Kartikey Sehgal

Information:

Franz Liszt was a composer-pianist (largely). He transcribed Beethoven’s symphonies for piano. Beethoven was a composer. 

Wagner and Tchaikovsky were composers. Haydn was a composer and a teacher to Beethoven. Knowlede about Liszt’s transcriptions here.

I see.

The idea of Franz Liszt to play Ludwig Van Beethoven on piano was to show that Beethoven had a soft touch in all the symphonies. Franz’s piano played the part of bringing to notice the absolutely sublime part of the music; sublimity also defined as softness; that which does not hurt the ears; that which replaces the alleged harshness of trombones and trumpets.

Any music listener would need to imagine music and ‘circumstance’ to essentially be in touch with classical music. I define circumstance as supreme imagination. All are not lucky to possess this imagination.that

It is thus that Wagner, Tchaikovsky saw in Beethoven what others didn’t. Also, this circumstance of superior imagination may come now and then, making the task of the critic obsolete since there is no absolute to music except that which is easily seen as horrendously bad.

The listener, say, like Haydn, may one day, at an opportune moment accept that what he had previously considered as mediocre is essentially life-changing; like Haydn alluded to Beethoven’s music after listening to his Symphony no.3.

Is it not a pleasure to listen to an orchestra play Beethoven’s works, and then listen to Liszt play them on the piano? You realise that music has shades, a statement passed of as obvious by music lovers, but which assumes greater significance for the listener when faced with the actuality of listening to the soothing piano tones after the absolute power of the trumpets and the string section.

The listener, now, has to imagine the power displayed by the trumpet in the notes of the piano. A task that is of great love to the listener. A task that may define the mysterious emotion of ‘love’. For love is this deeper imagination of music, and hence of life. 

Kartikey Sehgal

On being asked what ‘what people do at an auto-expo’, and not willing to speak, I wrote the following on some napkins: 

let us go to an auto expo
scratch our chins
and act informed.

like in a fashion show,
which is a gift to hypocrisy
where we watch the models
but ogle at the fabrics

let us discuss 
engines and powers - 
not of the model,
who sashays around the bonnet
moving hers in style, - 
but of the car

let us take photos of the machine
and once in a while tilt the camera,
and act in despair,
for the car’s curves
have been lost
to the model’s.

let us hate
the objectification of women
as we point out 
to the model
again
and again
while talking - 
‘what have those creamy thighs
with a few minute moles on them
which are admittedly juicy
got to do 
with cars.
do aroused men buy more cars?’

a few lines about women issues
let us then walk…

let us then walk to the model
and ask - 
‘excuse me, who can give me more information?’
staring at her face,
and as she points out the person,
stealing glances
here and there.

Then when a representative asks,
‘may I help you’
you go to the washroom instead.

let us go to an auto expo
where you can’t afford a single car

Source

Kartikey Sehgal

Critics who point out that Sachin Tendulkar is ‘selfish’ in his desire to want to continue are spot on, except that this quality of selfishness is what we ought to emulate and instill in our self. Or rather not. That’s how we are naturally.

Deriving from Darwin’s theory of evolution – whose ardent proponents hold intra-special instead of inter-special competition as more relevant – intra-racial competition is more important to us than inter-racial competition. That is, we compete and fight more with people who are closest to us than with people of other races. The road to growth and victory is actually associated with outwitting people who are more like us. This is our true nature. Even among animals, a lion will not accept another lion in his territory. He will be keen to kill him, rather than share and prosper together. Or sacrifice his position as the master.

What many of Sachin’s critics are tending towards may be termed as “group favouritism”, which puts forth the theory that animals function according to the interests of the group; they put group ahead of the self; the individual’s self-interest is kept secondary. This theory was put down several decades earlier but finds a place in modern parlance. It manifests itself as sacrifice – and holds that man is essentially a team player. It further argues that even though ‘some’ humans keep self-interest over group interest, the quality of ‘humaneness’ makes them sacrifice.

However, it is to be noted that sacrifice, in actuality, is a quality that is best performed for the world, by which I mean that sacrifice is also a selfish quality. We sacrifice for self-fame. We give up to get more.
Thus in the immortal tale of Heer-Ranjha, Ranjha sacrifices comforts to get his beloved Heer. And thus the televised drama of a certain politician sacrificing the prime-minister’s chair in ‘national interest’.

Sacrifice and group favouritism are not base human qualities, no matter what we have been fed by our school textbooks. As such, those aspiring for sacrifice are actually selfish and manipulative. Exceptions occur always among people who quietly sacrifice, but these do not form the rule. And as individuals we rarely seek out such hidden gems.

Therefore, It is perfectly fine for Sachin to want to continue playing cricket. Even as a pure desire, free from the question of form and fitness, it is perfectly ‘human’ for him to want to continue. That he keeps playing well is a quality that we must admire and seek in ourselves.

Kartikey Sehgal

A woman, who breathes in and out the concepts of feminism and equality, is unable to apply them in real life. Interestingly, we don’t question the ideal; we just want to hear the sob story.

Meena Kandasamy, in her article in Outlook dated March 19, 2012 (I Singe The Body Electric), gives an account of the abuse and torture she faced at the hands of her lover, who beat her, whipped her, forced her to perform fellatio, among other atrocities. She cites the inability of law to help her, “When I press for his punishment, the police speak of jurisdictional issues. You lived elsewhere, they say. Lady justice does not serve displaced women.”

If she has been wronged, then we wish the best for her and ask that the perpetrator be punished after proper investigations. However, the ordeal Meena has undergone is a crime. It has no connect with patriarchy, or with nature of men, or with oppression by men. All of which seem to be Meena’s pet topics in her literary career.

It is only a crime. And an unproven one. Yet.

Let us trace the time-line of Meena’s ordeal as stated by her in the Outlook piece. She moved back to her parent’s home in January/February, after her four month stay with her lover. We can assume that she moved in with him by August/September last year.

Meena was already a feminist before her recent affair commenced. She had already published books and essays on oppression and feminism. In May 2011, she had published an article in Tehelka titled, “Celebrating the loud slutty sensibility“, in which she talked of sexual harassment and prejudice, both of which she claims she faced in her stay with her lover.

I would like to point out that her understanding of the world, of feminism and women rights did not prevent her in her relationship. Second, she was not forced into the relationship, and could have, in any of the preceding months before the fourth one, sought help from law, friends and police (in another state).

I reiterate that she ought to be given justice if her claims are true. However, her writing is not an encouragement for women to walk away from abusive relationships. Instead, it brings out their weakness and failure of logic. it promotes the idea that women are not good decision makers. The patriarchs, whom feminists detest, could simply quote Meena’s “It appears that there is no escape from this unending cycle of abuse, remorse-filled apology and more abuse” to make way for their philosophy of righteous upbringing of women, and make the claim that women, like men, ought to be guided by a male.

I firmly hold the view that wisdom is no guarantee of personal happiness. This goes for Meena and her feminist ideals, and is apt when you read her Twitter byline, “My Kali kills. My Draupadi strips. My Sita climbs on a stranger’s lap. All my women militate. They brave bombs, belittle kings, take on the sun, take after me.”
None of this ‘fashionistic’, provocative and ‘brave new women of modern world’ ideology applies to Meena herself. This is not a comment on her but the fallacies of holding invented ideals as truer than actual human behaviour.

After stating that she deserves justice if her claims are true, I ask you readers: despite the assumed truth of her abuse, is over exaggeration not a possibility? “It becomes a bargain, a barter system. For the sake of survival, I surrender my space.”

Until her charges are proven, we cannot condemn her lover as so many of the respondents to her story have done. Has the magazine sought to get the lover’s point of view and cared to provide it to us? Or any notes from the police? The paramilitary personnel that she quotes? Doctor’s? Maybe it is sufficient to take the woman’s word for it. Or we are only interested in words and phrases of pain and misery.

Until these questions are answered, we have to consider the possibility of her story being a plug for feminism and ‘women abuse’.

I ask these questions because I have met acquaintances who have contemplated suicide because of failed marriages. They are men. And they are battling charges of abuse and threats of charges of abuse. And no magazine will pick their versions of marriage as sacrament. No matter how romantic and prosaic they make them sound.

Kartikey Sehgal

I hope you enjoy listening to this nazm as I have enjoyed composing and singing it. The Lahori audience was refined and appreciative. From an official source:

Kartikey Sehgal sings his composition of Faiz Ahmed Faiz’s poem, “Jab Teri Samandar Aankhon Main” (In Your Ocean Eyes) at a concert in Lahore organised by Moneeza Hashmi of ‘Faiz Ghar‘ and recorded by Hum TV.

This is an audience recording and the actual recording would be available soon, including all ghazals/nazms sung by Seema Sehgal.

The cd would contain all credits.

The Poem’s Translation (original poem below)
source here

This edge of sunlight, as evening descends,
the meeting point of dark and light,
‘fore tommorrow begins and this day ends:
a pause between the day and the night.
Eternal for a moment,
Transient in a moment,
on this edge of sunlight, for a fraction of time.
the impatience of lips; arms in contact;
our union needs not to attest, misbelieve
or blame, what need is there to deceive?
The evening sun sets in the depths of your eyes
as in peaceful sleep the homedweller lies
and the traveller takes to the road with a sigh.

Original Poem

Ye dhoop kinara, shaam dhale

milte hain dono waqt jahaan

jo raat na din, jo aaj na kal

pal bhar ko amar, pal bhar mein dhuaan

is dhoop kinare, pal do pal

honton ki lapak

baahon ki chhanak

ye mel hamara jhoot na sach

kyon raaz karo, kyon dosh dharo

kis kaaran jhooti baat karo

jab teri samandar aankhon mein

is shaam ka sooraj doobega

sukh so’enge ghar dar wale

aur raahi apni raah lega

Kartikey Sehgal

There are other heartaches in the world than those of love – so said poet Faiz Ahmed Faiz, from his poem “Mujhse Peheli Si Mohabbat Mere Mehboob na Maang” (Don’t ask me for the love I once gave you, my love).

I have set this and other poems to music and they shall be sung by Seema Sehgal (blog link). I may sing two self-composed nazms.

The program is this Saturday (April 7) in Lahore, Pakistan. You are welcome.

This evening of poetry and music is hosted by ‘Faiz Foundation Trust’ and the family of the renowned Urdu poet.

A photo from a much earlier program.
(Source: The Hindu)

Kartikey Sehgal

Present day girls are lonely, alone. Vultures, with cultivated despondency and measured smiles, feed on the girls, – adopting themselves to emotions of deceit, forsaking masculinity.

It is the test of a girl to adapt to cold mountains and narrow roads, or perceptions of hollow people dancing under bright lights. It is the test of her growth, her family, when she refuses charming propositions of misery, thereby, saving herself from that which is turning common to women – bleakness. 

Bleakness – the once bright eyes of childhood are skeptic to happiness, so that, there is confirmation in misery. And this sense of confirmation, of misery, is best left for artists, or higher souls, who learn from it and pass on their messages.

When a woman says no to misery, she affirms her self, her femininity, her family, and most of all she affirms, the man in her life. 

But misery is not for girls, who are feminine – and instinctively seek the artist. And are a counterpart to his night – light of his day. 

The vultures feed on the weak feminine. Words and moods and images are mere constructions to her heart. For the vulture does not create, he borrows. He borrows and uses that – that her soul lacks. He borrows the worst.

Woman is bleak, and society is bleak in the rule of the vultures… 
Artists pass by, as her eyes are fixed over the cold mountains and narrow roads.
The artists are lonely, women are lonely, and trees swirl in whispers of sorrow.

Know that:

Artists can guide a woman, and in turn are softened by her.
Vultures are lesser men. 

In response to a query on the condition of ‘modern’ women and her relation to the breakdown (and bleakness) of modern society.

Kartikey Sehgal

This is the working/first poster of ‘Vide’, a forthcoming film in English. The film is about the life of a church musician.

Participants include Manoj G Nigli as director, Kartikey Sehgal as actor and Christopher Masand as music director.

We wish for its sucessful completion.

To sum up this note:

“The future is no more uncertain than the present.“ – said Walt Whitman…

but added that, “The art of art, the glory of expression and the sunshine of the light of letters, is simplicity.”

Kartikey Sehgal

 Here is a gift. Selected works of ‘Father of the Symphony’, Joseph Haydn. These are my selections  from his 106 symphonies. This man made many, many symphonies.

 Music fans have complained that Haydn is boring and ‘repetitive’. He wrote for the court and for  entertainment. He wrote so that the princes and the common man could identify and move along and  not be challenged or shocked. ‘But’ he also composed masterpieces that remind you of the style of  Mozart and Beethoven, who had dedicated their compositions to Haydn. 

 Because he composed a lot and often in speed, you are bound to find repetition if you listen to  everything. My selection of 22 movements have melody, style and grace. I challenge you to find this  selection boring or artistically inedible. 

 Here is the first track from the selection – online. An underrated and ‘unheard’ composition from his  early life. Symphony No 4, Mvt. 2 (Audio only Link).

 Ideally, you will listen to this selection and get back to me. So we can discuss Haydn’s music and talk about the violin strings. This will do good for your music study.

 I have divided the 22 movements into folders of six onto a safe web-sharing depot – mediafire.
Each folder is approximately 20 MB in size to aid listeners with slow internet connections. All files are MP3s. 

It gives me immense pleasure to listen to this selection of fine Haydn music. 
I hope it generates and sustains your interest in western classical music and that you seek more of such music.

Link to Music:

Click to Go to Link

This will take you to a page on mediafire that has links to six folders. Click on each folder to download.

Kartikey Sehgal

My vocals for the song ‘Goriye Ho Meri Raniye Ho’ (alongwith Seema Sehgal) from the album “Tale of a Virgin River”. 
 
Singers: Seema Sehgal & Kartikey Sehgal 
Composed by Seema Sehgal 
Lyrics: Yash Sharma
Arranged by: Sandesh Shandilya
From the Dogri Album ‘Tale of a Virgin River’ 

Goriye ho meri raniye ho by kartikeys