[ad_1]
Dhrupad, the pristine musical type of Hindustani classical music, is derived from the traditional chhand-prabandh gayan. Dhrupad supplied a compositional construction to the summary raag. Swami Haridas and Tansen, the courtroom musicians of emperor Akbar, and later Raja Mansingh Tomar of Gwalior popularised it within the fifteenth and sixteenth centuries. The musical kind retained this exalted place until in regards to the mid-Nineteenth century earlier than khayal singing with all its elaborations took priority below royal patronage.
Regardless of a decline in its reputation, dhrupad continues to carry its place because the epitome of classicism. The modern relevance and huge attraction of dhrupad was revived by establishments such because the Dhrupad Kendra at Bharat Bhavan in Bhopal. Aside from coaching younger lovers, it organised dhrupad festivals. With gurus resembling Ustad Zia Mohiuddin Dagar and Zia Fariduddin Dagar, the Dhrupad Kendra was run by Bharat Bhavan below the insightful steerage of Ashok Vajpeyi, who now takes care of the Raza Basis.
Dhrupad Vaibhav, a competition celebrating the unhurried and immersive fashion of this way, is organised by the Raza Basis. The third version of this competition was held lately Delhi in collaboration with the India Worldwide Centre and Naad-Chakra Belief of Pt. Nirmalya De. The viewers, who have been known as ‘chatur sujan’ (sensible and intelligent) by Ashok Vajpeyi have been there on each days.
Kaberi Kar, a senior disciple of Ustad Rahim Fahimuddin Dagar
The competition opened with a rudra veena recital, with out which dhrupad’s honour can by no means be full. It was additionally a tribute to the Ustad Zia Mohiuddin Dagar, a exponent of the instrument. The artiste of the night was Carsten Vicke from Germany. A senior disciple of Asad Ali Khan, who belongs to the Khandar bani of dhrupad. Carsten displayed the nuances of the bani proper from his aalap-jod-jhala, which had melodic phrasings and raga elaboration with full rhythmic patterns. Pt. Mohan Shyam Sharma accompanied on the pakhawaj and Sujanya Arvindan on the tanpura.
Carsten started with the uncommon raag Adbhut Kalyan. ‘Adbhut’ means extraordinary or distinctive, and it was an distinctive raag with out each the madhyam and pancham swaras, the 2 fundamental pillars to carry any musical scale. Omitting these two fundamental swaras implied sweeping by means of the entire octave in a single sluggish leap. Carsten’s meends and gamakas have been positive and safe in a rigorously conceived aalap, jod, jhala, and a dhrupad rendition set to Chautaal. He additionally performed a dhamar in Hindol, which is a raag of the spring season. “It’s a lifetime’s work to check and play this instrument,” mentioned Carsten.
Kaberi Kar, a senior disciple of Ustad Rahim Fahimuddin Dagar, was the second artiste of the inaugural night. She opened her vocal dhrupad recital with Jaijaiwanti. Her well-trained disciple Nisha Pal supplied vocal help whereas Pt Mohan Shyam Sharma was on the pakhawaj.
The introductory alaap created the melodious aura of the raag earlier than Kaberi offered a dhrupad in Chautaal. Subsequent got here a dhamar in Shankara. Discovering her delicate understatements misplaced in pakhawaj’s sound, she politely mentioned, “Mohan ji is taking part in with me after 20 years, and this sangat develops by sitting collectively and conversing with one another.” She continued, “I believe the swar ought to be seen with closed eyes, after which offered with reverence. In case you are singing nishad, it ought to solely belong to Shankara, and never carry the flavour of Bihag.”
Because it was the month of Falgun and Holi, Kaberi additionally offered her guru’s dhamar composition ‘Hori khelungi saanvare ke sang’ in raga Bahar earlier than concluding together with her personal composition in Sooltaal.
Surbahar exponent Saurabhbrata Chakraborty with Shubhasheesh Pathak on the pakhawaj and Dipanvita Sharma on the tanpura
On the second day, Ashok Vajpeyi recalled anecdotes about Bade Ustad and his music. The night opened with a surbahar live performance by Saurabhbrata Chakraborty. Initiated into music by his mom Mala Chakraborty, he was additional skilled by Pt. Manilal Nag and Kashi Nath Mukherjee. He learnt surbahaar from Acharya Nitai Bose, and the Dagar fashion from Ustad Zia Fariduddin Dagar and Ustad Mohi Bahauddin Dagar.
Opening with raag Yaman, Saurabhbrata performed detailed aalap-jod-jhala and a dhrupad composition in Dhamar taal, accompanied on the Pakhawaj by Shubhasheesh Pathak and Dipanvita Sharma on the tanpura. Yaman, some of the melodious night raags, was performed with nice elan. Saurabhbrata concluded with a Sooltaal composition in raag Basant, most apt for the Spring season.
Pt. Premkumar Mallick, the twelfth era dhrupad vocalist from Darbhanga gharana
The competition concluded with the live performance of Pt. Premkumar Mallick, the twelfth era dhrupad vocalist from Darbhanga gharana. The famend son and disciple of Pt. Vidur Mallick, Premkumar is equally comfortable with khayal, thumri, dadra and bhajan. A Sangeet Natak Akademi awardee, Saurabhbrata can also be an writer and a professor of music at Allahabad College. He supplied the choicest gems from his treasure trove, particularly dhamars in several raags. A method allied to dhrupad, dhamaar compositions are largely in Braj bhasha, and sung in Dhamar taal of 14 beats time cycle.
Preceeded by an in depth aalap in Puriya, a late night raag, the primary dhamar went as “Aaj rasa been liye, kar duff-mridanga sab gwal baal’, the place the elaboration within the decrease octave was hanging. Describing the Holi competition, the second dhamar got here in Khamaj, ‘Aaj khelat moson hori’. The raag continued within the third one — ‘Braj mein dhoom machyo hai’ and likewise the fourth, ‘Lal mose khelo na hori’. As an alternative of constant the identical raga, he may have introduced in selection by singing dhamaars in raags resembling Kafi, Pilu and Sindura.
Pt. Premkumar Mallick concluded with the dhamaar ‘Aai basant bahar’, in Shankara, a Veer rasa raag, motivated by the combative pakhawaj of Gaurav Shankar Upadhyaay.
[ad_2]
Source link
