OFFBEAT - Changing the Record on 103.2 Dublin Cit

ZAKIR HUSSAIN ON OFFBEAT IN CONVERSATION WITH KARISHMEH

Thu, 11 Jun 2009 10:28:00 GMT

ZAKIR HUSSAIN - In Conversation with Karishmeh

Legendary tabla virtuoso and musician Ustad Zakir Hussain, who performs in Dublin as part of Walton's World Masters Series, is featured on OFFBEAT, where he talks to Karishmeh about his earliest memories as son of legendary tabla player Ustad Alla Rakha, growing up in Mahim in Bombay, life on Grateful Dead Guitarist Mickey Harte's ranch in America, and his many musical influences, ideas, and thoughts on every aspect of being a consumate artist. Karishmeh says "I admit, that from all the interviews I have done so far, I was probably most in awe of talking to Zakirji (ji - a mark of respect in India, and I simply cannot get used to calling him just Zakir). I was 5 years old ( probably even younger) when I first heard of him, and to think that I had the chance to talk to him, is just unbelievable!! Not only is he one of the finest musicians alive, but he is so unpretentious, gracious with his time, and has a wonderful sense of humour, it hardly felt like work at all - he was just so happy to talk about everything under the sun. I have to thank Ty Burhoe( by all accounts a fine musician himself) and Kevin Kastrup for setting up the conversation!"

AIR DATE: 4 June 2009 (Repeat date TBC)

PART 1 Introduction and Recordings of Zakir Hussain

PART 2 Karishmeh in conversation with Zakir Hussain.

DOWNLOAD PROGRAM AND CONVERSATION WITH ZAKIR HUSSAIN HERE.

BUY TICKETS TO THE WALTONS WORLD MASTER PERFORMANCE FEATURING ZAKIR HUSSAIN HERE.

Waltons World Masters: Zakir Hussain and Masters of Percussion

18 June 2009 08:00 PM - MAIN AUDITORIUM

Zakir Hussain â Tabla
Niladri Kumar â Sitar
Sabir Khan â Sarangi
Abbos Kosimov â Doyra
Navin Sharma â Dholak
Meitei Pung Cholom Performing Troupe â The Dancing Drummers of Manipur.

MARNI NIXON - A PORTRAIT AND CONVERSATION

Fri, 22 May 2009 21:03:00 GMT

MARNI NIXON - A Portrait and Conversation

Legendary soprano and Hollywood singer Marni Nixon talks to Karishmeh about her life, career and being hailed as an intelligent musician as opposed to just a singer. The woman who voiced Audrey Hepburn's Eliza Doolittle in My Fair Lady, as well as Natalie Wood's Maria in West Side Story and Deborah Kerr's Anna in The King and I is featured in this hour long special about one of the most incredibly gifted talents Hollywood or the world has ever known. Karishmeh says " Marni Nixon - what a woman, and what a lovely, lovely, person! She was the one person who actually emailed me after the interview to thank me, I couldn't quite believe it - a Hollywood legend who takes the time and effort to send a follow up thank you email! She was an absolute joy to talk to, what a generous, giving and kind person. A true legend in every way!"

"AIR DATE: 21 May 2009 (to be repeated on 4 June 2009)

Introduction
The Need for Marni's voice (extracts of songs such by actresses Audrey Hepburn and Natalie Wood)
Highlights of Marni Nixon's Career
Dubbing Margaret O'Brien (in Hindi!)
Anton Webern Cantata No 1 Op 29, No 2 (Kleiner Flugal Ahornsamen)
I Could Have Danced All Night
I Feel Pretty
Getting to know you
Anton Webern Cantata No 1, Op 29, No 1 (Zunzender Lichtblitz)
Conversation with Marni Nixon
Charles Ives - Farewell to Land (Marni Nixon, Soprano accompanied by John McCabe)
Show Me (From My Fair Lady)

DOWNLOAD THE PROGRAM ON MARNI NIXON HERE

BUY A COPY OF MARNI NIXON'S AUTOBIOGRAPHY HERE

NAIDA COLE - PROFILE AND CONVERSATION ON OFFBEAT

Fri, 22 May 2009 21:01:00 GMT

NAIDA COLE as featured on OFFBEAT

Air Date 21 May 2009

CHABRIER- Bouree Fantasque, Naida Cole, Piano
Aloysius Bertrand- Ondine (from Gaspard de la nuit) English translation of the text.
RAVEL - Ondine (from Gaspard de la Nuit) Naida Cole, Piano

CONVERSATION WITH NAIDA COLE

CHABRIER - PiÃces pittoresques (No, 10 - Scherzo-valse) Naida Cole, Piano

DOWNLOAD ENTIRE PROFILE AND CONVERSATION WITH NAIDA COLE

Listen to Naida Cole perform Ravel's Ondine from Gaspard de la Nuit and conversation on Offbeat here.

Cross posted from the Ceoil Blog - by Karishmeh Felfeli-Crawford

Articulate. Intelligent. Incredibly gifted. Humble. Genuine. Honest. These are just some of the words that come to mind when I try and describe the impression Naida Cole made on me first as a pianist (both as a live performer and through her stunning recordings), and now more recently in conversation for OFFBEAT.

For those of you who are not familiar with her work, Naida Cole was one of the few young artists on the concert circuit in the late 1990s and early 2000s, who was acclaimed and widely popular as a live concert pianist and a recording artist. Canadian-American Cole was the second youngest pianist to receive the ARCT of the Royal Conservatory of Music, Toronto (the youngest being Glenn Gould), and she went on to study with the legendary Leon Fleisher, who she cites as one of her greatest influences and mentors. However, about two years ago, despite having an incredibly successful career as a concert pianist and both her records making it to Editor's Choice lists for all major publications, she decided to give up the career, so to speak, and go back to college and study medicine. Part of the change of direction in Naida's life has also involved having a more balanced life, getting married, starting a family. I cannot imagine what incredible determination and strength of character this must take, especially as she was such a dazzlingly polished pianist, and one with so much musicality and intellect in equal measure. Listen to her debut disc, or indeed her follow up album. Whether it is Ravel or Bartok, in fact anything she performs has the most indescribable sound, and she displays such a stunning palette of colours without the slightest hint of any over the top vulgarity.

When I spoke to her, she was so gracious (despite the fact that thanks to time zones and the like, I ended up calling her an hour earlier than she expected), and so open and sincere. I wanted her to realize that while I was interested in talking about her, and talking to her for the radio program, I was also someone who admired her at so many different levels (not to mention her phenomenal piano playing), and at the very least I was also a gushing fan (best not to admit to these things, but then again, I'm no dour music critic!). I found her thoughts, comments and insights particularly revealing and fascinating, as I often find myself thinking about similar things, particularly when faced with life choices.

I cannot thank Naida enough for giving up her time, from a very demanding schedule at Brown University's Med School to talk to me. You can listen to the entire profile, including some of her best playing (Chabrier, Ravel, Bartok) on the changingtherecord.com website or just click here. I could not resist reading a translation of the text to Ondine, so I do hope Naida forgives my poetry reading impulses!!

DOWNLOAD ENTIRE PROFILE AND CONVERSATION WITH NAIDA COLE

Listen to Naida Cole perform Ravel's Ondine from Gaspard de la Nuit and conversation on Offbeat here.

MAX LEVINSON - IN CONVERSATION ON OFFBEAT

Fri, 22 May 2009 20:58:00 GMT

MAX LEVINSON IN CONVERSATION ON OFFBEAT
(final program devoted to the AXA Dublin International Piano Competition)

TRACK 1 - Extract from " In a Landscape" performed by 2006 Brennan Prize Winner Michael McHale from the Louth Contemporary Music Society's album " A place between"

Conversation with Max Levinson

"The pianist's quietly eloquent conceptions, formidable technique and lovely touch left little else to be desired.â - THE NEW YORK TIMES

"The questioning, conviction and feeling in his playing invariably reminds us of the deep reasons why music is important to us, why we listen to it, why we care so much about it.â - THE BOSTON GLOBE

American Pianist Max Levinson came to recognition here in Ireland after winning the 1997 Dublin International Piano Competition. He then received overwhelming critical acclaim for his two solo recordings on N2K Encoded Music, and was awarded the prestigious Avery Fisher Career Grant in March 1999. Max Levinson is a graduate of Harvard and the New England Conservatory, receiving an Artist Diploma and the Gunther Schuller Medal. His teachers include Patricia Zander, Aube Tzerko and Bruce Sutherland. He is Artistic Director of the San Juan Chamber Music Festival in Ouray, Colorado, and is on the faculty at Boston Conservatory and Brown University. Max Levinson lives in the Boston area with his wife, cellist Allison Eldredge, and their daughters Natalie and Jessica.

Following his 1997 success here in Dublin, he has gone on to perform as soloist with the Los Angeles Philharmonic, St. Louis Symphony, Detroit Symphony, San Francisco Symphony, Baltimore Symphony, St. Paul Chamber Orchestra, Oregon Symphony, Indianapolis Symphony, Colorado Symphony, New World Symphony, Utah Symphony, Boston Pops, San Antonio Symphony, Louisville Symphony, Los Angeles Chamber Orchestra, and National Symphony Orchestra of Ireland, and in recital at New York's Alice Tully Hall, Washington DC"s Kennedy Center, Londonâs Wigmore Hall, ZÃrichâs Tonhalle, the Musee dâOrsay in Paris, Jordan Hall in Boston, and throughout the US, Canada, and Europe.

Listen to Max in Conversation with Karishmeh, as he talks about life since winning the competition, the realities of being a virtuoso concert artist, the importance of music education and teaching, and why amateur pianists can get to a very high standard.

Final Track : "Kirchner - There Came a Wind" - performed by Max Levinson, taken from the album " Leon Kirchner - Works for Solo Piano"

DOWNLOAD PODCAST HERE

VISIT MAX LEVINSON'S WEBSITE

VISIT MAX LEVINSON'S BLOG

EMMANUEL CHRISTIEN, Rising Star Pianist in Conversation with Karishmeh

Mon, 11 May 2009 19:23:00 GMT

Twenty Six year old French Pianist Emmanuel Christien talks to Karishmeh on OFFBEAT, hours before his semi-final performance as part of the AXA Dublin International Piano Competion. Described as an "inspired virtuoso" and a pianist who "summons up a wonderfully lavish sound from such a comparatively plain looking score", Christien performed the music of Schumann, Liszt, Mozart, Schubert and Ravel in the first two rounds of the Competition.

Karishmeh had a chance to catch up with the unassuming, gracious and incredibly humble young musician, in advance of the Semi Finals of the competition, who remained philosophical about music competitions and the importance of being an all round, consumate artist.

Related links - Jacques Rouvier/ Aldo Ciccolini

Le Pianiste FranÃais de vingt-six ans Emmanuel Christien parle Ã Karishmeh sur OFFBEAT. Karishmeh avait une chance de rattraper le jeune musicien qui Ãtait incroyablement gracieux avant sa performance suivante Ã la compÃtition.

Download the conversation with Emmanuel Christien

Read the CEOIL Blog review of Emmanuel Christien's performances at the Dublin International Piano Competition.

Visit Emmanuel Christien's Website

REPERTOIRE

Round 1
Schumann - Fantasiestucke

Round 2
Mozart - Rondo in A Minor
Schubert/Liszt Valse Caprice
Ravel - Valses Nobles et Sentimentales

Semi Final
Beethoven - Sonata in E minor Op 90
Brahms - Ballades Op 10
Jennifer Walshe - Becher (commissioned piece)
Debussy - Two Etudes

FIACHRA GARVEY, CLIODNA SHANAHAN, REBECCA CAPOVA on OFFBEAT

Thu, 7 May 2009 18:30:00 GMT

AXA DUBLIN INTERNATIONAL PIANO COMPETITION on OFFBEAT

21 year old Fiachra Garvey is now the only Irish competitor still in the AXA Dublin International Piano Competition. Listen to Fiachra in conversation with Karishmeh as he talks about his early studies, his teacher and mentor Therese Fahy, and how he nearly pursued a career in Veterinary Science! Listen to Fiachra Garvey in conversation with Karishmeh here.

2006 Winner Romain Descharmes performs the first movement of Brahms Sonata in F minor after the interview with Fiachra Garvey.

Listen to Cliodna Shanahan on OFFBEAT in conversation with Karishmeh

Read Blog Post about Cliodna Shanahan

ROMAIN DESCHARMES IN CONVERSATION WITH KARISHMEH ON OFFBEAT

Wed, 6 May 2009 21:17:00 GMT

ROMAIN DESCHARMES 2006 AXA DUBLIN INTERNATIONAL PIANO COMPETITION WINNER

Born in 1980, Romain Descharmes was awarded First Prize in the Dublin International Piano Competition in 2006, leading him to perform recitals on such prestigious stages as Wigmore Hall in London, National Concert Hall in Dublin, Minato Mirai Hall in Yokohama, Hakuju Hall in Tokyo and Salle Cortot in Paris. In 2008 he will perform for the first time at Carnegie Hall in New York, before embarking on a series of concerts in Japan (Tokyo, Osaka, Nagoya). Listen to Romain Descharmes in conversation with Karishmeh on OFFBEAT, in advance of his performance at the NCH on 8th May 2009.

MAXIM GERSHUNOFF ON OFFBEAT

Sat, 25 Apr 2009 12:44:00 GMT

CONVERSATION WITH MAXIM GERSHUNOFF

Air Date 23 April 2009

LISTEN TO PART 1 HERE

LISTEN TO PART 2 HERE

I came across Maxim Gershunoff's memoir, entitled "Its not all Song and Dance" about four years ago, completely by accident! I read it all in one go, because it was so absorbing, unpretentious, and yet had such a wealth of stories and annecdotes about some of my musical idols, but also of so many personalities in the world of music, theatre, film and dance. Maxim Gershunof was one of the most well known impressarios/managers and first, with the legendary Sol Hurok, and later, on his own, he managed some of the incredible artists of our time, particularly those from the Soviet Union such as Gilels and Rostropovich. He was also responsible for discovering a then unknown cellist, the young Yo Yo Ma.

Just as I came across Mr Gershunoff's memoir by accident, I also got the chance to talk to him in some depth, by accident. I was planning to do a radio special on the incredible soprano Marni Nixon (more on that later), and wanted to get in contact with her directly to sort out the same. I contacted her representation, and Mr Gershunoff replied back! I straightaway made the connection (its not a difficult name to remember, after all) and asked Mr Gershunoff if he would be willing to share some of his opinions, thoughts and stories with me on the program.

The result is astonishing - he is such a wonderful story teller, but most importantly, he is passionate about the arts, and about artists he truly believes in. When you hear the interview (though its probably closer to a conversation), you will see what I mean! And the most incredible thing of all is that he sounds so young (something I joked about on the program). Probably something to do with the fact that he has devoted his entire life to something he loves and is passionate about.

To anyone who has not read "Its not all song and dance" - read it! I rarely go on and on about books as I don't like telling people what to read and what not to, but this one is terrific, and so well written that you will probably read it all in one go as I did. I love the fact that Gershunoff is not just nostalgic about the "golden era" as it were, he is optimistic but also realistic enough to know that the future lies ahead, and there is no point simply being in the past.

http://www.amazon.co.uk/Its-Not-All-Song-Dance/dp/0879103108/ref=sr_1_1?ie=UTF8&s=books&qid=1238935262&sr=8-1

SOPHIE DUNER INTERVIEW & PROFILE

Fri, 24 Apr 2009 12:58:00 GMT

OFFBEAT - Interview and Profile on Sophie Duner

Air Date - 2 April 2009

PLAYLIST
The Rain in Spain taken from the album The Rain in Spain
Ugly Beautiful taken from the album The City of My Dreams

About Sophie DunÃr - Swedish singer/composer with a past in the US and Spain. Active as a jazz, world and modern classical singer, she has recorded and toured extensively throughout the world and has collaborated with musicians such as Paul Clarvis, Martin France, Aaron Goldberg, Sten HÃstfÃlt, AgustÃn Gerenu, David Boato, Fernando TarrÃs, Don McCaslin, Guillermo Klein ,Laura Andel, Mark Turner,Gilad Atzmon , Leif Jordansson, Francis Schwartz and Manuel Ceide.

Further Reading & Links

www.sophieduner.com
www.myspace.com/sophieduner

LEON FLEISHER talks to Karishmeh - OFFBEAT SPECIAL ON FLEISHER Part 1

Fri, 17 Apr 2009 11:22:00 GMT

In Part 1 of the Leon Fleisher Special (Aired LIVE on Thursday 16 April 2009), Karishmeh introduces the legendary American pianist and shares a conversation which took place a few weeks earlier.

Following the conversation with Fleisher, his brand new recording of Mozart Concerti receives its Irish radio premiere, with the first movement of Concerto in A Major K488 rouning off part one.

BACK TO KARISHMEH'S WEBSITE

Bach, Brahms, Ravel, Mozart - LEON FLEISHER SPECIAL LIVE Part 2

Fri, 17 Apr 2009 11:02:00 GMT

LEON FLEISHER RADIO SPECIAL Part 2

Karishmeh introduces and discusses the great pianist's finest recordings.

Air Date 16 April 2009

PLAYLIST

Ravel - Alborada del Gracioso from Mirroirs
Bach trans. Brahms - Chaconne from Partita for Solo Violin, arranged for Left Hand solo.
Mozart Concerto in A Major K488, Movement 2

Flamenco Guitarist John Walsh talks to OFFBEAT

Thu, 9 Apr 2009 08:45:00 GMT

JOHN WALSH, Dublin based Flamenco guitarist originally from Longford, talks to Karishmeh on OFFBEAT in advance of his performance at Musicians of the Future (www.musiciansofthefuture.com) at the John Field Room, National Concert Hall, Dublin.

Find out more about John Walsh - http://www.myspace.com/johnwalshguitar

The interview ends with Hilary Hahn's performance of Bach's Prelude from the Partita in E Major

Evensong at St Bartholemews, Ballsbridge - Interview with David O'Shea

Thu, 9 Apr 2009 08:20:00 GMT

Dublin musician David O'Shea (who also co-produced and contributed to the Eric Satie program some months ago) talks about the new Chamber Choir he has founded, and their performance at Saint Bartholemews Church in Ballsbridge.

Corpus Christi Chamber Choir, directed by David O'Shea and accompanied on Organ by Fraser Wilson perform Brahms Geistliches Lieder (Live Recording - Evensong Service at St Bartholemews Church Ballsbridge).

OFFBEAT WITH KARISHMEH - LIVE - Complete works - Mozart Symphony No 25 and Brahms Alto Rhapsody

Sat, 21 Mar 2009 17:23:00 GMT

AIR DATE: 05/03/09

Part 1

Kathleen Ferrier sings Schubert's An die Musik

Karishmeh discusses and plays Mozart's Symphony No. 25 in G minor in its entirety.

Part 2
Karishmeh interviews three young music students who share their thoughts about music in the school cirriculum, as well as the standard of instrumental and academic music tuition, future ambitions and more.

Kathleen Ferrier sings Brahms' Alto Rhapsody

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh - LOUIS LORTIE RADIO INTERVIEW AND SPECIAL

offbeatradio@gmail.com — Fri, 27 Feb 2009 09:59:00 GMT

The incredible pianist Louis Lortie is in conversation with Karishmeh on OFFBEAT, in the second of a series of Piano Music Specials on the program.

A radio special featuring the recordings and musical ideas of this world famous pianist who is renowned for his interpretations of Chopin, Beethoven, Ravel, Liszt, Mozart and Bach.

Part 1 - Lortie's Recordings
Chopin Etude op 10, No 1
Beethoven - Piano Sonata No. 17 in D minor, Op. 31, No. 2, "Tempest"
Ravel - Une Barque sur L'Ocean - from Mirroirs
Mozart - Sonata for 2 Pianos in D Major K448 - with Helene Mercier

Part 2 - In Conversation with Louis Lortie

Schumann - Liebeslied, S566/R253, "Widmung"

Karishmeh's Website

Karishmeh's Blog

Charles Ives Radio Special on OFFBEAT with Karishmeh

Mon, 16 Feb 2009 14:32:00 GMT

OFFBEAT with Karishmeh

The Unanswered Question - a radio special which explores the music of American composer Charles Ives along with selected extracts from the book Little Women by Louisa May Alcott. The program explores Transcendentalism, and features an hour of some of Ives' finest music.

AIR DATE: 12/02/09

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with KARISHMEH - Live - Ravel Piano Concerto in G, Puccini, Delerium, Loreena McKennit, Jane O'Leary

Thu, 5 Feb 2009 17:13:00 GMT

OFFBEAT with Karishmeh LIVE

AIR DATE: 05/02/09

PLAYLIST

Delirium - Forever After

Loreena McKennitt - Snow

Jane O'Leary - Why the Hill Sings

Puccini - Nessun Dorma (arr. for Brass quintet)

Helene Grimaud performs Ravel's Concerto in G Major (Complete)

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh LIVE: Piano Music Special - Chopin, Debussy, Sibelius, Schoenberg, Strauss, Bach, Mozart.

offbeat@dublincityfm.ie — Sat, 31 Jan 2009 12:42:00 GMT

OFFBEAT with Karishmeh LIVE PIANO MUSIC SPECIAL

AIR DATE: 29/01/09

PLAYLIST

Sibelius - First Movement from Piano Sonata in F major

Chopin - Mazurkas, Op 33 Nos 1 & 2

Debussy - Reverie

Richard Strauss - Traumerei (Reverie) from Moods & Fancies op 9

Schoenberg - Prelude & Gigue from Suite for Piano op 25

Interview with Fionnuala Moynihan, Pianist in advance of her lunchtime concert at the National Concert Hall where she performs Bach's Goldberg Variations.

J.S. Bach - Goldberg Variations No 28, 29, 30 & Da Capo Aria

W.A. Mozart - Sonata in F k332, Movt 1

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh - LIVE 22 Jan 2009 - Gibbons, Bach, Dennehy,Harrison, Paganini.

Fri, 30 Jan 2009 21:40:00 GMT

OFFBEAT with Karishmeh LIVE

AIR DATE: 22/01/09

PLAYLIST

Orlando Gibbons - Fantasia

Paganini - Cantabile in D for Guitar & Violin

Lou Harrison - Piano Concerto (Keith Jarrett, soloist)

J.S. Bach - Keyboard Concerto No.7 in G minor (Murray Perahia, soloist)

Note: Donnacha Dennehy's PaT for piano & tape which was played on air, has not been included in the podcast for copyright purposes. It can be purchased at http://www.cmc.ie/shop/cd_detail.cfm?itemID=2370

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh - KRONOS QUARTET SPECIAL

offbeatradio@gmail.com — Fri, 23 Jan 2009 08:49:00 GMT

KRONOS QUARTET SPECIAL - and an interview with DAVID HARRINGTON/Violinist & Founder of the Kronos Quartet

AIR DATE: 15/01/09

PLAYLIST

Piazzolla - Five Tango Sensations - Kronos Quartet & Astor Piazzolla

Terry Riley - In the Cusp of Magic

Nine Inch Nails -Year Zero Remixed

You've Stolen my heart - Kronos Quartet & Asha Bhonsle

Plus an in depth interview with David Harrington

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT LIVE: BOLLYWOOD/INDIAN FILM MUSIC SPECIAL

Thu, 11 Dec 2008 21:20:00 GMT

BOLLYWOOD MUSIC/ HINDI FILM MUSIC SPECIAL
"for my friends, family and the people of bombay, india"

AIR DATE: 11/12/08

PLAYLIST

ik onkar (a.r. rahman)

dum maro dum (asha bhonsle & kronos quartet)

kabhi alvida na kehna (shankar ehsaan loy)

chhaiyya chhaiyya (a.r. rahman)

o saathi re (from kitaab)

mehbooba mehbooba (r.d. burman, from sholay)

chura liya hai tumne jo dil ko (r.d. burman - asha bhonsle & kronos)

mitwaa (shankar ehsaan loy)

rang de basanti (a.r. rahman)

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT LIVE with Karishmeh: Elliot Carter 100th Birthday Special with Dr Jane O'Leary

Sun, 7 Dec 2008 17:01:00 GMT

the music of elliott carter

december 4th with special guest dr jane o'leary, composer and founder of concorde (read more about concorde here)

" I consider every piece of mine a musical adventure" - elliot carter

a program exploring the music of american composer elliot carter who turns 100 on december 11th this year. twice winner of the pulitzer prize, a protoge of charles ives, and a composer whose music contains a universe of interwoven relationships.

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT LIVE with Karishmeh - Sviatoslav Richter and the Sofia Recital - Pictures at an Exhibition, Chopin Etude in E, Liszt...

Sat, 6 Dec 2008 20:43:00 GMT

an exploration of pianist sviatoslav richter's historic sofia recital, and some extracts from his notebooks and conversations. music by mussorgsky, chopin, schubert, rachmaninov and liszt.

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT LIVE with Karishmeh, Program 7: Roark, Gibson, Messiaen, Copland, Ingoldsby.

Wed, 26 Nov 2008 23:24:00 GMT

OFFBEAT PROGRAM 7 LIVE
AIR DATE: 20/11/08

PLAYLIST

timothy benton roark: overture and drops of sunlight from the unseen exit machine

john gibson: sliabh luachra (excerpt)

olivier messiaen: regard de la croix & regard des hauteurs from vingt regards sur l'enfant jesus

six ans sur mer (alan lomax collection)

marion ingoldsby: red shoes

aaron copland: lincoln portrait

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh, Eric Satie Special - with guest contributor David O'Shea

Thu, 13 Nov 2008 18:29:00 GMT

OFFBEAT PROGRAM 6

AIR DATE 13/11/2008
PLAYLIST

the life and music of eric satie featuring guest contributor david o'shea

a conversation exploring the musical ideas and compositions of french composer eric satie - playlist includes works as diverse as sarabande no. 1, messe des pauvres, poudre d'or, descriptions automatiques, avant-dernieres pensees and more..

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh, Program 5: Renaissance, Dowland, Du Mont, Prokofiev, Weinberg and more...

Thu, 13 Nov 2008 16:46:00 GMT

OFFBEAT PROGRAM 5
AIR DATE: 06/11/08

PLAYLIST

jacobus clemens non papa: priÃre devant le repas
guillaume le heurteur: mirelaridon

john dowland: walsingham
henry dumont: super flumina babylonis
claude debussy: de soir (proses lyriques)
sergei prokofiev: toccata op 11

mieczysÅaw weinberg: sonata for clarinet and piano

mieczysÅaw weinberg no 2 from jewish songs after shmuel halkin

mieczysÅaw weinberg: piano quintet (movt 1)

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh, Program 4: David Flynn, Beethoven, Kevin Volans, A.R. Rahman and more...

Wed, 5 Nov 2008 09:49:00 GMT

OFFBEAT PROGRAM 4

AIR DATE 30/10/2008
PLAYLIST

david flynn : slip

beethoven: 32 variations on an original theme in c minor

tchaikovsky: andante cantabile from string quartet no. 1 in d major

a.r. rahman: vande mataram

kevin volans: walking song

alexander scriabin: sonata no. 9 (black mass)

visit david flynn's website

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh, Program 3: Liszt, Ravel, Debussy, Linda Buckley and more...

Tue, 4 Nov 2008 15:54:00 GMT

OFFBEAT PROGRAM 3
AIR DATE 23/10/2008
PLAYLIST

franz liszt un sospiro (concert etude no. 3)
maurice ravel jeux d'eau
j.s. bach toccata from partita no. 6 in e minor
linda buckley: do you remember the planets?
claude debussy: sonata for cello and piano performed by britten/rostropovich (complete)

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh, Program 2: Strange & Beautiful music by Zakir Hussein, Rachel Holstead, Steely Dan and more...

Tue, 4 Nov 2008 15:25:00 GMT

OFFBEAT PROGRAM 2
AIR DATE: 16/10/2008
PLAYLIST

johannes brahms ballade in d minor op 10, no 1

steely dan fire in the hole
zakir hussain matataal
rachel holstead enchant
angelo badalamenti theme to twin peaks
ed bennett monster
jimmy behan downpour

visit rachel holstead's website

visit jimmy behan's myspace page

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

OFFBEAT with Karishmeh, Program 1: Music by Bach, Berg, Frank Bridge, Roger Doyle and more..

offbeatradio@gmail.com — Tue, 4 Nov 2008 15:21:00 GMT

OFFBEAT PROGRAM 1

AIR DATE: 9/10/2008

PLAYLIST

j.s. bach concerto in c min for 2 harpsichords

alban berg sonata op 1
leonard bernstein on the town suite
listen: roger doyle under the green time
frank bridge string quartet
the avalanches tonight
rachmaninov/bach partita for solo violin in E

KARISHMEH'S WEBSITE

KARISHMEH'S BLOG

MUSIC IN HEALTHCARE - Music et Sante

Tue, 16 Sep 2008 16:46:00 GMT

Musique et Sante - Music in Healthcare

Following the weekend workshop that I was part of recently for Professional Musicians, I learnt about a fantastic week long program for Music in Healthcare run by Musique et Sante in association with the Royal Northern College of Music. This is particularly beneficial for anyone with a background in care, nursing, psychotherapy and music.

The next training program takes place from 2-6 Feb 2009, and more details are available here: http://www.musique-sante.org/fichiers/fichier/MusicInHealthSettings2009.pdf

Since the only "music therapy" program in Ireland, is based in Limerick (at postgraduate level), this course seems to be an excellent option for anyone based anywhere else in the country, who is either a musician, a music teacher, or a health professional with some musical knowledge. Funding for the program can be applied for to the Arts Council (travel and training award) or to health providers (such as hospitals), private sponsors, or local authorities (county councils etc).

For more information visit the Musique et Sante website http://www.musique-sante.org/index2.htm

OF MUSIC EXAMS, STAGE MOTHERS, OUR SOCIETY AND FAME....

Fri, 12 Sep 2008 16:44:00 GMT

Of Music Exams, stage mothers, our society and fame.

Music washes away from the soul the dust of everyday life...

Berthold Auerbach summed it up pretty well with that sentence, and none other than Ludwig van Beethoven echoed a similar sentiment when he said that Music is the mediator between the spiritual and the sensual life.

And yet, somewhere between Auerbach and Beethoven, between spirituality, sensuality and the dust of everyday life, more and more people are forgetting why it is they engage in music, send their child to music lessons, spend half an hour practising a particular bar, listen to a record, go to a rock concert. Because at some basic level, there is a fulfillment from simply being a part of this art form, creating it, performing it, mastering it, enjoying it. I encounter a wide variety of people in this profession, from hard working teenage students, nervous young exam candidates, "famous" classical musicians, enthusiastic performers, composers, and then you have the stage mothers who haven't got a clue.

Since my own musical background was so unconventional, it took me many years to understand (and I still nearly don't) why anyone would care, or want to care about the so called "ugly" side to music: fame, notoriety, obsession with being loved, music exams being regarded as the be all and end all, the whole "image" thing being done to death, PR, corruption, the list is endless. Since I didn't have the crazy stage parents nudging me to "practice all hours, so I can be a world famous concert pianist or opera singer", neither did I have terribly demanding teachers when I was young (they simply wanted me to develop a love for music, and reach a reasonably high standard), I never could understand how different the mentality could be, until I experienced it in the West (i.e. outside India). While I performed in numerous concerts in India, where Western Art Music is not even widely taught, they were all concerts that instilled in me an understanding of music as something spiritually enriching, and positive. There were no classical music critics full of their own self importance, no crazy "feis ceoil" style competitionswhere everyone learns all the "big" repertoire and you battle it out for some prize that doesn't make a bit of difference on a larger scale. I always remember loving every concert opportunity and music festival (even ones with a competitive edge), because I felt that they were so much fun, there would always be so many people there, and no matter how you did, the fact that you could share your music with such a large audience of people, and communicate with them, was enough of a boost. I honestly never remembered what prizes I won, or who won a certain category, I just got a kick out of being there! I always presumed that every city, every country in the world, especially those with a tradition for western art music (or classical music as we know it), would have the same opportunities for students, and the same positive impact.

As I experienced living in other countries, especially America and later UK/Ireland, I realized that while the tradition for performing music for ones own sake, for the enrichment of the "soul" so to speak, and to communicate it with others was prevalent in a few places, there was no large scale way for kids, adults, anyone who plays music at any level, to perform or share it with an audience. (An exception, in Ireland, would be the Swords Musician of the Future Competition...more on this in a seperate post). As a result, the bright kids are pushed towards believing that they have what it takes to make it on the classical concert stage, by parents, teachers and anyone who has a say. They go down the conservatory route and either survive it, and manage to hit the bigtime, or, in most cases, burn out and give up music altogether (a startling number of performance graduates often give up anything to do with music after they graduate from conservatories). The few may pursue careers as teachers or accompanists, but the bitterness that comes from "giving up" a career in music performance, and unwillingness to play music for the sheer fun of it, for the love of it, and for the benefit of society as a whole means that quite a few music students also end up depressed and unable to integrate into society as a whole.
And then there's the music exam obsession. While I have been examining for the Royal Irish Academy of Music exam board, I remember always wanting to be involved in this for two reasons. 1) If a country is going to have an exam system for music exams, then I wanted to be in a position to make the children and adults appearing for music exams as relaxed as possible. Its a strange enough concept, trying to quantify "music" but since its established and since so many people use it, I felt I might as well be in a position that puts a positive spin on the whole "exam" experience. 2) I wanted to see what the general population, music teachers around the country, parents, students all regarded as all round musical education. Since the majority are not conservatoire trained candidates, and since many different students appear for music exams each year, I felt it would be extremely beneficial for me, as an educator and musician, to see how most people, and most children react to "music education" and "instrumental tuition" as a whole.

However, while there are many enthusiastic parents, and a few apprehensive faces, I often come across the scariest type: the dreaded "stage" parents. You can notice them a mile away, they are often in the waiting room, instructing the child to "do this" and "say that, to the examiner" and the children are often tapping scales on their laps, and studying the scores to their exam pieces. Some stage parents also instruct the children to erase all pencil markings in their scores, and I've often come into a waiting room with two or three children scrubbing away at their music furiously, to make it look nearly as good as new! As a teacher and educator, I come across stage parents even outside the examination context. Parents of students, parents of students who are playing in a masterclass or workshop, there's often no real escape, in today's "fame" obsessed society.

Tragically, I have also been witness to some extremely talented young students, who have been driven to give up music completely because of pushy parents, unrealistic expectations and the parents desire to live out their own unfulfilled creative and artistic pursuits through their children. I feel like shaking up some of these parents, and asking them to look around them, in the world of music. Look at the classical "big" names out there. How many can they name off the top of their heads? How many can their children name? Do they realize that for the majority of young people, having a balanced social life, a good education, some creative and sporting pursuits and an identity of their own is far more important than pushing them towards careers as concert pianists, opera singers or whatever it is that the child is pursuing. I have come across some incredibly talented young performers (for instance, a 9 year old who performed nearly note perfect, Bach's 5th French Suite). Most of these are also "encouraged" to play as many instruments as they can (the 9 year old in question also played the cello, clarinet, took voice lessons and was a prize winning ballet student). However, I recall asking her a few simple questions and she simply smiled with a sort of blank expression on her face. This is often (though not always) the case - due to lack of social interraction with "normal" children their own age, and due to the fact that stage parents often push their children so hard that every spare minute is spent either practising or at auditions, competitions etc. Unfortunately, the majority of these children also lack a core ability to "make music". They can play any notes thrown at them, they can memorize vast quantities of music, but the ability to "touch" the listener, to awaken responses and feelings, and make the music "speak" is something they cannot understand or achieve. I often encourage nearly all parents I encounter, to let their child figure out for themselves, what it is that they want to achieve through music learning. Is it simply being able to "jam" on a few pieces with friends, is it being able to play a particular piece of music incredibly well, is it about getting a "grade 8", is it so that they can be accepted for study into a particular conservatory, or play a concerto with a major orchestra, or win a major competition. Whatever it may be, parents need to ensure that this is what the child wants. The argument that most parents would make is that "children are too young and naive to know what they want, they need a push in the right direction, and they need adults to help them realize their full potential". Sure!! But what if their full potential is a career as a Jazz singer, and the parents are insistant on pushing the child towards a career in opera. What if the full potential is performing on the West End, or teaching in a secondary school, or working with special needs children. How can I stress the importance of letting a child find the right musical path themselves, not through some bizarre projection on the part of teachers and parents. And again, the obsession of "achieving a Grade 8", gaining acceptance into a particular "Music College" or winning a competition all become preoccupations, and eventually this leads to the child in question either giving up music altogether, or becoming one miserable adult.

I always tell my own students, and anyone I encounter...the reason we choose to be involved in music, whether through performance, teaching, listening, going to concerts is because irrespective of what sort of day you have had, how difficult your job is, how bad things are in your personal life, you sit down at the piano and play, or put on a record, and suddenly you get a solace, and a peace that is difficult to explain or quantify. THAT is reason alone for being involved in music. For those of us who choose to make a living from it, the moment it becomes a "job" and not something we derive a spiritual comfort in, thats when its time to call it a day. It seems hypocritical for someone like me, with a "website, and a "blog" and a "myspace" page, to talk about spirituality and the rest of it, but I feel that through all of this, if I can communicate musically to more people, teenagers, children, adults, everyone, and expose them to some music (old and new) that triggers off some feeling, some reaction in their minds and spirits, then I've fulfilled my purpose on this planet. And if the process is fun and rewarding, then all the better for it!

That was one long rambling blog post. I do hope some parents, and some students read it, and understand some of the things I've tried to put down in words.

And another quote to finish off the blog post..."After silence, that which comes nearest to expressing the inexpressible is music. " - Aldous Huxley.

OFFBEAT RADIO with Karishmeh, 103.2 Dublin City FM

Wed, 3 Sep 2008 16:41:00 GMT

"Offbeat" - Classical Music Radio Show on 103.2 Dublin City FM

As some of you know, I have, in the past, talked about the importance of media, particularly radio and television, in music education. While the mainstream radio stations (RTE Radio 1, Lyric FM) do focus on classical music, there seems to be a lack of radio shows (let alone television) that pushes the boundaries in terms of music played on air, historical contexts of the works performed, opinions and insights from others involved in music making - be it music students, amateur musicians, musicologists, professional performers or educators.

In this regard, I'm delighted to announce that I'll be producing and presenting a radio show on Dublin's own 103.2 FM (Dublin City FM). Some of you may remember it when it was called Anna Livia FM, and because it is a smaller radio station, the focus is on creative programming, programming that provides an alternative to the mainstream, and focus on special interest programs. I've always enjoyed working on projects that allow me to have a creative freedom, while also informing, educating and sharing music with others, and have fun at the same time. As a radio obsessive, I'm looking forward to putting together each program, and focus on other musical genres including electronica, dance, pop, world and folk within the classical context. However, there won't be any pretentious avant garde style vessel clanging or animal sounds (think Yoko Ono in her prime!).

The program is called "Offbeat with Karishmeh Felfeli" and it goes on air every Thursday from 2.00 p.m. to 3.00 p.m. beginning 9th October. You can tune in to 103.2 FM or listen to it live, in streaming format at http://www.dublincityfm.ie/ - Podcasts/MP3s will also be available on a weekly basis to download!

Today's Top 5----6-----7----8

Fri, 15 Aug 2008 16:39:00 GMT

Today's Top 5....7....8...10....

I'll ellaborate when I have time, but in no particular order ....

Bros-Panda Bear - This is possibly my favourite current piece of music!
this is what Noah had to say about the single.
Panda Bear on "Bros"
What is âBrosâ about?
âBrosâ is about trying to keep relationships with good friends. I'm the kind of person who likes a lot of space and solo time and the song is about that. I had gotten married a while before I started writing the song and the complexities of that relationship really came out in the song. I do believe friends and family are just about the most valuable thing a person has.

Being in Portugal now, do you feel disconnected from friends and family or are you acclimating to the new culture and somehow staying in touch?
I"ve had to work a bit at keeping up the relationships I really care about, as Iâve never been very good at keeping in touch. Wherever I am is where my mind is at, if you know what I mean, but I've been talking a lot with my brother and sister lately and I'm really psyched about that. I suppose Iâve acclimated more or less to Lisbon life and I should say I really like it. Itâs slower and that suits me.

How does the thought process change using a sampler to craft songs rather than acoustic instruments? And what are you sampling on âBrosâ?
The samples and the loops I set up really dictate the melodies of the songs. Usually, Iâd listen over and over to the repetitions as I would be putting the different pieces together and gradually the melody would kind of just come out [of that]. I was pretty instinctual about it the entire process. I tried hard with all the samples I used to work them to a point where I felt I was doing something original and my own and for the most part I think I did pretty well. On âBros,â the samples I kind of started with as the foundation of the song were from the Tornadoes, Moodyman, the Equals and Cat Stevens. The guitars for the most part are lines that I played and effected and sampled and then played again.

English Suite No. 4 Prelude - J.S.Bach
Bach wrote these before he wrote the French Suites and the Partitas, in or around 1715-16. The 4th English suite is not the most well known of the set, nor is it renowned for its emotional depth, but the opening Prelude is such an instantly catchy piece of music, with the improvisatory elements of this "dance" music really coming to life, though in strict time. The Sarabande from this set is pretty gorgeous too.

Comfortably Numb - Pink Floyd
Two words: Guitar Solos. This is one song I constantly come back to - what incredible writing. Gilmour and Waters shared the credits here, though Gilmour wrote most of the music including the spine tingling guitar solos. The Live8 performance was pretty incredible, considering how old these guys are....as far from washed up as can be! I play/sing this regularly and am figuring out the best possible way to transcribe the guitar solos without butchering the song!

Most High - Page & Plant
This is taken by the 1998 album Walking to Clarksdale. I have been listening to it pretty much non stop recently, I think the arabic influenced Quwalli style really appeals to me. Sort of like a rocked up Nusrat Fateh Ali Khan...if you see the previous list I posted, its very similar in rhythm to Jag soona soona lage from Om Shanti Om!!

PLUS:

3 Pieces for 2 Pianos No 2. Selbstportrait mit Reich und Riley (und Chopin ist auch dabei) - Ligeti

Sounds of Silence - Simon & Garfunkel

Now o now I needs must Part - John Dowland

Gunslinger - John Fogerty

Continuum - Ligeti

O Saathi Re - S.D. Burman

Glenn Gould's Steinway CD318 - The Piano of all Pianos (And a bit about the Chickering too)

Sun, 10 Aug 2008 16:37:00 GMT

Glenn Gould's Steinway CD318 - The Piano of all Pianos (And a bit about the Chickering too)

When I was first asked to give two lectures/masterclasses discussing Glenn Gould's Piano - the famed Steinway CD318 (now subject of a brand new book by Katie Hafner called A Romance on Three Legs), I thought about what angle my talks could take. Should they (and could they) only focus on the technicalities, the mechanism and the essential core topics that make up a discussion on a piano? Could I talk about Glenn Gould and somehow explore the link between Gould's quest for the perfect piano, and the piano that was in front of me? Could I treat Steinway CD318 as a seperate entity and only talk about this specific piano, its action, and its own unique capabilities (and lack of)? Could there be a demonstration of some musical examples interwoven as part of the lecture?

I finally decided to let events take the form of lectures with illustrated performances. I was also asked to involve four young pianists from Ottawa - two on each day. I felt this was a brilliant way to discuss this incredible instrument, but also make the events even more memorable for the young pianists involved. I felt that rather than simply choosing four of the most prodigious young performers in the city, we would have a mix of ages and performance backgrounds. As it happened, all four young performers were absolutely incredible, but in their own way.

There was something incredible about discussing the specifics of Steinway CD318, with film footage of Glenn Gould being projected (minus the sound) around me. I know the young performers felt the solemnity of the occasion even more when they viewed this footage. On the first day, I focussed on the history of Steinway CD318, Glenn Gould's own particular needs for a piano, the comparison between CD318 & the Chickering (which was situated right next to the Steinway) and the specific musical examples. Anita Pari (above) a very gifted 10 year old, performed the first movement of a Haydn Sonata and a Chopin Nocturne. I felt that the Haydn was ideally suited to the action of CD318 (even though its not the piano that Glenn Gould once knew), and I encouraged Anita to put in even less effort, and lighten the touch even more. The Chopin Nocturne was far more difficult to pull off, as the bass was quite dry, and the treble not suited to a Chopin Cantabile.

Felix Wong, a young Ottawa pianist also performed on Day 1 - he chose a Bach invention and Kabalevsky variations. In this case, I felt both pieces responded very well to CD318, though I encouraged Felix to voice his Left Hand even more on this particular piano. His Kabalevsky was absolutely incredible, the piano came to life, and the percussive, immediate responsiveness was really explored to full effect.

On the second afternoon, I decided to again focus on the mechanism of Steinway CD318, but this time with focus on particular repertoire and its relationship with this particular piano. The two pianists today were two teenage girls, Louise Gresham who performed the Aria from the Goldberg Variations and a Brahms Intermezzo and Alita Alita Kennedy-L'Ecuyer who played a Mendelsohn Song without words and Debussy's Passepied. Very interesting repertoire to attempt on CD318 - and I felt both girls found some elements very easy, and struggled a little bit with other strange nuances of this particular instrument. Both girls were extremely musical, and once they got to grips with the action, tone and pedals on this particular instrument, they were able to really make it sing. It was interesting to note that in Louise's Brahms, the damper pedal was very responsive, while in Alita's Debussy, the treble register seemed to be a little muted.

Afterwards, I spoke to numerous people, "jammed" a little myself on CD318 (Gibbons, The Beatles---despite Gould's irritation with their music, Brahms) and then when most people had left, I walked over to the Chickering - a piano that NOBODY has ever touched/played. Sam Cronk very kindly let me try it - it was bizarre to play the notes but it sounded like a totally different instrument (sort of a keyboard-piano). Since there was no piano stool/chair, and I didn't feel like standing, I decided to try a movement of a Bach concerto on one knee! God knows how long I kept this up, as I noticed a crowd had gathered around the piano. I felt like a bit of a fool alright! But it was a brilliant experience nonetheless. Here is a picture of the Chickering.

I'm still continuing to respond to emails from people who were at both lecture/masterclasses - most emails are very specific and relate to the mechanism and action of 318. It really is extraordinary to note how one piano can have such a life of its own....I will be back to work on it some more, for sure!!

Here is a picture of the brilliant Alita to wrap up this blog post..it was an absolute honour to perform and work with all the four pianists on this incredible instrument, with Glenn looking down and singing along to all the music!

THE ART OF GLENN GOULD - OTTAWA INTERNATIONAL CHAMBER MUSIC FESTIVAL

Thu, 7 Aug 2008 16:36:00 GMT

The Art of Glenn Gould with Karishmeh Felfeli, Adam Saikaley - Ottawa International Chamber Music Festival.

I better start this blog post by again saying sorry to anyone who has emailed me in the past week and hasn't heard back. I have never in my life experienced anything as hectic/manic as the past week here in Canada. To say I am sleep deprived (max 3 hours per night), exhausted, overworked is an understatement. First of all - I got a bit of a shock when I arrived in Canada and saw my mug splashed across the national newspaper here.
Thankfully, the write up (by Doug Fisher) was extremely well researched and written.But its still intimidating when something is hyped up before it happens!!

From the day I arrived here, I have been rehearsing until 2 a.m. most nights. I don't know how I am here typing a blog post but last night I felt it was all worth it because I did what I came here to do - for the first time in my life, I played a concert of music that I was 200% passionate about, in interpretations that were very "me", and had fun while doing it. I also did something I don't do that often, I combined solo piano, electronics & piano, with piano & vocals. So yes, it was a concert about Glenn Gould, but it was also a concert celebrating diversity in music, because the program contained everything from Bach's amazing D minor Concerto (in an electronic live collaboration with Adam Saikaley, who is in my opinion the most incredibly musical, gifted artist I have ever met), songs by William Byrd, Pet Clarke and The Beatles and piano music by Gibbons and Brahms. I have also never performed for an audience as warm or responsive, as willing to be a part of the concert as I did last night. Their standing ovation at the end was so overwhelming, and as an encore I chose, on the spur of the moment, a song that I had learnt as an 8 year old, when in my music school in India. It was called "Perfect Day" (no, not the Lou Reed song). This was a tune written by Harriet Beecher Stowe and it summed up my entire experiences of the past year, of the past week, and of yesterday. I got so choked up when singing it, that I'm sure there were a few weird sounding notes! But it was some night. I also learnt that in the music last night (especially the Bach), for the first time in my life I was excited with the edge of your seat risk taking element (the same things that Gould was so against), because our entire collaboration was in fact, an improvisation. It could go any way...and I performed the work from memory, so the pressure was on to deliver in as convincing, as honest and as articulate a manner. It was like bungee jumping, white water rafting, or anything that produces the same effects of adrenalin. Thank god I wasn't performing the piece with strings, thank god there was such a new, exciting dimension to it that I felt alive from start to end. To hear a very small bit of what we were upto yesterday, we did a small radio interview (though the entire concert was filmed and recorded) live on Ottawa Morning. Here is the link, http://www.cbc.ca/ottawamorning/archives.html (click on Two musicians bend Bach concerto at Chamberfest)

I did feel the piece would have worked even better in a smaller venue. Dominion Chalmers was one of the most incredible venues ever - like the Royal Albert Hall, but more Gothic in style, and with a more responsive acoustic. But the people in the audience were so amazing, their reception, responsiveness...it made everything worthwhile. As for Carlo, the sound guy - what a legend. We ended up having such a laugh on stage, as he "turned me on" - turned on my microphone because it had fallen off me. This sort of "allo allo" style dialogue continued between us right in the middle of my concert, much to the amusement of the audience! By this stage, I just felt now I'm just here to have fun....and it was that!

Post concert, we moved to the Legion Montgomery, an old style beer hall, for "Late Night in the Legion" - a chance for people to hear music, chat, experience some more out there things over a beer and nachos. Adam played a brilliant composition of his own on his synthesizer and I was joined on stage by James Wright and David Jaeger for discussions on gould. It was great fun, though by this stage I was so exhausted, I don't remember the details of our conversation!
The next blog post will focus on Steinway CD318 and my two lunchtime recital/demonstrations on this incredible instrument!

BROKEN SONG: RABINDRANATH TAGORE

Sun, 3 Aug 2008 16:34:00 GMT

I learnt this poem when I was 15. Its still one of my favourite poems ever.

Broken Song by Rabindranath Tagore
Kasinath the new young singer fills the hall with sound:The seven notes dance in his throat like seven tame birds.His voice is a sharp sword slicing and thrusting everywhere,It darts like lightening - no knowing where it will go when.He sets deadly traps for himself, then cuts them away:The courtiers listen in amazement, give frequent gasps of praise.Only the old king Pratap Ray sits like wood, unmoved.Baraj Lal is the only singer he likes, all others leave him cold.From childhood he has spent so long listening to him sing -Rag Kafi during holi, cloud-songs during the rains,Songs for Durga at dawn in autumn, songs to bid her farewell -His heart swelled when he heard them and his eyes swam with tears.And on days when friends gathered and filled the hallThere were cowherds' songs of Krsna, in raags Bhupali and Multan.So many nights of wedding-festivity have passed in that royal house:Servants dressed in red, hundreds of lamps alight:The bridegroom sitting shyly in his finery and jewels,Young friends teasing him and whispering in his ear:Before him, singing raag Sahana, sits Baraj Lal.The king's heart is full of all those days and songs.When he hears some other singer, he feels no chord inside,No sudden magical awakening of memories of the past.When Pratap Ray watches Kasinath he just sees his wagging head:Tune after tune after tune, bu none with any echo in the heart.Kasinath asks for a rest and the singing stops for a space.Pratap Ray smilingly turns his eyes to Baraj Lal.He puts his mouth to his ear and says, 'Dear ustad,Give us a song as songs ought to be, this is no song at all.It's all tricks and games, like a cat hunting a bird.We used to hear songs in the old days, today they have no idea.'Old Baraj Lal, white-haired, white turban on his head,Bows to the assembled courtiers and slowly takes his seat.He takes the tanpura in his wasted, heavily veined handAnd with lowered head and closed eyes begins raag Yaman-kalyap.His quavering voice is swallowed by the enormous hall,Is like a tiny bird in a storm, unable to fly for all it tries.Pratap Ray, sitting to the left, encourages him again and again:'Superb, bravo!' he says in his ear, 'sing out loud.'The courtiers are inattentive, some whisper amongst themselves,Some of them yawn, some doze, some go off to their rooms;Some of them call to servants, 'Bring the hookah, bring some pan.'Some fan themselves furiously and complain of the heat.They cannot keep still for a minute, they shuffle or walk about -The hall was quiet before, but every sort of noise has grown.The old man's singing is swamped, like a frail boat in a typhoon:Only his shaky fingering of the tanpura shows it is there.Music that should rise on its own joy from the depths of the heartIs crushed by heedless clamour, like a fountain under a stone.The song and Baraj Lal's feelings go separate ways,But he sings for all he is worth, to keep up the honour of his king.One of the verses of the song has somehow slipped from his mind.He quickly goes back, tries to get it right this time.Again he forgets, it is lost, he shakes his head at the shame;He starts the song at the beginning - again he has to stop.His hand trembles doubly as he prays to his teachers name.His voice quakes with distress, like a lamp guttering in a breeze.He abandons the words of the song and tries to salvage the tune,But suddenly his wide-mouthed singing breaks into loud cries.The intricate melody goes to the winds, the rhythm is swept away -Tears snap the thread of the song, cascade like pearls.In shame he rests his head on the old tanpura in his lap -He has failed to remember a song: he weeps as he did as a child.With brimming eyes king Pratap Ray tenderly touches his friend:'Come, let us go from here,' he says with kindness and love.They leave that festive hall with its hundreds of blinding lights.The two old friends go outside, holding each other's hands.Baraj says with hands clasped,

'Master, our days are gone.New men have come now, new styles and customs in the world.The court we kept is deserted - only the two of us are left.Don't ask anyone to listen to me now, I beg you at your feet, my lord.The singer along does not make a song, there has to be someone who hears:

One man opens his throat to sing, the other sings in his mind.Only when waves fall on the shore do they make a harmonious sound;Only when breezes shake the woods do we hear a rustling in the leaves.Only from a marriage of two forces does music arise in the world.Where there is no love, where listeners are dumb, there never can be song.'

WANT TO BUY A PIANO IN IRELAND: SHOP AROUND.

Thu, 31 Jul 2008 16:31:00 GMT

Want to Buy a Piano in Ireland....SHOP AROUND! Buying, Renting a Piano, Selling a Piano....all about Pianos in Ireland!

Not so long ago I had to sell my beloved piano, as quickly as possible for a variety of reasons. I thought this would be relatively straightforward, especially if I followed the usual procedures of placing ads in the Buy & Sell, Gumtree, as well as signs in music shops, music colleges and local areas. Needless to say, it wasn't that simple, because there was no shortage of people ringing up looking for "a keyboard...isn't that the same as a piano these days?", a "very basic piano for my 5 year old, nothing too expensive", "can I have a look at it, oh it won't fit in my apartment"...and the list goes on. Bear in mind that this was a top of the range instrument, that I was selling at half the price, it wasn't suitable for beginner students, it was for someone looking to upgrade to a really good instrument. Then, to get an idea of what pianos cost these days, I went to the very reputable piano showroom in Dublin, and I was shocked to find that I was selling the best piano I have ever owned for the same price as an out of tune, mass produced, weird sounding piano by a make I've never heard of. Either I was totally clueless when it came to second hand piano sales, OR the piano shop in question had doubled their prices in the past year!

I came out of the shop, reeling with the news that if I ever had to buy a piano again, I would be faced with the impossible dilemma of 1) either ending up on the street with a piano strapped to me or 2) rent a piano (though by the choice offered, I would be settling for a sub standard instrument, as renting a steinway is simply out of the question! Fortunately for me, one of my students was looking for a good quality acoustic piano, and I was so pleased that my beloved piano was going to a good home, that I decided to go with that option. I tried not to think about what I would do for a piano when the time came for me to have one again!

So I spoke to a few people (including piano students and teachers), and got the general feedback that to buy a really good instrument in Ireland, you have to look outside Dublin. Not only will you save a few bob (anything from â200-â2000!!) but you might also get better customer service and post-purchase help if the piano requires it. The one exception to this was a student who bought a Yamaha upright from Thorntons Pianos (www.thorntonpianos.ie) - she said it was very good value for money, and sounds beautiful. She also told me the make and model of her Yamaha, and it seems like she made a significant saving on such a fantastic instrument.

Other stores which got very positive feedback from people I spoke to are:

The Piano Gallery in Co Carlow http://www.thepianogallery.ie
Holland Pianos, also in Co Carlow http://www.hollandpianos.ie/
Molloney Pianos, Co Cork http://www.moloneypianos.com
Drummond Reid, Lisburn NI http://www.drummondreid.com/
Monaghan Music & Piano Centre Co Monaghan http://www.pianocentre.com/
The Piano Studio, Co Monaghan http://www.thepianostudio.ie

If anyone knows other stores/shops/piano dealers that you feel should be added to my list above, let me know. As you might notice, I haven't put one of Dublin's largest Piano shops Pianos Plus on the list, because despite the fact that I personally have had no problems with them (I bought a digital piano, rented an upright, and bought an upright from them), many people I spoke to had experienced a high level of dissatisfaction with Pianos Plus pianos, prices and customer assistance. I also have left out Waltons because they have possibly the worst collection of pianos (and they are ALL out of tune any time I have ever been in there) and the rudest staff I have ever encountered in a music shop in Ireland!

I plan to expand this blog post as time permits, but its a start for now anyway!!
K

Today's TOP 10 Playlist: Karishmeh's favourite tunes of the day!

Wed, 30 Jul 2008 16:29:00 GMT

Today's Top 10 Playlist

Ever so often I am going to make a note of my top 10 songs/pieces of music on any given day. In 20 years I'll probably go back and read my past top10 and cringe! Ah well, here goes:

Today, in no particular order:

Intermezzo in A Major op118,no 2: J.Brahms

I think this piece will stay on the top 10 list for the rest of my life! Anyone who writes it off as a hackneyed piano piece deserves a kicking! This, in my opinion, sums up why anyone would want to listen to music, play music or have anything to do with music at all. Intimate and revealing at the same time, there is not a note in this piece that I don't absolutely adore!

Jag Soona Soona Lage from Om Shanti Om (Indian Film): Vishal-Shekhar

A stunning song in what was probably the best Bollywood film of 2007 - a fantasy/hommage to the great Indian films of the 60's, 70's and 80's - this was everything an entertaining Bollywood film should be. The highlight of the film (apart from the crazy retro costumes) was the soundtrack and musical score, by the composers Vishal and Shekhar. This song is written in the "Quawalli" style, with the hypnotic rhythmic drum accompaniment, and the haunting voice of Rahat Fateh Ali Khan. "Jag Soona Soona Lage" translates as "The World seems an Empty Place" , and the lyrics are painfully beautiful - "I'm neither dead nor alive, Oh lord, what do I do?Hearts broke before they could join, hands parted before they could meet. What has fate written for me?" and so it goes on and on...... I love the music even more than the lyrics, I have to admit!!

I feel fine: The Beatles

Completely the opposite to the previous song choice - this is one of my top 5 Beatles songs, Lennon's 1964 offering. Everything from the distinctive riff that makes this song such a classic, to the harmonies, to the instant "feel good" factor that the lyrics have, makes me love it. Queen loved it too - they performed it in Germany (and Brian May recently quoted it on his website!).

Have you ever seen the rain?: CCR

Actually, I'd have to put this as joint favourite with Hey Tonight!! I love the chord changes in this song, particularly the chorus hook. Fogerty sings it brilliantly in the live version of his concert DVD of 2005. I'm hoping to record my take on it, but everyone from Rod Stewart to Bonnie Tyler (all these gravel voiced great singers!) have had a go at it but in this case, none to beat Fogerty's original.

Comfy in Nautica: Panda BeaR

This is taken from Panda Bear's (Noah Lennox) "Perfect Pitch" album - one of my favourite albums of all time. This represents everything I love about melodic/percussive electronic music. If you listen carefully you'll hear some brilliant early music samples in here as well. It doesn't sound weird or pretentious, just good music!

Piangero from Julius Caeser: G.F. Handel

What a work of art! Sung by Cleopatra, in this masterpiece opera, her brother Tolomeo has ordered Cleopatra to prison for scheming with the now-apparently-drowned Caesar. Saddened by the turn of events, Cleopatra contemplates what fate has given her and how, when she is dead, she could come back and haunt her brother. One of the best versions I have ever heard is on Youtube http//www.youtube.com/watch?v=l5lbVdr-2WU

Italian Concerto: J.S. Bach

Such a bright, lively, joyful piece of music. I strongly recommend this to anyone who is feeling miserable, sad, depressed or upset. In fact, there were times last year when I myself listened to this piece about 10 times every day, especially when the going got tough. The two outer movements of the work are enough to make anyone want to dance in the "gallant" style , irrespective of how bad your day has been! Favourite recordings of this piece: Glenn Gould, Trevor Pinnock.

Don't Stop me Now: Queen

Go Freddie!! Such a cool song, particularly the jazzy piano playing. The lyrics are so exhilarating, if a little over the top... particularly "I'm a shooting star leaping through the sky...Like a tiger defying the laws of gravity". I'm so proud I have a few things in common with the great Mr Mercury : 1)Zoroastrian ethnicity, even though I'm not overly religious 2) I can play the piano 3) Both September Virgos 4) Cat lovers. R.I.P Freddie!

Rang De Basanti: A.R. Rahman

First of all, I am a huge A.R. Rahman fan. The man is clearly a compositional and musical genius, and I've enjoyed quite a bit of his musical output, particularly the soundtracks to Roja, Dil Se, and his Vande Mataram.
The film itself was alright, a bit too smart for its own good at times, but hey, thats just my opinion (I sound like an idiot even as I write this!). But the title track sung by Daler Mehendi is so infectious with the bhangra beats, that again, for today's playlist this would be in my top 10!

Too Much Love will kill you: Queen

Written by the lovely Doctor Brian May, and it won him a very well deserved Ivor Novello Award. Its a song that many of us can relate to, or take some solace in, though it speaks of May's feelings during his divorce, and the choice one must make between two people that one loves equally. Brian sang it at the Freddie Mercury Tribute Concert, and the song then appeared on the 1995 Made in Heaven album, with Freddie on vocals (most people didn't even know Freddie had recorded this). It was released four years after Mercury's death. Quite simply, musically and lyrically, a pretty perfect song.

MUSIC REVIEW: JOHN FOGARTY AT THE ROYAL ALBERT HALL, LONDON

Mon, 28 Jul 2008 16:26:00 GMT

MUSIC REVIEW: John Fogerty - Royal Albert Hall 24 June 2008

John Fogerty returned to London's Royal Albert Hall on 24th June 2008, after thirty eight long years, his last performance being that with his Creedence bandmates in September 1971. With all the hype surrounding his "Revival" tour and concert, I was keen to see if Fogerty would be in good form for this particular concert, especially because it was at such a fantastic venue. I first heard Creedence songs when I was about nine years old, only at the time I didn't know they were Creedence songs! I just remember singing along to "Proud Mary" and "Bad Moon Rising", that too on dodgy old tapes that belonged to my mum.

So to be at the Royal Albert Hall, and witness Fogerty fulfilling an ambition of a lifetime was bound to be something special. We were also informed that filming was to take place that night, for a Christmas release DVD by a director/producer/something or the other/ who came on stage and asked the audience to clap, jump and cheer enthusiastically for some "reaction shots" (speaking of reaction shots, there's a hilarious episode in the american TV show Entourage {which used to be excellent but is now awful}, where Johnny Drama is asked to give reaction shots for Ed Burns' pilot episode....detracting from the review, but oh well!!). So there we were, jumping like six year olds on a sugar high, before Fogerty had even made an appearance. The director/producer also explained to the audience that this DVD needed our help and co-operation, but that they would try and not disrupt the evening excessively. I didn't really care, I felt so excited just to be at the concert. The concert eventually kicked of with Fogerty singing "Comin down the Road" and then the Creedence cult classic "Born on the Bayou". Certainly enough to get me dancing, and around me most of the crowd were on their feet (not including the silly film extras planted up the front). Then came the first disruption (Fogerty needed a make-up retouch for the DVD), followed by a few excellent numbers from his latest album "Revival".

Since this concert wasn't a greatest hits show, I was excited to hear Fogerty's new songs - particularly songs like "Gunslinger" and "Creedence Song" . However, the crowd seemed to be getting annoyed with the absence of Creedence classics, and the excessive make-up/costume breaks. At one point Fogerty disappeared for what seemed like an eternity, and his backing band rather sheepishly played some fillers. I imagine that it was at this point that quite a few people left in annoyance.

However, our patience paid off. Fogerty was back on form, and the last forty minutes of the concert were mind blowing (minus the nauseatingly sweet moments where his wife Julie walked on stage with flowers for him!). Fogerty played CCR hits such as "Proud Mary", "Fortunate Son" and "Down on the Corner" and I for one had a superb time by the time the show was over.

Sure, there was a general atmosphere of irritation and disgust at times during the concert, and quite a few people eventually ended up getting a refund. However, if anything, I felt sorry for Fogerty, who looked embarassed at the DVD nonsense. He seemed happiest when making contact with the enthusiastic crowd, and his voice is in better shape than ever. As for his guitar playing, it was simply superb. So while it wasn't a flawless concert, it was still one hell of a night, and for those wondering, the "Revival" album is quite brilliant. My one complaint - he didn't play my personal favourite CCR Song, the very simple yet beautiful "Have you ever seen the rain", but I'll forgive him just this once.

FINDING AN INSTRUMENTAL MUSIC TEACHER IN IRELAND

Thu, 24 Jul 2008 16:25:00 GMT

DISCLAIMER: This post reflects my personal experiences and feedback I receive from people through my website. It is not intended to offend anyone, so please read it knowing that it is simply one person's take on music education in Ireland.

I intended for this blog post to be an article for the teaching part of the website. In fact, for those of you who remember, I used to have a similar article up on my old website about 3 years ago. However, its that time of year again. The summer break, which means that parents, and indeed anyone looking to begin music lessons in September starts researching prospective teachers around this time of the year. Over the last four weeks, I have received over a 100 emails, from parents or students wondering what the best option is, for them. In some cases, the students have been taking lessons, or have studied music in the past, but want to change teachers. In other cases, they are reaching an advanced level, but find their teacher is no longer able to teach them. There are always many emails from prospective adult beginners, or adult students who are looking to resume formal tuition after a break of many years. There are also quite a few emails from people who have had some bad experience or the other with music teachers in the past, and some from those who are already performing musicians in non-classical genres, or those who cannot read music, but are very competent in other aspects.

In Ireland, while there is no shortage of instrumental teachers in the major cities (Dublin, Cork, Galway, Limerick), the smaller towns are often not as fortunate. And as is always the case, prospective students and parents have no real way of knowing much about the quality of teaching, or the personality and ability of the teacher, because there is such a high element of trust involved. However, the unfortunate truth, particularly in Ireland, is that while there are some excellent instrumental music teachers in the country, there are also far too many people trying to pull a fast one over the keen parent or student. Some of the recent, real cases are

1) A Piano teacher who opened a "Professional Piano Studio" without even having a Grade 8 or a Teaching Certificate. She had somehow managed to do this by teaching only beginners, in an area where there was a lack of any music tuition. What will become of those young students who cannot even learn the basics accurately, in a few years?
2) A Piano teacher who was charging an obscene fee for tuition for beginner students in the South Dublin area (double what nearly any experience conservatory professor, professional pianist or teacher was charging). This person's qualifications were non existant (it was not even known if she had done ANY training at all). When a parent of two of her pupils asked her to sight-read a very easy Gr 1-2 piano piece, the teacher simply said "no, I can't do it - go buy the CD!!!!". Needless to say, it became apparent to the parent, that this woman was unable to play, let alone teach. Even my younger piano pupils would have no great difficulty sight-reading a grade1-2 piece, so this is absolutely shocking to say the least!.

These are just a couple of instances where so called "music teachers" have managed to dupe enthusiastic parents. So I've put together a few points for anyone looking for a music teacher in Ireland.

- Visit www.learnmusic.info (Music Network's database of instrumental teachers and schools). Remember that while Music Network encourages teachers to enter as much information about themselves as possible, this database is NOT monitored or vetted, so in fact, ANYONE can write anything in this. However, I am sure the majority of teachers are very good, as I'd like to think anyone who goes through the trouble of filling out the excellent form on the website is not out to con people!

- If you are wondering what an instrumental teacher in Ireland charges, here are some general guidelines. Student teachers charge between â25 and â35 for an hourly lesson, sometimes they may need to charge a little more if they are commuting to the student's residence. Qualified (Teaching Certificate, Associate Diploma, B.Mus Degree) teachers, professional concert pianists, conservatoire professors charge between â35 and â60 an hour.

- Schedule a consultation lesson with the teacher once you've established initial contact. Some teachers may charge for an informal consultation, others may not. However, it is advisable to set this up, as it gives you the opportunity to talk to the teacher, and it gives the teacher the opportunity to decide if they are able and willing to teach the student. It is also useful to establish details like timeslots, fees, term dates etc at this consultation.

-At the lesson, do politely ask the teacher what their qualifications are, or whether they have any performance experience. Remember, it is absolutely untrue that there are great teachers who don't perform. If a teacher is reluctant to play the instrument, it is unlikely that they will be able to inspire the student, technically and musically, to a high level of performance. Even a teacher of beginner students should be able to perform to a reasonably high level. Be open and honest and ask the teacher where they have studied, any examinations they have recently done,etc. Some parents/prospective students think the consultation lesson is one where the teacher questions them, and they are reluctant to do any of the asking, but it is your time and money, and in most cases, you will be entrusting the music education of a child to the teacher. So be frank and honest and ask as many questions as you can think of. Any good teacher will be more than willing to discuss anything to want to know!

If you have any further questions or concerns, do email me through my website, and I'll get back to you as soon as I can! So that I don't aggravate my RSI, I don't reply to website emails every single day, but I ALWAYS respond, so don't hesitate to get in touch. If you need personal recommendations of teachers, again, email me!

All the best!!
K

BRIAN MAY ROCKS - As does JSBACH

Thu, 17 Jul 2008 16:21:00 GMT

Bach - I always seem to start most discussions with the mention of Johann Sebastian Bach. What am I doing with the music of Bach these next few weeks that warantees a Blog entry all to itself? Well, for a start I'm playing Bach's music on a piano which was tweaked to such extremes, that apart from Bach's music, very little else sounds brilliant - yes, I'm talking about Steinway CD318 - subject of the latest book "A Romance on Three Legs" and the beloved instrument of Canadian pianist Glenn Gould

Since so many people wrote to me in mock annoyance when I deleted my original blog, for a variety of reasons (not having time to update it being one of them), I have decided to bring back the blog. However, I hope to update it as frequently as I can, but bear with me! At the risk of getting RSI, I will try and limit blogging to once a fortnight, or sometimes once a month! Of course, if I suddenly find myself with plenty of free time (hmm),I'll blog like a fiend!

Anyway, Back to Bach! or Bach to Bach! So I'm really, ridiculously excited about the August collaboration with CBC Producer/Composer Adam Saikaley on Bach's D minor concerto! For a start it is such a cool piece of music, and the fact that I get to finally play it to electro-acoustic accompaniment rather than a string orchestra is just brilliant. The second movement will be quasi improvisatory, and I know this is where Adam will really be able to explore the electronic elements to the full. And then we plan to blow the roof off the dominion chalmers united church in Ottawa with the 3rd Movement.

I'm also really excited (and nervous) about doing vocals for a lot of these concerts - for instance singing my arrangements of Byrd, Gibbons, Dowland, The Beatles...all good, except that in the same concert I have the amazing Martha Guth, who won 2007's Wigmore International Singing Competition joining me on Strauss and Mahler lieder. So yes, my humble untrained voice better not let me down!!

My new favourite person in the world is Queen guitarist and musical legend Brian May, who was soooooooooooo wonderful as to say he would be "honoured" if I wanted to record his song Save Me for my upcoming album. I love Brian, he is such a great musician and yet is so down to earth. Hope he doesn't hate my take on Save Me. Brian's website is so fantastic as well, go check it out at http://www.brianmay.com/

All for now,
Karishmeh