fostering cooperation through music
The Sangita Kalanidhi is a happy validation of Sairam’s life and struggles, but “it also entails an important responsibility — to record, document, and share,” she points out.
This year’s Sangita Kalanidhi awardee says the freedom to create helped her channel her life into art | Read the full interview (The Hindu, 5 October 2018) >>
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At the invitation of Christine Urand (Director, Rietberg Montessori School) Ludwig Pesch took the full assembly of teachers on a musical journey across South India: exploring a wealth of rhythmic and melodic motifs suitable for young learners while enabling parents, teachers and care-givers to enjoy music making themselves (even as “lay people”, musically speaking).
This event was also an occasion to explore and discuss the scope for actively participating in an intercultural dialogue, something the presenter has long been known for, while paying homage to Maria Montessori; 1 both as contributor to ISME World Conferences and in association with educational and cultural institutions across the entire spectrum: teacher training, kindergarten, schools, rehabilitation just as staff integration programmes; conservatoria and universities in several countries; and creative projects developed in association with the Goethe Institute and exhibition makers at internationally renowned museums.
Date: 1 March 2018. Events on similar lines have been developed in conjunction with Museum Rietberg (Zurich) on the occasion of exhibitions of rare Indian art (in collaboration with art education staff).
Deutsch: Eine musikalische Reise für alle >>
“Your collaboration is, I think, an inspiration to many. The presentation you both gave was the highlight of the conference for me. Fascinating discussion afterwards.” – Paul Christiansen (School of Music, University of Southern Maine); on the paper and lecture recital presented by Manickam Yogeswaran and Ludwig Pesch at the International Congress Music | Musics. Structures and Processes (Goettingen University 2012)
“Excellent concert by German flautist – The Carnatic flute recital by Ludwig Pesch was a feast for the ears of music lovers. ” – MATHRUBHUMI: The National Daily in Malayalam
“An eloquent demonstration of the universal fact that music transcendents cultural and linguistic barriers … Pesch impressively delivered choicest numbers strictly adhering to the tenets of classicism” – INDIAN EXPRESS, Cochin
“Pesch presented an incredibly beautiful and inspired solo improvization.” -BERLINSKE TYDINGE, Copenhagen
“Carnatic music appeals in a direct manner and is also characterized by a degree of playfulness. Through its crisp and concentrated compositions, Pesch created melodies that reached one’s heart … altogether a splendid introduction to a music that deserves to be known much more widely.” – EINDHOVENS DAGBLAD; The Netherlands
“Both types of listeners – those new to classical Indian music and arts as well as connoisseurs – benefitted by way of inspiration, new insights and a high degree of aesthetic pleasure …. with his bamboe flute, Ludwig Pesch demonstrated everything he had earlier conveyed theoretically.” – KIELER NACHRICHTEN
“The flute player from the land of Beethoven … treated an audience of Trichur’s music lovers to a rare feast of music.” – DEEPIKA (Malayalam Daily), Trichur
“A rare evening of pure music.” – MALAYALAM MANORAMA (Malayalam), Cochin
“Captivating and chaste rendition … an active cultural ambassador … and a golden link with the West.” – ANOTHER GARLAND: A Biographical Dictionary of Carnatic Composers and Musicians; Chennai, 1993
Book reviews >>
Chor@Berlin 2017: Ode an die Nacht (Ausschnitt) from Deutscher Chorverband on Vimeo.
Mit „Ode an die Nacht“ gelangte im Rahmen von Chor@Berlin am 24. Februar 2017 im Radialsystem V das letzte Werk von Harald Weiss’ „Darkness Project“ zur Uraufführung.
Kammerchor Berlin (Einstudierung: Stefan Rauh)
Concentus Neukölln – Ensemble der Musikschule Paul-Hindemith, Neukölln (Einstudierung: Thomas Hennig)
Berliner Mädchenchor (Einstudierung: Sabine Wüsthoff)
Indischer Gesang und Tambura: Manickam Yogeswaran
Blues-Gesang: Hanno Bruhn
Bajan: Mateja Zenzerovic
Klavier und Synthesizer: Peter Müller
Violine: Kinneret Sieradzki
Kontrabass: Guy Tuneh
Schlagzeug: Viorel Chiriacescu, Daniel Eichholz und Alexandros Giovanos
Elektro-akustische Vorproduktion: Harald Weiss
Stimme: Andrea Gubisch
Gesamtleitung: Thomas Hennig
Review by Garimella Subramaniam, The Hindu, January 05, 2017 | Read the full review >>
“The many dimensions of the musical persona of Berlin-based Manickam Yogeswaran of Sri Lankan origin are not easy to fathom just from hearing him sing at one recital. […]
However, a conversation over coffee at Chamiers, days after a performance for Tamil Isai Sangam at Raja Annamalai Mandram, gave a glimpse of the different facets of the disciple of T.V. Gopalakrishnan and his exposure to Hollywood. […]
Yogeswaran’s forays into western classical ensembles, and his key role in global music forums for nearly three decades is a career graph, perhaps, typical of the wider scene in the performing arts these days. At the same time, it is the emotional need to stay anchored to the cultural milieu of one’s roots that probably explains Yogeswaran’s crucial engagement with Carnatic music. […] The challenge now, he says, is to nudge current generation of South Asians from a false sense of security about the future of this traditional art form. The conveniences afforded by technology, in terms of access to the treasure trove of recordings of great masters, ought not to breed complacency in the search for creativity, he argues. The key lies in continued reliance on the rigours of relentless individual ‘sadhana,’ a hallmark of classical music.”
http://www.thehindu.com/entertainment/music/Revelling-in-his-classical-roots/article16992760.ece
