Music lovers have much to look forward to this year with the renowned Sawai Gandharva music festival set to span over five days for the first time in its 59-year-old history. The festival, organised by the Arya Sangeet Prasarak Mandal, will be held between December 7 and 11 at the New English School, Raman Baug grounds.
The 59th edition of the festival would be dedicated to Kirana Gharana maestro late Pt Bhimsen Joshi, who started the festival in the memory of his guru Sawai Gandharva. It will have participation of veteran artistes from the world of Indian classical music. The programme timings of each day would be different.
Timings and information about the ticket sale as well as the participating artistes would soon be declared by the Arya Sangeet Prasarak Mandal.
Previously, the festival was spread over four days comprising five sessions including four sessions in the evening and a morning session on the concluding day. However, this year the morning session on the concluding day has been cancelled and instead one more day has been added.
The number of days of the festival had earlier been increased in the year 2005 from three days to four. The 10 pm deadline on the use of loudspeakers was one of the main reasons why the festival days were increased. This was done mainly to compensate for the curtailed evenings. The organisers were also forced to convert the all-night festival into an afternoon format.
The prestigious Sawai Gandharva music festival has been rechristened the Sawai Gandharva Bhimsen Mahotsav from its 59th edition which begins from December 7.
The festival was initiated by Kirana Gharana maestro Pt Bhimsen Joshi in memory of his guru Sawai Gandharva aka Rambhau Kundgolkar.
The announcement about the name change came from the maestro's son, Shrinivas Joshi, who is also the executive president of the Arya Sangeet Prasarak Mandal, the organiser of the festival, during a news conference on Friday.
Pt Bhimsen Joshi, a Bharat Ratna awardee who was legendary for his khayal gayaki, passed away earlier this year at the age of 89.
Joshi said that this is the first time that the festival is being organised without his father's presence. "But the legend is still with us, though not in his physical form. My father had initiated this festival to pay homage to his teacher. Similarly, it is our wish to pay tribute to the musical virtuoso who left us this year by adding his name to the fest. This festival is now dedicated to both the maestros of Hindustani classical music," said Joshi.
Previously, the festival was spread over four days comprising five sessions with four sessions in the evening and a morning session on the concluding day. However, this year the morning session on the concluding day has been cancelled and instead, one more day has been added.
"Artistes are more comfortable with this timetable, as are members of the audience. This may be repeated next year too if it suits everyone," added Joshi.
The Sawai fest is scheduled to start on December 7 this year, and will continue till December 11. New English School Ramanbaug grounds is the venue for the festival this year too.
As many as 26 artistes from the world of Indian classical music will present their art before a seasoned audience. Among them are eight first timers in the festival, including singer Shankar Mahadevan.
On December 7, the festival will begin with performances by 'shehnai' maestro Tukaram Daithankar, vocalist Sanjay Garud, Pandit Satish Vyas on 'santoor', vocalists Ashwini Bhide Deshpande and Pt Ajay Pohankar.
The second day of the festival - December 8 - will have performances by vocalists Mahesh Kale, followed by Shaila Datar. "There will be an eclectic jugalbandi by Pt Ronu Majumdar on the flute and Kadri Gopalnath on the saxophone. Both the musicians will deliver both Hindustani and Carnatic rendition. This performance is one of the highlights of the fest this year.
At the day's close, the audience will get to listen to veteran vocalist Balmuralikrishna who will be performing after a considerable length of time, added Joshi.
The third day will showcase artistes like vocalist Kumar Mardur, sitarist Kartik Seshadri, Shankar Mahadevan with Carnatic classical renditions, and Pt Jasraj.
Vocalists Yojana Shivanand, Shrinivas Joshi and Malini Rajurkar will enthral the audience on the fourth day of the festival. This day also boasts of unique dance performances by dancers from the traditional Bharatnatyam school, Nritya Niketan in Udipi and a Kathak rendition by danseuse Shama Bhate's Nad Roop.
These performances will be an attempt to pay tribute to Pt Bhimsen Joshi. This will be followed by 'sarod' maestro Ustad Amjad Ali Khan's rendition.
The final day of the festival will feature vocalist Omkar Dadarkar, Padma Deshpande, Nagaraj Rao Hawaldar and violinist N Rajam with her daughter Sangeeta Shankar and two grand daughters. This will be followed by a vocal performance by Pt Venkatesh Kumar.
Staying true to its tradition, the 59th edition of Sawai Gandharva Bhimsen Mahotsav will conclude with the performances of veteran vocalist from Kirana Gharana, Prabha Atre.
(The event has been scheduled between 4 pm and 10pm, except the 1st and 4th day, when it will start at 3:30pm)
Baby boomers may remember classical sitar player Ravi Shankar from his legendary appearances at the 1967 Monterey Pop Festival and Woodstock, or his influence on popular music culture at the time.
But what the 91-year-old musical icon remembers most about Monterey was hearing live rock 'n' roll for the first time. It was loud, he recalls, and he walked out on Jimi Hendrix burning his guitar.
The three-time Grammy winner appears for one night, September 29, in Los Angeles at the Disney Concert Hall, and ahead of the show he spoke to Reuters about his music, his memories of the '60s and his friendship with late Beatle George Harrison. Here is a piece of the interview.
Q: You collaborated with many high-profile Western artists in the past. In what direction are you taking your music now? A: "Mostly I'm playing concerts. I just finished five concerts in Europe, in London, Birmingham and the Edinburgh Festival, then I went to Oslo, Norway. I finished those and now I'm looking forward to playing San Francisco and Escondido."
Q: What's on the program for the Disney Hall show?
A: "I always decide what I will play at the last moment, but I can tell you the format. I always start with very traditional classical music. The first I think will be very traditional almost dating back to 16th century. The second is a more later development known as contemporary-classical music. Another raga, an Indian raga. It's more popular, not in the pop sense, but it's a more popular second song. Of course the form we play is known as raga. Popular music with a lot of rhythmic variations."
Q: Can I take you back to the Monterey Pop Festival? It was a landmark concert and introduced you to your largest American audience. What are your memories of that show?
A: "I'll tell you very frankly, I went to see the whole night show with people like Jimi Hendrix and The Who, Simon and Garfunkel, Otis Redding, the Mamas and the Papas, all these people were performing. This was my first orientation to listening in person to live performances of rock 'n' roll. It was very loud for me. I'm not used to such loud music. "But when The Who started breaking their instruments after the songs, and they are kicking them and breaking all the instruments -- and Jimi Hendrix, after a wonderful performance, which I was so impressed with, then he took off his guitar and then he put benzene on the guitar and burned it. That I could not take. I just walked out and said, "I won't be here."
Q: But two years later at Woodstock, you did it all again.
A: "It was a horrible experience because it was raining. We went by helicopter, which landed behind the stage. There were a half a million people, it was raining, drizzling, there was mud everywhere and everybody was, most of them, were high on drugs, y'know. And this was very difficult for my instrument, and I was not happy because of the whole environment."
Q: Still, you gained fame in the West from those events
A: "There was one issue that always bothered me. They mixed my music with drugs and all that type of free love and everything. That's what I objected to. I wanted to bring them consciousness of our music to relate to like Bach, Beethoven, Mozart -- you don't go to hear a concert being on grass or misbehaving like that."
Q: Did you ever express that to an audience?
A: "I said, 'I don't want to be treated -- or my music -- to be treated like that.' So I, many a times, would walk out of my concerts until they stopped smoking and behaved properly. I didn't want to reach them on drugs, but I did want to play them our music, our Indian classical music which connected more with -- not religion but a more spiritual energy."
Q: Your introduction to the rock world came through George Harrison. What brought the two of you together for the 1971 benefit concert for Bangladesh?
A: "I was in Los Angeles at that time and I was thinking of giving a concert or two, raising as much as I could, and help them. George came to my house and said, 'Let's do it in a bigger way and raise as much as we can.' He phoned Bob Dylan and all his friends, and the show happened. One show sold out immediately, so they had another show in the afternoon. The crisis became known around the world within 24 hours."
Q: Harrison studied sitar under you before composing "Norwegian Wood" and "Within You Without You," both of which used the instrument. Was George a good student?
A: "He was a wonderful student, he was like my family, my friend and we had a wonderful time. He flew into Mumbai in 1974 and 1975 where I had a festival for 45 minutes with my musicians, and after intermission he had his group and he helped promote the concert all over the United States. He was a wonderful friend."
Kesarbai Kerkar ( कॆसरबाई कॆरकर) (July 13, 1892 – September 16, 1977) was an Indian classical vocalist of the Jaipur-Atrauli gharana.She is considered one of the finest and most powerful Indian classical singers of the 20th century
Early life
Born in the tiny village of Keri (also spelled "Querim"), in the Ponda taluka of North Goa, Goa (then a Portuguese colony), at the age of eight Kerkar moved to Kolhapur where she studied for eight months with Abdul Karim Khan. Upon her return to Goa, she studied with the vocalist Ramkrishnabuwa Vaze (1871 -1945). At the age of 16 she migrated to Mumbai, where she studied with various teachers, eventually ending up as disciple to Ustad Alladiya Khan (1855–1946), the founder of the Jaipur-Atrauli gharana, beginning in 1921. She belongs to Gomantak Maratha Samaj.
Career
Kerkar eventually achieved wide renown, performing regularly for aristocratic audiences. She was very particular about the representation of her work and consequently made only a few 78 rpm recordings, for the HMV and Broadcast labels.
Kerkar was awarded the decoration of Padma Bhushan by the government of India in 1969, and in the same year the government of the Indian state of Maharashtra conferred upon her the title of "Rajya Gayika." Indian Nobel laureate Rabindranath Tagore (1861–1941) is said to have been very fond of Kerkar's singing. Her honorific title "Surashri" (or "Surshri") literally means "excellent voice" (sur meaning "voice" and shri meaning "excellent), and was bestowed on her in 1948 by the Sangeet Pravin Sangitanuragi Sajjan Saman Samiti of Calcutta. In her ancestral village of Keri, the Surashree Kesarbai Kerkar High School now occupies the site of Kerkar's former second home, and the house where she was born still stands, less than one kilometer away. A music festival called the Surashree Kesarbai Kerkar Smriti Sangeet Samaroha is held in Goa each November and a music scholarship in her name is awarded annually to a University of Mumbai student.
Kerkar has the further distinction of having one of her recordings, "Jaat Kahan Ho", duration 3:30 (an interpretation of raga Bhairavi) included on the Voyager Golden Record, a gold-plated copper disc containing music selections from around the world, which was sent into space aboard the Voyager 1 and 2 spacecrafts in 1977. The recording was recommended for inclusion on the Voyager disc by the ethnomusicologist Robert E. Brown, who believed it to be the finest recorded example of Indian classical music.
Since 2000, several CDs of her archival recordings have been released, including one on the Golden Milestones series, which contains several of her most famous songs.
Recordings
Classical Vocal CD (2008) from Sangeet Natak Akademi
Golden Milestones (2003)
Vintage 78 Rpm Recording on CD
Living Music of the Past CD from Underscore Records site
Baithak Series - Live concert Recordings A set of 4 CDs Published by Sangeet Kendra
Shrinivas Vinayak Khale (Marathi: श्रीनिवास खळे 30 April 1926 – 2 September 2011), also known as Khale Kaka, was an Indian composer/music director from Maharashtra, India. He was one of the most respected artists in the Marathi music industry for over six decades. He was the recipient of Padma Bhushan award in 2010
Milestones
Khale Kaka's compositions include numerous songs in five languages – Marathi, Hindi, Bengali, Gujarati and Sanskrit. He recorded 141 poems and composed music for six Marathi films (Yanda Kartavya Ahe-1956, Bolki Bahauli-1961, Palsala Pane Teen-year not known, Jivhala-1968, Porki-1970, and Sobati-1971 ; A film Laxmi Pujan-1952 was never released). He also provided music to theatrical plays Paanigrahan, Vidushak and Devache paay during his stint in Akashwani, Mumbai.
Kaka worked with many renowed artists in industry during his journey; to name a few - Lata Mangeshkar, Asha Bhosale, Usha Mangeshkar, Suman Kalyanpur, Sulochna Chauhan, Shobha Gurtu, Kavita Krishnamurthy, Veena Shahastrabudhe, Devki Pandit, Madhurani, Pt Bhimsen Joshi, Pt Vasantrao Deshpande, Pt Ulhas Kashalkar, Sadhana Sargam, Dr Balamurli Krishnan, Talat Mahmood , Hridaynath Mangeshkar, Manna Dey, Bhupender Singh, Mahendra Kapoor, Suresh Wadkar, Arun Date and more. He had also worked with his daughters and other young artists for balgeete (songs for kids) in his stint.
Kaka was also the only musician to bring along two Bharat Ratna recipient singers, Smt Lata Mangeshkar and Pandit Bhimsen Joshi for a Hindi bhajan (devotional song) album Ram Shyam Gun Gan. His last album "Nath Maza Mi Nathancha" was released in September 2009 which includes Abhangas and Bhaktigeetas by Saint Krishnadas. [4]
Family
Khale's family origins are from a village called Parali in Kokan-Raigad zilla, Maharashtra, India. His father was Vinayak Kashinath Khale, and mother was Laxmi Vinayak Khale. His elder brother, Kashinath Khale, influenced his choice of a career in music.
Journey
His family moved to Baroda, which is where Khale began his music lessons. He began his journey as a music director in All India Radio (AIR) in 1945. He went on his first Gujarati recording of Talat Mahmood in Gramaphone Company India Limited in 1950.
He had left home to pursue his career in music from Baroda. In 1970 Shrinivas Khale - Ek Sankalan by Mauj Publishers was released for completing 25 years as a successful music director. He was profiled in Who's Who London (1978), Voice of America (1988), Radio Sydney, Australia (2000). In 2009 Datta Marulkar wrote a book Antaryami Surr Gavasala about Khale.
Honors
(2011) Hridayesh Arts by Shri. Sushil Kumar Shinde
(2010) Shankaracharya, Sawan Kumar Tak (director), Governor of Maharashtra K. Shankarnarayanan at Raj Bhavan, Mumbai
(2010) BK Bhagat Pratishthan members of Thane
(2008) Mr. Kumar Ketkar, chief editor of Loksatta (marathi newspaper) and Hridayesh Arts
(2006) Dainik Lokmat by Mr Vilasrao Deshmukh
(2005) Ram Gabale (marathi film director)
(2005) Hridayesh Arts by Bharat Ratna Gansamradni Lata Mangeshkar
(2000) Atharva Pratishthan by Shiv Sena Pramukh Shri Balasaheb Thakrey
(1995) Suvarna Tabakadi / Golden Disc by Shri Naushad Ali through Hridayesh Arts
(1993) Shrimati Lata Mangeshkar Puraskar from Governor of Maharashtra P.C.Alexander at Raj Bhavan, Mumbai
(1991) Swaryatri Samaj Gaurav by Guruprathistan Mumbai on Doordarshan
Awards
(2010) Padma Bhushan Awards (2010–2019)
(2010) Big Marathi Music Award for "Best Music Director"
(2009) Sarva Shreshtha Puraskar
(2008) Swarna Ratna Puraskar and Music Director Datta Davjekar Puraskar
(2007) Sangeet Ratna Puraskar
(2007) Worldspace honour for outstanding contribution to marathi music as Composer
(2006) Jeevan Gaurav Puraskar
(2003) Dadasaheb Phalke Trust Award
(2003) Samanvay Pratishthan Puraskar, Sudhir Phadke Puraskar, Bal Gandharva Puraskar
(2000) Mahalaxmi Puraskar
(1995) Golden Disc for completing 50 years in field of music
The NCPA has started the NCPA Umang Series to provide a much-needed showcase for promising new talent. In August 2011, we feature Radhika Sood Nayak and Milind Tulankar.
Radhika Sood Nayak initially trained in vocal music at the Gandharva Mahavidyalaya in Delhi and is currently training under Sushila Rani Patel of the Jaipur-Atrauli gharana. She has many public performances and a Sur Mani award to her credit.
Milind Tulankar was influenced by his grandfather, late Shankar Kanhere to take up this unusual instrument – Jaltarang. He is presently a disciple of Shahid Parvez, the renowned sitarist. He has received several accolades, both national as well as from the music fraternity. He has toured the world over and his professional repertoire includes performances, music training and composing.
Both artistes will include in their presentation, compositions celebrating the eternal beauty and divinity of Lord Krishna.
Supported by Narotam Sekhsaria Foundation
Admission on a first-come-first-served basis (NCPA members will get preferential seating)
For more info. http://www.ncpamumbai.com/event/ncpa-umang-khelo-khelo-nandalal
Seasoned flautist with over 50 years of experience, Padma Vibhushan Pandit Hari Prasad Chaurasia regaled the aficionados of Indian classical music with yet another memorable performance in the city. As he signed autographs and blessed music lovers, TOI caught up with the maestro:
Q. Many veteran musicians in the country have voiced their concern over how Indian classical music is losing out to the more popular forms. What is your view?
A. I don't think Indian classical music is losing its market. It is heartening, in fact, when young children participate in such events. When I played `Vaishnav Jan' for the children in the audience, asked them to identify the song and then to sing it, I was nearly confident no one would come forward to sing. The children, however, proved me wrong. It shows little girls and boys are as appreciate of classical music as older people. They just have to be shown the way.
Q. What, in your opinion, should be done in order to promote Indian classical music?
A. When I landed in Lucknow and was driven from the airport to the hotel, it didn't feel like the old Lucknow at all. It was a pleasure to see the changed skyline of the city and how the monuments and parks had metamorphosed it into some new and grand. My request to the government is that Indian music needs to be treated in a similar manner. They need to create robust infrastructure, with trained teachers and music institutions, to promote classical music. I promise you, there will be plenty of takers.
Q. Promoting Indian classical music among the youth is a recurring concern among most practitioners of Indian music. Are reality shows on television the answer?
A. Not at all. In fact, I think television channels have used children and these shows to further their businesses. For them, these shows are little more than commercial ventures. At an age when children should receive formal training, in school or in music gurukuls, they are sitting in studios being coated in layers of makeup.
There is plenty of talent; which needs to be channelised. Participating in reality TV cannot help children take up music as a viable career option, proper training and 'riyaaz' can.
Q. With an upsurge in these shows, have more children started approaching your Vrindavan Gurukul for classical training?
A. No. The Gurukul receives a steady flow of students who are committed to learning various forms of Indian classical music. These are people who regard music as a passion.
Q. Are many students learning the art of playing the flute, as opposed to other musical instruments?
A. I am happy to say that they are. The reason is that flutes are far more affordable than most other instruments. As a result, many students choose the flute. Of course, like any other instrument, the flue too, takes years of practice to master.
Pandit Madhav Gudi is a rich fund of knowledge about Pandit Bhimsen Joshi and the Kirana gharana. He talks about the joys and agonies of living with a genius, and his need to move out of the master's shadow
"He is a genius," says Pandit Madhav Gudi of his guru Pandit Bhimsen Joshi. "He would have excelled in anything... if he had taken up mathematics he would have been a genius in that subject."
Gudi hails from Dharwad. He was 14 when he first heard Joshi in a play. He memorised Joshi's songs, and and sang them in his presence. Joshi accepted him as a student in 1963. Gudi lived in Pune as part of Joshi's family for 26 years. That makes him Joshi's most trusted disciple, and the richest source of knowledge about the life and times of one of the greatest musicians of this century.
Many music lovers believe Gudi's art has suffered because of his adoration of his guru. "He blindly imitates Joshi," is a common complaint. Gudi admits it is difficult to move out of Joshi's shadow. He says he mistakenly believed that he should not only sing but also "sit, stand, walk and talk" like his guru. "I must now do my own independent work," he says, simply.
When I met him at his disciple's house in Bangalore, he spoke for more than an hour and answered my questions with warmth. He spoke about his guru, and his long, eventful years with him. He described in awe the greatness of his gharana. Not once did he sound bitter about getting a raw deal from his guru, the government, or anyone. That other quality he is famous for -- a cheerful, childlike simplicity -- shone through.
Musicians generally feel Kirana has been more influential than other gharanas in the last 50 years or so.
This is true. My guru's practice was so perfect, especially with his guru Sawai Gandharva... He studied his guru's gayaki comprehensively. He completely absorbed what his guru's guru, Ustad Abdul Karim Khan, sang. Then he worked independently on what he had learnt. He had heard the Agra, Jaipur and Gwalior gharanas. Patiala also, Bade Ghulam Ali Khan... And Kesarbai Kerkar, Amir Khan... My guruji studied them, and took their best elements and made them his own. That is why wherever he goes in India he becomes instantly popular; he is accepted everywhere. In him you find a fine idea of beauty. Beauty in emotion, beauty in sound. And it is all set to laya. I have spent 26 years with him. He is great. That is why everyone likes the Kirana style. Wherever you go today, whoever sings in whatever gharana, you'll find something borrowed from my guru. As children, they are influenced, often unconsciously.
You mean Kirana became so popular because a great musician was born into it?
Yes. In the other gharanas, Mansur and Kumar Gandharva were great.
Would you say that Kirana gave up the raw vigour of other gharanas and changed traditional music to appeal to the modern mind? Or did the modern mind come to like this style because it was sung by a great musician?
My guru studied the Agra and Jaipur gharanas ... and created a style of his own. In those styles, layakari is important. He has taught me ... what is the layakari of Faiyaz Khan Sab, and the beauty of his layakari. The other gharanas did not change what they received. They sang what their gurus sang, ditto.
But then certain vigorous varieties of taans are not heard in Kirana.
My guru has said in his speeches that he was influenced by the Jaipur taan style. He also takes bandishes from other gharanas. If there's something good in you I should take it with an open mind. This much I can say. Kirana artistes choose the best bandishes.
What first attracted you to Joshi's music?
When I was very little, my guru used to act in Kannada plays like Bhagya Nidhiand Parivartana. A theatre man called Lakshman Rao Bendre used to write plays specially for my guru. My guru and his wife Vatsala acted together... they got married later. There is something great about the way my guru expresses feeling, the way he pronounces words. He used to sing Purandaradasa compositions like Mooruthiyanu niliso and Dayamaado Ranga. There is feeling in each note, and then feeling in each word.
Do you remember his drama songs?
Yes. (Sings snatches from Murali dhwaniya, Yaadava nee baa and Elemana Muraariyane kondado). When I was 14, my guru came to Dharwad. He was with his uncle G B Joshi, who ran the famous publishing house Manohar Granthmala, and the scholar Keerthinath Kurthakoti. He had had come for a programme. I played the tamboori for him. G B Joshi told him, "This boy sings, why don't you hear him?" He heard me, and blessed me. I asked him to teach me. He said I should do my matric so that I know a bit of English. I remember the other songs he sang. Haribhajane maado, Enna paaliso, and Jaladhara neeniru doora, naliva nabhadi tumbide sudha dhara
The first two are again Haridasa compositions. Is the last one a theatre song?
Yes.
What happened then? How did he teach you?
I went to him when I was 18. He sat before me and taught me. For five years he taught me only three ragas. Todi in the morning, Multani in the afternoon, and Puriya at night. Everything, from how I should hold a swara and what volume of sound I should produce... If I didn't learn something as he taught me, there was no going forward. I had to learn it the following day. Whatever I sing is fixed in that idea of proportion, that idea of beauty. He taught me to culture my voice.
Lots of admirers must have come to him to learn. But you are the only one to have spent such long years with him.
Learning and teaching are both like lifting a huge mountain. They take many long years. For a year or a year and a half, he didn't teach me much. I had to earn his and his wife's affection, and once he was convinced that I was deserving, he started teaching me. He put me through many tests ... it'll take two or three days if I start talking about them! I had to do domestic chores. Fetch water from the ground floor and fill all the tanks. Bring things from the shop, go to the flour mill. Through whatever I did, I felt he was greater than god. God could be false, but he was true. That's the way I thought about him. I may not see him every day now, but my love for him only increases each day. I got married when I was 30. Gave him a gurudakshina. My wife and children lived in Dharwad. I used to give a couple of programmes, then go back to him. He would give me some money when we went abroad. I sent it home. I've been all over the world with him.
You have composed some very popular tunes for Purandaradasa songs. I particularly like Neene anatha bandhu, which you have set to the Karnatak raga Simhendramadhyam.
My guru gave me a vision as a classical musician, and also a vision of how to sing dasa compositions. You feel the bhakti in his music. He is also a great devotee of Raghavendra Swami. I like Karnatak music. My grandfather Seshachar used to sing Karnatak music. That's how I took that song and set it to Simhendramadhyam. Whatever the raga, you can bring the Kirana smapradaya into it.
Besides your guru, which singers do you like?
I like Amir Khan, and Kumar Gandharva for his free thinking.
Did you know him?
Very closely. When he sang at the Sawai Gandharva festival, he told me, "You've learnt for 25-26 years from our Bhimanna. You must sing on your own." And he blessed me.
Does a very faithful adherence to the guru's style affect independent thinking?
No, I don't agree with that. My guru sings his guru's music. He uses his intelligence and so it gets a new form. My guru is proof enough. In my case, I sing what my guru sings. I used to imitate even the way he sat and got up... everything. I later thought these gestures should come from my body. My voice was cultured by him. If you go to Mansur and sing like Joshi, it is absurd.
Were people envious of your proximity to your guru?
That's only natural. For 18 to 20 years I was with him all 24 hours. Observing him closely -- how he talks, how he gets up and walks. I was very fortunate. But now I can't do that. I must bring out my own independent thoughts. I can't spend time with him any more. But I love him more than before.
Some vocalists like C R Vyas have been composing new bandishes. Why is it that Bhimsen Joshi hasn't attempted anything like that? He doesn't feel it's necessary. The existing bandishes give you the raga's gist. What else can you squeeze out of a new bandish? There's maximum beauty in traditional compositions... they have come down to us over many years. Musicians spend something like 40 years with a composition. They still sing it, and it still sounds new.
Why have you chosen to settle in Mumbai?
My work in Dharwad is over. I've sung all over Karnataka, Maharashtra, all over India. It's the same. I have faith in god, my guru. I haven't gone there out of any ill feeling, or because I feel our government hasn't done enough for me. In Bangalore I can give tuitions and make money. That's no use. When people all over India, even in the villages, like one's music, that is certificate enough. I've trained students like Nagarajrao Havaldar and Ramesh Kulkarni.
With a musical tribute to Late Pandit Madhav Gudi, Arya Sangeet Prasarak Mandal will bring back the subtle musical precision of the maestro
The Arya Sangeet Prasarak Mandal is paying a musical homage to the renowned Hindustani classical singer, Late Pandit Madhav Gudi, a senior disciple of Bharat Ratna Pandit Bhimsen Joshi on July 30 and 31.
Pandit Madhav Gudi was known as 'Pandit Bhimsen Joshi of Karnataka' and stayed with Pandit Bhimsen Joshi following the 'guru shishya parampara'. The musical homage which is going to take place at the Sawai Gandharva Smarak is the “remembrance of a great musician by musical performances” says Pandit Upendra Bhat, one of the performers of the day from Karnataka. “Gudi who was a very innocent person was very close to guruji,” recalls Bhat.
Arya Sangeet Prasarak Mandal organises the famous Sawai Gandharva Music festival which is one of the greatest festivals of classical music in India. It started as a small scale affair after the demise of the musical stalwart 59 years back. Bhat will be accompanied by Prasanna Gudi, son of Pandit Madhav Gudi, Arti Ankalikar and Pandit Ullas Bapat on the santoor. The second day will have performances by Shreenivas Joshi, son of Pandit Bhimsen Joshi and disciple of Gudi, Arshad Ali, Kaushiki Chakravarty and Purbayan Chatterjee on the sitar.
The incessant trend of reality shows on every television channel have left the classical musical maestros like Bhat and Joshi with no 'awe'. “Classical music will always be classical music. Reality shows give you temporary fame but dedicated musicians do not crave for fame. Without the blessings of guru nothing happens.” says Bhat who blames the parents for misguiding 'children to turning to mahagayaks in a minute's time'. He feels that youngsters are immensely interested in classical Hindustani music and they fill the first few rows on every such occasion.
Kaushiki Chakraborty, who is coming to Pune for the second time is all praises for Pune as being one of the best hubs for classical music with the quality of listeners and the growing number of young audiences. “I have never met Pandit Madhav Gudi but feel blessed to be able to perform and be a part of this homage,” adds Chakraborty.
(The event will be held at Sawai Gandharva Smarak on July 30 and July 31, from 5 pm to 10 pm)
Madhav Gudi (Kannada:ಮಾಧವ ಗà³à²¡à²¿, Devanagari:माधव गà¥à¤¡à¤¿)(1941 – 22 April 2011) was a Hindustani classical vocalist, specialising in Khayal and light forms
Early life and background
Madhava Gudi was born in Dharwad, Karnataka into a family of keertankars and harikatha (devotional) musicians. Madhava Gudi was introduced to music at a very early age. His initial training was under Pandit Nageshrao Deshpande and later from the great maestro of Gwalior gharana, Pandit Basavaraj Rajguru. He finally received his most important training from the Kirana scion Pandit Bhimsen Joshi in a guru-shishya milieu which lasted well over twenty six years.
Singing career
Gudi's voice suited for Hindustani classical as well as light classical (dasavani and abhang) music. A top-grade All India Radio artiste, he toured all over India and performed with Pt. Bhimsen Joshi in several centers in India and overseas.
Awards
Among several accolades that he received were the Sangeeta Nritya Academy award from the Government of Karnataka, Surashri, Gaana Bhaskar, Smt Vatsala Tai Joshi Award, Gaana Kala Tilaka and the Yashavant Rao Chauhan Samata Gaurav Puraskar.
Yogesh Samsi is one of those rare tabla players whose reputation has been built on his consummate artistry in both fields of accompaniment and solo playing. The son of the renowned vocalist Pandit Dinkar Kaikini, Yogesh Samsi was initiated into tabla by his father at the tender age of four, and later received guidance under Pandit H.Taranath Rao. However it was under the gifted tutelage of the legendary Ustad Alla Rakha that Yogesh received intense training for twenty three years and, matured into a fine young tabla player.
Yogesh has accompanied almost all the top ranking instrumentalists and vocalists and dancers of India, including Ustad Vilayat Khan, Pt Dinkar Kaikini, Pt Bhimsen Joshi, Pt Shivkumar Sharma, Pt Hariprasad Chaurasia, Ustad Amjad Ali Khan and Pt Birju Maharaj. Apart from accompaniment Yogesh has performed numerous memorable solo performances in India and abroad. He has also had the privilege of accompanying his teacher Ustad Alla Rakha and his son the great maestro Ustad Zakir Hussain in their solo performances.
Besides performing Yogesh has a sound scholastic approach to the subject and has taken several successful workshops in world music centres in India, U.S.A, U.K, South Africa and Japan. He is also a highly respected teacher, creating a syllabus for learning tabla designed specifically for teachers in the West, an initiative which is sure to have great benefits for the advancement of tabla worldwide. Yogesh has also worked on an instructional CD-Rom about tabla which is now available for students.
With the growing influences of modern and fusion music, Yogesh Samsi strives to keep up his revered Guru's word of preserving the tradition in the presentation of tabla solo.
Ustad Amir Khan (Hindi: अमीर ख़ान, Urdu: امیر اقبال خان, pronounced [əˈmiːr ˈxaːn]; August 15, 1912 – February 13, 1974) was a well-known Indian classical vocalist. He is considered one of the most influential figures in Hindustani classical music, and the founder of the Indore Gharana.
Early life and background
Amir Khan was born in a family of musicians in Indore, India. His father, Shahmir Khan, a sarangi and veena player of the Bhendibazaar gharana, served at the court of the Holkars of Indore. His grandfather, Change Khan, was a singer in the court of Bahadurshah Zafar. Amir Ali's mother died when he was nine years old. He had a younger brother, Bashir, who became a sarangi player at the Indore station of All India Radio. He was initially trained in the sarangi by his father. However, seeing his interest in vocal music, his father gradually devoted more time to vocal training, focusing on the Merukhand technique. Amir Ali was exposed at an early age to many different styles, since just about every musician who visited Indore would come to their house, and there would be mehfils at their place on a regular basis. Also, he learnt the basics of tabla playing from one of his maternal uncles, who was a tabla player. Amir Khan moved to Bombay in 1934, and there he gave a few concerts and cut about half a dozen 78-rpm records. Following his father's advice, in 1936 he joined the services of Maharaj Chakradhar Singh of Raigadh Sansthan in Madhya Pradesh, but he stayed only about a year. Amir Ali's father died in 1937. Later, Khansahib lived for some time in Delhi and Calcutta, but after the partition of India he moved back to Bombay.
Singing career
Amir Khan developed his own singing style, incorporating the styles of Abdul Waheed Khan (vilambit tempo), Rajab Ali Khan (taans) and Aman Ali Khan (merukhand). This unique style, known as the Indore Gharana, blends the spiritual flavor and grandeur of dhrupad with the ornate vividness of khyal. He presented an aesthetically detailed badhat (progression) in ati-vilambit laya (very slow tempo), followed by sargams, taans and bol-taans, including Merukhandi patterns, and finally a madhyalaya or drut laya (medium or fast tempo) chhota khyal or a rubaidaar tarana. His performances had an understated elegance, reverence, restrained passion and an utter lack of showmanship that both moved and awed listeners. He believed that poetry was important in khyal compositions, and with his pen name, Sur Rang ("colored in swara"), he has left several compositions. He helped popularize the tarana, as well as khyalnuma compositions in Persian. He often used the Jhoomra and Ektaal taals, and generally preferred a simple 'theka' from the tabla accompanist. As in the case of Bade Ghulam Ali Khan, Amir Khan's initial sarangi training was important in establishing him as a great singer. Even though he had been trained in the sarangi, he generally performed khayals and taranas with only a tanpura and tabla for accompaniment. Sometimes he had a subdued harmonium accompaniment, but he almost never used the sarangi.
Characteristics of his style include:
* slow-tempo raga development * improvisation mostly in lower and middle octaves * tendency towards serious and expansive ragas * emphasis on melody * judicious use of pause between improvisations * bol alap and sargam using merukhand patterns * sparing application of murki * use of kan swaras in all parts of performance * controlled use of embellishments to preserve introspective quality * rare use of tihai * careful enunciation of text of bandish * actual bandish as sung may or may not include antara * use of multiple laya jatis in a single taan * mixture of taan types in a single taan * use of ruba'idar tarana (considered similar to chhota khyal)
Besides singing in concerts, Amir Khan also sang film songs in ragas, most notably for the films Baiju Bawra, Kshudhita Pashan, Shabaab, and Jhanak Jhanak Payal Baaje. He also sang a ghazal Rahiye Ab Aisi Jagah for a documentary on Ghalib. His disciples include Pandit Amarnath, A. Kanan, Srikant Bakre, Singh Brothers, Mukund Goswami, Gajendra Bakshi, Kankana Banerjee, Pradyumna Kumud Mukherjee and Poorabi Mukherjee, Hridaynath Mangeshkar, Akhtar Sadmani, Amarjeet Kaur, Ajit Singh Paintal, Bhimsen Sharma, Munir Khan, and Kamal Bose. His style has also influenced many other singers and instrumentalists, including Prabha Atre, Rashid Khan, Mahendra Toke, Shanti Sharma, Gokulotsavji Maharaj, Nikhil Banerjee and the Imdadkhani gharana. Although he referred to his style as the Indore Gharana, he was a firm believer of absorbing elements from various gharanas. Amir Khan was awarded the Sangeet Natak Akademi Award in 1967 and the Padma Bhushan in 1971.
Personal life
Amir Khan's first marriage was to Zeenat, sister of the sitar player, Ustad Vilayat Khan. From this marriage, which eventually failed and ended in separation, he had a daughter, Farida. His second marriage was to Munni Bai, who gave birth to a son, Ekram Ahmed. Around 1965, Khansaheb married Raisa Begum, daughter of the thumri singer, Mushtari Begum of Agra. He had expected that Munni Begum would accept the third wife; however, Munni disappeared and it is rumored that she committed suicide. With Raisa he had a son, Haider Amir, later called Shahbaz Khan. Khansahib died a premature death in a car accident in Calcutta.
Discography Movies
* Baiju Bawra (Music director: Naushad) o 'Tori Jai Jai Kartar' (raga Puriya Dhanashree; alternate version here) o 'Sargam' (raga Darbari) o 'Langar Kankariya Ji Na Maro' (raga Todi, with D. V. Paluskar) o 'Aaj Gaawat Man Mero Jhoomke' (raga Desi, with D. V. Paluskar) o 'Ghanana Ghanana Ghana Garjo Re' (raga Megh) * Kshudhita Pashan (Music director: Ali Akbar Khan) o 'Kaise Kate Rajni' (raga Bageshree, with Protima Banerjee) o 'Piya Ke Aavan Ki' (thumri in raga Khamaj) o 'Dheemta Dheemta Derena' (tarana in raga Megh) * Shabaab (Music director: Naushad) o 'Daya Kar He Giridhar Gopal' (raga Multani) * Jhanak Jhanak Payal Baje (Music director: Vasant Desai) o Title song 'Jhanak Jhanak Payal Baje' (raga Adana) * Goonj Uthi Shehnai (ragamala with Bismillah Khan) o Bhatiyar o Ramkali o Desi o Shuddh Sarang o Multani o Yaman o Bageshree o Chandrakauns * Ragini o 'Jogiya Mere Ghar Aaye' (raga Lalit)
Public and private recordings
* Abhogi - two versions * Adana - longer performance of 'Jhanak Jhanak Payal Baje' title song, two other versions * Ahir Bhairav - three versions * Amirkhani * Bageshree * Bageshree Kanada * Bahar * Bairagi - two versions * Barwa * Basant Bahar * Bhatiyar - three versions * Bhimpalasi * Bihag * Bilaskhani Todi - two versions * Chandni Kedar * Chandrakauns * Chandramadhu * Charukeshi * Darbari - nine versions * Deshkar * Gaud Malhar * Gujari Todi - three versions * Hansadhwani - two versions * Harikauns * Hem Kalyan * Hijaz Bhairav (a.k.a. Basant Mukhari) * Hindol Basant * Hindol Kalyan * Jaijaiwanti * Janasanmohini - three versions * Jog - three versions * Kafi Kanada * Kalavati * Kausi Kanada * Kedar * Komal Rishabh Asavari - two versions * Lalit - seven versions * Madhukauns * Malkauns - three versions * 'Maru Kalyan' * Marwa - two versions * Megh - three versions * Miya Malhar * Multani * Nand * Nat Bhairav * Poorvi * Puriya - three versions * Puriya Kalyan * Rageshree * Ramdasi Malhar - two versions * Ramkali - two versions * Ram Kalyan (a.k.a. Priya Kalyan or Anarkali) * Shahana - three versions * Shree * Shuddh Kalyan - two versions * Shuddh Sarang (with drut section in Suha) * Todi - three versions * Yaman * Yaman Kalyan - three versions
Awards and recognitions
* Sangeet Natak Akademi Award in 1967 * Presidential Award in 1971 * Padma Bhushan in 1971 * Swar Vilas from Sur Singar Sansad in 1971
Spirit of oneness and compassion a big draw among visitors; the Fes festival and its charm are added attractions
The 17th World Sacred Music Festival kicked off on Friday in this charming Moroccan city of majestic hills and ancient walls, with a dazzling opera based on that eternal love story, Layla and Majnun. Under the artistic direction of the Morocco-reared and Paris-based composer Armand Amar, at the historical Bab al Makina, the show was a veritable medley of global musical traditions that included vocalists and percussionists from Europe, Africa, South Asia, Iran and Mongolia. It featured percussion of Shanghai, drums of Japan, Armenian wind instrument duduk and Maghrib’s own stringed instrument oud. Besides local artistes, performers from several nations, including Afghanistan, Brazil, Ethiopia, France, India, Italy, Pakistan, Senegal, Spain and the United States, are taking part in the 10-day festival, which ends on June 12. For the first time, the Fes festival has a strong Indian presence with three groups taking stage on successive days starting Monday. However, the first of these, the cine concert “Prem Sanyas (the Light of Asia),” a 1925 silent masterpiece that is accompanied by live music, was rained out. Brothers Umakant Gundecha and Ramakant Gundecha are scheduled to perform “Sacred Art of Dhrupad.” Lastly, musicians from Manganiar and Langa traditions will present “Sufi chants of the Thar Desert” on Wednesday. Giving star power to Fes this year are Senegal’s Youssou N’dour, one of the most popular musicians the African continent has produced, and two female singers who had the world at their feet while they were still in their teens, Brazilian Maria Bethania and Lebanese Julia Boutros. The ever youthful Bethania — a product of the swinging’60s — and Boutros, who is known for supporting Middle Eastern political causes, put on awe-inspiring performances on back-to-back nights. “This year, we have tried to mix the traditional musicians with great and popular artists whose music have a spiritual [dimension], such as Bethania, Boutros and Youssou N’dour,” Faouzi Skali, the director general of the festival, said. Explaining the festival’s theme, “Wisdoms of the World,” Skali said it expresses “something that needs articulation. It is not just spiritual wisdom, but wisdom related to what is happening in our world, what is the meaning of wisdom in economics.” This year the political turmoil in the region, which has so far consumed two regimes, and is threatening to topple more is among the topics discussed at the colloquium, titled “Giving Soul to Globalization,” which has become part of the festival since 2000. Skali, the brain behind the festival, terms Fes as “Spiritual Davos,” referring to the Swiss city that hosts the World Economic Forum, an annual gathering of the world’s business and political elites. “In Davos, they are thinking that economics is the justification for everything. Our approach is more profound and is different from that of politicians and business people, he added.” It is that difference that has attracted visitors like Tony Singh, a banker and independent board member from India, for whom a tour to this imperial city has become an annual “pilgrimage.” The Delhiite said he was pulled by the spirituality and the message of oneness that it spreads. “It is the spirit in which performances are held here, the spirit of oneness and compassion, of understanding, of peace, of inclusion of different religions, using music as a method of harmonizing.” Of course, the welcoming nature of Fes and its charm are added attractions. “Fes is a city which is magical for many people for the energy it brings,” said Singh, who, along with his daughter Priyanka, is making his fourth trip in four years. Part of the magic of the festival is the backdrop of its dozen odd venues, all of them steeped in history. Bab al Makina, venue for evening concerts, was built 125 years ago. Musee Batha, a palace-turned-museum where morning events and afternoon concerts are held, was also built around the same time. Then there is the granddaddy of all venues, Bab Boujloud, which hosts free concerts. Built in the 11th century, it is a gateway to the Fes medina, or a walled section of the city unique to this region. Started in 1994, the Festival of World Sacred Music has become an important feature of the Moroccan summer, bringing thousands of visitors to the city every year. Organizers estimate that between 5,000 and 6,000 people attend the festival daily. On the opening night, among the several thousands who showed up to watch the tragic story of unrequited love of the “Madman” and Laila was Princess Lalla Salma, the commoner from Fes, who would go on to marry the King of Morocco.
Mumbai: ‘‘Our Konkani is not brilliant but we’ve done it,” says Virginia Bras Gomes triumphantly. Gomes is part of Ekvat, a group of Goan musicians from Portugal which is in the city to perform. Their Konkani isn’t perfect as all of them are Portuguese speaking immigrants from India as well as countries in East Africa, which had large Goan populations. The 22-year-old Ekvat, which is a wing of Casa de Goa— an organization of migrants from Goa and Daman and Diu— will perform traditional Goan songs such as mandos and dances like dekni. Gomes says that they have tried to be as authentic as possible. It’s not easy as only a small number of immigrants actually grew up in Goa. Gomes is one of them. Goans born before 1961, when the state became a part of India, and their children and grandchildren are entitled to Portuguese citizenship. Gomes left home for Portugal in 1970. “My only possibility to see the world was to go where I had family,” says the 60-year old. While she spoke Portuguese at home, Gomes can speak Konkani as she grew up and studied in Goa. “We buy books. But basically, it’s the memories. We have shared memories of traditions and grandmothers with huge houses.” The mando is a plaintive dance song that usually tells sad love stories. But there are also wedding mandos and political mandos that were sung when Goans resisted the Portuguese. Some like Maticha bangar are original compositions. The song, which means ‘gold of our soil’, is about memories of summer vacations. The group also writes mandos for couples who meet through the group and get married. “This was the tradition in Goa long ago,” Gomes says. “We look for something specific in the couple to write about.” Keeping Goan traditions alive is hard, Gomes admits, especially since the younger generations don’t speak Konkani, the language in which songs are sung. At the same time, she says, the younger ones are excited to renew their Indian ties as they are impressed by the country’s economic growth. “In these days of globalization, it’s important to have something of your own,” Gomes says.
The Ekvat group will perform traditional Goan songs such as mandos and dances like dekni
Ekvat will perform at Tata Theatre in NCPA on June 9 at 7 pm . For further in-f ormation you can call 22824567 . Entry is free.
Even as the genre loses its sheen in the country, it is gaining popularity outside India Deepak S. Raja
If the history of the Dhrupad genre is written in 2050, it will have to reckon with the credible musicianship and scholarly contributions of several Europeans and Americans, along with a few Indians. It is fast becoming a Western genre of Indian origin, performed predominantly for Western audiences by Indians and, increasingly, also by Western musicians. The term Dhrupad (Dhruva = immutable/ fixed + Pada = Hymn/ verse) refers to a genre of raga-based music which dominated Hindustani music between the 15th and the 18th centuries. Due to the poetic bias of the genre, Dhrupad has its moorings in vocal music. However, instrumental music, mainly the Rudra Veena (popularly known as the Been), has also been an integral part of the genre.
The genre has its roots in the devotional music traditionally performed in the Vaishnava temples of Northern India. The Golden Age of Dhrupad commenced when Emperor Akbar (Reign:1542-1605), invited the legendary Miya Tansen to the Imperial Court. From Delhi, its influence spread far and wide. At its zenith, Dhrupad held sway over the whole of non-peninsular India. While Dhrupad was still at its peak, a variety of pre-Dhrupad and Middle-Eastern musical influences were coalescing to shape the rival Khayal genre.
In the sunset years of the Mughal Empire, leading musicians — so far concentrated in Delhi and its neighbourhood — began migrating to smaller principalities in search of patronage. This created new centres of Dhrupad music, but also exposed Dhrupad musicians to a diverse environment. In their new environs, many lineages of Dhrupad musicians diverted their energies to the Khayal genre, and spearheaded its ascendancy over the receding Dhrupad genre. By the time of India’s independence, Dhrupad was often described as “a museum piece”. This was more true of the art of the Rudra Veena, than of the vocal art. Dhrupad vocalism could then still boast of a sizeable resource of quality musicianship. Even among Khayal singers, Dhrupad had remained, till then, relevant as an essential part of training — the repository of the sciences of breath control and intonation. It was this resource which enabled a revival.
The revival, such as is evident, was fuelled by the following Dhrupad acquired in Europe, starting from the mid-1960s. It began when the Indologist, Alain Danielou, with UNESCO support, introduced pre-eminent vocalists, Nasir Aminuddin and Nasir Moinuddin Dagar, to Europe. Dhrupad’s burgeoning international constituency stimulated a substantial inflow of fresh talent to the genre.
STYLES IN DHRUPAD MUSIC Authoritative mediaeval texts mention the four “Bani-s” or styles of Dhrupad music. These classifications were evidently based on the language/ dialect in which the verses were written: “Gaurhar” from Gwalior, “Dagur” from the Dangar region near Delhi, “Khandar” from the Khandar region, and “Nauhar” from the dialect spoken by the Nauhar community. In later years, the four Bani-s came to signify stylistic distinctions. But, the stylistic distinctions between them are no longer discernible. This is easily explained. With the steady shrinkage in the number of Dhrupad practitioners, aspirants have obviously had to draw musical ideas, perhaps unselectively, from a multiplicity of sources. As a result, the only viable classification in contemporary Dhrupad vocalism is, broadly, between aggressive styles revolving around the poetic-rhythmic axis, and relatively softer styles anchored to the poeticmelodic axis.
THE STRUCTURE Raga presentation in the Dhrupad genre has a simple and transparent structure, especially when compared to the modern Khayal. A typical Dhrupad presentation has two components: (1) An alap (Prelude) which is rendered solo, without any poetic content, and without percussion accompaniment. The alap goes through three stages – slow tempo, medium tempo, and brisk tempo. (2) A Pada (Verse) rendered to percussion accompaniment, along with melodic and rhythmic improvisations. The tempo of percussion accompaniment is generally stable throughout the rendition. The verse could be composed in any of the tala-s accepted in the Dhrupad genre. THE TALA-S OF DHRUPAD According to authorities on the genre, orthodox Dhrupad compositions are set basically to six tala-s: Chautala (12 beats), Dhamar (14 beats), Rupaka (7 beats), Tivra (7 beats), Jhaptala (10 beats), and Sulatala (10 beats). Despite a much larger traditional canvas of rhythm, contemporary Dhrupad restricts itself almost entirely to Chautala, Dhamar, and Sulatala.
GHARANAS OF DHRUPAD
Though scholars recognise five gharana-s or stylistic lineages of Dhrupad as being in existence, only the first three listed here are represented on the concert platform. (a) The Dagar gharana: This is the oldest gharana having been founded by Nayak Haridas Dagar in the 16th century. Its descendents converted to Islam in the 18th century. In recent times, its most eminent representatives have been vocalists, Nasir Moinuddin Dagar (1919-1966) and Nasir Aminuddin Dagar (1923-2002) and the Been maestro, Zia Moiddin Dagar (1929-1990). (b) The Darbhanga gharana was founded in the 18th century by two brothers, whose descendents have carried the “Mallik” surname. In post-independence era, the most distinguished musicians of this lineage have been Ramchatur Mallik (1906-1990) and Vidur Mallik (1936-2002). (c) The Bettiya gharana was founded in the 17th century, and wielded tremendous influence in the entire Eastern region. Bettiya is represented, on the contemporary concert platform, by Indrakishore Mishra (born: 1957). (d) The Talwandi gharana originated in North-west India, now in Pakistan, and is currently based in Lahore. Very little is known about its contemporary musicianship. (e) The Mathura gharana is the oldest gharana of Haveli Sangeet, the Dhrupad tradition of the Vaishnava temples. Though its members have stepped out of the temples, their art has not made a complete transition to the elaborate format of contemporary classical Dhrupad.
DHRUPAD TODAY
Dhrupad probably declined in popularity because of its resistance to change, restrictions on individual creativity, and its failure to accommodate changing audience tastes. Comprehensive raga presentation in Hindustani music needed to avert extinction. It did so by loosening the rigid Dhrupad format, and found a ready solution in the already mature rival, the Khayal genre. Some Dhrupad gharanas, however, resisted the Khayal wave. Thanks to their tenacity, the genre now stands partially restored to the mainstream. Their exertions appear to be winning back mature Hindustani audiences who had not heard quality Dhrupad for a long time. For the younger audiences, Dhrupad is a novel experience, but structurally more accessible than Khayal. In creating an audience for their music, today’s Dhrupad vocalists have successfully targeted audiences nurtured in the Carnatic tradition. In South India, Dhrupad is making a headway because of two factors: a general receptivity of Carnatic-oriented audiences to Hindustani music, and the similarity of the Dhrupad format to the Ragam-Thanam-Pallavi format in Carnatic music. In the domestic music market, audience preferences or loyalties are shaped by individual musicianship and not as much by the genre. In Europe and the US, on the other hand, there appears to be a genrebased, almost cult-like, following for Dhrupad. Never before has a genre of art-music been pronounced dead in India, experienced so shaky a revival with home audiences, and become popular enough with audiences abroad to become so largely dependent on them. This makes Dhrupad one of the cultural enigmas of our times.
(The author has written two books on music: Hindustani music: a tradition in transition and Khayal vocalism: continuity within change”. DK Printworld, New Delhi.) (This is the first in the series that will appear every week on Hindustani classical music)
Legendary saxophonist Kenny G, who’s teamed up with santoor player Rahul Sharma, tells Roshni K Olivera that he’s looking forward to playing in India
Renowned saxophonist Kenny G loves India and he is looking forward to coming here again. At the moment he’s very happy having teamed up with well-known santoor player Rahul Sharma for his new album ‘Namaste India’, brought out by Times Music. The album also features a Kenny G and Rahul Sharma style rendition of a soundtrack from Big B’s film Silsila, with Amitabh Bachchan’s voiceover from the original recording. Excerpts of an email interview with Kenny... Tell us about your collaboration with santoor player Rahul Sharma...what got you interested in this project? I met Rahul when I performed in India and we got along right away. He sent me, via email, some of his music and said he wanted me to play on some of the songs. I loved his sound and thought it would really be fun to join him and see where the music would take us. I’m very happy with the results. Are you aware of how popular the Silsila song is in India and about its lyrics? I am aware because Rahul has told me. I loved the arrangement that Rahul put together. Has Indian cinema (Bollywood as it's called) ever caught your fancy? Of course! I think it will be fun to do some music for Indian films someday! And what do you think about Indian music? Generally I like Indian music because the melodies are usually not too complex which is how I like music and that’s the way I write music. So I’m naturally attracted to this sound. Any memories you have of your concert and stay in India in 2008? Yes... the people. So friendly and helpful. I was really impressed with all the wonderful people I met, including Rahul of course. Will you be performing here anytime soon? There are no plans at the moment, but I’m hoping very much that I will be able to come back to India as soon as possible. Perhaps with this collaboration with Rahul, we can perform these songs together live in India. Rahul on Kenny “I have a lot of respect for Kenny. The world knows him as a saxophone player. I have seen this amazing ability in him to improvise. You give him a melody and he works on it and adds to it. I have collaborated with international artistes earlier, but this collaboration is very special for me. I have composed and played in this album. Having Kenny play seven songs was very satisfying for me. We hope to take this association further now by performing together in India. We would like to have concerts in the near future.”
Ustad Mushtaq Ali Khan , a resident of Rampur ,was exellent in Khayall singing. He used to sing Khayaal in a very disciplined mannar and it used to be very emotional. But he never let emotions dominate his well-organised singing. His songs were a reflection of his character and literary feelings.
Ustad Mushtaq Hussain Khan said that to get self-respect and the pride of singing, a singer should have feelings like self discipline and self-sacrifice, Similarly, he said a self reliant singer is always an emotional man to the core and encroachment of emotions in music is entirely wrong. He always used to sing his songs based on popular ragas.
Born in 1880, he was very fortunate that he was taught by a knowledgeable teacher like Inayat Khan. In 1924-25, he participated in the All India Musical Conference. He also worked at the India Art Centre.
Sangeet Samagam Trust’s annual musical fest will see the prima donnas of Kathak, Sitara Devi and Keka Sinha, perform to the audience’s delight
The annual festival of music hosted by 'Sangeet Samagam Trust' in memory of the late Rakhal Mishra, doyen of the Benaras gharana and late Kishen Maharaj, the tabla maestro has always drawn huge crowd of music and dance lovers. "This is the fourth year of the festival and each year we had a good mix of music and dance performances. This year, Sitara Devi, the prima donna of the Kathak who is well past 80 will astonish the music lovers with her performance. It is not difficult to find nonagenarian singers. But dancers of that age group are rare to come by," says tabla wizard Kalinath Mishra who will accompany Sitara Devi as well as Kathak danseuse Keka Sinha and sitarist Habib Khan. Sitara Devi will make an appearance on the stage after a long time. Ajay Pohankar, a well known exponent of the Khayal form will also perform in this festival with his khayal renditions. Pohankar was recently presented with the most prestigious Tansen Award instituted by the Govenment of Madhya Pradesh.This is his first major performance in the city after having bagged the award. Began as a child prodigy, he has a performing career spanning almost five decades. Pohankar sings in an exceptionally soft voice and has a delicate approach to the note. "I have been asked to perform as a practitioner of the khayal form. 'Khayal' means thought. One is supposed to exercise one's own thought processes and link it to the emotion while singing. Only then does one's music become communicative," says Pohankar. “I have been influenced by the musical personalities of Bade Ghulam Ali Khan, Amir Khan and Kumar Gandhrava. The way they explored the raga, manipulated the songtext has had an abiding impact on me," says Pohankar. Pohankar values his own individuality too. “There is no point in merely imitating a successful singer. One’s originality as it is revealed in unfolding the raga or designing the note-patterns and the voice-throw helps to establish one's credentials as a khayal singer," he adds. Pohankar is adept at singing thumri in a style associated with the Patiala gharana. He has done fusion experiments with his son Abhijit who is a key board player and their project 'Piya Bawari', although it was scoffed at by hard boiled listeners, was a hit especially with the young generation of music lovers. Keka Sinha is the leading Kathak exponent of the country. She belongs to the Lucknow gharana. She has trained under well-known Kathak dancers like Bandana Sen and Reba Bidyarthi. She has done a number of presentations together with Dhanashree Pandit at various colleges and cultural centres. "Interaction with a thumri singer has enabled me to understand the nuances of the thumri form better and I can incorporate them into my dance," says Keka Sinha who will enact a thumri in her performance at the festival. Pune based violinist Atul Upadhyay and Indore gharana sitarist based in the US Habib Khan will also perform at the festival. Kathak exponent Nandita Puri will compere the show.'
(Catch the festival at Sardar Patel Sabhgruh, Bhavan's Complex,Andheri W on 12th and 13th March at 6.45 pm Entry is free.Tel Contact 2632 0699/ 98200 79632)
