Newsletter March / April 2014


1. Miraj Tanpura Ahmadsaheb - Perfect Harmony
2. Paloma 23 B Coupler - The Kirtan Harmonium
3. Sarodiyo Bin - DVD on Rare Instruments
4. USA - Farewells and New Flowers
5. Raghunath Seth - Creative Spirit in New Worlds
6. Sitar Fusion from Germanistan (3/6) - Al Gromer Khan
7. Workshops - April to June
8. Concerts - April and May

1. Miraj-Tanpuras Ahmadsaheb - Perfect Harmony
- New Items -

Tanpura Miraj Ahmadsaheb MaleThe vibrant, shimmering sound of a good tanpura with its sparkling overtones creates an almost magical space for meditation, chanting, overtone singing, music therapy and modal music. It is a fundamental part of all forms of Indian classical music. Our new male and female tanpuras Miraj Ahmadsaheb are brand instruments with a perfectly balanced sound and a long tradition. Their round, rich and full sound is free of interfering peaks and has a unique spatial depth. They are built noticeably heavier than comparable tanpuras from Calcutta. Perhaps therein lies their secret. The simple decoration in the style of the early 20th century and the completely dark finish give them a somewhat antique appearance. The manufacturing quality of the shellac surfaces and the woodwork is, however, much simpler than that of other brand tanpuras - the outer appearance is obviously given less importance than the perfect sound. Our new Miraj Ahmadsaheb tanpuras are carefully selected for beauty of sound and personally brought to Europe by renowned dhrupad singer Ashish Sankrityayan.

Ahmadsaheb A. Sitarmaker is an excellent but relatively unknown instrument maker from Miraj, a town in the Indian state of Maharashtra with about half a million inhabitants. Miraj's tradition of instrument making was founded in the mid-19th century by Faridsaheb Sitarmaker. His numerous descendants turned ?Miraj into one of the most important centers for the manufacturing of sitars and tanpuras over several generations. One of Faridsaheb's descendants is Ahmasaheb. Today there is an extensive network of small workshops and suppliers in Miraj, many of which are connected by kinship and divide the many steps in the instrument manufacturing process amongst each other. Most of the pumpkins that are specially bred for instrument making today come from the area of Miraj as well.

Miraj Ahmadsaheb female tanpura for tonic G to A costs 690,- Euro (plus 24.90 shipping within Germany / 39.90 within Europe) - pictures and detailed info here.
Miraj Ahmadsaheb Male Tanpura for tonic C to D costs 790,- Euro (plus 34.90 shipping within Germany / 69.90 within Europe) - pictures and detailed info here.

A complete overview of our tanpuras.
Sound samples of selected tanpuras.


2. Paloma 23 B Coupler - The Kirtan-Harmonium
- Special Offer -

Thanks to world-renowned kirtan singers like Krishna Das and Jai Uttal the Bina 23 B is probably the most famous and most popular harmonium model in the western kirtan scene. The simple construction makes it sturdy on the road, transport is easy due to its small size when folded, and the double reeds (bass and male register) provide a full sound. Unfortunately Bina's quality control leaves much to be desired, often resulting in problems such as sticking keys or out of tune reeds. That's why we do not offer the Bina 23 B in our regular assortment. However, Bina does not actually manufacture the 23 B. Bina rather buys it from various independent supplier workshops and just sticks the brand label on it before selling. Therefore, the exact 23 B model is also available under different names.

Harmonium Paloma 23B Coupler We have recently received a small number of 23 B harmoniums with octave coupler from our longtime trusted partner Paloma. Paloma gets the 23 B from one of the Bina suppliers. Our Paloma 23 B Coupler is therefore identical to the Bina instruments. And thanks to the careful Paloma quality control there are hardly any flaws. Only the separation between the two registers bass and male works not perfectly in our 23 Paloma B Coupler - you can sometimes hear notes from the male register as well when trying to play in the bass register alone. However, a separation between the two registers is usually not needed anyway, because both registers are normally played together for the accompaniment of kirtan, bhajans and mantras to get a full sound.

The octave coupler of our Paloma 23 B Coupler harmonium connects the keys to higher octave notes for a brighter sound, but also leads to higher air consumption. The octave coupler can be activated or deactivated according to the requirements.

The Paloma 23 B Coupler is now available in a limited number at our special offer pages. The price is 490.- Euros (+ 6.90 shipping within Germany / 19.90 within Europe). The offer is valid only as long as supplies last. Detailed information and photos of our Paloma 23 B Coupler here.

Overview of our regular harmonium assortment.


3. Sarodiyo Bin - DVD on Rare Instruments
- Review by Yogendra -

Sarodiyo Bin - The Making of Stringed Musical Instruments of the Sarod Family based on the Collection of the Late RadhikaMohan Maitra - that's the telling but also slightly misleading title of a recently released documentary DVD. Authors are ethnomusicologist Lars-Christian Koch, renowned expert on Indian music (and especially on instrument manufacturing), and sarod player Somjit Dasgupta, a student of Radhika Mohan Maitra and heir to parts of his collection of instruments. The basic idea is as original as it is fascinating and adventurous: Five related string instruments are replicated as copies of preserved historic originals. But unlike the title's suggestion this DVD is not just about the making. Originals and replicas are also played by Somjit Dasgupta in direct comparison, presenting not only the craft aspect but also the sound of the instruments.

Radhika Mohan Maitra Sarod virtuoso Radhika Mohan Maitra (1917 - 1981) was a highly regarded concert soloist in India mainly from the 1940s to 60s. His background as the son of a wealthy Bengali landowner family was not typical for an Indian musician of his time. It allowed him, beside his concert career, to pursue extensive musical studies, to organise concerts and to build up a collection of rare and partly historical musical instruments. His collection pieces (and their replicas) are an acoustic journey through time into the middle of the 20th Century and beyond, giving insights into the development of sound aesthetics of Indian musical instruments in the 19th and 20th centuries.

The range of presented instruments, in addition to the popular sarod, is amazing and fascinating. The sursringar connects the fretless metal fingerboard of the sarod with the horizontally cut pumpkin resonator, the wooden top and the flat bridge of the surbahar. It has no sympathetic strings. Like the surbahar, it was popular for the performance of alap in dhrupad style from the mid-19th until the early 20th century. The sur rabab resembles the sursringar in structure, but instead of a wooden top it has a goat skin covering the resonator and a narrow bridge like a sarod. The mohan vina, in turn, looks like a sarod, but has a wooden top with a flat bridge instead of the goat skin and narrow bridge. It is an invention of Radhika Mohan Maitra from the 1940s, and not to be confused with the modern mohan vina developed by Vishwa Mohan Bhatt in the last quarter of the 20th century (which is basically a modified slide guitar - read more here).Last of the five instruments is the dhrupadiya rabab, ancestor of the modern sarod together with the Afghani rabab. It has a fretless wooden fingerboard, gut strings and a skin top. In the 17th and 18th centuries the dhrupadiya rabab and the rudra vina were the most common melody instruments of dhrupad music.

The successful replication of all these instruments owes a lot to Mohan Lal Sharma (died in 2013), a master craftsman whose tradition dates back until the late 19th century, and whose ancestors had probably built some of the original instruments. Therefore he could draw on experience and knowledge handed down by his ancestors. Mohan Lal Sharma was supported by Dulal Kanji, a renowned sarod maker who had learnt his art from the great master sarod craftsman Hemen Chandra Sen. Wood carving work was mainly done by Sanat Haldar, an experienced student of Mohan Lal Sharma who has also worked for Murari Mohan Adhikari (Kanailal & Brother).

DVD Sarodiyo Bin The DVD includes three films and a text. The first film shows the main steps in the production process of all five instruments with traditional craft techniques, from cutting the wood to the finished instrument. Interspersed there are short sequences of playing the original instruments and the replicas. The second film shows extended performances on the instruments. And the third film gives glimpses of the shooting. None of the three films includes any comments or explanations. The attached text partly makes up for this lack with background information about instruments and people.

The general absence of a reflective or explanatory level, however, raises the question of who this DVD is actually made for. Without evaluation and interpretation it lacks a scientific value as well as accessibility for interested laymen. Without detailed information on materials, tools, techniques and measures the benefit for instrument makers remains low. For a cinematographic claim in turn, the artistic dimension is missing. And for good entertainment it lacks a recognizable dramaturgy. That way Sarodiyo Bin remains a mere collection of documentary material with a lot of undeveloped potential. Despite this weakness, it is definetely commendable to make this material available to the public.

The DVD Sarodiyo Bin is published in the series Museum Collection Berlin. It is available for 12.- Euros (plus shipping) in the online shop of the National Museums in Berlin.


4. USA - Farewells and New Flowers
- Scene-News by Yogendra -

Ali Akbar Khan College of Music

The Ali Akbar College of Music in San Rafael (AACM), California, has been one of the most influential educational institutions for Indian music worldwide since its founding in 1967. However, the death of charismatic founder Ali Akbar Khan in 2009 has forced the AACM to redefine its role. The lessons in singing and melody instruments are continued by Ali Akbar's son Alam Khan and by longtime master students like Bruce Hamm. The great Swapan Chaudhuri is still in charge of tabla. And live stream on the internet enables people all over the world to take part in the classes. The source for teaching are thousands of hours of audio and video recordings of Ali Akbar's classes that have been collected over decades. Under the direction of Mary Khan, Ali Akbar's widow, this material is being archived and digitised in recent years. In order to preserve this unique musical treasure and to make it available to the public, the Ali Akbar Khan Library is scheduled to open in 2014. This library will not only offer Ali Akbar's classes, but also countless concert recordings and lessons of renowned guest teachers. It is an ambitious pioneering project that requires and binds lots of resources. Whether it will succeed and create the expected impact remains to be seen.

Alam Khan The latest victim of this concentration of resources on the Ali Akbar Khan Library is the AACM Store. It has been closed down this spring after 45 years of service to the Indian music community. According to inside sources, the store ran into financial difficulties when it had to move to more expensive premises in Berkeley, to make room for the Library on the AACM campus in San Rafael. The AACM Store had been founded shortly after the college to make good instruments available for the students. Word of its high quality standards spread, and soon it sold Indian instruments throughout North America. Key to the store's success was the great expertise of the staff who were all trained at the AACM, and the first-hand connections to the best instrument makers in India. In the early 1990s I have studied at the AACM on a work scholarship and got a chance to help out in the store for a while. This experience was essential for the concept and subsequent development of India Instruments. After the closure, the store was taken over by an investor from India and is supposed to be re-opened under a new name. Whether the same level of quality will be maintained seems at least questionable.

The Ragamala association in Seattle, Washington state, closes down this spring, too - after 33 years of work as concert promoter and as pedagogical agent for Indian music. In the early years after its founding in 1981, Ragamala made ??pioneering work and became a model for similar initiatives in other cities. In close cooperation with the University of Washington and the local Indian community, Ragamala has organised several hundred classical Indian music and dance events with leading artists from India as well as with regional talents. Due to changes in musical trends and a decline in membership and attendance, this work can now no longer continue. The name Ragamala will only survive in the form of a scholarship for Indian Music, to be established at the University of Washington from the remaining funds of the association's treasury.

Samir Chatterjee In contrast to Ragamala Seattle and the AACM store, Chhandayan is booming. The association was founded in 1988 in New York by tabla player Samir Chatterjee. Over the years it has continuously developed and expanded the range of its activities. Today Chhandayan offers lessons in Indian music not only in New York, but also in New Jersey, Maryland, Florida and Pennsylvania, publishes educational materials, organises concerts, operates a shop for instruments and accessories and promotes several projects for Indian classical and crossover music. Highlight of Chhandayans work is the annual all-night concert, held every May with great stars of Indian classical music. The next all-night concert features the Arpan instrumental ensemble, vocalist Sanjoy Banerjee, tabla solo by Samir Chatterjee, khyal vocalists Rajan and Sajan Mishra and sitar virtuoso Shahid Parvez. It takes place on May 10th - and is expected to be available worldwide online in live stream.


5. Raghunath Seth - Creative Spirit in New Worlds
- Orbituary by Yogendra -

The development of Indian classical music in the 20th century can be told as an impressive success story. Being an elitist tradition based on regional centers in the 19th century, it became a a national cultural treasure in the first half of the 20th century, and a global phenomenon that has left the confines of his original culture behind in the second half. The pedigree of coming from a traditional family of musicians lost its importance for aspiring artists, and entirely new possibilities opened up for versatile and creative musicians. The flutist Raghunath Seth is a prime example of this development. He was born in 1931 in the old music stronghold of Gwalior. He received his basic musical knowledge at a young age from eminent musicologist S.N. Ratajankar in Lucknow. In 1950 he moved to Mumbai and was heavily influenced by lessons with classical bansuri pioneer Pannalal Ghosh, a representative of the Maihar gharana. However, he never went through the years of systematic training with an established guru that had been an essential requirement to becoming a musician earlier. Talent, learning ability, diligence and creativity were the basis of his music instead.

Raghunath Seth From 1954 - 69 Raghunath Seth worked as a composer and producer for All India Radio Lucknow. After that he joined the Films Division of India in Mumbai, the government's own film company which produces, inter alia, for the state television Doordarshan. In 1980 he took over the post of Films division's music director as successor of Vijay Raghav Rao. As a successful film musician, he composed for and accompanied many great Bollywood celebrities like Lata Mangeshkar and Asha Bhosle and created music for about 2,500 documentaries and television programmes.

In addition to these activities, Raghunath Seth pursued a career as an international classical concert soloist. In this field he combined various elements into a distinctive personal form of presentation with a very wide repertoire, including styles like Dadra, Kajri, Bhajan and Dhun. The interpretation of rare ragas in unusual scales, often derived from the Carnatic music of South India, was one of his special treats. In order to suit his personal style he added a bamboo key to the bansuri, enabling him to use the seventh finger hole with great ease, and he worked with alternative tunings for this seventh hole. He also became known as a teacher of successful Western flutists such as Chris Hinze and Steve Gorn.

In 1994, Raghunath Seth received the Sangeet Natak Akademi Award, one of the most prestigious cultural awards in India, for his life's achievements. On February 15th he passed at the age of 83. His musical legacy is continued by his son Apurva Shrivastava and his grandson Aditya. Raghunath Seth has also left a remarkable trace of his music for the digital world of the 21st century: His composition Music to Help You Sleep has already received more than 5 million views on Youtube.


6. Sitar-Fusion from Germanistan (3/6) - Al Gromer Khan
- Background Feature by Yogendra -

Ravi Shankar's heirs keep the sitar alive - not only in India but also in Central Europe! It is a little-known fact that sitarists with German roots have already been successful professional performers for decades. They have explored original new ways of combining Indian sounds with other musical styles and have thus contributed substantially to what is known today as world music. Time to take a closer look and tell the story of this ignored tradition...

Al Gromer Khan Al Gromer Khan is probably the most original and enigmatic figure in the story of sitar fusion from Germanistan. He was born in 1946 as Alois Gromer in the Bavarian Alps. His father worked in the diplomatic service, so he spent some childhood years in England, Morocco and India. In the 1950s, still a boy, he had his first musical epiphanies, thanks to melodic bells of Bavarian cows grazing on mountain meadows and thanks to singing telegraph wires in a harsh Bavarian winter. A particularly striking experience was the feeling of overwhelming happiness that occured when he woke up one stormy night and heard the faint echoes of a marching band from a far distance. It was the beginning of a lifelong journey into the mysteries of sound, perception and consciousness.

Vilayat Khan= From 1965 - 69 Al Gromer lived in London amidst its colorful Flower Power scene of international artists, musicians, tantrics and prophets of alternative lifestyles, who were, just like him, looking for new dimensions of being and gave him substantial impetus. There he met the legendary sitar master Vilayat Khan for the first time in 1968 - and was so fascinated by his charisma and his understanding of art that he himself started to learn the sitar. He became a student of Vilayat Khan 's younger brother Imrat and lived partly in India. In 1975 he was formally initiated as a disciple and thus became a member of the Khan family - Alois Gromer had turned into Al Gromer Khan. However, in 1978, he broke up with Imrat Khan due to personal differences. Afterwards he studied a while with Vilayat's nephew Rais Khan, until it came to a rift with him as well.

During these intense years of apprenticeship, Al Gromer Khan was confronted with the typical contradictions, which Western students encounter when they get deeper involved with Indian classical music: On one hand ecstatic happiness when immersed in the sublime spiritual worlds of the raga cosmos, on the other hand disillusionment and disappointment about the mundane aspects of Indian musicians' lifes, such as nepotism, rivalry and conflicts about money and status. A similar inconsistency was inherent in his relation to Indian classical music itself. Diving into the meditative relaxation and apparent timelessness of alap and into the highly differentiated articulation and ornamentation, he experienced highest pleasure and could dissolve in tears of joy again and again. However, he had little interest in the traditional dramaturgy of progression and acceleration, of its rhythmic complexity and its technical virtuosity.

Al Gromer Khan Throughout the 70s, Al Gromer Khan concentrated completely on practicing sitar and delving deeper into the mysteries of the uplifting effects of Vilayat Khan's music. During this period his the first recordings were published. The premiere was the track Suicide on Hesse Between Music by Peter Michael Hamel and the group Between in 1974 - still heavily relying upon the conventions of Indian classical music. Until 1986, he played sitar on eight other records, mainly working with electronic music pioneers such as Florian Fricke, Klaus Wiese, Jörg Evers and Mario Strack. Ambient artist Klaus Wiese in particular encouraged him in developing music beyond mere entertainment that induces specific internal states. The more he realised the potential holiness of music, the more he became sure that he wanted to do neither superficial and striking pop nor intellectual and formalistic serious music. His own music should not be agitating, but soothing, creating an empty space inside, heard casually and with low volume, supported by a strong black tea with a little milk and sugar.

In the mid-80s, when high-quality sampling technology became available, Al Gromer Khan was finally able to materialise the musical visions that had matured in his mind for decades. Live concerts with expectant audiences contradicted his ideas. Therefore he focused on producing recordings in his own studio and publishing them on CD. The first solo album in 1987 was Chai and Roses, including the track Kailash Castles. Since then, he has continued to work tirelessly - almost every year he has released one or two new albums. His website currently lists over 20 original albums, some of them with audio samples. Al Gromer Khan's own name for his unique style is Paisley Music. Its central element are webbings of electronic sounds, sometimes with a simple pulse, sometimes rhythmically free. They are merged together with recordings of his sitar or surbahar or with samples of other instruments, creating subtly flowing textures. He deliberately abandons coventional elements such as text, repetition of melodic themes, harmonic progression, tension and resolution, dynamics, tempo changes or contrasts. His Paisley Music remains abstract, eludes common listeners' expectations and allows the mind no way to hold on and focus anywhere. That way it opens up wide spaces of subtle inner experience.

Al Gromer Khan Al Gromer Khan is not only musicians, but an artist in a broader sense. He has presented ideas about of his work in texts like Foret Diplomatique or how to listen to Ambient (German) and in 99 Axioms. An account of musical apprenticeship with Indian masters with autobiographical elements was released in 2006 as an audio book entitled The teacher, his student and the white Mogul, and published as a book under the title The white Mogul in 2009. Jazz Christmas (2007) tells of a London jazz club in the 60s. Sites of his travel music novel Jimi of Silence (2009) are Germany, Morocco, Turkey and India. He has also published several critical, polemical essays since the 1990s. And in recent years he has gone into painting, exhibiting his tantric miniatures.

Besides all these activities Al Gromer Khan has always remained connected to Indian classical music. He has organised numerous solo concerts and festivals with Indian masters in his longtime residential city of Munich and also performed there regularly with classical ragas himself. On May 11th you can once again listen to him live in a meditation matinee concert with morning ragas on sitar and surbahar at Gasteig in Munich.


7. Workshops - April to June
- Scene Info -

Workshops are a great opportunity of getting fresh inspiration for the study and practice of Indian instruments, Indian music and Indian dance. We support that! Therefore we publish an overview of current workshops regularly. Details of all workshops are available in our website's network section on the workshop page.

Ghundecha 04.04. - 06.04. BAD MEINBERG: Sitar - Step by step... with Yogendra
06.04. - 11.04. YOGA VIDYA NORTH SEA: Harmonium Intensive with Uli Schuchart
18.04. - 21.04. YOGA VIDYA ALLGÄU: Harmonium learning seminar with Juergen Wade
25.04. - 27.04. YOGA VIDYA ALLGÄU: Harmonium building seminar with Juergen Wade
26.04. - 29.04. CZ - BAST (near Prague): Nada Yoga with Roop Verma
01.05. - 05.05. CZ - BAST (near Prague): Sitar with Roop Verma
09.05. - 11.05. BAD MEINBERG: Harmonium advanced seminar with Devadas Mark Janku
17.05. DORSTEN: Raga Improvisation with Subroto Roy Chaudhuri
17.05. DORSTEN: Tabla with Frank Westerath
01.06. - 06.06. BAD MEINBERG: Kirtan and harmonium Retreat with Narendra Hübner
02.06. & 16.06. BERLIN: Vocal meditation and raga singing with Amelia Cuni
06.06. - 08.06. BAD MEINBERG: Harmonium learning seminar with Juergen Wade
06.06. - 08.06. BERLIN: Kathak dance for intermediate with Ioanna Srinivasan
07.06. - 08.06. BERLIN: Kathak dance for beginners with Ioanna Srinivasan
11.06. - 17.06. SPAIN - NEAR BARCELONA: Dhrupad - Vocal & Percussion with Ramakant, Umakant & Akhilesh Gundecha
13.06. - 15.06. HAMBURG: Brahmari Kathak with Christa Chattopadhyay
27.06. - 03.07. ITALY - APULIA: Dhrupad - Vocal & Percussion with Ramakant, Umakant & Akhilesh Gundecha


8. Concerts- April and May
- Scene Info -

Spring is the peak season for Indian music in Central Europe. We have listed nearly 80 concerts in April and May - ample opportunity to listen live to Indian classical music, world music with Indian instruments or kirtan! For more detailed information, venues and times, as well as additional dates for 2014, check our concert calender.

Shashank SubramanyamIndigo MasalaAnoushka Shankar

04.04. BERLIN: Sebastian Dreyer - Sitar
04.04. FREISING: Indian Air
05.04. NORTHEIM / Hardegsen: Indian Air
05.04. STUTTGART: Ranajit Sengupta - Sarod
05.04. POTSDAM: Matyas Wolter - Sitar & Surbahar
05.04. NL - UTRECHT: Shashank Subramanyam - Carnatic Flute
06.04. NL - AMSTERDAM: Shashank Subramanyam - Carnatic Flute
06.04. STUTTGART: Ranajit Sengupta - Sarod
06.04. BERLIN: Prema Hara - Kirtan Concert
06.04. FRANKFURT / M: Josh Feinberg - Sitar
07.04. LEVERKUSEN / Hitdorf: Josh Feinberg - Sitar
10.04. AACHEN: Josh Feinberg - Sitar
11.04. WUPPERTAL: Josh Feinberg - Sitar
11.04. BERLIN: Matyas Wolter - Sitar & Surbahar
12.04. BERLIN: Indigo Masala & Ioanna Srinivasan - World Music & Kathak
12.04. STUTTGART: Rafiq Ahmed - Sarangi
12.04. RECKLINGHAUSEN: Josh Feinberg - Sitar
12.04. HAMBURG: Janin Devi & Band - Kirtan Concert
13.04. BERLIN: Janin Devi & Band - Kirtan Concert
13.04. B - BRUSSELLS: Josh Feinberg - Sitar
13.04. STUTTGART: Rafiq Ahmed - Sarangi
13.04. DARMSTADT: Carola Grey's Noisy Mama
13.04. BERLIN: Matyas Wolter - Sitar, Diptesh Bhattacharya - Sarod
14.04. HAMBURG: Matyas Wolter - Sitar & Surbahar
15.04. LUBECK: Matyas Wolter - Sitar & Surbahar
16.04. LUBECK: Matyas Wolter - Sitar & Surbahar
23.04. BERLIN: Amelia Cuni - Dhrupad Vocal
27.04. POTSDAM: Sebastian Dreyer - Sitar
03.05. STUTTGART: Somabanti Basu - Sarod
03.05. OSNABRUCK: INDIGO MASALA - Acoustic Asian World Fusion
04.05. ESSEN: INDIGO MASALA - Acoustic Asian World Fusion
04.05. STUTTGART: Somabanti Basu - Sarod
04.05. JULICH: INDIGO MASALA - Acoustic Asian World Fusion
08.05. LUDWIGSHAFEN: INDIGO MASALA - Acoustic Asian World Fusion
09.05. TUBINGEN: INDIGO MASALA - Acoustic Asian World Fusion
10.05. STUTTGART: Subhankar Chatterjee - Vocal
10.05. STUTTGART: INDIGO MASALA - Acoustic Asian World Fusion
11.05. STUTTGART: Subhankar Chatterjee - Vocal
11.05. MUNICH: Al Gromer Khan - Sitar, Surbahar
14.05. HILDESHEIM: Pulsar Trio
15.05. CH - LUCERNE: Anoushka SHANKAR - Sitar
16.05. A - REUTTE: Indian Air
16.05. NL- UTRECHT: Rajeev Janardan - Sitar & Surbahar
16.05. STUTTGART: Anandita Basu - Sufi Vocal & Harmonium
17.05. MUNICH: Anandita Basu - Sufi Vocal & Harmonium
17.05. WOLFENBUTTEL: INDIGO MASALA - Acoustic Asian World Fusion
17.05. STUTTGART: Monalisa Ghosh - Odissi Dance
17.05. DARMSTADT: Anoushka Shankar - Sitar
18.05. LONDON: Anoushka Shankar - Sitar
18.05. NL - AMSTERDAM: Rajeev Janardan - Sitar & Surbahar
18.05. STUTTGART: Monalisa Ghosh - Odissi Dance
18.05. MAINZ: Hari & Chethana - Kathak Dance
18.05. DORSTEN: Subroto Roy Chaudhuri - Sitar
18.05. LEIPZIG: Anandita Basu - Sufi Vocal & Harmonium
19.05. DRESDEN: Anandita Basu - Sufi Vocal & Harmonium
21.05. MUNICH: Anandita Basu - Sufi Vocal & Harmonium
22.05. BERLIN: Anandita Basu - Sufi Vocal & Harmonium
23.05. BONN: Anandita Basu - Sufi Vocal & Harmonium
23.05. FRANKFURT: Kaberi Sen - Odissi Dance
23.05. CH - ZURICH: Petros Haffenrichter & Band / Spring & friends
24.05. CH - ZURICH: Singing Buddha / 2ram meets RASA
24.05. COLOGNE: Anoushka Shankar - Sitar
24.05. FRANKFURT: Anandita Basu - Sufi Vocal & Harmonium
24.05. STUTTGART: Neela Bhagwat - Vocal
25.05. STUTTGART: Neela Bhagwat - Vocal
26.05. A - VIENNA: Anandita Basu - Sufi Vocal & Harmonium
27.05. A - BADEN near Vienna: Anandita Basu - Sufi Vocal & Harmonium
27.05. HANNOVER: Yogendra - Sitar
27.05. COLOGNE: Hariprasad Chaurasia - Bansuri
27.05. A VIENNA: Anoushka Shankar - Sitar
28.05. STUTTGART: Subrata De - Sitar
29.05. STUTTGART: Subrata De - Sitar
29.05. DRESDEN: Anoushka Shankar - Sitar
29.05. - 01.06. BAD MEINBERG: Yoga Vidya Music Festival
29.05. DARMSTADT: Acharya Mangalananda & Gurusharanananda Swami - Kirtan
30.05. HEMMOOR (Cuxhaven): Yogendra - Sitar
30.05. STUTTGART: Mujtaba Hussain - Bansuri
31.05. HARBERGEN (Nienburg): Yogendra - Sitar
31.05. STUTTGART: Nawab Khan - Santur, Shahid Khan - Sarangi

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