The Hyderabad Western Music Foundation

A platform for musicians and lovers of western music to...

  • Meet, Associate and Interact with each other
  • Perform and Share Their Talent
  • Understand and Appreciate different genres of Western Music and its linkages to other forms of Music

HWMF-Basic Vocal and Music Theory Course - Start 9th May

Hyderabad Western Music Foundation is pleased to announce
 
Basic Music Theory & Vocal Course (6 Saturdays)
 
Learn how to approach vocal learning systematically, and how to move towards a healthy singing voice. Get familiar with the basic principles of vocal techniques like breathing, vocalizing and body posture. Add new songs of different genres of music to your repertoire. Acquire a music theoretical background (notation reading, scales, rhythm, intervals). Opportunity after completion of the course will also be given to join a leading local vocal group. 
 
Start: 9th May 2015 from 1-2.30 pm (plus following 5 Saturdays)
 This course is for “everybody” who likes music and singing!  Course-fee: Rs 2400 (for 9 hours), incl. material. HWMF-members Rs 2100. Teachers: Joe Koster, music teacher, conductor of the Deccan the Voices. Tejaswinee Kelkar will partly assist during the course. Registration on 9th May at the venue: Alliance Française, Road No 3, Aurora Colony, Banjara hills.  Info: 9912201659 or info@hydmusic.com
 

 

Uberto Orlando (UK) - Western Classical Flute - concerts and lectures - 29th April - 1st & 2nd May

concert video: http://youtu.be/e7RoZl0hwDo

 

 

                     La Flûte Enchantée - The Magic Flute

HWMF-Concert at Alliance Française, Hyderabad - Saturday 3 May 2015
 
Wolfgang Amadeus Mozart
Andante in C Major
Uberto Orlando, Flute
 
Ludwig van Beethoven
from Sonata in Bflat Maj for Flute and piano
Largo - Polonaise
Uberto Orlando, Flute - Mohit Dodwani, Piano
 
Gabriele Fauré
Sicilienne
Nicole Bhatia, Uberto Orlando, Flutes - Joe Koster, Piano
 
Claude Debussy
Arabesque N.1
 
Maurice Ravel
Habanera
Uberto Orlando, Flute - Chaitanya Marneni, Piano
 
Giovan Battista Pergolesi
Quartett in G Maj for Flute and strings
Spiritoso - Adagio - Allegro
Uberto Orlando, Flute - Ritu Gopal, Abhijit Gurjale, Violins - Eshaan Bhansali, Cello

It was indeed a unique  "East meets West" event that HWMF had organized on Wed the 29th Apr 2015 at "Our Sacred Space”, Secunderabad. Two virtuoso flautists, sharing a common podium, playing different genre of music. What is more unique was that their music was of the same aural spectrum but from two opposite ends of the intellectual spectrum.

The concert opened with an Indian Flute recital by Nagaraju Talluri who is popular known as Flute Nagaraju. In his preamble Nagaraju briefly touched upon the Manodharma, a form of improvised music and is created on the spot during the performance, but within the confines of strict grammar of music, as codified in the raga and/or the tala, or simply put 'a freedom within the discipline'. It was a mellifluous piece based on a Carnatic raga supported by 'mrudangam' and an 'electronic tampura'.  Why an electronic 'tampura'? - Nagaraju put it in very simple words - unlike the west the Indian musician need not stick to the A-440 and an electronic tampura facilitates setting any reference pitch desired by the musician as his 'shadja' or the 'tonic' as a western musician would put it.  Nagaraju, a Telugu by birth, was equally comfortable with his next piece Raag Misrakamaj, from his Hindustani classical repertoire, playing on a 'bansuri'.  The variations and improvisations were superbly interspersed with a 'flutter tongue' passages - difficult to play and perhaps even more difficult to describe it.

Uberto opened his recital with a Vivaldi's piece with the backdrop of a pre-recorded orchestral accompaniment. This was followed by a Mozart's Andante for Flute & Strings, amply demonstrating the Baroque style vis-à-vis the classical style of the later period.  Though Mozart hated the flute and more so writing music for it, the rendition was an aural treat indeed, to hear as to how Mozart could bring out the beauty and nuances of the instrument and the virtuosity of the player as well, in his wonderful composition.  The third piece of the recital was by a modern 20th century composer  Claude Debussy and his composition 'Syrinx', written as a solo for a modern Böhm (pronounced 'berm') flute    in a hexatonic scale, an indispensable part of any flautist's repertoire. Many musical historians believe that "Syrinx" gives the performer ample room for interpretation and emotion .

For the finale, both Uberto and Nagaraju shared the common podium to play Bach's famous Badinerie [BWV 1067 from the Orchestral suite no. 7] in an antiphonal style.  While Uberto peered into his score under the dim-lit stage Nagaraju was at ease with his "sa re ga ma" in Telegu with all its punctuation marks which could flawlessly replicate the subtleties of the crotchets, quavers and the scalic runs and arpeggios in the western score of his counterpart.  This indeed brought out a uniquity despite the ethnic diversity.  As if to create a symmetry in their divergence one could see that the western keyed flute was held to the right of the embouchure and the Indian bamboo flute was held to the left of the player (because he is a left handed).

J. S. Bach Badineriehttps://www.youtube.com/watch?v=Q_PAAYZiS8w
Responding to some questions, Uberto succinctly put it . . . 'unlike an Indian Musician who had no score in front of him but only the strong foundation of the raga for him to improvise bringing out his virtuosity under its strict framework, the western musician is like an 'actor on the stage' who, perforce, has to 'go by the script' (music score) written by the author (composer) '.  On the whole it was an evening of enriching experience to listen to the 'Titans without  the clash', you could also say without an iota of dissonance, in musical parlance, if you like. Write-up by Commodore Champion

 

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