View allAll Photos Tagged harmonium
folk dancer, singer and musician child dressed in rajasthani costume playing harmonium and collecting money fixed in his front, on the harmonium.
this folk music and songs of rajasthan are simply very nostalgic carrying my soul to those wonderful places and people.
see another view here
Old harmonium in St. Kevin's Mental Asylum Church (now closed & abandoned). Cork, Ireland.
St. Kevins Hospital (a.k.a. St. Kevin's Lunatic Asylum) is an imposing red brick structure over looking the banks of the river Lee, in Shanakiel, Cork, Ireland. It is without doubt one of the darkest sites in recent Irish history. A place of such suffering and abuse that questions were raised in the Dáil and which would ultimately result in its overdue closure in 2002.
"Over the years the conditions inside Our Ladys Hospital and St Kevin's was condemned and declared a total disgrace. The people incarcerated in the asylum were guilty of nothing. Vulnerable, innocent and harmless. They did not deserve what was done to them. Victims of misfortune, victims of illness and indeed, tragically, of abandonment. They were locked up in a vermin-infested, unsanitary, dirty, dark confinement" (the conclusion of the Inspector of Mental Hospitals' Report).
Check out my reportage slideshow 'Inside St. Kevin's Asylum' www.youtube.com/watch?v=j53kY0Q4LMg
The Harmonium, once considered as the basic musical instrument to learn the notes, is now replaced by the Casio.
Seen here, the shop keper uses it as a door stopper !!
Karl Theodor man Borg (* 19 November 1861 in Karlstad , † 26 June 1930 in Leipzig ) was an organ builder of Swedish origin and as a producer founder of German Saugwindharmonium industry.Mannborg were a large firm in Leipzig. They were held in high regard for their suction instruments.
de.wikipedia.org/wiki/Theodor_Mannborg
Best viewed on black.
Ram Jhula - Aarti at Parmarth Niketan
During the mid-19th century missionaries brought
the hand-pumped harmoniums to India
and it became quickly very popular ever since.
(the predecessor, accordeon, you find almost not in India)
2010-02-09 oochappan ©® all rights reserved
Old photo with gas lighting in the chapel. The 10 commandments on front panels. Sunday school hall with kitchen through the curtain on the right
Harmonium Vadak
Organiser : Alankar Musical Group Contact Us +91-9214068278/+91-8290365050 Or Mail Us info@alankarmusicalgroup.com
St Barnabas, Alphamstone, Essex
Buoyed up by Holy Innocents, Lamarsh, I headed on in sunshine up, up, into those oh-so hilly hills which ran like rivers towards Alphamstone.
According to my map the two churches are less than a mile apart. Well, perhaps it was the hill, or the way the clouds were gathering and threatening, but it seemed a lot further than that. But still I headed on, out the other side of the village, until I reached the top road for Pebmarsh, and I knew that I had missed it.
And now the rain began to fall, big, icy drops. I turned back and headed into the village again, this time sure of where I was on the map, and there it was, exactly where it should be. How had I missed it? I had cycled right past it.
By now it was raining heavily, so I tugged my bike up the steep churchyard under an avenue of limes and put it in the porch of the church.
Open. The moment I stepped inside I knew this was somewhere special. It was almost completely dark, thanks to the storm outside, but I could see candles flickering and the gleam of statues. here, the Anglo-catholic twilight sleeps on.
The pews are replaced with cane chairs as at Kettlebaston, but there is none of that Ernest Geldart razzmatazz here - this is a simple village church, but with such a prayerful atmosphere.
In the aisle there is a rood group which came from the chapel of the House of Mercy at nearby Great Maplestead, a 'home for fallen women' which was closed and demolished in the 1950s.
There is a well-cared for and yet rough and ready atmosphere. A curiosity is that there are shuttered low side windows on both the north and south sides of the chancel, but I do not think they can be original - can they?
The rain lessened without stopping, and so I stepped outside to try and take the exteriors before the storm worsened again. This is a long aisled church with a wooden bell turret, which was very attractive. But the rain stopped, and the sun came out. I went back into the church and it was full of light, and I knew that in fact this was my favourite church of the day.
By now the lanes were awash, and so I decided to call it a day and take the shortest route back to Bures station, but the sun seemed insistent, and so instead I headed on to Pebmarsh for just one more church, I told myself.
GREEKADELIA - 22.2.2015 - Jazzit Musik Club Salzburg - www.jazzit.at - weitere Fotos unter:
Moito se movía esta lagartixa, non foi doado tirar a foto. Finalmente cansou.
Música: "Music for a found harmonium" da Penguin Cafe Orchestra.
www.goear.com/listen/be0cb59/music-for-a-found-harmonium-...
The majestic, surreal inside flow of an Arctic iceberg. Or, as one visitor to my website, www.arctic-photo.com/ noted, "Antelope Canyon with a blue filter".
The Liszt Ferenc Memorial Museum in Budapest is a reconstruction of the apartment that Liszt lived in during the last six years of his life. This is where he taught. On the right is a Chickering concert grand made especially for Liszt, with a smaller Boesendorfer (a gift from the piano maker) on the left. At the far left is an American concert harmonium (organ with pedal bellows).
HDR from 3 exposures tone-mapped in Photomatix.
Cirque Éloize
St-Denis
Titre : L’échorégraphie
Photographe : Benoit Z. Leroux
Acrobate : Angelica Bongiovonni
Année : 2019
Dimension : 30X24
Lieu : Théâtre St-Denis
Spectacle : Seul ensemble (Cirque Éloize)
Costume : Marilène Bastien et Genevieve Bouchard
J'ai profiter de mon heure de dîner de ma "vrais job" pour courrir au Saint-Denis assister à quelques numéros de "Seul Ensemble" présenté spécialement pour les médias. J'ai été rivé à mon siège ! Généralement quand je fais de la longue exposition, c'est en studio, avec un trépied ou je controle l'éclairage, mais cette photo a été faite à main levée avec une exposition de 0.6 seconde.
Finally got my first Rhodes, she's a beaut!
I just got a keyboard table/stand for it to lift off some weight off my awesome motor-driven Yamaha Harmonium.
Might be moving out soon to the country-side.. Never know.
soundcloud.com/bureau-1/bb227-michel-banabila-early-works
www.discogs.com/Michel-Banabila-Early-Works-Things-Poppin...
Michel Banabila, born 1961, is a sound artist, composer, and producer. Banabila releases music since 1983 and has produced musical scores for numerous films, documentaries, theatre plays and choreographies. This album collects 11 songs from his early years, released on tape, vinyl EPs or limited CD editions: beautiful minimal loop-based electronica, neo-classical pieces and ambient drone music. A true discovery ! (Bureau B)
liner notes:
Numerous threads run through the music of Michel Banabila, whose contemporary work ranges from adventurous electronic cross-breeding of chamber instrumentation, to industrial rhythmic sampling, to outward-bound modular synthesis, to deeply elegiac drones.
What is remarkable about this collection of early pieces is just how many of Banabila’s ongoing fascinations had already taken root, when he was barely half his current age. The child apparently is not merely the father to the man; he is also his music tutor. In particular, there are extended sequences of neoclassical loveliness and dense patches of Fourth World exploration that, matters of specific equipment aside, could have been recorded yesterday. Except that they weren’t.
The classical activity heard here constitutes a romantic attachment to the Old World, filtered through a contemporary sense of proportion. Banabila’s piano, its atmospheric gestures bringing to mind the proto-minimalism of Erik Satie, echoes with a disarming simplicity. The sweetness of the tune masks his determined compositional focus on loop-like repetitions, on the ever so slight variations between pulses, on training the listener’s ear to hear inside the notes, between the notes, to be receptive to matters that are more tactile than tonal. The melody could easily be an additional hundred years old — except for fact that the refined patterning is something that likely only could have been pursued in light of the music of Michael Nyman and Philip Glass. Similarly, a solo harmonium performance circles around a song that could be a maudlin street-corner serenade in a benighted district of a nameless Eastern European city — and yet it has a self-consciousness of the instrument’s breath-like quality that marks it, however subtly, as modern music.
And, of course, this isn’t modern music. This is music several decades after the fact. It is no longer of our time. The equipment on which it was made, notably an early sampler, was limited in various ways, key among them the relatively circumspect set of capabilities, especially in terms of memory storage, and the lack of received performance techniques. The equipment was simple and it was new, and neither factor limited Banabila’s ambition; to the contrary, the tools concentrated his imagination.
If the classical pieces represent the Old World as framed by the new, then the more recognizably “electronic” work here is likewise most at home in a fictional place, an idealized zone. That zone is a quiet neighborhood in the Fourth World, to borrow Jon Hassell’s terminology, one in which digital tools render something that is, for all its technological dependency, ultimately a form of folk music — an otherworldly folk music for another time. At that time and in that place, a percussive guitar figure lends momentum to ethereal synthesized choral vocals. Fidgety percussion plays amid a fierce but restrained guitar line (there are echoes of Laurie Anderson and Adrian Belew). An ambiguous and elongated drone, thick with subliminal activity, beautiful in its toxic anxiety, suggests dire activity on the horizon.
And yet the horizon wasn’t dire. Quite the contrary, what was ahead for Banabila was a long string of releases, a healthy and well-documented career in which so many of these individual threads have been provided time and space to have entire records dedicated to their pursuit. This album of archival works is a document, and what it documents is the continuity inherent in Banabila’s music. It is a map in musical form, and the path it traces is one that crisscrosses back and forth between the Old World and the Next.
Marc Weidenbaum
San Francisco, California
February 2016
Reviews / quotes:
DAMUSIC.BE
De kans dat de naam Michel Banabila een belletje doet rinkelen, is eerder klein. Maar zoek de Nederlandse geluidsdesigner even op bij Discogs en besef dan dat er zomaar eventjes drieënvijftig albums op 's mans naam staan! Voer voor het Duitse label Bureau B dus, dat gespecialiseerd is in het opgraven en afstoffen van lang vergeten opnamen uit het krautrock- en ambientelektronicamilieu!
Filmmuziek, neoklassieke sfeerplaten, repetitieve synthesizerambient, industriëel experimentalisme … noem het en het past wel ergens in het kraam van Michel Banabila. Zoals zijn titel verraadt, grijpt dit album dus terug naar de bron: de huiskamertapes, op viersporen recorder opgenomen muzikale vindsels waarbij minimalisme en atmosfeer versterkt worden door de ruis van de beperkte technische faciliteiten. Het echte spul van in de beginperiode zeg maar, meestal zelfs zonder definitieve titel. Of dat nu gaat over een donker, droevig pianothema dat in al zijn soberheid een erg broos, filmisch gevoel oproept (Piano N° 2) of een drijvend ambientgepingel op synthesizer en gitaar met een wat Oosterse inslag (October), Banabila vindt steeds een mooie esthetiek in eenvoud, warmte en melodie en beroept zich op grote namen als Brian Eno of Erik Satie. Slechts af en toe verlaat de klankcomponist en producer zijn aardse eenvoud om in een ander universum te glijden. Luister maar even naar The Lost Drones Tape No. 3 met zijn ijzige soundscape, reverb, spacebubbels en gekke broebels, dat effectief een stevige trip is richting ander melkwegstelsel. Zelfde verhaal trouwens met The Workers (Des Traces Retrouvées III), een fantasie met krakende samples, verre gitaarhalo’s en een waas van neerdrukking en mysterie. Wat vooral ook in de meest eenvoudige stukken opvalt, waar enkel piano of gelaagd kerkorgelspel op synthesizer een filmische sfeer oproepen, is dat Michel Banabila echt een man van toetsen is en een mooie lyriek in zijn spel legt. Dat verklaart waarom minimalisme en simplisme hier zo sterk overkomen. Het is de voorbode voor de neoklassieke ontwikkeling van de Nederlander. Tegelijkertijd zet het afsluitende The Lost Drones Tape N°.#2 met zijn meer dan acht minuten sfeer en gemoedelijkheid via een flinterdunne drone en zachte droomscapes de weg open naar een mooie ambienttoekomst. ‘Early Works (…)’ biedt een breed inzicht in de beginjaren van deze erg productieve en veelzijdige artiest. Naast een leuk tijdsdocument, is het echter ook een fijne en afwisselende plaat die gerust een keertje extra mag beluisterd worden. (Johan Giglot)
SUBJECTIVISTEN:
Af en toe is het goed om terug te blikken. Veel van zijn eerste muziek is op cassettes, vinyl of gelimiteerde cd’s uitgebracht. Dit overzichtswerk bevat stukken uit zijn beginperiode, zoals van zijn albums Des Traces Retrouvées I en III en The Lost Drones Tapes, alsmede vier niet eerder uitgegeven stukken. In totaal krijg je 11 tracks, die ook nu nog staan als een modern huis en afwisselend drones, ambient, neoklassiek, minimal music en experimentele elektronica laten horen. Het is een prachtige ontdekkingstocht door zijn vroegere werk geworden en waarvan je enkel hoopt dat er nog meer van zal verschijnen. (JanWIllem Broek)
OEDIPE PURPLE:
Alors que son album Marilli figure en bonne place dans notre wishlist, le label Bureau B a eu la bonne idée de ressortir du placard les splendides harmonies de Michel Banabila. Une invitation à la rêverie qu’on ne peut refuser, à l’instar du premier morceau October… On repeat.
NOWAMUZYKA:
Niemiecka wytwórnia Bureau B opublikowała płytę z bardzo rzadkimi utworami Michela Banabily, które powstały na początku jego kariery.
Nie tak dawno recenzowałem podwójny album „Tapu sampler” holenderskiego muzyka, kompozytora i producenta, będący zbiorem jego nagrań z lat 2007-2015. Można potraktować ten materiał jako szybki sprawdzian z tego, co w ostatnich latach prezentował Banabila. W przypadku longplaya „Early Works / Things popping up from the past” cofamy się w czasie jeszcze dalej gdzieś w okolice lat 80., ponieważ z tego okresu pochodzą kompozycje. Przypomnę, że artysta aktywnie działa od 1983 roku. Na „Early Works…” znajdziemy jedenaście różnych utworów nie tylko pod względem brzmienia czy użytych instrumentów, ale przede wszystkim pokazujących szeroki wachlarz możliwości tego utalentowanego kompozytora. W takich fragmentach jak „Harmonium improv #1/improv #2” i „Piano No. #1/#2” można doszukać się – jak trafnie zauważył Marc Weidenbaum w swoim tekście – inspiracji twórczością Michaela Nymana oraz Philipa Glassa. Ale na tym krążku są też takie nagrania, które mogłyby być zarejestrowane dosłownie wczoraj, choćby dwa ambientowe „Des Traces Retrouvées I, No. #4”, „The Lost Drones Tape No. #2” i bardziej eksperymentalne „The Workers”. W lekko etnicznym „A Sharp Silver Line” z kolei mamy solówkę gitarową Banabily bliższą stylowi Adriana Belewa z King Crimson. Niesamowite jest to – jak już wspomniałem – że większość utworów z tego zestawu nie kojarzy się z kiczem lat 80., nawet nie ma przepychu jeśli chodzi o syntezatory, a jak już są to raczej w aranżacjach z pogranicza minimalizmu i muzyki klasycznej. Mimo dużej rozpiętości stylistycznej, „Early Works/Things popping up from the past” słucha się jako całości. (Łukasz Komła)
Desh Mere (Bhuj) - Sargam, Harmonium And Flute Notes
SCALE OF THE FLUTE IS D# BASS/MIDDLE
O desh mere
P..P.D.D.S'.S'...
Teri shaan pe sadke
S'.S'.S'..R'.S'.N.D.N...D.P.
Koi dhan hai kya
P.P.P.D.D.S'.S'...
Teri dhool se badhke
S'.S'.S'..R'.S'.N.D.N...D.P.
Teri dhoop se raushan
P.m.m..m.D..D.P.D...
Teri hawa pe zinda
S'.N.D.D..P.P..P...
Tu baag hai mera
P.m.m..m.D..D.P.D...
Main tera parinda
S'.N.D..D..P.P..P...
Hai arzi deewane ki
G'.R'.S'..S'..S'..S'.N..D..S'..
Jahan bhor suhani dekhi
G'.R'.S'..S'.S'.S'..S'.N.D..D.P.m..
Ek roz wahin meri shaam ho
m..m..m.D.D.. D..N...D..P..P..
Kabhi yaad kare jo zamaana
G'.R'.S'..S'.S'.S'..S'.N..D..S'..
Maati pe mar mit jaana
G'.R'.S'..S'.S'.S'..S'.N.D..D.P.m..
Zikr mein shaamil mera naam ho
m.m.m.D.D..D.. D..N...D..P..P...
O desh mere
P..P.D.D.S'.S'...
Teri shaan pe sadke
S'.S'.S'..R'.S'.N.D.N...D.P.
Koi dhan hai kya
P.P.P.D.D.S'.S'...
Teri dhool se badhke
S'.S'.S'..R'.S'.N.D.N...D.P.
Teri dhoop se raushan
P.m.m..m.D..D.P.D...
Teri hawa pe zinda
S'.N.D.D..P.P..P...
Tu baag hai mera
P.m.m..m.D..D.P.D...
Main tera parinda
S'.N.D..D..P.P..P...
www.notationsworld.com/desh-mere-sargam-and-flute-notes.html
Really cool old harmonium at Treehouse Studios where my band, orange is in is mixing out new CD, Come and Take It.
a child dressed in rajasthani outfit singing beautiful folk songs and playing harmonium altogather, in the jaswant thada compound.
see more MUSIC related images here.