 'Caravan', namely, Zabihollah Vahid on the "Kamancheh" (Iranian bowed string instrument), Misag Mehrpur on "Oud" (pear-shaped string instrument), Masoud Tadayoni on the "Setar" (bowed lute), and Homayun Jahanshahi on the "Tombak" (drum).

Masoud Tadayoni on "Setar"

Misag Mehrpur on "Oud"

Zabihollah Vahid on "Kamancheh"

Homayun Jahanshahi on "Tombak" It is indeed admirable that we have proponents of art forms of such mystique and power among us. These lines by Iranian poet Bahman Rafei seem befitting in honour of such artists committed towards sharing the depths of their soul with the world:

“There remain in my lips, Many a poem unborn. Till I have this voice, To not be silent I have sworn“