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How Pt. Jasraj continues to encourage artistes

How Pt. Jasraj continues to encourage artistes

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The 2-day Pt. Jasraj Sangeet Samaroh was a celebration of rhythm and melody

The 2-day Pt. Jasraj Sangeet Samaroh was a celebration of rhythm and melody

Pt. Jasraj Sangeet Samaroh is an annual occasion introduced by Prastaar. Based by eminent shehnai artiste Lokesh Anand, the pageant is an ode to his guru, Pt. Jasraj. Initiated by his father into the fundamental strategies of shehnai enjoying, Lokesh skilled below Pt. Anant Lal and Pt. Daya Shankar earlier than Pt. Jasraj took him below his wings. Lokesh learnt virtually all the compositions of the Mewati Gharana, and infrequently accompanied Pt. Jasraj on the shehnai at his concert events.

The 2-day sangeet samaroh showcased artwork in its entirety as outlined by Sharngadeva in his Sangeet Ratnakar, ‘Geetam vaadyam tathaa nrityam/trayam sangeetam uchchyate’. It was held on the Stein auditorium, New Delhi.

Important phrases

Pt. Sajan Mishra with his son and disciple Swaransh Mishra.

Pt. Sajan Mishra along with his son and disciple Swaransh Mishra.
| Picture Credit score: Particular Association

The inaugural night reached its climax with the reposeful rendering of raag Jhinjhoti by Pt. Sajan Mishra with vocal help from his son and disciple, Swaransh Mishra. The introductory auchar (aalap) of the raag created a divine aura for the neatly enunciated bandish, ‘Mahadeva Maheshwar’, set to gradual Jhaptaal. Sung as a vilambit khayal, the normal composition explored the attributes of Shiva by means of bol-aalap. The gradual vistar (exploration) with vital phrases of the raag etched its define earlier than taans adorned it aesthetically.

Ably accompanied on the tabla by Akram Khan of the Ajrada gharana and Sumit Mishra on the harmonium, the Mishras went forward with the chhota khayal ‘Roko na gail Mohan mohe jane do’ in Teentaal, which had Shringar flavour, and appeared like a ‘Bandishi Thumri’. Prospers of sargam and aakar taans and rhythmic tihais with conceal and search like ‘ched-chhad’ (playfulness) with the bols of the bandish introduced again recollections of late Rajan Mishra. The 2 brothers had an uncanny capability to pre-empt one another’s strikes, contrasting comfortable and vibrant stretches. Swaransh did his greatest to make Pt. Sajan Mishra really feel comfy. The concluding Bhairavi, ‘Dhanya bhaag seva ka avsar paaya’ sounded most acceptable as a result of the senior vocalist had launched the composition as a haaziri (ode) to Pt. Jasraj.

Neelima Bery.

Neelima Bery.
| Picture Credit score: Particular Association

Neelima Bery, the swish Kathak dancer of Lucknow Gharana, gave an excellent begin to the pageant . Educated below Pt. Birju Maharaj and Munna Shukla, Neelima opened with Krishna vandana, ‘Barnat chhavi Shyam-Sundar’, written and composed by Pt. Birju Maharaj. She went on to current the nritta section set to 14 beats cycle of the difficult Dhamar taal with thaat, amad tode-tukde, paran, and extra.

The identical 14 beats have been transformed into a distinct chhand when she danced to the tarana in Drut Ada Chautaal, interspersed with bandishes and lehera in Dhamar. This proved her command over laya and taal, whereas her abhinaya prowess got here to the fore in a Jhoola composition, ‘Jhoolan kamuna koolan’, set to Drut Ektaal in raag Malkauns. Neelima subsequent demonstrated crisp footwork, preceded by a ‘Dhittam dhittam dagdag thun tak thun’ with the lehera, the musical chorus, shifting to raag Bhairavi, concluding with 25 chakkars (pirouettes) that left the viewers enthralled.

Elaborate raag treatise

Rattan Mohan Sharma.

Rattan Mohan Sharma.
| Picture Credit score: Particular Association

The second night started with the vocal recital by Rattan Mohan Sharma, the nephew and foremost disciple of Pt. Jasraj, and the present torchbearer of the Mewati Gharana. He selected the sombre night raag Puriya, and elaborated it at nice size. His therapy revealed his good understanding of the raag whereas presenting the bada khayal ‘Phulan ke harwa’, set to Vilambit Ektaal, and the chhota khayal ‘Shyam Kunvar extra ghar aaye’ in Teentaal, concluding with a Pada of Haveli Sangeet. The very good accompaniment by Pt. Ashish Sengupta on his broad-faced tabla that appeared like a pakhawaj, and the intuitive harmonium enjoying by Zakir Dhaulpuri enhanced the live performance’s attraction. No marvel Rattan Mohan Sharma forgot {that a} senior artiste was ready to carry out after him, leaving hardly any time for Pt. Nityanand Haldipur.

 Pt. Nityanand Haldipur.

 Pt. Nityanand Haldipur.
| Picture Credit score: Particular Association

Completely devoid of artifice and gimmickry, the soulful flute recital by Pt. Nityanand Haldipur warmed the rasikas’ hearts from the very first be aware of Bihag. A senior disciple of the reclusive guru Annapurna Devi, Nityanand has inherited the essence of her music. Initiated into the artwork and aesthetics of flute by his father, Niranjan Haldipur, himself a disciple of the legendary Pt. Panna Lal Ghosh, Nityanand additional skilled below Chidanand Nagarkar and Pt. Devendra Murdeshwar. Such various coaching alongside along with his personal sensitivity has enriched the tonal high quality of his music, making it deep, dignified and mature.

Accompanied on the tabla by Shailendra Mishra, Pt. Nityanand opened raag Bihag in gayaki ang with a Bada Khayal, set to Vilambit Ektaal, with managed talent and immense musicality. The medium tempo bandish in Teentaal was so intricate and dicey that it misled Shailendra a bit, earlier than the theka was indicated to him by the flautist. The melodious Dhun in Gara introduced the Benarasi flavour of Shailendra’s tabla in the course of the concluding laggi. Pt. Nityanand Haldipur’s efficiency supplied a becoming finale to the Pt. Jasraj Sangeet Samaroh.

The Delhi-based author specialises in classical arts.

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