Raga Online

Raga Online

My Music Room

ITC SRA News - July 2016 - June 2017

ITC Mini Sangeet Sammelan, Bishnupur - November 19, 2016

ITC Sangeet Research Academy hosted a Mini Sangeet Sammelan in asscoiation with the Murchhana Sangeet Mahavidyalaya at the Jadubhatta Mancha, Bishnupur, Bankura on the 19th of November 2016.

Amongst scholars, vocalist, Shri Deborshee Bhattacharjee and sarodiya, Smt. Debasmita Bhattacharya gave stellar solo performances, while Guru Pandit Ajoy Chakrabarty concluded the Sammelan with yet another mesmerising recital. Providing able accompaniment to the artistes on stage were ITC SRA musicians Shri Indranil Bhaduri, Shri Ashoke Mukherjee and Shri Gourab Chatterjee.

Padma Vibhushan Dr. M. Balamuralikrishnan passes away

Legendary carnatic vocalist M. Balamuralikrishna passed away at 3:30 pm in Chennai today. He was 86.

He breathed his last in his house at Kanakasri Nagar near the famed Music Academy on Cathedral Road.

A native of East Godavari district in Andhra Pradesh, he had made Chennai his home for the larger part of his life. Though popularly known as a vocalist, he was also an accomplished composer.

Dr. M Balamuralikrishna was also the recipient of Padma Vibushan, India's second highest civilian honour, for his contribution towards Indian arts.

ITC Mini Sangeet Sammelan, Baroda

The music lovers of Baroda gave a fine account of themselves, turning up in large numbers for the ITC Mini Sangeet Sammelan jointly organised by the Faculty of Performing Arts, MS University, and the ITC Sangeet.Research Academy. If a turn-out of 1000-odd listeners expectedly turned up for iTC SRA Guru Pandit Ulhas Kashalkar's performance, it was wonderful to see the enthusiastic response to Musician.Tutor Shri Waseem Ahmed Khan's performance. But what was most heartening was the amazing interest in the upcoming Sarod player Debasmita Bhattacharya's rendition of Raga Jhinjhoti. A bursting-at-the-seams CC Mehta Auditorium, the venue for the two-day event, broke out in spontaneous applause each time Debasmita effortlessly executed a nuance of the Raga. Waseem Ahmed Khan's choice was Jaijaiwanti while Ulhasji presented Nand, Basant and Adana.

ITC SRA Arpan Festival, Kolkata - 1st & 2nd October 2016

Durga symbolises ‘Shakti’ or Strength.  She is the embodiment of the divine feminine energy and power. Therefore, it was in the fitness of things, that ITC Sangeet Research Academy’s Arpan Festival on 1st and 2nd October featured some of the country’s topmost women performers alongside some of the younger ones.

This year's Arpan Festival also marked an important milestone for ITC SRA in terms of the Beta launch of the ITC SRA website, www.itcsra.org, which has been revamped to strengthen ITC SRA's digital presence and to provide users with a highly illustrative and browser friendly musical surfing experience. With much more accessibility and several interactive elements in its overhauled version, the new web portal is expected to open up the doors of the institution to the world of musicians, music researchers and connoisseurs at large.

Sabina Mumtaz Islam Rahman, an alumnus of the Academy, opened the festival with a sensitive rendering of Raga Puriya followed by Shankara. She finished her performance with a Dadra, a form in which she excels. Flautist Debopriya Chatterjee Ranadive delivered a fine Bageshri before moving on to a poignant Mishra Piloo.

The leading light of the evening was of course the 87-year-old Vidushi Girija Devi. Whether it was in her Kedara, her Mishra Khamaj bandish, Dadra or her Bhajan, she displayed the unmistakable signs of a master musician whose lustre age cannot wither.

On the Day 2 of the festival Sucheta Ganguly presented an effortless Yaman and Kajri.  She was in fine fettle, allowing her powerful voice to soar and glide in melodic rapture. Debasmita Bhattacharya seized the opportunity to offer an excellent Raga Durga. Her Mishra Majh Khamaj to follow was also laudable.

The event concluded with Vidushi Aruna Sairam’s performance in the Carnatic style. With an unerring finger on the audience’s pulse, she brought in rhythmic variations executed with the help of her Ghatam and Mridangam percussionists and melodic thrill supported by her violinist. Whether it was in her presentations in Amrit Varshini and Anand Bhairavi, her Ragam Tanam Pallavi and Thillana, or in her impassioned rendering of ‘Jago tumi Jago’, she stayed connected with her audience from beginning to end.     

ITC Sangeet Research Academy Celebrated India’s Independence Day

Like most educational institutions and organisations in the country, ITC Sangeet Research Academy celebrated India’s Independence Day with due ceremony. The National Flag was hoisted by Guru Ustad Mashkoor Ali Khan in the presence of Guru Pandit Arun Bhaduri. The staff, Scholars, their parents, security personnel and gardeners who constitute the extended SRA family joined spontaneously in the august ceremony that concluded with the singing of the National Anthem. Afterwards everyone gathered inside the Aldeen building for tea and snacks. The atmosphere was positively festive even while the solemnity of the occasion was maintained by everyone who attended the programme.

Holi Celebrations at ITC SRA

Spring manifests itself through various Ragas and musical forms in Hindustani Classical Music. Many of them centre around the festival of Holi, which was recently celebrated at the ITC Sangeet Research Academy. A repository of all genres of north Indian classical music, the Academy’s offering naturally went well beyond the vibrant colours of 'gulal'. It touched upon the pulsating energy of the season of youth and effervescence.

Traditional Dhamars, Khayal Bandishes, instrumental renditions of Ragas, Thumris and Horis livened up the programme. The Musician Tutors of the Academy, Omkar Dadarkar,Waseem Ahmed Khan, Kumar Mardur and Arshad Ali Khan jointly explored the Khayal form. Sagar Morankar and Prasanna Vishwanathan chose Dhamar compositions based on the festivities. Instrumental duets were presented by Abir Hussain and Ayan Sengupta and later on by Ratan Bharati and Paramananda Roy. Kriteka Iyer and Nirbhay Saxena and, to conclude the evening, Deborshee Bhattacharjee and Sankumay Debnath, together presented Thumris to complete a lively evening of music.

In the audience were some of the stalwarts of Hindustani Classical Music and Gurus of the Academy, Girija Devi, Arun Bhaduri, Ajoy Chakrabarty and Uday Bhawalkar.

155th Birth Year Celebration of Swami Vivekananda at the Ramakrishna Mission, Asansol

“Arise, awake, and stop not till the goal is reached.”

Scholars Deborshee Bhattacharjee and Ratan Bharati paid tribute to Swami Vivekananda in a joyful musical quest for the goal, at the Ramakrishna Mission, Asansol on the 155th birth anniversary of the saint.
The ITC Sangeet Research Academy and the Ashram joined hands to celebrate the occasion on January 12, 2017.

Deborshee began his solo recital with Raga Shree followed by a bhajan, while Ratan performed Raga Shyam Kalyan. Post their solo recitals, the duo performed Raga Sohini together, for the audiences at the Ramakrishna Mission. Deborshee concluded the programme with a heart warming rendition of 'Mon Chalo Nijo Niketane', which happened to be one of Swami Vivekananda's favourite compositions.

The artistes were supported with commendable accompaniment from Shri Sandip Ghosh on tabla and Shri Gourab Chatterjee on harmonium.

Sarangi Maestro, Pandit Ramesh Mishra, passes away

Mastering over one of the most difficult unique string instruments ' Sarangi', Pandit Ramesh Mishra passed away on the 13th of March 2017 in New York. Son of sarangi maestro Pt. Ramnath Mishra, Ramesh started his initial intensive training at very tender age from his father and acquired further knowledge and training from finest musicians of Benaras Gharana Pandit Hanuman Prasad Mishra, Late Pandit Gopal Mishra and Late Pandit Ravi Shankar. Ramesh Mishra's high aesthetic sense, and artistic sensibilities along with his inner soft nature gave him recognition both in home and aboard as an eminent soloist as well as an adept accompanist. His perfect restrained tuneful music enthralled the global audience. Besides a recipient of India's most prestigious Sangeet Natak Akademi Puraskar (Akademi Awards) for the year 2008 for his outstanding contribution in the field of music (sarangi), Pt. Ramesh Mishra also received of Sangeet Natak Award of Uttar Pradesh 1992, honored with Geetanjali, Uttam, Dishari Award, Jhadhu Bhatta award from West Bengal in 2007 and various other awards from different musical organizations. In 1959 Ramesh was sent as a cultural delegate to Pakistan by late Pandit Jawaharlal Nehru, the first prime minister of India. Both as soloist and accompanist, Pandit Ramesh Mishra traveled all over the world accompanying internationally reputed artists. In addition he has produced numerous recordings including his own solo records and earned a niche in the hearts of millions of music lovers. Mr. Mishra's creativity and imagination along with his profound knowledge of Indian classical, folk and light music and his vast experience of music performance and recording is worth mentioning. He was an asset to the music world and his mesmerizing melodies produced by his sarangi can be heard in many music productions including Ravi Shankar's 'live in Kremlin' and the Grammy nominated album 'Legacy' produced by the legendary Ali Akbar Khan. He was also a participating artist in the production of the "Concert for George" at Royal Albert Hall in London, November 2002. Pandit Mishra is one of the recording artist in Aero Smith's much acclaimed album " Nine Lives ". Ramesh Mishra was an accomplished artist, inspiring teacher and creative collaborator. His contribution to the American performing arts as well as world music will certainly continue to be unique and valuable.

ITC SRA pays homage to Gurudev Rabindranath Tagore

The Rabindra Jayanti celebration at ITC Sangeet Research Academy recently was a spontaneous endeavour from the Scholars and staff of the Academy. Entitled ‘Gobhir Ragini Uthe Baji’, the event centred around Tagore’s songs with the theme of music. For Tagore, music was both an expression of love and harmony as well as a metaphor for life itself. In a song like ‘Dnariye achho tumi amar gaaner opare’, music is the bridge that separates him from the Creator. In ‘Ki sur baaje amar prane’, melody is the language of love. Twenty-odd songs were selected by Musician Scholars Deborshee Bhattacharjee and Ratan Bharati who helmed the programme to create a bouquet of songs. Sabyasachi Ray Chaudhury, Sreemoyee Acharya, Moupali Choudhury, Shoumi Roy, Deborshee Bhattacharjee, Sucheta Ganguly, Brajeswar Mukherjee, Shatavisha Mukherjee, Meher Paralikar, Tejaswini Vernekar, Sankumay Debnath, Arjun Roy, Sumedha Dey, Rupayan Sarkar and Sohini Ghosh sang the songs effortlessly with great elegance. Ayan Sengupta and Srijanee Banerjee on the Sitar livened up the performance, while Paramananda Roy on the flute created a lovely ambience. Indranil Bhaduri and Bivash Sanghai supported the singers on the Tabla, while Ashoke Mukherjee raised the bar of the programme with his delightful theka on both the Tabla as well as the Khol.

Malhar Festival, Kolkata, 5th & 6th August 2016

While it rained outside, the notes of Malhar Ragas reverberated in the GD Birla Sabhagar, Kolkata, and filled up every corner of it. Stalwarts such as Pt Ulhas Kashalkar, a Guru of ITC Sangeet Research Acaemy for over two decades, and Pandit Venkatesh Kumar performed t the ITC Sangeet Research Academy’s timely Malhar Festival. It was an array of flavours from the rich family of Ragas - Miyan ki Malhar, Megh, Surdasi and Ramdasi Malhars, Gaud Malhar - that add to the romance of the monsoons. Another Guru of the Academy, Subhra Guha, also performed in the event that upheld the talent of one of the Academy’s most prominent young talents, vocalist Shri Deborshee Bhattacharjee. The instrumental department of the institution was represented by Shri Ayan Sengupta (Sitar) and Shri Ratan Bharati (slide guitar). The festival was once again a celebration of the Guru Shishya Praampara with the masters and youngsters sharing the same stage.

ITC Sangeet Sammelan 2016

The 38th ITC Sangeet Sammelan took off on December 2, 2016, with Padma Vibhushan Girija Devi watering a plant as a symbolic gesture to represent nurture and growth. The Academy where raw musical talent is honed to reach perfection engages in teaching as well as promotion of its budding musicians through the annual Sammelan, among other programmes. In her inaugural speech she spoke about ITC’s contribution to the furtherance of the cause of music.  Nazeeb Arif, head of Corporate Communications, ITC Ltd, also spoke on the occasion highlighting the role of Academy in creating an infrastructure and ambience for the nurture of Hindustani classical music.

The three evenings that followed were full of music in the green surroundings of the ITC Sangeet Sammelan. The lawns of the institution and every corner of the verdant campus reverberated to the strains of Ragas, with Saturday, December 3, spreading out a night-long feast.

Kaushiki Chakrabarty’s sombre Yaman was followed by a vivaciously delivered Thillana and she ended her performance with a couple of Thumris. Lalita Gauri was sarod exponent Tejendra Narayan Majumdar’s choice to begin his recital. He followed it with the divine Chandranandan presenting a beautiful gat. For the final artiste of the evening, Venkatesh Kumar, it was the majestic Raga Kausi Kanhara. He sang a Thumri afterwards, a Kannada Bhajan, followed by a BHajan in Bhairavi.

The second evening began with an outstanding performance by scholar Alick Sengupta who rendered Shree and Bahar with consummate ease. Carnatic classical music, a regular feature of the ITC Sangeet Sammelans, found suitable expression in the performance of Ranjani and Gayatri, sisters, who regaled the audience with Ragam Tanam Pallavi in Raga Kalyani. They laters sang compositions in Malkauns, Chandrakauns and Bhatiyar.

The ITC Sangeet Samman for 2016 was conferred upon Dr N Rajam whose musical notes match with her erudition. She performed a serene Bageshri, rendering it with such great beauty and grace that her audience was charmed.

Raga Jogkauns and Shahana Kanhara were rich and powerful in ITC SRA’s Musician Tutor Kumar Mardur’s very individual style and soaring voice throw. A scion of Karnataka’s Dharwar region, Kumar gave a very fine account of himself to stand out as a performer of outstanding ability.

Also in fine fettle were our Scholars Ratan Bharati, Ayan Sengupta and Paramananda Roy, who performed in a remarkably lively rendering of Chandrakauns and Majh Khamaj.

The Academy’s Musician Tutor Omkar Dadarkar also lived up to his reputation, rendering a soaring jaijaiwanti. His Mishra Kirwani was just as mature and rich. This supremely gifted musician concluded his performance with a Bhajan.

In Shahid Parvez’s masterly treatment Raga Jog and the gat that followed were astonishingly fresh. After he had finished and got up to leave, the audience called him back. He obliged by starting on a keertanang Tagore song that completely stunned the audience and richly revealed what a great musician he is.

Todi was Ajoy Chakrabarty’s choice. A Bhairavi Khayal and another composition followed. He was in fine fettle bringing in a dawn that was full of the light of music.

The final evening of the festival began with a peaceful rendition of Raga Bhoop followed by a Shivaranjani composition by Dhrupad exponent Uday Bhawalkar. The Academy’s Musician Tutor, Abir Hussain, began with Kedara and followed it up with a Pahari. The melody in his sarod playing was amply evident in the performance.

The festival reached a fitting finale with the musicians’ musician Ulhas Kashalkar who began with Kafi Kanhara and followed it up with Pancham ka Malkauns in which he also sang a richly composed tarana. A bandish in Kafi and a Bhairavi Bhajan brought his performance to an end, also drawing the curtain on yet another Sangeet Sammelan.

The footfall was huge. The audience response was exhilarating. 

Music and harmony ruled.

The strains of the Ragas will play in the minds of most for a long time to come.     

ITC Mini Sangeet Sammelan, Agartala

An ITC Mini Sangeet Sammelan was held at the Agartala Townhall auditorium, Tripura on 7th and 8th of March 2017. The event was inaugurated by the Honorable Chief Minister, Government of Tripura, Shri Manik Sarkar and Minister of Information and Culture, Govt. of Tripura, Shri Bhanulal Saha. The 2-day musical saga consisted of stellar performances by Shri Brajeswar Mukherjee, Musician Tutor of ITCSRA who performed Raga Bhupali followed by a dadra, sitar virtuoso, Pandit Kushal Das who rendered Raga Jhinjhoti and Shri Omkar Dadarkar who presented an exquisite Raga Shankara. The audiences were left both speechless and asking for more after Omkar concluded the 1st day with the bhajan, 'Baje Muraliya Baje'. The second day commenced with Guru Pandit Uday Bhawalkar performing Raga Kaushik Dhwani followed by a composition 'Shiva Shiva' on Raga Adana based on Sool Taal. The instrumental trio of ITC SRA comprising of scholars Shri Ratan Bharati (slide guitar), Shri Ayan Sengupta (sitar) and Shri Paramanada Roy (flute) enthralled the audiences with their rendition of Raga Rageshree in what was their debut performance at Agartala which was received with tremendous applause and appreciation from the audiences. Guru Pandit Ajoy Chakrabarty concluded the second day with his mellifluous rendition of Raga Hansadhwani followed by a bhajan based on Raga Bhairavi.

Taal Class on ITC SRA

Fundamental to any music is its relationship with time. In Hindustani Classical Music it is a very well developed system of Taal that keeps it tied within a format of beats with specific intervals between them. At ITC Sangeet Research Academy recently an important lesson on this subject was taught by Guru Pandit Ajoy Chakrabarty in a series of two sessions. Having trained, among others, under Pandit Jnan Prakash Ghosh in vocal music, harmonium playing and the Tabla, Pandit Chakrabarty is one of the foremost teachers of this genre of music. One of the treasures shared with all the Scholars of the evening was that laya (speed) in which a Bandish is performed should take its cue from the lyrics of the Bandish. He instructed the students that they should internalise the taal first and then learn to control taal independently, irrespective of what the Tabla accompanist is playing. One of the methods by which this can be achieved, Pandit Chakrabarty suggested, was by reading out the sounds/mnemonics of the taal theka and get into the habit of writing them down. Improvisation on theka should follow afterwards, he added. It was imperative to learn kaydas and tukdas to get a feel of the taals, he felt. The sessions were both well attended and the Scholars gained much from them.

Doyen of Hindustani Classical Music, Gaan Saraswati Kishori Amonkar passes away.

Kishori Amonkar, the legendary Hindustani classical vocalist, passed away in Mumbai on the 3rd of April, 2017, Monday night after a brief illness. She was 84.

Born in Bombay on April 10, 1932, Amonkar was recognised as one of the foremost singers in the Hindustani tradition and as an innovative exponent of the Jaipur gharana.

Amonkar’s mother was the well-known vocalist Mogubai Kurdikar, who trained under Alladiya Khan, the doyen of the Jaipur gharana.

In the early 1940s, young Kishori began to receive vocal lessons inHindustani classical music from Anjanibai Malpekar (of the Bhendi Bazar Gharana) and later received training from tutors of several gharanas. Her tutors included Anwar Hussain Khan (Agra Gharana), Anjanibai Malpekar(Bhendi Bazar gharana), Sharadchandra Arolkar (Gwalior Gharana) and Balkrishnabuwa Parwatkar.

 While learning the finer points and techniques of the Jaipur gharana from her mother, Amonkar also developed her own personal style, which reflects the influence of other gharanas and was generally regarded as an individual variant of the Jaipur tradition.

Amonkar cultivated a deep understanding of her art, largely through extensive study of the ancient texts on music, and her repertoire was grand in its sweep.

She was known primarily for her skillful singing of classical khayal songs set in the traditional ragas of Hindustani music, but also performed the lighter classical thumri repertoire, bhajan and devotional songs.

Regardless of musical genre, her performances were marked by vitality and grace. She aimed to infuse the emotional appeal of the more popular styles into the comparatively rigid classical tradition.

Besides being a renowned musician, Amonkar was a popular speaker and travelled throughout India giving lectures, most notably on the theory of rasa (feelings, emotions) in music.

In recognition of her contribution to the arts, she received many awards, including the Padma Bhushan (1987) and Padma Vibhushan (2002), two of India’s top civilian honours.

Special Wednesday Recital by Guru Pandit Ajoy Chakrabarty

It is not always that the spiral inner staircase of ITC Sangeet Research Academy’s Aldeen Building teems with an eager audience. Nor are two classrooms, in addition to the Auditorium of the Academy, appropriated as annexe listening rooms with LED screens and chairs set up to complement the hall. All these things, and more, had to be done to accommodate the huge audience turn out at the Wednesday Recital on May 31. It was the evening Pt Ajoy Chakrabarty performed in his alma mater where he has now also been a Guru for three decades. He began his performance with a majestic Megh and followed it with delightful Bandishes in Nand. His Pilu in the latter part of the evening was emotionally rich. The evening came to an end with sonorous rendition of ‘Hari Om Tatsat’.

Powered by Experis IT