Friday, April 12, 2024

Chaiti - Semi classical form

Chaiti is a semi-classical form of music and dance traditionally performed during the Chaitra month of the Hindu calendar, which corresponds to March-April. Originating from Uttar Pradesh and Bihar, Chaiti celebrates the arrival of spring with its gentle melodies and lyrical verses, depicting scenes of nature's beauty and the joyous festivities of the season. While Chaiti shares thematic similarities with Thumri in its exploration of nature and human emotions, it is characterized by a slower tempo and a more straightforward musical structure, often accompanied by rhythmic movements and dance gestures.

Chaiti are semi-classical songs, originating from the Indian subcontinent, sung in the Hindu calendar month of Chait. These songs are rendered during the Holy month of Sri Rama Navami in March/April. That is why; most of the songs have wordings like "Ho Rama" or "Are Rama". Chaiti evokes the aura of romanticism and the mood of love. The most common theme apart from Holi is the depiction of scene where a girl asks her husband for a new bridal dress. In many Chaiti songs you will find the newly married young bride expressing her shyness at meeting her beloved.

For Exp:- जत आनंद बधैया हो रामा, ऐलै चैत का महीनवा हो रामा

Chaiti has created a place in the hearts of the masses of Uttar Pradesh. Some of the greatest exponents of music in India particularly Uttar Pradesh have tried their hands successfully in Chaiti Music. Some of the famous patrons of Chaiti in the state of UP are Girija Devi, Shobha Gutru and Pundit Chhanulal Misra.

Girija Devi is one of India's greatest vocalists. One of the last masters of the Purab ang gayaki tradition of the Banares Gharana, Devi has been equally effective singing in the traditional 18th century classical style of khyal as well as semi-classical styles such as thumri, tappa, kajri, dadra, and chaiti. The recipient of the prestigious Padmashree Award from the president of India in 1972 and the Padma Bhushan in 1989, she has received the Sangeet Natak Academy Awards of Uttar Pradesh and Delhi. The most popular Chaiti song of all times was perhaps sung by Girija Devi, a Hindustani Classical singer known for her Thumri music. The song talks about a woman dressed up in colorful clothes, waiting for her beloved to return home.

चैत मास चुनरी रंगइबे हो रामा, पिया घर अइहैं।

In the past, there used to be yearly celebrations of ‘Chaiti Utsav’ where Chaiti singers from the region would gather and perform these songs. However, this is a tradition which is rapidly disappearing – Chaiti folk music festivals are limited to villages and rural areas, even from where they are disappearing.

Some of India’s most celebrated names such as Girija Devi and Ustad Bismillah Khan have played Chaiti from time to time. These songs are mostly about love and devotion. Some lyrics describe the springtime Chaitra month as well as the romanticism around it in great detail.

कुसुमी लोढ़न हम जाएब हो रामा राजा केर बगिया,

मोर चुनरिया सैंयाँ तोर पगड़िया एकहि रंग रँगायब हो रामा।

The lines above describe how a woman goes to pick up flowers in a meadow and wants the colours of the flower on her dress and on the headgear of her lover, painting both of them in the springtime colours. While these songs are mostly about the celebration of spring or about lovers enjoying the weather, some Chaiti songs are about simpler things – such as the simple joy of sleeping in this pre-summer weather and when the person is woken up, he sings:

सुतला में काहेला जगैलऽ हो रामा

रस के सपनमा में हलइ अँखियाँ डूबल, अंग ही अंग अलसाए हो रामा

At a time when folk art is disappearing rapidly, some forms of folk art such as the Chaiti music continue to be relevant from time to time – especially during the seasonal celebrations of the Chaitra month. Chaiti Ghoda is one of the popular folk dance forms of Odisha. It is performed by fisherman tribes like the Keot. This dance represents the Chaitri month of the year that is from March to April to the full Moon in Baisakh that is from April to May and Ghoda means Horse in Odisha.

Folk singing of Chait month - Bhagwat Sharan Jha 'animesh'

The environment, natural environment and seasonal effects leave a deep impact on our lives. If Phagun is known for Faag, then the month of Chait is considered to be the month of deep feeling of the season. If Phagun is known for color and enthusiasm, then Chait is the month of seeing the scars of the heart in the deep color of love. .Chaita, Chaiti, Ghato or Chaitavar is the song of Chait month. Raga-images related to this month are also found. The fundamental difference between Holi and Chaita is that unlike Holi, there is no scope for being light, vulgar, sarcastic and superficial. This is a spontaneous singing of serious feelings. Just as the air is filled with fun instead of shivering, the moonlight at night. Cuckoo's call in Amarai starts arousing the mind, similarly this singing is full of melody and romance. 

Classy singers sing Chaita along with Holi, Chaita full of separation, then sing Holi in a happy mood. The culmination of Phagun is Chait. It is also the pause to climb to the peak of happiness. It is also the warmth of a serious mind. Since Lord Shri Ram was born on Chaitra Shukla Paksha Navami, hence this happiness has got a prominent place in Chaiti Gayan.

There is a tradition of Jugalbandi of singing Chaita and Dugola singing of Chaita in Ram Navami fair. There is a tradition of Jugalbandi of singing Chaita and Ram Janmotsav in Bihar-Jharkhand and Eastern Uttar Pradesh including Rambhadra (Hajipur) fair. " चैत मासे राम के जनमिया हो रामा , चैत मासे।" This is a very popular Chaita song

Chaiti is a season-appropriate tradition of semi-classical singing. Many singers including Vidushi Girija Devi, Shobha Gurtu, Shubha Mudgal have sung emotional renditions of Chaiti. Instruments like harmonium, sarangi, tabla and flute are used in singing Chaiti. Banarasi Chaiti Gayan of Pt. Chhannulal Mishra has a different sama. The bandh of one of his famous Chaiti Gayan is as follows:

"सेजिया से सइयाँ रूठि गइले हो रामा

कोयल तोरी बोलिया ...

रोज तू बोलेली सांझ-सवेरबा 

आज काहे बोले अधरतिया हो रामा...

होत भोर तोर खोतबा उजारबो

और कटइबो बन-बगिया हो रामा..."

" रात हम देखली सपनवा हो रामा .." ( #विदुषी गिरिजा देवी) , 

"चैत मासे चुनरी रंगा दे पियबा " (विदुषी शोभा गुर्टू) और 

"सूतल निंदिया जगाए हो रामा" ( विदुषी शुभा मुद्गल) Like many lyrics are priceless gems of this singing.

Therefore, the style of Chaita has not been limited only to the illiterate or illiterate people of the village; Rather, the culturally rich people have also preserved and decorated it. Many cultural personalities have also given it shelter.

Recently, Vijaybharti left the audience emotional by singing Chaiti in a very special Holi singing program. This chaita recorded by Doordarshan was greatly appreciated by the new generation and they went crazy. 

Listen to the words of this Chaiti -  

चढ़ल चईत चित्त लागेला न हो रामा

बाबा के भवनमा sss...।

बीर बभनमा सगुनमा बिचारो

कब होइहें पिया से मिलनमा हो रामा

बाबा के भवनमा ... ।

याद आवत है पी की बतिया

उर बीच उठत लहरबा हो रामा

बाबा के भवनमा..। "

Without progressive thinking, folk art also loses its original form and goal. Let us take a pledge to preserve this folk heritage. Avoid the crisis of cultural poverty by saving this folk tradition that has been going on for more than a thousand years.

credits :-

Friday, March 29, 2024

Hori - Semi classical form

Hori is another semi-classical genre closely associated with the festival of Holi, which celebrates the arrival of spring and the triumph of good over evil. Rooted in the Braj region of Uttar Pradesh, Hori depicts the playful and colorful aspects of Holi through its lively rhythms and energetic melodies. 

Like Chaiti and Thumri, Hori explores themes of love, romance, and celebration, but with a specific focus on the festive spirit of Holi and the playful interactions between Lord Krishna and Radha. Hori compositions often incorporate elements of folk music and dance, inviting participants to join in the joyous revelry of the festival.

Rural and traditional communities throughout India have evolved with their own regional customs and festivals, which are celebrated with Folk music unique to that community and region. It is almost impossible to identify all kinds of Folk music in India; however the most popular musical genre, sung during ‘Holi’, the festival of Colors is ‘Hori’

Hori is a semi-classical form of music and dance that is closely associated with the festival of Holi, which celebrates the arrival of spring and the victory of good over evil. It is primarily performed in the Braj region of Uttar Pradesh, the land of Lord Krishna's childhood. Hori songs typically depict the playful and colorful aspects of Holi, with lyrics that celebrate the joyous mood of the festival, the playful antics of Lord Krishna and Radha, and the splashing of colors. The music of Hori is characterized by its lively rhythms and energetic melodies, often accompanied by traditional instruments such as the tabla, harmonium, and flute.

Hori comes in the series of season songs, like Chaiti, Sawani and Kajari, and is traditionally sung in the villages and towns of Uttar Pradesh: around Banaras, Mirzapur, Mathura, Allahabad and the Bhojpur regions of Bihar. Songs of Hori are related to Radha-Krishna Leela in the festival of Holi.

“Holi khele raghubira Awadh mein” from the film “Baghban” and the hugely popular “Rang barse” are ulharas which have their roots in Awadh. In the film “Kati Patang”, the Holi song “Aaj na choddenge bas humjoli” has shades of Dhamar. This form begins with a slow tempo but as it progresses it becomes extremely fast. “Holi aayi re kanhai” from “Mother India” is a hori but interestingly has a kajri tune.

Shringar rasa dominates in the Hori compositions. There is a lot of chhed-chhaad. Though most of the songs are upbeat in nature, there are few based on viraha evoking the pathos of two separated lovers. In Mathura-Vrindavan, every hori revolves around Radha-Krishna and is called Raas. In Awadh region, one would find many compositions on Ram and his brothers playing Holi, for example “Awadh nagariya chhayi re bahariya, ke bhal rang khele hori chaaro bhaiyan”, whereas it is only in the Banaras tradition that one finds the mention of Lord Shankar and Parvati in the Hori compositions: “Krishna Murari sang Radhika khele parvat upar maja Shankarji le le aur Gaura ki bhijat chir ho”. 

Hori is a form which describes Holi played by Krishna, the lyrical content of Hori is similar to Dhamar and the musical form is allied to the Khayal form. The Raga commonly used for Hori or Khayal with descriptions of Holi is Kafi. 

Other than Raga kafi traditional Horis are also sung in many other ragas as Semi-classical compositions in ragas like Mishra kafi, Khamaj, Shahana kanhara, sarang, pilu and many mishra ragas. Significantly, horis are mostly set to a tala of 14 beats called Deepchandi and are also sung in teentaal (16 beats), Rupak (7beats), ektal (12beats) and jhaptaal (10beats). The famous Hori “Hori main kheloongi unsang dat ke, jo piya ayenge brij se palat ke”sung by Smt. Shobha Gurtu is an exquisite example of hori sung in thumri style in raga shahana kanhara set in a keherwa . At the conclusion of the hori, laggis are played on the tabla, which adds a bit of excitement after a spell of relaxed singing.

It is interesting to note that Raja Mansingh Tomar of Gwalior (1486-1516 AD) was the driving force behind introducing and consolidating Dhrupad and composing three volumes of songs namely Vishnupadas (songs in praise of lord Vishnu), Dhrupads, and Hori and Dhamar songs associated with Holi. Mansingh's support gave a place of pride to these genres in the society, thereby relating music to the lives and language of the laymen.

Colors of Holi Thumris

1)  A  beautiful descriptive Hori by the Banaras Gharana stalwart, Pta Siddheshwari Devi, based on Raga Kaafi, Deepchandi Taal, Udat Abeer Gulaal, Laali Chhaai Re

2) The same Hori Thumri, rendered by Pta Siddheshwari Devi’s daughter and disciple, Savita Devi. The style is similar, albeit their improvisations are very different.…

3) This is a common theme and here’s another very popular Hori by the Banaras Gharana stalwart, Pta Shobha Gurtu. It describes the ambiance of Holi, Aaj Biraj Mein Holi Re Rasiyaa.

4) Begum Akhtar’s famous Hori in raga Zila Kaafi , Kaisi Yeh Dhoom Machaayi, Kanhaiyya.

5) Hori by one of the stalwarts of the Jaipur-Atrauli Gharana, Surashree Kesarbai Kerkar’s elaboration in raga Khamaaj. Aaye Shyam Mose Khelan Holi

6) Begum Akhtar’s Hori Khelan Kaise Jaun based on Raga Piloo has Radha wondering to a friend if it would be appropriate for her to join the Holi with Krishna.

7) In Pta Shubha Mudgal’s Hori, Kanhaiya Ghar Chalo Mori Guiyaan, Radha tells her friend, let’s go to Krishna’s house to play Holi.

8) Pt Chhannulal Mishra of the Banaras Gharana sings Rang Daarungi Daarungi Nanda Ke Laalane Pe

The amazingly talented, Kaushiki Chakraborty, also has a beautiful rendition of this piece, on the same Raga but with a completely different flavor.

9) Pt Ajoy Chakraborty sings his guru, Pt Gyan Prakash Ghosh’s bilingual composition based on raga Khamaaj. Saari Daar Gaye Mo Pe Rang Ki Gaagar

10) The Pta Veena Sahasrabuddhe of the Gwalior Gharana has an electrifying Hori in raga Adana, Hori Hori Hori Khelat Nandalal.

11) Mewati Gharana’s Pt Sanjeev Abhyankar, possibly Pt Jasraj’s most famous disciple, sings another descriptive Hori based on Raga Tilang, Mohan Khelat Hori.

12) Ustaad Bade Ghulam Ali Khan Sahib, a doyen of the Patiala Gharana was as brilliant with his Thumris including Hori Thumris as with his Khayals. Listen to his amazing meandering taans in this brilliant Hori in Raga Des, Hori Khelan Jaaun.

13) Pt Bhimsen Joshi of the Kirana Gharana is known to everyone with the slightest familiarity with Hindustani classical music. His Hori Khelat Nandakumar is based on Raga Kaafi.

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Credits :-

Sankalan by Meetkalakar Team

Tuesday, March 19, 2024

A Journey Across Continents: A Conversation with Aparna Waikar

Let's dive into the adventures of Aparna Waikar, who has traveled from India to Germany, China, and now Thailand. In this conversation, Richa Rajadhyax talks with Aparna about her experiences in different countries. and now Thailand. In this conversation, Richa Rajadhyax talks with Aparna about her experiences in different countries.

Richa: Aparna, moving from one country to another must have been quite a journey. How did you handle the changes in culture and language?

Aparna: Each move brought its own set of challenges and discoveries. When I first arrived in Germany, I assumed that English would suffice, only to realize the stark reality of a language barrier. Learning German was essential for integration, and although challenging, the process was rewarding. In China, where the language was even more daunting, adaptation took time but was facilitated by the warmth and kindness of the locals.

Richa: It sounds like you had some interesting experiences. Can you tell us more about your time in Germany and China?

Aparna: Sure! In Germany, we lived in a cozy village where even simple tasks like taking my son to kindergarten became opportunities to learn about the culture. Despite not speaking much English, the locals were really nice. In China, we stayed in Shanghai for a long time and felt at home, especially with the Marathi community.

Richa: That's wonderful to hear! With all these different places you've lived in, where do you feel most comfortable?

Aparna: Shanghai holds a special place in my heart. We spent a lot of time there and felt like a part of the community, especially with fellow Marathi folks.

Richa: It's wonderful how your experiences in Germany have shaped your perspective on community and social connections. Can you share more about how you reached out to the Marathi community there?

Aparna: Absolutely! When our younger son was about to turn one, we wanted to celebrate his birthday in a big way, not just with our small family. So, we decided to reach out to the Marathi community in Germany. My husband contacted a travel agency owned by a Marathi individual, Ravi Kaka Deshpande, to gather contact information of Marathi people in the area. Since WhatsApp wasn't around back then, my husband personally emailed and called each person to invite them to the birthday celebration.

Richa: That sounds like a heartwarming initiative! How did the Marathi community react to your invitation?

Aparna: They were pleasantly surprised by our gesture, as they had never received such personalized invitations before. Despite being strangers initially, they all showed up for our son's birthday, and we felt incredibly grateful for their presence. This event not only marked a joyous celebration but also strengthened our bonds with the Marathi community in Germany, leaving us connected even after all these years.

Richa: It's evident that your time in Shanghai has been enriching in many ways. Could you share more about the connections and activities you engaged in during your stay there?

Aparna: Absolutely! Shanghai became a hub of experiences and friendships for us. Over the course of 12 years, we formed tight-knit groups and delved into various activities. We met countless people and established enduring bonds, much like we did in Germany. Even though our time in Bangkok has been shorter, we anticipate a similar sense of community here due to the warmth and enthusiasm of the people.

Richa: Building such strong connections must have been quite fulfilling. Can you elaborate on the impact Shanghai had on your sense of social responsibility?

Aparna: Shanghai instilled in us a profound sense of duty towards our homeland, despite being far away. Our interactions with diverse individuals broadened our perspectives and fueled a desire to contribute to Indian society, even from afar. This realization was pivotal in shaping our role in the community and fostering a deep appreciation for the opportunities Shanghai afforded us.

Richa: Can you share more about the events and initiatives you organized during your time in Shanghai?

Aparna: Certainly! We organized several key events throughout the year, with Gudi Padwa being one of the highlights.

One standout event was when we had the privilege of hosting the Mangeshkar family, including Pandit Hridaynath Mangeshkar ji, in Shanghai. Instead of arranging hotel accommodations, we welcomed them into our home, forging personal connections that endure to this day. We also organized theme-based programs during Ganpati festivals, focusing on topics like women empowerment, which provided a platform for local members to showcase their talents and fostered a sense of unity within the community.

Richa:  It's truly inspiring to hear about the impact of these initiatives. How did your involvement in the Indian Association contribute to your overall experience in Shanghai?

Aparna: My husband served as the president of the Indian Association for four years, during which we organized numerous programs and events that bridged the gap between India and China. These experiences were not only enriching but also instilled a sense of pride in representing our culture and heritage on an international stage.

In wrapping up, Aparna Waikar's journey teaches us about the power of friendships, celebrating cultures, and lending a helping hand. From India to Germany, China, and now Thailand, she's shown how reaching out can create lasting bonds and make a difference. By organizing events, hosting artists, and supporting local talent, Aparna's story reminds us of the joy and value in connecting with others and sharing our traditions. As she continues her adventures, let's take inspiration from her openness and kindness to make our own communities brighter and more vibrant.

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Saturday, March 9, 2024

Art: A Journey with Art Lovers

 Art: A Journey with Art Lovers - Exploring Indian culture across continents

Get ready for an exciting adventure into the world of art with our upcoming talk show, "Art: A Journey with Art Lovers." In this series, we'll be chatting with art enthusiasts who live outside of India but have a deep love for Indian culture and art.

Our guests come from all over the world and have fascinating stories to share. 

In a world where cultural diversity is both celebrated and challenged, there exists a dedicated cohort of individuals passionately working to preserve and promote Maharashtrian culture, language, and festivals on a global scale. Through their unwavering commitment and tireless efforts, these cultural ambassadors serve as guardians of tradition, ensuring that the rich heritage of Maharashtra transcends geographical boundaries and resonates with audiences far beyond its native shores.

Join us as we dive into their experiences, learn about their favorite artists and artworks, and discover how they stay connected to Indian culture from afar. Whether you're a fellow art lover or just curious about the ways in which art can bridge distances and bring people together, this talk show promises to be an inspiring and eye-opening journey.

At the forefront of this cultural movement are individuals who, despite living outside of India, remain deeply connected to their roots and are determined to uphold the essence of Maharashtrian identity. Through a series of captivating interviews, our upcoming talk show, "Art: A Journey with Art Lovers," will shine a spotlight on these remarkable individuals, exploring their personal stories, artistic endeavors, and the impact of their work on preserving and promoting Maharashtrian culture.

So grab a cup of chai, settle in, and join us as we embark on this exciting exploration of art with NRI art lovers from around the globe!

Stay tuned for our upcoming interviews, where we'll dive deeper into the stories of these incredible individuals and learn more about the impact they're making on preserving Maharashtrian culture on a global scale. Together, let's celebrate the art lovers who are keeping our traditions alive and our culture vibrant, no matter where they may be.

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Link -

Tuesday, February 6, 2024

अमर लता

काळ कुणाही साठी थांबत नाही! हेच खरं! मग कितीही मोठी असामी, असो.

देव भक्ती ,देशभक्ती कलेवरची निष्ठा , औदार्य उत्कटता ,विनय,स्वाभिमान,सर्वोत्तमाचा ध्यास ,सदैव शिकत राहण्याची अभ्यासू वृत्ती , तहानभूक विसरून गाणं ,अशी सर्व गुणसंपन्न लता ! आपल्या पिढीला असंच एक अद्भूत व्यक्तिमत्व अनुभवता आलं ;ते म्हणजे अमृतमय स्वरांची साम्राज्ञी ;लता मंगेशकर! 

आज लौकिक अर्थाने आपल्यात नाही ;दोन वर्षा खाली  माघी षष्ठी तिथीला (६फेब्रु.२२) तिने अलविदा केलं .ते पचवणं अवघडच !

एरवी ती अमृतवेल लता मनांत बहरलेलीच आहे .जराश्या आठवणीच्या हेलकाव्याने  गात डुलत राहते ! मग प्रसंग कुठलाही असो ! ती प्रत्येक भाव भावनेत स्वर रूपाने आहेच !फक्त माझ्याच नाही तर अगदी चराचराच्या!!

वृक्षवल्ली आम्हा ..मला पाखरांच्या कलरवांत ऐकू येतं .नागमोडी वळणा वळणाने जाताना, "दरीदरीतून मावळदेव" दिसतो. चांदण्या सांजेला ,"निळ्या आभाळी कातरवेळा" प्रतीत होते. लहरणा-या शेतात तिचा कोवळा,तजेलदार स्वर उमटतो, तर कधी जवानांच्या बंदूकीतील गोळ्यांप्रमाणे ,खटाखट सुटतो तो  गाण्याच्या आशया बरोबर आपल्या ही काळजाचा ही वेध घेतो.

भक्तीगीतातील समर्पण असं की की एखादा नास्तिकाला ही भक्तीगीत ऐकताना   कधी अश्रू ओघळले ?ते ही कळणार नाही. साक्षात देव च सन्मुख उभा करते आपल्या  स्वरांनी ,लता! "मोगरा फुलला "गाणं ऐकून खरोखरच मोगरा बहरून आल्यागत वाटतं!सुगंध जाणवतो! तो असतो  गंधवेड्या लताच्या  आत्म्याचा!

गाणं हा विषय जरी एकच असला तरी त्यातल्या भावभावनांचे अनेकानेक सुंदर पदर लताच्या स्वरात ठळक पणे दृगोचर होतात. कारण त्यातला अविर्भाव स्वरातून दाखवते लता. दीनानाथांचा अभिनयाचा गुण किती सहजपणे असतो लताच्या गाण्यात. बघा ना; ऐकताना सगळ्याची हीच मनःस्थिती होते .क्षणभर निस्तब्धच ! देशभक्ती गीतांनी  आबालवृध्दा सह  सगळ्यांनाच हेलावण्याचं सामर्थ्य आहे ;लताच्या स्वरात! 

परदेशातही आपल्या गाण्याची मोहोर उमटवणा-य लताने, "गाईन तर अल्बर्ट हॉल मध्येच! असं ठणकावून आपल्या भारत देशाला लंडन मध्ये  प्रतिष्ठा मिळवून दिली!

खट्याळ गाणी ही तितकीच मिश्कीलपणे गायलीत लताने! दिलमे बजी प्यारकी शहनाईयॉ....देखोजी बहार आयी ...पासून दिदी तेरा देवर दिवाना....पर्यंत  गाणं तसं सोप्पं नाहीच  काही! गाण्यात  ओघाने आलेले अपशब्द (रूढार्थी शिव्या )तिच्या आवाजात ओव्या होऊन जातात आठवा - बेरहम होते नही ऑसू... , वो s निर्दयी प्रीतम , बे दर्दी ,दगाबाज ,बेईमान... .......आणि कितीतरी ... आणि दुःख ? त्याचा ही एहसास लता च्या आर्त स्वरातून फार परिणामकारक रित्या होतो.(ख्वाब थे वो जिंदगीके दिन  जो ...मर गये हम ..)ऐकताना आपल्या ह्रदयात कालवा कालव होते.

आणि प्रेमगीतं !  त्याचे तर अनेकानेक पदर असे कांही दृगोचर केलेत की ज्याचे नांव ते!अगदी किशोरीच्या अल्लड पणापासून ते धीरगंभीर भावने पर्यंत चे रंगीबेरंगी पदर च! झूलेमे पवनके ...,तेरा तीर वो बेपीर...ए चॉद कल जो आना ,दिलका दिया जलाके गया...,छुपाकर मेरी ऑखोंको ... मिले तो फिर झुके....., कुछ दिलने कहॉ......, आजा रे मै तो कबसे खडी....., मेरे मनका बावरा पंछी ...तेरा खत लेके सनम ... घडी घडी मेरा दिल ...., तेरा मेरा प्यार अमर...मेरे मनके दिए...हे तर लताने मनाशी गूज च साधलंय अगणित च...!! आणि प्रेमाची युगलगीतं तर बहारीचीच!कांकणभर सरसच! स्वरांना हलकासा झोका देऊन त्या गीतावर स्वार होते .किंवा एखाद्या गोड तानेने आस लावते ! झाडून सगळ्या गायक गायिकांसह गायलेली युगुलगीतं ऐका , बरोबरीने रंगत आणतेच ;पण शेवटचा डॉट लताचा च! पंडीत भीमसेन जोशींसह गायलेलं ,"रामके गुणगान...हे प्रमाण आहे!विशेष म्हणजे त्या मातब्बर कलाकारांनी ही  हे मान्य केलंय. किती भाग्य !आणि हेच वैशिष्ठ्य  आहे लताचं!

रागदारीवर आधारीत लताची  सिनेमातील गाणी म्हणजे तर पर्वणीच कानसेनाची ! "सखी री सून मोरी ..." आशासह गायलेली जुगलबंदी च! मीनाकुमारीने ही छान वठवलंय पडद्यावर! दुसरं नूतनवर चित्रित ,मनमोहना बडे झूठे..." या गाण्या विषयी तर लतानेच प्रशंसा केलीय नूतनची !म्हणजे बघा....!खरंतर हरेक गाणं विशेषत्व घेऊनच येत असतं लताने गायलेलं!  त्या सगळ्याचा उल्लेख करणं म्हणजे संगीतमय महा कोषच तयार होईल!  पण केवळ वानगी दाखल सांगायचं तर गुलाम हैदर ,सज्जाद ,यांच्या संगीतातील अभिजातपणा लताच्या आवाजात सही सही अगदी ठळकपणे जाणवतो ! संगीतकार अनील विश्वास , एस डी , सी रामचंद्र ,नौशाद  रोशन यांच्या पठडीची मोहर लताने बेमालूम  उठवलीय गाण्यातून  .सलीलचौधरींच्या गाण्यातील खुमारी वाढलीच आहे लता च्या स्वरांनी! धीरगंभीर  हेमंत कुमार आणि वसंत देसाई ची कर्णमधुर  संगीतातला उठाव लताच्या सुरात रेंगाळत  राहतो. ही  गाणी  मनाचा गाभारा उजळवतात. तर रवी , चित्रगुप्त , एन दत्ता याची गोड गाणी लताची माधुरी जाणवून देतात.तर पुढे शंकर जयकिसन च्या संगीतात  तर  लता चे स्वर जणू झूम उठलेत!! 

खरं म्हणजे हे बारकावे सांगण्यापेक्षा ऐकणं च स्वर्गसुख आहे !कारण लताच गाणं च  शब्दातीत आहे! "ले गये वो साथ अपने ,साज भी ..."यातील काळजाचा पीळ केवळ स्वरातून प्रतीत करणं, केवळ  अद्भुतच आहे!

त्यामुळेच  बडे गुलाम अली , कुमार गंधर्व  सारख्या दिग्गजांनी म्हटलंय की ;'तासभर राग  आळवून परिणाम साधतो तो केवळ तीन मिनीटात लता करून दाखवते ' ! किती सार्थ उद्गार !किनई? 

कट्टर ओ पी नैय्यरने ही लताबद्दल गौरवोद्गार  काढलेत !महाराजा! जरी त्यांचं एकही गाणं लताने गायलेलं नाही तरी! 

आचार्य अत्रे ; पु ल. देशपांडे सारख्या महान व्यक्तींनी लताच गुणगान केलंय!

नुस्तं गाण्याचं नाही  ,तर समज ,ज्ञान ,सचोटी ,परिश्रम ...सारंच वाखाणण्याजोगं! 

अशी अलौकिक  सुंदर  मधुर कंठी  लता कुठं गेलीय? 

ती आहेच ;रसिकांच्या मनात !आणि कायम राहणारच आहे !

काळावर लताने आपल्या अमृत  स्वराने अलौकिक  इतिहास रचलाय!तो कुणीच मिटवू शकणार नाही ! 

माझ्या बाबतीत म्हणायचं तर म्हणेन ;तूsने हाsए रे जख्म ए जिगर को छू लिया....(नगीना)

यातल्या "हाsए" ने तर कबका मार डाला...  🎼🙏🌟✨



Thursday, February 1, 2024

Dr Prabha Atre

 Prabha Atre: Harmonizing Eternity - Doyen of the Kirana Gharana

Prabha Atre, a distinguished classical vocalist from India, stands as a beacon of musical brilliance in the realm of Indian classical music. Born on September 13, 1932, in Pune, Maharashtra, Prabha Atre has carved a niche for herself as a renowned Hindustani classical vocalist, composer, and musicologist. Her contribution to the world of music is not only marked by her virtuosity as a performer but also by her commitment to preserving and promoting the rich heritage of Indian classical music.

Prabha Atre music training was in the Guru-shishya tradition. She learnt classical music from Sureshbabu Mane and Hirabai Badodekar from the Kirana gharana. She acknowledged the influence of two other greats, Amir Khan for khyal and Bade Ghulam Ali Khan for thumri, on her gayaki. She also had formal training in Kathak dance style.

While studying music, Prabha Atre earned a Bachelor of Science from Fergusson College in Pune. Later she completed an LL.B. from University of Pune Law College. She also studied at Gandharva Mahavidyalaya Mandal (Sangeet Alankar (Master of Music)), Trinity Laban Conservatoire of Music and Dance, London (Western Music Theory Grade-IV). She later also earned a PhD in music. Her doctoral thesis was titled Sargam, and pertained to the use of sol-fa notes (sargam) in Indian classical music

Musical Career:

Prabha Atre's professional career as a classical vocalist took off in the 1950s, and since then, she has become a prominent figure in the world of Indian classical music. Known for her versatile voice and command over a wide range of raags, she has enthralled audiences with her soul-stirring performances. 

Atre was one of the senior vocalists in the country representing the Kirana Gharana. Her first LP, with Maru Bihag and Kalavati, clearly demonstrates her extraordinary artistry and creativity. She contributed to popularizing Indian classical vocal music at global level. She was competent in various musical genres such as Khyal, Thumri, Dadra, Ghazal, geet, Natyasangeet, and bhajans. 

She also played roles in a line-up of Marathi theatre classics, which included Sangeet Nataks like Sanshay-Kallol, Maanaapamaan, Saubhadra and Vidyaharan.

Apart from her performances on stage, Prabha Atre has made significant contributions to the field of music education and research. She has served as a faculty member at prestigious institutions like the ITC Sangeet Research Academy and has conducted workshops and lecture demonstrations to impart her knowledge and insights to aspiring musicians. She taught music, performing lecture-demonstrations, and writing on the topic of Indian classical music.

Music related great work by Prabha ji 

1) A former Assistant Producer with the All India Radio.

2) A Grade — All India Radio Drama Artist (Marathi and Hindi).

3) Main female role in Professional Musical Dramas.(Sangeet Natak and Sangeetika)

4) She was a visiting professor at a few institutions in the West, including the Rotterdam Conservatory in the Netherlands. 

5) Visiting professor at the Music conservatory – Montreux Switzerland, the University of California, Los Angeles, Indo-American Fellowship for studying research materials used in Ethnomusicology at the University of California, Los Angeles, and at the University of Calgary, Alberta, Canada.

Appointment as 'Special Executive Magistrate' by the Government of Maharashtra in recognition of services to the cause of Music

6) Professor and Head of the Dept. of Music, S.N.D.T. Woman's University, Mumbai.

7) Around 1992, Atre started an annual Pandit Sureshbabu Mane and Hirabai Badodekar Sangeet Sammelan music festival. The festival takes place annually in December in Mumbai.

8) Chief Music Producer and Director for 'Swarashree' Recording Company since 1981

9) Member of the Advisory Panel of the Central Board of Film Censors, Mumbai 1984

10) Prabha Atre established some years ago Swaramayee Gurukul in Pune. This institution amalgamates traditional guru-shishya style of teaching music and contemporary classroom teaching.

11) She had been concluding Sawai Gandharva Bhimsen Festival since 2007 which is considered to be prestigious.

12) Dr Atre created a lecture series "Alok" to practically demonstrate her musical thoughts. It is available on YouTube and received very good public acclaim.

Innovations and Compositions:

Prabha Atre is not only a performer but also a creative force in the world of classical music. Her compositions reflect a blend of tradition and innovation, often experimenting with unconventional combinations of ragas and rhythmic patterns. Her ability to infuse contemporary elements into classical compositions has garnered praise for its freshness and originality.

As a composer :- 

Book of compositions Swarangini and Swaranjanee

She also invented new Raags such as Apurva Kalyan, Darbari Kauns, Patdeep-Malhar, Shiv Kali, Tilang-bhairav, Ravi Bhairav, and Madhur-kauns.

Music compositions adapted to full-length dance programme 'Nritya Prabha' – choreographed by the Bharatanatyam danseuse Sucheta Bhide Chapekar.

Awards and Recognition:

Prabha Atre's unparalleled contributions to Indian classical music have earned her numerous accolades and awards. She has been honored with prestigious titles such as :-

Acharya Atre Award for music - 1976

Jagatguru Shankaracharya conferred the title "Gaan-Prabha"

Padma Shri -1990 

Sangeet Natak Academy Award -1991

Giants International Award, Rashtriya Kalidas samman

Tagore Akademi Ratna Award announced from the 

Sangeet Natak Akademi in 2011

Dinanath Mangeshkar award

Hafiz Ali Khan Award

Padma Bhushan - 2002

Ustad Faiyyaz Ahmed Khan Memorial Award (Kirana Gharana)

Dagar Gharana Award

Acharya Pandit Ram Narayan Foundation Award Mumbai

Padma Vibhushan - 2022 

And So many

Her books 

Books of music compositions: 1. Swaranjanee 2. Swaranginee 3. Swararangee

Books containing her musical thoughts: 

1. Swaramayee (Marathi and Hindi) 

2. Suswaralee (Marathi and Hindi) 

3. Along the path of music 

4. Enlightening the listener

Book of poetry: Antah Swar (Marathi Hindi and English)

Prabha Atre's journey through the vast landscapes of Indian classical music has been marked by unwavering dedication, artistic innovation, and a deep-rooted love for the tradition. As a torchbearer of the Kirana gharana, she has not only enriched the classical music repertoire but has also inspired generations of musicians to continue the legacy of this timeless art form. Prabha Atre's name will forever resonate as a symbol of excellence, passion, and unwavering commitment to the sublime art of Indian classical music.

Dr Prabha Atre ( doyen of Kirana Gharana) passed away following a cardiac arrest at her residence at the age of 92  on Saturday 13 Jan 2023. 

She died after experiencing breathing difficulty in the early hours and was taken to Dinanath Mangeshkar Hospital. She died from cardiac arrest before reaching the hospital.

Saturday, January 13, 2024

Ustad Rashid Khan's Musical Journey

Early Life and Musical Upbringing:-

Born on July 1, 1968, into a family steeped in musical tradition, Rashid Khan hails from the revered Rampur-Sahaswan gharana, a lineage that traces its roots back to the legendary Inayat Hussain Khan. He was also the nephew of Ustad Ghulam Mustafa Khan.Ustad Rashid Khan is indeed a renowned classical Indian musician, specifically a Hindustani classical vocalist. He comes from a long line of distinguished musicians in the Rampur-Sahaswan gharana. His mastery in singing has earned him numerous awards and accolades, making him one of the prominent figures in the world of classical music.

Born in Badayun, Uttar Pradesh, Rashid Khan received his initial training from his maternal grand-uncle, Ustad Nissar Hussain Khan (1909–1993). Ustad Nissar Hussain Khan, from whom he received a large part of his taleem, in the Rampur-Sahaswan gharana style. Nissar Hussain was a strict disciplinarian and would make the young Rashid spend an entire day perfecting just one note.He gave his first concert at age eleven. In April 1980, when Nissar Hussain Khan moved to Kolkata, Rashid Khan came to the city with his grandfather. Rashid Khan also joined the ITC Sangeet Research academy at the age of 14.

Musical Repertoire:-

Rashid Khan's rise to prominence was meteoric. His vocal prowess, characterized by a soul-stirring timbre and impeccable technique, garnered attention in the world of classical music. The maestro's ability to seamlessly blend tradition with innovation became a hallmark of his performances. He received accolades and awards, including the Padma Shri and Padma Bhushan, establishing him as a torchbearer of the classical musical tradition.

Ustad Rashid Khan is a master of the khayal and thumri genres, captivating audiences with his emotive renditions. His exploration of ragas is marked by intricate taans, fluid gamaks, and a profound understanding of the lyrical and emotive aspects of each composition. While firmly rooted in tradition, he has also embraced innovation, collaborating with artists from various genres to create unique musical experiences.

Ustad Rashid Khan is a skilled player of the swarmandal, and the distinctive drone he produces on the instrument makes an ideal foundation for his powerful vocal performances.

Ustad Rashid Khan is known for his emotive and expressive singing. He possesses a rich and powerful voice that allows him to convey the intricate nuances and emotions inherent in classical compositions. His performances often involve a deep exploration of different ragas. He has a remarkable ability to unfold the beauty of a raga, bringing out its unique characteristics and evoking the mood associated with it.

Ustad Rashid Khan is acclaimed for his expertise in intricate taans (fast melodic passages) and layakari (rhythmic variations). His command over rhythm and the ability to execute complex patterns contribute to the dynamic nature of his performances.

Apart from being a performer, Rashid Khan is also involved in teaching and passing on the rich musical tradition to the younger generation. He has conducted workshops and masterclasses to share his knowledge and expertise.

Spreading the Melody Worldwide:-

Beyond the borders of India, Rashid Khan's melodic waves have reached international shores. His performances at prestigious venues and music festivals globally have not only showcased the depth of Indian classical music but also bridged cultural gaps, earning him admirers from diverse musical backgrounds.

Rashid Khan also experimented with fusing pure Hindustani music with lighter musical genres, e.g. in the Sufi fusion recording Naina Piya Se (Amir Khusro), or in experimental concerts with western instrumentalist Louis Banks. He also performed jugalbandis, with sitarist Shahid Parvez and others.

Rashid Khan gave his voice to a number of songs in Hindi and Bengali films from 2004 to 2019. The most popular songs were: Aaoge Jab Tum Saajna in the film Jab We Met in 2007, Alah Hi Rahem in My Name Is Khan in 2010 and Bol Ke Lab Azad Hain in the film Manto in 2018.

A Humble Humanitarian:

Ustad Rashid Khan's humility and warmth shine through both on and off the stage. Reports of impromptu performances for the visually impaired and his compassionate engagement with audiences underscore his belief in the universal power of music to connect and heal.

One interesting story about Ustad Rashid Khan involves a spontaneous and heartwarming gesture during a concert. There was a time when he was performing at a concert, and a visually impaired girl from the audience requested him to sing her favorite raga, "Mian ki Todi." Without any prior preparation or announcement, Ustad Rashid Khan graciously accepted the request. He not only sang the requested raga but also improvised and extended the performance to ensure the girl could fully enjoy the experience. His ability to connect with the audience and create a special moment on the spot showcased not just his musical prowess but also his empathy and responsiveness to his listeners. It's moments like these that highlight the magic and connection that music can create between the artist and the audience.

Awards :- Ustad Rashid Khan won several awards including 

Padma Shri 

Sangeet Natak Akademi Award in 2006 

In 2022, he was honoured with the Padma Bhushan, the third-highest civilian award of the country. 

The West Bengal government also honoured Ustad Rashid Khan with Banga Bibhushan and Sangeet Mahasamman.

His contributions to the world of music have left an indelible mark, and he remains a revered figure in the classical music scene.

As a torchbearer of the Rampur-Sahaswan gharana, Ustad Rashid Khan carries forward a legacy that spans generations. His influence extends beyond the realms of classical music, inspiring aspiring musicians and enthusiasts alike. Ustad Rashid Khan stands as a luminous thread, weaving melodies that resonate through generations.Ustad Rashid Khan belongs to the illustrious Rampur-Sahaswan gharana, a school of Hindustani classical music. 

Here's a simplified lineage chart to give you an idea of his musical heritage: -

Inayat Hussain Khan: (founder)

Moinuddin Khan: Son of Inayat Hussain Khan.

Hafiz Ali Khan: son of Moinuddin Khan and a Sarod maestro

Mujeeb Ali Khan: The son of Hafiz Ali Khan, he was a sitar player

Rashid Khan: son of the renowned tabla player Ustad Allarakha and the grandson of Inayat Hussain Khan

Death :- 

Hindustani classical singer and music maestro Utsad Rashid Khan passed away in Kolkata on January 9, 2024. He was 55 and is survived by his wife, two sons and a daughter. The famous vocalist was suffering from cancer and was admitted to a private health facility in Kolkata in November 2023.