|When the wonderful arts cast a bridge|
The wonderful arts, particularly music, unites folks and touches the thoughts, coronary heart, and soul of audiences, no matter gender, nationality, and their degree of discernment. Two musical occasions held on the National Gallery of Modern Art (NGMA) and the Indian Council of Cultural Relations (ICCR) auditorium in New Delhi solely proved this proper.
Painting and music got here collectively when Marten van den Berg, Ambassador of the Netherlands, and Adwait Garnayak, director-general NGMA, offered ‘Song of Water: See the Music, Hear the Painting’, composed by the Indo-Dutch musician couple Sitarist Shubhendra Rao and Cellist Saskia de Haas, on the NGMA. Both are pondering musicians who’ve taken their devices past standard boundaries, and cast musical bridges throughout cultures.
As composers, they’ve all the time been impressed by Nature. In ‘Song of Water’, Shubhendra and Saskia took as theme water, and explored its which means in India and the Netherlands via the lens of artworks related to the soul of the 2 nations — the river Ganga in India and the ocean within the Netherlands. ‘Song of Water’ interpreted artworks of nice masters from each nations via Indian classical ragas, polyphonic settings and Indian rhythms.
Presented on an open-air stage on the NGMA, ‘Song of Water’ showcased the work because the backdrop for Shubhendra and Saskia, who had been joined by Pranshu Chaturlal on the percussion — they concurrently interpreted the work via music. The musical presentation had six actions, for the six work from each nations, every conveying a distinct theme that related the music with the portray it represented. The viewers might actually hear the music within the portray and see the portray within the music.
The first motion ‘Birth’ had the show of ‘Ganga Avataran’ by Nandlal Bose. The eGanga agrees to descend on earth, however fearing an apocalyptic deluge, Bhagiratha prays to Shiva in his divine manifestation of Trikaleshwara;, in order that Ganga cascades over Shiva’s matted hair and flows gently down his ft.
‘Descent of Ganga’ an oleograph by Raja Ravi Varma, additionally impressed the primary motion primarily based on Bairagi Todi, a reposeful raag created by the legendary Pt. Ravi Shankar, Shubhendra Rao’s guru. Opening with the primordial ‘Aum’, emanating from the elongated Meend on Cello from Mandra Pancham to Shadja, the sitar joined with the three Vedic notes, build up a rhythmic sample for the tabla. Both the devices explored the 5 notes of Bairagi Todi, evoking the ‘beginning’ of the Ganga. The musical interaction of melody and rhythm captured Shiva’s Jata-Joot (mane) and the Ganga flowing to the earth in a sooner rendition of Jhala.
The second motion ‘Aqua Ostinato’ interpreted ‘Pier en Zee (Pier and Sea) by Piet Mondrian, one of the vital influential Dutch painters. The portray depicted the great thing about the ocean flowing via the pier, evoking the hypnotic cadences of water rippling and dispersing alongside the wood beams on the shorelines. This echoed the musical idea of Ostinato, a repetitive rhythmic and melodic sample in music. Here, the composers created a chorus of six musical patterns, identical to how Mondrian depicts the waves in his portray. Composed for sitar, Indian Cello, and Tabla-Tarang, the place a variety of tablas are tuned to the melodic patterns of the recurring notes set to a ten beats’ time cycle, ‘Aqua Ostinato’ was additionally an ode to the Dutch composer Simeon ten Holt, and his beautiful Canto Ostinato.
The subsequent 4 actions of the musical composition had been love, celebration, shoonya (stillness) and fury, decoding the portray ‘Children of the Sea’ by Jan Toorop, the ‘Santhal Women and Mother and Child’ by Jamini Roy, ‘Bild no 33’ by Jacoba van Heemskerck, ‘Boat’ by Amrita Shergil, ‘The Sea’ by Jan Toorop and Gaganendra Nath Tagore, and ‘Lighthouse in Surf’ by Handrik Willem Mesdag.
Nandlal Bose’s creation of depth and thriller in watercolour had matching musical scores to go together with the content material of the work. The vigorous compering with the introductory remarks about every portray by Aroon Das enabled the viewers to know each the work and the complimentary musical rating.
India-EU ties via music and dance
‘Samvad: a Dialogue’, conceptualised and curated by Saskia and Shubhendra, celebrated Indian and Western cultures. Art and tradition and people-to-people ties are the bedrock of any vibrant bilateral relationship. The European Union-India partnership of six a long time symbolised the alternate of data that has created a continuing dialogue between India and the EU.
‘Samvad – a Dialogue’ was additionally conceptualised and curated by Saskia de Haas and Shubhendra.
‘Samvad’ was organised by the Delegation of the EU to India to mark 60 years of EU – India diplomatic relations on the Azad Bhavan auditorium of the Indian Council for Cultural Affairs (ICCR).
Inaugurating the live performance, Seppo Nurmi, Charge de Affaires of EU to India, mentioned “Music and dance are highly effective artwork expressions that improve understanding, respect and love for various cultures and ‘Samvad – a Dialogue’ celebrates the inter-cultural alternate between EU and India.”
This got here throughout convincingly via the music and dance duets that adopted. The Jugalbandi between Shubhendra and Saskia, who had been accompanied on the tabla by Zuheb Ahmed was adopted by a Bharatanatyam and Sattriya dance duet by Arupa Lahiri from India and Perrine Legoullon from Europe.
Shubhendra and Saskia regaled the viewers with some in style songs from each cultures, with an inexpensive stability between melodic and rhythmic components. Opening with the invocatory sound of ‘Aum’, they proceeded with a few songs from Italy and Bengal that complemented one another. The Adagio by a Spanish composer on the Cello was matched by Shubhendra with a Nat-Bhairavi. Folk tunes from Greece sounded near Basant Mukhari on the Sitar. Zuheb’s Chaanchar Theka on simply the Dugga (the left-hand drum), added novelty. The concluding piece was an Irish tune just like Manjh-Khamaj that led them to “Vaishnav Jan Toh…”, the favorite bhajan of Mahatma Gandhi, earlier than the trio concluded with a jet-speed Jhala climaxing with a Gopuchchh Tihai.
The fascinating dance duet by Arupa and Perrine comprised Krishna-Vandana adopted by a Tillana and the concluding Dashavatara Shloka from Geet-Govinda. Gifted with a delightful stage presence, an erect stance and admirable agility, the light-footed Arupa Lahiri complemented the mushy dancing grace of Perrine.