MUSICAL BELONGINGS I

lautten compagney – Philipp Jakob Rittler (1637-1690): Ciaconna
Kala Ramnath – Raga Nat Narayan (Hindustani)
Jayanthi Kumaresh – Raga Keeravani (Carnatic)
lautten compagney – Andrea Falconieri (1585-1656): Ciaconna
lautten compagney – Steve Reich (geb. 1936) / Guillaume Dufay (1400 – 1474): Clapping Music / Se La face ay pale

lautten compagney – Arr. Bo Wiget, from sources by John Cage and John Foulds:
 Solo for Voice 58
Jayanthi Kumaresh, Kala Ramnath – Indie (duet)
lautten compagney – Rabindranath Tagore (1861-1941, Arr. Suddhaseel Sen): „Baajey koruno shurey“
lautten comapgney – Giacinto Scelsi (1905-1988, Arr. Bo Wiget): Krishna e Radha
lautten compagney, Kala Ramnath – Erik Satie (1866-1925): Gnossienne no. 1 | Raga Madhukauns
lautten compagney, Kala Ramnath – Dharma (Raga Dharmavathi)

lautten compagney, Kala Ramnath – Diego Ortiz (1510-1570): Recercada Quarta | Raga Pilu
lautten compagney, Jayanthi Kumaresh – Claudio Monteverdi (1567-1643): „Lamento della Ninfa“ | Raga Bhairavi
lautten compagney, Jayanthi Kumaresh, Kala Ramnath –  Diego Ortiz: Passamezzo antico e moderno | Raga Charukeshi

lautten compagney, Jayanthi Kumaresh, Kala Ramnath – Erik Satie: Gymnopedie no. 1 | Raga Maand
lautten compagney – The Beatles / George Harrison (Arr. Bo Wiget): „Within you, without you“
lautten compagney, Jayanthi Kumaresh, Kala Ramnath – The Carnatic Stream (Raga Charukeshi)

Jayanthi Kumaresh, a sixth-generation Veena virtuoso, started playing the National Instrument of India, the Saraswathi Veena at the age of three and is a ten-time recipient of the “Award for Veena” bestowed by The Music Academy, Chennai, India. In the 37 years of her concert career, Jayanthi has placed the Saraswathi Veena on the world map through her performances.

Jayanthi has performed at many international festivals, including the San Francisco Jazz Festival, Darbar Festival London, Celtic Connections in Scotland, Queensland Music Festival, Darwin Music Festival, and Adelaide Music Festival, BBC Proms London and at prestigious venues such as United Nations in New York, the Palladium, Indiana, Théatre de la Ville, Paris, and Northwest Folklife Festival, Seattle.

Apart from her collaborations with several star musicians of Indian Classical Music, her concerts with Ustad Zakir Hussain, Indian National Orchestra and the British Philharmonia make her an ambassador of the rich musical heritage of India.

She has taken the internet by storm through her innovative web series, Cup O’ Carnatic, which demystifies Indian Classical music to the world audience and has more than 2.5 million views on social media. With a doctorate in the art of Veena playing, her online Jayanthi Kumaresh Academy for Veena has students from over 15 countries.
She has been honored with innumerable awards including “Kalaimamani” by the Government of Tamil Nadu, “Sangeet Shikar Samman” by Bharatiya Vidya Bhavan to name a few.

Her fresh expressions of the ancient ragas and talas through the Voice of the Veena, makes Jayanthi one of the most prominent Veena masters that India has ever produced.

www.jayanthikumaresh.com

https://instagram.com/jayanthiveena?igshid=NTc4MTIwNjQ2YQ==

Kala Ramnath with her ‘Singing Violin’ stands among the world’s finest, most inspirational instrumentalists. Born into a family of renowned violinists, her violinistic vision began manifesting early, and her grandfather took her under his tutelage. She became a disciple of the legendary vocalist Pandit Jasraj. During this mentorship Kala began revolutionizing approaches to vocalized Hindustani violin technique. During this time she began formulating a voice quite unlike other Indian or non-Indian violinists. Justifiably her voice came to be dubbed ‘Singing Violin’.

Kala is at the vanguard of the present generation of Indian instrumental super-stars. Due to her rigorous training in the Hindustani classical tradition, she comfortably forges musical alliances with artists of renown from different genres around the globe incorporating elements of Western Classical, Jazz, Flamenco and traditional African music into her rich and varied repertoire. Kala has performed at the most prestigious music festivals in India. She has appeared on world stages including the Sydney Opera House, Paris’ Théâtre de la Ville, London’s Queen Elizabeth Hall, New York’s Carnegie Hall, and the Edinburgh Music Festival in Scotland. Her playing has been featured on the Grammy-nominated “Miles from India” project, compositions of hers have appeared on the Grammy-winning album “In 27 Pieces” and the Kronos Quartet’s “50 For The Future”. The UK-based Songlines magazine hailed Kala Ramnath as one of the 50 world’s best instrumentalists and selected album “Kala” as one of its 50 best recordings. She was the first Indian violinist ever to be featured in the violin Bible, The Strad. Kala has founded several bands with fellow world music artists, such as Raga Afrika, Global Conversation, and Yashila. Besides performing and composing, she also teaches, lectures and conducts workshops all around the world, most recently at the Rotterdam Conservatory of Music in Netherlands, University of Giessen in Germany and the Weill Institute in association with the Carnegie Hall in New York.

“…If Mozart had been transported to the South Asian subcontinent, this is what he and improvised Western classical music might have sounded like. This comparison is not thrown in to befuddle or impress. Kala Ramnath is a musician of giant-like qualities…” Ken Hunt, Jazzwise, September 2004.
www.kalaramnath.com

Suddhaseel Sen is Associate Professor of English in the Department of Humanities and Social Sciences at the Indian Institute of Technology (IIT) Bombay. He has a PhD in English from the University of Toronto and a second PhD in Musicology from Stanford University. Sen has been a Research Fellow for the Balzan Foundation research project, “Towards a Global History of Music”, directed by renowned musicologist Reinhard Strohm. His publications include essays on Shakespeare adaptations as well as Richard Wagner and German Orientalism.

Both his literary research and his musicological dissertation cross-cultural exchanges between Indian and European Musicians in the 19th and 20th century show his interest in transcultural interconnections. He brings this to bear at the Humboldt Forum as co-curator of “Musical Belongings I: Raga & Passacaglia” and as moderator of the audience discussion following the concert.

A lutenist by training, Wolfgang Katschner founded the lautten compagney BERLIN together with Hans-Werner Apel in 1984, the centerpiece of his multifaceted work as a musician, organizer and researcher in the sound worlds of “early music”.

On CDs, Wolfgang Katschner and his ensemble present themselves as border crossers; alongside world premiere recordings of operas such as “Didone abbandonata” are unusual combinations of composers: Philipp Glass and Tarquinio Merula (“Timeless”), Heinrich Schütz and Friedrich Hollaender (“War & Peace”) and Heinrich Ignaz Franz Biber and Astor Piazzolla (“Misterio”). Each of these programs stands for the conviction that “early” music is just as modern as the music written later and, once one steps out of the self-imposed isolation as a musician of “early” music, can be combined with more modern repertoire in an extremely profitable way for musicians and audiences alike.

For some years now, Wolfgang Katschner has also successfully appeared as a guest conductor at German opera houses. In 2012-2016 he was musical director of the Winter in Schwetzingen; after guest appearances in Bonn (Handel’s “Rinaldo” and “Giulio Cesare”) and Oldenburg (Hasse’s “Siroe”) he was responsible for several opera productions at the Staatstheater Nuremberg: “Il ritorno d’Ulisse in patria”, “Serse”, “La Calisto” and “Bajazet”. Most recently, Katschner conducted Monteverdi’s “L’Orfeo” at the Semperoper Dresden.

Wolfgang Katschner is also increasingly involved in the training of young artists. He was a guest professor at the Hanns Eisler School of Music Berlin, at the Sing-Fest in Hong Kong, artist in residence at BarockVokal in Mainz, and worked with singers at the University of Music Franz Liszt in Weimar in 2018 and 2019.

Christian Filips is a poet, music dramaturge, director and translator. He studied philosophy, literature and musicology in Vienna and Berlin. Since 2006 he has been working as a freelance author, director and music dramaturge for the Volksbühne am Rosa-Luxemburg-Platz, for the lautten compagney BERLIN and for the Sing-Akademie zu Berlin, among others. As a music dramaturge, he specializes in hybrid formats combining early and contemporary music, literature, performance and action art. As a theater maker, he has developed immersive productions for urban space together with partners in Mumbai and Nairobi. As a translator, he collaborated with the Arab-German collective WIESE (Wie es ist) / مرج (for Hamburger Bahnhof, among others). Filips is currently working with poets Logan February (Nigeria) and Lionel Fogarty (Australia) on the project POESIE DEKOLONIE. In April 2023 he curated the festival for world literature POETICA 8 at the University of Cologne. In August 2023, he will receive the Erlangen Literature Prize for Poetry in Translation. Most recently, the poetry collection Im Traum die Auskunft sagt: Hier! Selected poems 1996-2022 was published by Engeler Verlag.

The lautten compagney BERLIN under the direction of Wolfgang Katschner is one of the most renowned orchestras of early music. Over the past 39 years since its founding in 1984, it has delighted music lovers all over the world. In the fall of 2019, it was awarded the OPUS Klassik as Ensemble of the Year. With concerts, opera performances and crossover projects, it sets unique musical accents. The ensemble is one of the few independent producers of music theater projects in Germany. For its unusual and innovative programs, it is appreciated by audiences as well as national and international critics. In addition to its performances in Berlin, the lautten compagney tours Germany, Europe and the world with approximately 100 concerts per year. The last major non-European tours took the group to ten cities in China in 2019 and to Bogotá in Colombia in the fall of 2021. At the Dresden Semperoper, the lautten compagney recently celebrated the acclaimed premiere of Monteverdi’s “L’Orfeo” as the first guest ensemble in the house’s recent history.

The lautten compagney cultivates musical traditions with great repertoire works as an important part of its program spectrum. Wolfgang Katschner and his ensemble are not only curious about music, but also about new ways of presenting it in concert. The lautten compagney has found its own individual platform for experimentation with the :lounge format, among others. Here, it demonstrates that early music and contemporary music can very well be combined. In the :lounge, live sampling and live sounds enrich the timbres of the baroque instruments and offer space for surprising improvisations. When old works are thus inspired by new ideas, musical boundaries disappear.

lautten compagney BERLIN

Lautten Compagney – Thema – YouTube