Newsletter October 2023 - March 2024
Content
1. Special Offers – Plucked & Bowed Instruments, Flutes, Shrutiboxes, Harmoniums, Drums & CDs
2. Raga Studies in Vicenza - Last Beacon?
3. Yoga & Harmonium (3) - Which Model is Right?
4. Obituaries: Shining Light, Wanderer Between Worlds, Grand Old Lady & Ghazal Popstar
5. Brief News: Grammys for Indian Musicians, Classical Indian Dance Association Germany, Tarang Shop Closed
6. How to Make (Indian) Music? (32) - Non-violence
7. Workshops - April to November 2024
8. Concerts - April to November 2024
1. Plucked, Bowed Instruments, Flutes, Shrutiboxes, Harmoniums, Drums & CDs
- Special Offers -
Bargains and rarities, samples, remaining stock, discontinued models and instruments with minor flaws or special features that require explanation - our special offers page has it all. All are individual items - please contact us quickly if you are interested! Enjoy browsing!
PLUCKED STRING INSTRUMENTS
- Sitar Naskar Full Deco, late 1990s – 1290 €
- Sitar P. & Brothers Deluxe, as good as new - 1290 €
- Sitar P. & Brothers Full Deco, as good as new – 1190 €
- Tanpura Male, with lavish decoration – 690 €
- Tanpura Instrumental Monoj Kumar Sardar – 269 €
- Persian Setar, in need of repair – 189 €
BOWED STRING INSTRUMENTS
- Anonymous old Dilruba anonym, 4 main strings – 489 €
- Dilruba with 6 main strings & cogwheel tuners - 390 €
HARMONIUMS
- Harmonium Bhava Classic Concert Teak, B-Stock - 1389 €
- Harmonium Monoj Kumar Sardar Premium Coupler, B-stock – 715 €
- Harmonium Compactina Pakrashi #2 – 389 €
- Harmonium Compactina Pakrashi #3 –389 €
SHRUTIBOXES
- Shrutibox Sarangg large - 289 €
- Simple old Shrutibox, traces of use – 69 €
FLUTES
- Bansuri Premium SA = e’ - 159 €
- Professional Bansuris - 69 - 149 €
DRUMS
- Baya Calcutta Standard – 169 €
- Tabla Narayan Badya Bhandar Premium 5 3/8 inch – 219 €
- Tabla Narayan Badya Bhandar Premium 5 1⁄2 inch – 199 €
- Mridangam B-stock - 489 €
- Dholak NBB 2nd Hand - 229 €
- Dholak NBB B-stock - 165 €
AUDIO-CDs
- Classical vocal and instrumental, Qawwali, Devotional, Regional, Folk, Yoga, Ayurveda and Fusion - 50% discount on ALL music CDs when buying at least 2 CDs - or 1 CD together with at least one other item.
2. Raga Studies in Vicenza – Last Beacon?
- Report by Yogendra -
In the previous newsletter, I reported on the closing of the Indian music study programme in Rotterdam. It had been a pioneering project that made it possible to study Indian music professionally at a high level in the centre of Europe for around 35 years. For a long time, it remained the only degree programme of its kind. But in 2001, a similar project was launched in Italy - albeit with a slightly different concept. It was initiated by the pianist and musicologist Enrico Anselmi (1937 - 2007). After studying classical Western music in Palermo, Anselmi initially became involved in experimental music. After meeting the charismatic French indologist and musicologist Alain Daniélou, founder and director of the International Institute for Comparative Music Studies in West Berlin and Venice, Anselmi was also fascinated by classical Indian raga music. While still in Palermo, Anselmi organised his first courses in Indian music. After professorships at the conservatories of Palermo, Trieste, Udine and Milan, Enrico Anselmi became director of the Vicenza Conservatory in 1991, the crowning achievement of his career. There, in 2001, 30 years after meeting Alain Daniélou, he finally realised his vision and opened a course of study specifically for classical Indian music.
At the Rotterdam University of the Arts (now CODARTS), renowned stars from India were hired as teachers for the Indian music programme, above all flutist Hariprasad Chaurasia as artistic director. The Indian teachers, who were only ever present temporarily, were supported by European tutors who lived in the Netherlands and provided the necessary continuity. In addition to Indian music, the students also had to learn the basics of Western music. At the Vicenza Conservatory, on the other hand, Italian musicians have been in charge of teaching from the very beginning. The founding team in 2001 consisted of Amelia Cuni (vocal), Gianni Ricchizzi (sitar & veena), Federico Sanesi (tabla & pakhawaj) and Lorenzo Squillari (bansuri). All four had learnt from leading Indian masters. In addition to Indian music practice, studies in theory and history of Indian music, ethnomusicology, Sanskrit or Hindi, as well as the history and religion of India have been compulsory. Some of these subsidiary subjects were taught at the nearby University of Venice. The idea was, in line with Alain Daniélou, to make students understand the theoretical, cultural and spiritual background as well as the musical practice.
The core of the degree programme with the four main artistic subjects and various cultural and linguistic minor subjects has been retained to this day. The current teachers are Leo Vertunni (sitar), Marged Trumper (vocal), Simone Mattiello (bansuri) - and Federico Sanesi (tabla) as the only member of the founding generation. In addition to Indian music, Indian dance has been added as possible main subject, with Rosella Fanelli (Kathak) currently teaching. The main subject lessons are supplemented by annual projects with Indian guest musicians. Over the years, numerous graduates have embarked on artistic careers, including Ciro Montanari and Francesco Gherardi (tabla), Jacopo Pacifico (bansuri), Giulia Coschiera and Marco Nervegna (sitar), Margherita Marincola (singing) and Valeria Vespaziani (dance). The course qualifies students not only for artistic work in teaching and performance, but also for activities related to the cataloguing, promotion and dissemination of "non-European" musical traditions and for the transcription of repertoire from oral tradition. Formally, it currently consists of a 3-year Bachelor's and a 2-year Master's programme. The main language of instruction is Italian.
The degree programme in Vicenza has obviously worked well for more than 20 years. But is it also fit for the future? The university reforms with modularisation of content and restructuring into Bachelor's and Master's programmes have certainly been managed well. And there seems to be a small but steady demand from prospective students. The omnipresent digitalisation of today's musical life has also been integrated into the study programme with compulsory modules. In Vicenza, Indian music should not be an antiquated exotic subject, but should be relevant to our present day. Geopolitically, this could even work out, because in dealing with a confidently emerging India, the world's most populous country, a nuclear power and one of the world's largest economies, interdependencies are likely to grow and people with expertise in things Indian are needed in all areas. India's long-serving Prime Minister Modi of the Hindu nationalist BJP repeatedly emphasises India's special cultural identity and in this context not only promotes yoga, vegetarianism and temple construction, but also classical raga music (especially when it is made by Hindus...). But do Italian musicians want to be involved in this policy? Or do they distance themselves from it and find ways to make classical Indian raga music artistically or commercially relevant in contemporary Italian and European musical life? And how Italian-oriented can the degree programme remain in all this? The future will tell.
Basic Information.
Programme Regulations, Structure & Modules.
20th Anniversary Lectures & Performances 2021.
3. Yoga & Harmonium (3) - Which Model is Right?
- Feature Series by Alice Radha -
I have often been asked the question: Which harmonium is the right one for me? As the models are as varied as the people, I can only answer it from personal experience. In the beginning I didn't have a choice, but was allowed to take whatever came to me. To be honest, it wasn't that easy for me to get a harmonium. When I travelled back to Malaga, Spain, from my Sivananda Yoga teacher training in India in 2011, I immediately started looking for a harmonium. Unfortunately, mantra chanting wasn't that popular back then and there really wasn't anyone in Malaga who had a harmonium at home or in their yoga studio. But I didn't give up and asked everyone where I could get a harmonium. In the end, it was actually German yoginis who lived further down the coast near Tarifa to whom I owed my first harmonium. A mantra singer had just bought a small new harmonium and wanted to get rid of her old one. So I ended up with a 14-kg upright harmonium that had been around for a few years. It had been brought from India to Germany at a time when you were allowed to bring that many kg-s and that size as hand luggage. However, those days are long gone by.
My first upright harmonium is the usual size of an Indian harmonium and is just right for the conditions and requirements in India. It stands in a fixed place and should (and can) fill the whole room with sound. I still recommend these large upright harmoniums for studio owners and anyone who doesn't move the instrument around much. They are difficult to transport due to their size and weight. Sometimes they are also more elaborately equipped with more rows of reeds, octave couplers and scale changers and therefore react very sensitively to vibrations.
In today's mobile times, many kirtaniyas or yoga teachers are travelling from place to place and want a harmonium that they can take with them on the plane. Such travel harmoniums are characterised above all by their light weight and small size. Today, there is a wide choice: depending on your budget and requirements, there are travel harmoniums ranging from simple and cheap to high-quality and expensive. Demand for these models is particularly high in the Western world. I always say: The small travelling harmonium has been invented especially for Western requirements. In India, on the other hand, upright harmoniums and large suitcase harmoniums are still popular.
As the name suggests, a suitcase harmonium comes with its own case. This model is now also available in different sizes and with two different folding mechanisms. The integrated case provides excellent protection for the harmonium and especially the keyboard. Suitcase harmoniums are also very popular thanks to great kirtan artists such as Krishna Das or Jai Uttal. They can be checked in as luggage when travelling by plane. Even if you are travelling a lot by car, suitcase harmoniums are a good choice. I would choose the weight according to whether my car park is directly in front of the house and/or whether I will be carrying the harmonium up and down several floors.
I don't drive a car myself and therefore prefer harmoniums that I can easily carry on my back on buses and trains. However, I still own my first large upright harmonium - despite its age, I simply can't part with it. I also have several small travelling harmoniums. But I am also always happy when there is already a harmonium at the places where I give kirtan or training courses. I always enjoy trying out new models and testing new sounds. Ultimately, the sound is a matter of taste. So if you have the opportunity to test a harmonium or listen to a video, please do so. The sound is more important than the look - even if we often don't want to admit it.
*****
Alice Radha is a musician, mantra expert and yoga acharya in the Sivananda tradition. She gives mantra and harmonium workshops, trains yoga teachers, teaches harmonium for yoga practice and has developed contemporary learning material for harmonium.
Links:
Alice Radhas Website, Facebook, Instagram, YouTube
Alice Radha’s learning material at India Instruments
4. Obituaries: Shining Light, Wanderer Between Worlds, Grand Old Lady & Ghazal Popstar
- Scene Info -
Rashid Khan – A Shining Light
Rashid Khan (*1968) was probably the most charismatic North Indian classical singer of his generation. He was the great-grandson of Inayat Hussain Khan, the founder of the Rampur Sahaswan school, and received strict musical instruction from an early age in his native Sahaswan. Whole days were spent singing a single note. When his great-uncle Nissar Hussain Khan was appointed guru at the ITC Sangeet Research Academy (SRA) in Kolkata in 1980, Rashid Khan went with him for professional vocal training. What followed was a meteoric career as a classical Khyal singer - with numerous record releases, major concerts and top honours (including the Padma Shri and Sangeet Natak Akademi Award 2006, Padma Bhushan 2022). With inimitable emotional depth, Rashid Khan mastered the melodic unfolding of ragas at a slow tempo. His style was influenced by Amir Khan and Bhimsen Joshi. But he was also an absolute master rhythmically and in high speeds. Since 2004, he occasionally sang songs for Bollywood films - and thus became enormously popular in the wider public. In the last years of his life, Rashid Khan battled with cancer. On January 9th, 2024, he died unexpectedly in a hospital in Kolkata, aged only 55.
Rashid Khan CDs available from India Instruments – with 50% discount!.
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Amelia Cuni – Wanderer Between Worlds
The Italian Amelia Cuni (*1958) studied classical dhrupad singing in India from 1978 with Rahim Fahimuddin Dagar, Bidur Mallik and Dilip Chandra Vedi, among others. She also learnt kathak dance from Manjushri Chatterjee and the barrel drum pakhwaj from Raja Chatrapati Singh. Since 1987, she became the first woman and non-Indian to make an astonishing international career as a singer in the then still completely male-dominated world of dhrupad. In 1992 she settled in Berlin and began to turn to new musical concepts. In 1995, Amelia Cuni sang on Al Gromer's record Monsoon Point. In 1997, on Danza d'Amore, she set old Italian texts to music in dhrupad style and had it accompanied by baroque instruments. This was followed in 1999 by Ashtayama - Song of Hours, a completely new interpretation of 8 ragas, which are traditionally assigned to the 8 sections of a day. Together with Werner Durand, her companion in life, Amelia Cuni created a fascinating network of drones, rhythms and melodies, built entirely from loops and overdubs of her voice. In 2006, she performed John Cage's SOLO 58 (18 microtonal ragas) for the Berliner Festspiele. Terry Riley, Roland Pfrengle, Chico Mello, Fernando Grillo and Maria de Alvear have written for her voice. She has performed with Terry Riley, Cathereine Christer Hennix, David Toop, Paul Schütze, David Moss and Toshinori Kondo. She has also continued to cultivate traditional dhrupad singing in concerts and recordings, e.g. on the CDs Morning Meditation and Ocean of Colours, published on the English-Indian label Navras. In addition to her artistic activities, Amelia Cuni was also a passionate teacher of Indian music and dhrupad. She played a leading role in the conception of the Indian music programme at the Vicenza Conservatory (see above) and taught there and at the Berlin University of the Arts for many years. In 2014, Amelia Cuni was diagnosed with cerebellar atrophy, a disease that progresses incurably over the years and leads to a gradual loss of muscular control. Her last public performances were with the Tonaliens Ensemble in 2015. After that she continued to give private lessons for as long as possible. She died in Berlin on January 17th, 2024. Whether as a woman in male domains, as a European in India or as a performer in New Music with traditional Indian training - Amelia Cuni always broke new ground. As a wanderer between worlds, she remains an inspiring role model for all music lovers.
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Prabha Atre – Grand Old Lady
Khyal singer and musicologist Prabha Atre (*1932) was the grand old lady of Indian classical music. She learnt singing from childhood in the Kirana style with Sureshbabu Mane and Hirabai Badodekar. She was also strongly influenced by the khyal of Amir Khan and the thumris of Bade Ghulam Ali Khan. In addition to her vocal training, she also took lessons in kathak dance. As a young adult, Prabha Atre completed bachelor's degrees in science and law in Pune. She then studied Indian classical music in Mumbai and Western classical music in London. She wrote her doctoral thesis on the use of solmisation syllables (sargam) in Indian music. Prabha Atre began her artistic career as a singing actress in Marathi theatre. The first of her dozen or so records as a classical Indian singer was released in 1971, the last in 2010. As a composer, she created several new ragas, wrote music for dance and theatre and published books of her own compositions. Prabha Atre has also worked as a producer, festival director and professor of music, published books on music education and set up her own foundation. She received the Padma Shri (1990), Sangeet Natak Academy Award (1991), Padma Bhushan (2002) and Padma Vibhushan (2022) for her services to Indian music. Prabha Atre died of heart failure in Pune on January 13, 2024 at the age of 91.
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Pankaj Udhas – Ghazal-Popstar
Indian singer Pankaj Udhas (*1951) was known for ghazals and film songs. He came from an educated landowners’ family in Maharashtra. Initially, the young Pankaj took his cue from his elder brothers, who both sang ghazals and film songs. Eventually, Pankaj studied tabla and vocal in Rajkot. He then went to Mumbai, where he completed a Bachelor of Science degree and learnt Indian classical singing from Navrang Nagpurkar from the Gwalior school. His breakthrough came in 1980, not as a classical singer, but with the ghazal album Aahat. This was followed by a stellar career with over 50 album releases, major concerts and numerous film song hits. He was also occasionally seen on the big screen. And with his TV casting show Aadab Aarz Hai, he was committed to supporting young talent in the 1990s. In 2006, he received the Padma Shri for his cultural services. On February 26th, 2024, Pankaj Udhas passed away in Mumbai at the age of 72 after a long illness.
5. Brief News: Grammys for Indian Musicians, Classical Indian Dance Association Germany, Tarang Shop Closed
- Scene Info -
Grammys for Indian Musicians
Five Indian musicians were honoured at the 66th Grammy Awards in February 2024 - one of them even thrice. Singer Shankar Mahadevan, violinist Ganesh Rajagopalan, kanjira player Selvaganesh Vinayakram and tabla player Zakir Hussain received the coveted award as members of the group Shakti for the record This Moment as Best Global Music Album. Shakti was a hugely successful fusion band in 1973-78, synthesising jazz, North Indian and South Indian classical music into a rousing mix. Shakti consisted of jazz guitarist John McLaughlin, the very young North Indian tabla virtuoso Zakir Hussain, as well as violinist L. Shankar and ghatam player "Vikku" Vinayakram, both from the South Indian tradition. After 6 years and 2 studio albums, however, the band members went their separate ways again. From the late 1990s, the project was sporadically revived as Remember Shakti. In addition to McLaughlin and Hussain, Selvaganesh Vinayakram, the son of "Vikku" Vinayakram, joined the band - and in changing constellations flutist Hariprasad Chaurasia, mandolinist U. Srinivas and singer Shankar Mahadevan. Finally, the old name was adopted again and Shakti went on a world tour for the band's 50th anniversary in 2023 - as a quintet with McLauglin, Hussain, Shankar Mahadevan, Ganesh Rajagopalan and Selvaganesh Vinayakram. On this occasion, This Moment was released as the first studio album after more than 4 decades.
Zakir Hussain received two more Grammys for his new world music project As We Speak, together with the Indian bansuri virtuoso Rakesh Chaurasia and the Americans Béla Fleck (banjo) and Edgar Meyer (double bass). As We Speak was honoured as Best Contemporary Instrumental Album. The second Grammy for the as yet unnamed quartet was in the Best Global Music Performance category for the track Pashto. It will be interesting to see whether the 4 musicians will become a regular band now.
In the two previous years, Indian musician Ricky Kej has also been successful at the Grammys. In 2022, he won Best New Age Album with Divine Tides - and in 2023 Best Immersive Album, also with Divine Tides. Ricky Kej had already won a Grammy for Best New Age Album in 2015 for Winds of Samsara. Now a three-time award winner, Ricky Kej shows that Indian musicians today can be among the world's best not only with traditional instruments, but also with largely digitally produced music.
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KITD - Classical Indian Dance Association Germany
KITD – Klassischer Indischer Tanz Deutschland e.V. (Classical Indian Dance Association Germany) was founded in Munich in July 2023 after two and a half years of preparation. The board consists of odissi dancer Gudrun Märtins, kathak dancer Deodatt Persaud and singer Sivani Saraswatula, among others. The founding members include bharatanatyam dancers Rajayashree Ramesh and Anoosha Shastry, dance teacher Vijayalakshmi Villadathu and dancer and cultural scientist Sandra Jasmin Schlage. The main purpose of KITD e.V. is to provide networking and mutual support for performers and teachers of classical Indian dance with professional standards in Germany. It aims to initiate collaborations, promote events, facilitate knowledge exchange and open doors to potential partnerships. Master classes, further training for members, symposia and seminars on dance-specific topics, a dance fair, artistic residency programmes, creative projects and the development of a database are planned, among other things.
KITD e.V. does not yet have its own website (as of March 2024) - contact is therefore recommended via the websites of board members for the time being:
Gudrun Märtins.
Deodatt Persaud.
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Tarang Shop Closed - Instrument Sales Discontinued
The company Tarang in Fürth sold high-quality Indian musical instruments throughout Europe for a good 20 years. At the beginning of 2024, however, Robert Klawohn, founder and manager of Tarang, closed shop and retired. Tarang was founded in 1998 as a school for classical Indian dance (kathak and bharatnatyam), tabla and Indian singing. Teachers were the dancer Molly Roy and the tabla player and singer Sajal Karmakar. The two came twice a year from Calcutta and gave workshops and individual lessons for a month each time. Molly Roy and Sajal Karmakar also procured the necessary tabla, ghungroo dance bells and harmoniums for their students. From importing these, Tarang eventually developed into a specialised music shop for Indian instruments. In doing so, Tarang was able to draw on Robert Klawohn's commercial expertise from previous activities in the field of printing alternatives for the textile industry. In addition to the instruments he imported himself, Tarang also offered almost the entire range of India Instruments for many years. This resulted in a long, close and active co-operation. By organising workshops and selling the instruments, Robert Klawohn has done a great deal to make classical Indian music and dance accessible as a living practice in Germany. As a discreet force working in the background, he deserves great thanks. After the closure of Tarang, Robert Klawohn kindly transferred his domains www.indische-instrumente.de and www.indian-instruments.com to India Instruments. Anyone who now calls up these domains will automatically be directled to India Instruments.
6. How to Make (Indian) Music? (32) - Non-violence
- Quote by Terry Riley -
The series "How to Make (Indian) Music?" presents thought-provoking, inspiring or controversial quotes from artists and intellectuals.
I believe that all spiritual practices are essentially based on the idea of non-violence, and music is no different. When you make music in a devotional way, you are doing it for the good of all. I can't imagine making music to wage war or for something that will cause suffering. [...] We all do what we can, expressing the idea that we should live in harmony. Music is about harmony, about taking different elements and making them flow together.
American composer and pianist Terry Riley (*1935) was one of the pioneers of minimal music in the 1960s, alongside La Monte Young and Steve Reich. His studies in classical North Indian music with Pandit Pran Nath had a significant influence on his work.
Quote from: Peter Lavezzoli: The Dawn of Indian Music in the West, New York / London 2006, p. 266
7. Workshops – April to November 2024
- Scene-Info -
06.-07.04. HAMBURG Harmonium with Felicia Walker
08./11.04. BERLIN Bharathanatyam with Renjith Babu
13.-14.04. MUNICH Harmonium with Felicia Walker
13.-14.04. BERLIN Bharathanatyam with Renjith Babu
18.-20.04. FR-PARIS Dhrupad Vocal with Pelva Naïk
19.-21.04. BAD MEINBERG Harmonium Beginners with Michael Bier
28.04.-03.05. BAD MEINBERG Kirtan Camp with Sadbhuja Dasa
12.-17.05. BAD MEINBERG Harmonium Intensive with Sarada Drautzburg
21.-23.06. BAD MEINBERG Harmonium Beginners with Devadas Janku & Suryadevi Hößl
07.-12.07. OY-withTELBERG Harmonium- & Kirtan with Devadas
12.-14.07. WANGERLAND Harmonium Beginners with Annette Pritschow
17.07.-14.08. BE-SEPTON-DURBUY Kirtan with Krishangi Lila, Manu & Surabhi Kunja
18.-22.07. GR-SPETSES ISLAND Harmonium & Kirtan Retreat with Seth Lieberman, etc.
26.-28.07. BAD MEINBERG Kirtan Training with Ekachakra Devi Dasi
04.-06.08. BERLIN Harmonium & Kirtan Weekend Training with Seth
23.-25.08. OY-withTELBERG Bhakti Yoga Retreat with Ekachakra Devi Dasi & Sadbhuja Dasa
01.-06.09. BAD MEINBERG Harmonium- & Kirtan with Devadas & Suryadevi
03.-06.10. BAD MEINBERG Mridanga Beginners with Ekachakra Devi Dasi
03.-06.10. BAD MEINBERG Zimbeln Beginners with Sadbhuja Dasa
18.-20.10. BAD MEINBERG Harmonium Beginners with Ekachakra Devi Dasi
08.-10.11. BAD MEINBERG Harmonium Advanced with Michael Bier
08.-10.11. OBERLAHR Harmonium Beginners with Marco Büscher
Details of all workshops in our workshop calendar.
8. Concerts – April to November 2024
- Scene-Info -
03.04. FR-PARIS Anoushka Shankar (Sitar)
04.04. FR-PARIS Anoushka Shankar (Sitar)
05.04. FR-DIJON Anoushka Shankar (Sitar)
05.04. AT-VIENNA Klaus Falschlunger (Sitar)
06.04. BERLIN Mithusha Senthilkumaran (Bharatanatyam)
06.04. GB-LONDON Anoushka Shankar (Sitar)
06.04. STUTTGART Indrajit Roy-Chowdhury (Sitar)
06.04. NL-AMSTERDAM Abhisek Lahiri (Sarod)
07.04. STUTTGART Indrajit Roy-Chowdhury (Sitar)
09.04. CH-ZÜRICH Anoushka Shankar (Sitar)
10.04. CH-GENF Anoushka Shankar (Sitar)
12.04. AACHEN Kalyan Majumdar (Sitar)
13.04. HAMBURG Anoushka Shankar (Sitar)
13.04. STUTTGART Kalyanjit Das (Sitar)
13.04. CH-BADEN Shobana Bhalachandra (Bharatanatyam)
14.04. DK-COPENHAGEN Anoushka Shankar (Sitar)
14.04. STUTTGART Kalyanjit Das (Sitar)
14.04. BE-BRUSSELS Nicolas Mortelmans (Sitar)
14.04. CH-ZURICH Uma Kumar (karn. Gesang)
14.04. COESFELD Pulsar Trio - Sitar, Piano, Drums
15.04. BE-BRUSSELS Anoushka Shankar (Sitar)
16.04. NL-AMSTERDAM Anoushka Shankar (Sitar)
18.04. KASSEL Pulsar Trio - Sitar, Piano, Drums
19.04. MC-MONACO Anoushka Shankar (Sitar)
19.04. ODERNHEIM Pulsar Trio - Sitar, Piano, Drums
20.04. STUTTGART Shirin Sengupta (Khyal)
20.04. GB-LONDON Avtar Kaur (Khyal)
20.04. BAD SALZUNGEN Pulsar Trio - Sitar, Piano, Drums
21.04. GB-LONDON Nagesh Adgaonkar (Khyal)
21.04. GB-LONDON Durga Arya (Kathak)
21.04. STUTTGART Shirin Sengupta (Khyal)
23.04. AT-VIENNA Henning Kimse (Sitar)
24.04. GB-LIVERPOOL Debasmita Bhattacharya (Sarod)
27.04. MANNHEIM Ekachakra Devi Dasi, Ananda Luz (Kirtan)
27.04. STUTTGART Dipak Sarma (Bansuri)
27.04. WUPPERTAL Janagan Mathanamohan - Mridangam
28.04. STUTTGART Dipak Sarma (Bansuri)
30.04. STUTTGART Monalisa Ghosh (Odissi)
01.05. STUTTGART Monalisa Ghosh (Odissi)
04.05. MUNICH Vasundhara Doraswamy (Bharatanatyam)
04.05. STUTTGART Paramananda Roy (Bansuri)
05.05. STUTTGART Paramananda Roy (Bansuri)
07.05. HAMBURG Snatam Kaur (Kirtan)
07.05. STUTTGART Saniya Patankar (Khyal)
10.05. GB-LIVERPOOL Niladri Kumar (Sitar)
11.05. FR-VEAUCE Jérôme Cormier (Dhrupad)
11.05. GB-LONDON Soumik Datta (Sarod)
15.05. AT-WÖRGL Klaus Falschlunger (Sitar)
18.05. MANNHEIM Ekachakra Devi Dasi & Friends (Kirtan)
18.05. FR-PARIS Shilpa Abhiram (Bharatanatyam)
23.05. GB-LONDON Radhika Das (Kirtan)
23.05. GB-NEWBURY Jonathan Mayer (Sitar)
25.05. STUTTGART Shahid Khan (Sarangi)
26.05. STUTTGART Shahid Khan (Sarangi)
29.05. AT-VIENNA Anoushka Shankar (Sitar)
01.06. CH-STEINHAUSEN Dhiviyaa Satkunanathan - Bharatanatyam
02.06. FR-PARIS Usha Raghavan, Srinidhi Raghavan - Bharatanatyam
03.06. FR-PARIS Shoukat Imran Khan Qawwal
03.06. DRESDEN Anoushka Shankar (Sitar)
05.06. BE-BRUSSELS Pratim Majumdar (Sarod)
08.06. GB-MANCHESTER Fanna-Fi-Allah (Qawwali)
09.06. GB-LEICESTER Fanna-Fi-Allah (Qawwali)
12.06. GB-GLASGOW Fanna-Fi-Allah (Qawwali)
15.06. FR-PARIS Sumeet Anand (Dhrupad)
22.06. GB-LONDON Fanna-Fi-Allah (Qawwali)
22.06. DATTELN Pulsar Trio - Sitar, Piano, Drums
23.06. CH-ZURICH Krishna Das (Kirtan)
23.06. GB-BRISTOL Fanna-Fi-Allah (Qawwali)
25.06. CH-GENF Krishna Das (Kirtan)
25.06. NL-TILBURG Fanna-Fi-Allah (Qawwali)
29.06. STUTTGART Prosenjit Sengupta (Sarod)
30.06. STUTTGART Prosenjit Sengupta (Sarod)
12.07. GB-LONDON Krishna Das (Kirtan)
13.07. GB-LONDON Krishna Das (Kirtan)
16.07. COLOGNE Krishna Das (Kirtan)
17.07. COLOGNE Krishna Das (Kirtan)
19.07. BERLIN Krishna Das (Kirtan)
20.07. BERLIN Krishna Das (Kirtan)
24.07. LEINFELDEN-ECHTERDINGEN Krishna Das (Kirtan)
26.07. FÜRSTENFELDBRUCK Krishna Das (Kirtan)
28.07. FÜRSTENFELDBRUCK Krishna Das (Kirtan)
30.07. NEU-ISENBURG Krishna Das (Kirtan)
31.07. NEU-ISENBURG Krishna Das (Kirtan)
07.08. LYCHEN Pulsar Trio - Sitar, Piano, Drums
17.10. BAYERISCH GMAIN Pulsar Trio - Sitar, Piano, Drums
17.11. NL-AMSTERDAM Kushal Das (Sitar)
Details of all concerts in our concert calendar.