“In the 60s and 70s, baithak-style, intimate chamber concerts was the norm in Maharashtra and Kolkata,” says Vyas’s son and santoor artist Pandit Satish Vyas. Some of the music circles that were set up during that time still survive. However, Vyas wanted to give Hindustani musicians a bigger platform and he set up Maharashtra Lalit Kala Nidhi and the Sammelan was started in 1977. He also named it after his guru, a doyen of Agra gharana, who composed ragas and bandishes under the pseudonym Gunidas. “The response was amazing as there were not many big festivals that featured 15-18 artistes on one platform.
For more information, visit http://timesofindia.indiatimes.com/city/mumbai/Hindustani-music-fest-to-kick-off/articleshow/26814144.cms
Classical Music 101: Epilogue
The London Philharmonic program that included six masterpieces for orchestra, composed between 1960 and 1980 for films, was obviously a concert of 20th Century orchestral music, but few viewed it as a classical concert. For many, the adjectives “new” and “contemporary” signify a certain style of music — a music that represents a tradition of experimentation that began a hundred years ago, and was revitalized in the Cold War Era. Many still hold onto that definition of what constitutes 20th century classical music, and also use those two adjectives to imply what is good and valuable in new music. For one thing, it is “serious” music — another adjective that must await further discussion. And so we have two classical traditions and we are poorer for that because audiences are made to feel they have to choose one over the other. Sadly, our major newspapers do not even admit to a dialogue on this subject. There is only one kind of “new” classical music that is reviewed and judged and this “other music” — a music that seems to have no name — is generally dismissed or ignored altogether.
For more information, visit http://www.huffingtonpost.com/john-mauceri/classical-music-101-epilo_b_4350851.html