Dawn to Dusk and Beyond
Some of the oldest traditions of our music, such as Indian music, were created at a time when we had a better connection and relationship with Nature. We lived and grew together in harmony nourishing each other as an integral part of the Creation. Music came as a spontaneous outpour in response to the natural phenomenon manifested into human emotions. That is how and why musical frequencies had an inevitable correspondence to the surrounding environment. It came from Nature as a source of inspiration and influenced its listeners who are not only from the animal world but also from every other aspect of the universe. Such is the power of music, if presented in its real essence. In the Indian tradition, Ragas, which may inadequately be described as melodic modes, were created and meant to be performed at particular times of the day or year. This was because of the correspondence of the frequencies embodied in those melodies with relevant conditions of Nature. Thus the reciprocity of cause and effect was enhanced. In the present-day situation, when we have somehow lost that communion with Nature, many of those concepts may have lost their proper significance in our daily hectic lifestyle and we often tend to disrespect and discard what we cannot easily comprehend. We force ourselves into frenzy when Nature is about to rest. We are tired when Nature is ready with freshness. Dawn to Dusk reminds us of this Natural phenomenon of changing energy not only in our environment but also in human behavior.
Dawn to Dusk is a depiction of the spectacular changes in Nature and its influence on human behavior through the course of the day. These passages are portrayed through music coming from varied Indian traditions of classical, folk and others and combined with a touch of modern/new age music. It is further enhanced in its realization by additional digital audio and visual effects. Music, almost a complete language in itself, is linked through narration in English with relevant excerpts from original texts in Indian languages.
The ensemble comprises:
Pt. Samir Chatterjee – Tabla and other Indian percussions
Pt. Ramesh Mishra – Sarengi
Mr. Steve Gorn – Bansuri
Ms. Allyn Miner – Sitar
Mr. Ned Rothenberg / Rudresh Mahanthappa– Saxophone
Mr. Miles Okazaki – Guitar Synth
Mr. Frank Colon – Western Drums & Percussion
Smt. Sanghamitra Chatterjee - Vocal
Mr. Rajkumar Rizvi / Suman Ghosh - Vocal
Smt. Gargi Mukherjee – narration
Dibyarka Chatterjee – Technical crew
The picture below is from a performance in Chicago, IL
- Two risers/platforms 1 ½ to 2 feet high. One needs to be 12’/4’ and another will be 5’/4’. Both need be covered with black cloth. Slight cushion on the 12’/4 platform will be nice.
- Three chairs (black) without hand-rest.
- 10 music stands (black) with stand lights. Please keep a provision open to take off some of the boards off from the stand and place them on the riser for musicians in squatting position.
- 12 microphones – 2 Shure Beta 87A, for singers, 5 Shure SM 58 for narrator, Saxophone, flute and two harmoniums, 5 Shure SM 57 for Tabla, Sarangi, Sitar and western percussion. There needs to be provision for equalization and reverberation.
- 7 monitors with provision for individual mix.
- Spot lights on musicians with control and color filter
- Equipments for slide projection. Screen should be hung behind the platforms.
- Flowery decoration of the stage, creating a garden. It will be nice if microphones, stands and cable can be hidden.