कै. पं गजाननबुवा जोशी यांचे दुर्मिळ ध्वनिमुद्रण ऐकण्याची संधी

पं गजाननबुवा जोशी यांच्या जन्मशताब्दी निमित्त भारत गायन समाज तर्फे गजानन बुवांच्या दुर्मिळ ध्वनिमुद्रित गाणे

- राग मालगुंजी

- राग बसंत

साथ: पं. सुरेश तळवलकर , उल्हास कशाळकर, बाळ माटे

तसेच गजानन बुवांच्या ७५ व्या वाढदिवस निमित्त डॉ अशोक दा रानडे यांनी बुवांच्या घेतलेली दृक-श्राव्य मुलाखतही या कार्यक्रमामध्ये पाहता येणार आहे.

स्थळ: भारत गायन समाज, शनिपार, पुणे

३१ जानेवारी, सायंकाळी ६:३०

Ninth Shaniwarwada Festival

Will be held on January 30 and 31, and will be inaugurated on Saturday, January 30, 6:30 pm.

THE NINTH Shaniwarwada Dance and Music Festival would glorify

the incandescent spirit of art. It thus would efface all barriers that

have hitherto been put up under the pretext of colour, religion,

creed and nationality, for music and dance forms from diverse lands

would bask upon one stage. The festival will be inaugurated by MP

Suresh Kalmadi on Saturday in Pune.

The opening programme on January 30 would be followed by Fastest Feet and Rhythm, put together by Kathak doyen Pt Chitresh Das and Emmy Award-winning tap dancer Jason Samuels Smith.

The fest will open with an item called Shabd, based on Das’ new work, Kathak Yoga. It would feature a performance by the critically acclaimed Chitresh Das Dance Company. Highlighting Das’ innovation, his international company - all ladies - will display the various elements inherent in Kathak — Taayari, Layakari, Khubsurti and Nazakat, through rapid footwork and chakkars. They will be juxtaposed with soft, graceful movements and the use ofabhinaya

while simultaneously reciting the taal, singing the nagma and playing

an instrument — the harmonium or manjira.

“Kathak Yoga has been inspired by the great rishis and sadhus of India. While dancing, the ladies would be reciting the taal and the nagma, even while they would be doing the Tihai with their feet. This involves impeccable stamina, proper blood circulation, deep focus and a highly-sophisticated math. This would be followed by Jason’s solo performance, after which I would strut the stage for a Kathak solo. These done, Jason and I would then perform together. A part of the stage would have musicians playing the tabla, sitar, sarod and sarangi, while another will have drums, bass and piano, signifying the East meeting the West,” explains Das.

On the 31st, Kathak exponent Shambhavi Vaze and Bharatnatyam dancer Parimal Phadke will showcase Nritya Sangam along with their students, bringing two classical dance styles upon one platform. The duo would therefore adeptly explore the contrasts and similarities in the styles. Vaze elucidates, “It was very nice of the committee to reserve one day for local dance institutes, for this is a way to attract more localites towards the fest. We have been performing Nritya Sangamacross the world but have not been able to do it that often in Pune.

The fest therefore is a good opportunity for people here to view Nritya Sangam after a long time. It is an amalgamation of two different dance forms that are known to be very distinct from each other. Still, the two are combined in such a way that the strengths of each form have been kept intact,while the juxtaposition of the dance styles becomes the forte of the presentation.”

Phadke assures us that there would be an interesting play of visuals explored through Kathak and Bharatnatyam. “It would be quite interesting because we would intersperse duet and group choreographies alternately and both troupes would ultimately blend together,” he adds.

The season pass for both the days cost Rs300, Rs200 and Rs100 and they can be collected from Hotel Pathik, E-Square, Pune Club, Ishanya and ashwantrao Chavan Natyagruh.

SPICMACAY Heritage 2010 - Pune edition

SPIC MACAY and Indian Council of Cultural Relations (ICCR) are jointly holding the Heritage 2010 Series in Pune . This special series aims at showcasing the wealth of knowledge and mysticism contained in the rich cultural heritage of India for the student community at large, especially for foreign students who would be ambassadors of our culture.
The festival will comprise of daily performances and workshops by eminent artistes, aimed at a close interaction with students, in the areas of classical music, dance, yoga, heritage walks, talks, film appreciation, meditation, folk arts and crafts.
The two-week Heritage Series will start with an inaugural flute recital by Padma Vibhushan Pandit Hariprasad Chaurasia on the evening of January 15, 2010 and will conclude on January 30, 2010. The highlight of the series are two overnight concerts with performances by several maestros.
With over 40 concerts planned for the festival in 15 day duration, this event will be a deep insight into India’s rich cultural heritage for foreign students

The tentative schedule for Heritage 2010 is shown below. However, since some of the programs are still under finalization, please confirm the time and venue before attending the concert
Date Slot Institute Artistes Art Form
15th Jan 6.30 pm COEP (Auditorium) Hariprasad Chaurasia Flute

[All night event at COEP]
16th Jan 9.00pm - 6.00am COEP (Auditorium) Birju Maharaj & Saswati Sen Kathak
16th Jan COEP (Auditorium) Uday Bhawalkar Dhrupad - Vocal
16th Jan COEP (Auditorium) Nayan Ghosh Sitar
16th Jan COEP (Auditorium) Ashwini Bhide-Deshpande Hindustani Vocal
16th Jan COEP (Auditorium) Sarwar Hussain Sarangi
16th Jan COEP (Auditorium) Abdul Rashid Khan Hindustani Vocal

17th Jan 6.30 pm FTII, Law College Road Abdul Rashid Khan Hindustani Vocal
17th Jan 1.00 pm DPS, Ahmednagar Sarwar Hussain Sarangi
18th Jan 10.00 am DAV Public School Sarwar Hussain Sarangi
18th Jan 7.00 pm IISER, Pashan T N Krishnan Carnatic Violin
18th Jan 6.30 pm Tolani Maritime Institute Sarwar Hussain Sarangi
19th Jan 6.30 pm AFMC, Camp Yogini Gandhi Odissi
20th Jan 6.30 pm MITCON, Balewadi Rajendra Kulkarni Flute
20th Jan 7.00 pm IIBR, Chinchwad Shaunak Abhisheki Hindustani Vocal
21st Jan 6.30 pm MITID, Loni Kalbhor Sucheta Chapekar Bharatanatyam
22nd Jan 7.00 pm MITSOB, Paud Road T N Seshagopalan Carnatic Vocal
22nd Jan 7.00 pm Sinhagad College, Vadgaon Campus Olav Dale Jazz
22nd Jan 7.00 pm SIMS, Khadki Ileana Citaristi Odissi
23rd Jan 10.00 am NCL, Pashan Road Ileana Citaristi Odissi
23rd Jan 6.30 pm SCIT, Hingewadi Ileana Citaristi Odissi
23th Jan 6.30 pm Ness Wadia College of Commerce, Camp Olav Dale Jazz
24th Jan 10.00 am SIMC, Viman Nagar Ileana Citaristi Odissi
24th Jan 10.00 am DPS, Ahmednagar Olav Dale Jazz
24th Jan 6.30 pm VIT, Bibwewadi Olav Dale Jazz
25th Jan 9.00 am Sahyadri School, Rajgurunagar Ileana Citaristi Odissi
25th Jan 6.30 pm SOFT, Karve Nagar Sharvari Jamenis Kathak
26th Jan 6.30 pm Tolani Maritime Institute, Talegaon Sharvari Jamenis Kathak
27th Jan 10.00 am Sharadanagar,Baramati Jamil Khan Sufi - Folk
27th Jan 6.30 pm Symbiosis College, SB Road Darshana Jhaveri Manipuri
27th Jan Evening SIMC, Viman Nagar Jamil Khan Sufi - Folk
28th Jan 10.00 am Sharadanagar, Baramati Darshana Jhaveri Manipuri
28th Jan 6.00 pm Jnana Prabodhini Nigdi Darshana Jhaveri Manipuri
28th Jan Morning Janta School, Vishrantwadi Jamil Khan Sufi - Folk
28th Jan 7.00 pm IISER, Pashan Jamil Khan Sufi - Folk
29th Jan 9.00pm - 6.00am MIT, Kothrud Darshana Jhaveri Manipuri
29th Jan MIT, Kothrud Vishwamohan Bhatt Mohanveena
29th Jan MIT, Kothrud Venkatesh Kumar Hindustani Vocal
29th Jan MIT, Kothrud Bahauddin Dagar Dhrupad - Rudraveena
29th Jan MIT, Kothrud Padma Talwalkar Hindustani Vocal
30th Jan 10.00 am Global School, Pimpri Vishwamohan Bhatt Mohanveena
30th Jan 6.30 pm VIT, Bibwewadi Vishwamohan Bhatt Mohanveena

For further details, please see the schedule on SPICMACAY's site at http://spicmacay.com/events/tentative-schedule-heritage-2010

CONCERT: Pt. Uday Bhawalkar

Dharohar - Dhrupad concert

Pt. Uday Bhawalkar

Tabla: Sukwindarsing Namdhari

24th Jan, 2010 , 6 PM

Venue: Garware college, Karve Road, Pune

About the artist: Highly praised by music critics, the singer Uday Bhawalkar counts in present-day India as one of the younger generation´s leading exponents of dhrupad, one of the oldest forms of classical song still current in the north of India. Bhawalkar, born in 1966 in Madhya Pradesh, was taught classical Indian music from the age of eight, and a grant from the Ustad Allauddin Khan Sangeet Academy enabled him to be taught dhrupad singing by Ustad Zia Fariduddin Dagar from 1981 on. He then spent years in being taught by Ustad Zia Mohinuddin Dagar the veena - a lute esteemed for being perhaps the oldest and most difficult Indian instrument. Uday Bhawalkar has received many honours and prizes, including the prestigious Young Musicians´ Award of the Indian ministry of culture, and has been heard outside India since the mid-80s. He has appeared for instance at the Sangeet Parampara Festival in Berlin , the World Music Festival in Switzerland, the Raga Mala in Seattle in the USA and in the Queen Elizabeth Hall in London. Bhawalkar counts as being an outstanding dhrupad singer who not only maintains the old form´s elegance and refinement but, owing to his musical curiosity and wide range of interests, is able to add to it.

Sukhvinder Singh Naamdhari is one of the best tabla players from the Benaras Gharana and suitably emulates his Guru's style. He received his initial training in saath from Ustad Nihal Singh Ji, and went to Varanasi (Banaras) where for several years he received intensive training and guidance from none other than the legendary Pt. Kishen Maharaj, the best known and internationally acclaimed exponent of the Benaras Gharana of tabla playing. Sukhvinder is a shining star in the world of tabla accompaniment and tabla solo playing. He had performed with most of the leading artistes, such as Pt. Ravi Shankar, Ustad Vilayat Khan, Ustad Amjad Ali Khan, Ustad Shahid Parvez (Sitar), Pt. Hariprasad Chaurasia, Pt. Rajan & Pt. Sajan Misra, Pt. Jasraj to name a few.

Pandit Dinkar Kaikini passed away

Leading singer, composer and Guru of Agra-Bhatkhande tradition Pt. Dinkar kaikini fondly known as “Dinarang” passed away this morning at around 10. 15 a.m. on Saturday. He was 82.

Dinkar Kaikini was born in 1927 at Kaikini, a village in South Karnataka. At the tender age of seven, Dinkar attended a concert that was to change his life forever. In one evening, he had the rare opportunity of hearing three greats of a Golden Age in Hindustani Sangeet: Ustad Alladiya Khan, Ustad Faiyaz Khan and Ustad Abdul Karim Khan. Upon hearing Ustad Faiyaz Khan, the young boy knew that he must devote his life to this art form and to the particular style of Faiyaz Khan Saheb himself. And thus began a lifelong journey dedicated to the mastery, propagation and furthering of Hindustani Raagsangeet.

His first guru was Pandit Karekatte Nagesh Rao, a veteran exponent of the Patiala Gharana. He then trained under Pandit Omkarnath Thakur of the Gwalior Gharana for a couple of years. He was about eleven years old when he joined Marris College, Lucknow, where he received the heart of his taalim from his Guruji, Pandit S.N. Ratanjankar, disciple of Pandit Vishnu Narayan Bhatkhande and Ustad Faiyaz Khan. Along with other shishyas, like S.C.R. Bhatt, Chidanand Nagarkar and K G Ginde, Kaikini spent his formative years receiving the rigorous training that helped him develop a keen sense of aesthetics as well as a passion for teaching and imparting knowledge. As a grand finale to this, he received the prestigious Bhatkhande Gold Medal for Khayal singing in 1943, following his performance in the final Bachelor of Music examination.

Kaikini was able to realize the grandeur and magnitude of the traditional music of North India. Endowed with the rich voice, Shri Kaikini has the versatility to shape anything from Dhrupad, Dhamar and Khayal to Tappa, Tumari bhajan into marvels in sculptured music. He has also to his credit many self composed ragas like 'Guna-Rnajani', 'Bhoopavali', 'Gagan Vihag' and 'Khem Dhawani'. He has written 150 compositions and set to traditional and self composed ragas

Dinkar Kaikini`s career as a musician is a testament to his limitless creativity: it exhibits a profound versatility and commitment to the art. He has devoted his life to performing, composing and teaching. His performing career started in 1946 and has flourished since. He has toured internationally, including the US, UK, Canada, Singapore, Malaysia and Europe. He has served as an ambassador for Hindustani music, not only as a performing musician, but also as an educator. In 1974, he was selected by the Government of India to represent the Hindustani classical music tradition in the Soviet Union, Yugoslavia, and East Germany, where he gave performances and lecture demonstrations at Universities and cultural centers. He gave a second similar tour in the US, performing extensively in the academic communities.

He has also held prominent positions in the music field. He spent long years with All India Radio, starting in 1954, first as composer and then Producer. He was also Assistant Director for the Directorate, Ministry of Information and Broadcasting. This was followed by a long tenure as Principal at Bharatiya Vidya Bhavan`s Music and Dance School, Mumbai. As Principal, Kaikini furthered his long-standing belief in promoting music through education and awareness.

Throughout his life, Kaikini has been a prolific composer, having composed hundreds of compositions in styles like khayal, dhrupad, dhamar, thumri and bhajan, as well as several new ragas. His compositions have also been pioneering: he has composed for large choruses and set music for films and the ballet production, `Discovery of India` with Pandit Ravi Shankar.

In recognition of his tremendous contribution to music, the honours that have come his way have been numerous. These include the Sangeet Natak Akademi Award, the Tansen Award, Sangeet Ratna (Swar Sadhana Samitee, Mumbai), Sharangdev Award (Sur Singar Samsad) and the ITC Award, to name just a few.

He left behind him, his daughter and disciple Smt. Aditi Kaikini Upadhya, A renowned exponent of Hindustani Sangeet and the son Pandit Yogesh Shamsi, a renowned tabla player.

May his sould rest in peace

CONCERT: Gundeja bandhu

स्व. पंडित राजाभाऊ देव यांचा द्वितीय स्मृतिदिना निमित्त आयोजित मैफल : "देव गांधार"

1. गायन शिवानी मारुलकर

2. धृपद गायन: पं रमाकांत आणि उमाकांत गुंदेजा बंधू

साथ: श्री विश्वनाथ शिरोडकर, श्री. राहुल गोळे, श्री माणिक मुंडे

शनिवार २३ जानेवारी सायं. ५:३०

स्थळ: एस. एम. जोशी सभागृह, गांजवे चौक, नवी पेठ, पुणे

सर्वाना सस्नेह निमंत्रण. प्रवेश विनामूल्य.

पं. विश्वनाथ कान्हेरे यांचा संवादिनी कारकीर्दीचा सुवर्ण महोत्सवा निमित्त विशेष कार्यक्रम

हार्मोनी म्युझिक कंपनी आयोजित पं. विश्वनाथ कान्हेरे यांचा संवादिनी कारकीर्दीचा सुवर्ण महोत्सवा निमित्त

शनिवार २३ जानेवारी सायंकाळी ५ वाजता

- श्री. विश्वनाथ कान्हेरे यांचाशी गप्पा

- गायन: अपर्णा केळकर ( साथ: तबला: मंगेश मुळे, संवादिनी: केवल कावळे)

रविवार २४ जानेवारी सकाळी ९ वाजता

- संवादिनी या विषयावर मान्यवर वादकांचा विशेष कार्यक्रम

सहभागी कलाकार: पं. अनंत केमकर, पं. प्रमोद मराठे, पं. रवींद्र कातोटी, पं. सुधांशू कुलकर्णी

पं. सुधीर नायक, पं. राजेंद्र वैशंपायन , पं. प्रकाश चिटणीस आणि पं. विश्वनाथ कान्हेरे

रविवार २४ जानेवारी सायंकाळी ६ वाजता

- एकल संवादिनी वादन: पं. विश्वनाथ कान्हेरे (साथ: मंगेश मुळे)

स्थळ: गांधर्व महाविद्यालय

CONCERT: Smt. Jayashri Patanekar

Venue: Sarasbaug Ganesh Mandir, Pune

Date and time: 7:30 PM to 9:PM, 18 Jan 2010

About the artist:

A great vocalist, Smt. Jayashree Patanekar combines a variety of elements from the Gwalior, Jaipur and Agra traditions and presents them in a unique and aesthetically pleasing manner.

She began her training at the age of eight or nine with Vithal Pai of Sawantwadi and then continued it with Mr. K.D.Jaokar for about 5 years. Later she received training with Ratnakar Pai and Nivrutibua Sarnaik. In 1964, she received the first prize in vocal music in a nation wide competition held by All India Radio.

Pt. Gajananbua Joshi, the violin maestro and eminent vocalist of the Gwalior Ghrana listened to her singing and agreed to teach her. Without asking her to chnage her voice culture, he trained her for seven or eight years concentrating on every aspect of singing-use of voice-culture, increasing the power of breath, clarity in Taans, puroity of notes control of rhythm, exposition of the Raag structure in a planned and beautiful manner and so on. Through him, she picked up the nuances of styles of Bhurji Khan, Vilayat Hussein Khan, Vazebua etc. Her gayaki combines elements of gwalior, jaipur as well as some of the Kirana elements also due to her training from the gurus of that gharana.

CONCERT: Ustad Zakir Hussain ( Tabla Solo)

Tabla solo concert by Ustad Zakir Hussain

Sarangi: Sabir Khan

Venue: Garware college ground, karve road.

Time and date: Jan 15th at 6:30pm

Ticket: Rs 1000, 500 and 300. Available at Vimalatai Garware Prashala, Grahak Peth, Balgandharva, Yashwantrao Chawan, Dass electicals (aundh).

Zakir Hussain is today appreciated both in the field of percussion and in the music world at large as an international phenomenon. A classical tabla virtuoso of the highest order, his consistently brilliant and exciting performances have not only established him as a national treasure in his own country, India, but gained him worldwide fame. His playing is marked by uncanny intuition and masterful improvisational dexterity, founded in formidable knowledge and study The favorite accompanist for many of India's greatest classical musicians and dancers, he has not let his genius rest there.

Sawai Gandharva Music Festival 2009

57th Sawai Gandharva Mahotsav Schedule:

7th Jan 2010

Pramod Gaikwad

Coming from a third generation musician, Pramod Gaikwad is the grandson of renowned Shehnai Samrat Pt. Shankarraoji Gaikwad and son of Surmani Pt. Prabhashankar Gaikwad, he learnt Shehnai/Sundri from them from the early age of seven years. In his quest for excellence, Pramod is currently receiving pure "Banarasi Style Shehnai Vadan" guidance from his Guru and father in law Pt.Anant Lal ji and Pt. Dayashankar,who are Shehnai Maestros.

Nagnath Wodeyar

Pt. Nagnath Wodeyar is a well known Hindustani vocalist of Karnataka. This gem of a musician was born at Bakapur, (Dharwad District)in 1944. He was fascinated by music right from his childhood. He began his intial riyaz under the careful guidance of Lae Shri V.H. Inamdar in the year 1955-56. He passed the Sangeet Visharada Cousre at Gandharva Maha Vidyalaya with distinction. He has completed Karnatak Government's VIDVAT examination in First Class. After many years of rigorous training under his primary guruji, he was fortunate enough to get introduced by his uncle Late Shri Raghvendra Chavate a distinguished sculptor to Padmavibhushan Dr. Gangubai Hangal, the doyen of Kirana Gharana , to honing himself to the perfection under the inimitable. After another 15 years of tireless Riyaz from Dr. Gangubai Hangal his unmatchable performances began broadcasting from All India Radio from 1974. He has given Chain Booking programs in the States of Maharashtra and Goa namely, in the cities of Pune, Aurangabad, Nagpur and Panaji and also splendid performances across the country, prominent among them are Mumbai, Hyderabad, Madras, Bangalore, etc .

Devaki Pandit

Shrimati Devaki Pandit is a maharashtrian performer of classical, semi-classical, light and devotional music India. She received her initial music training from her mother Smt. Usha Pandit. She then trained under Vasantrao Kulkarni, Kishori Amonkar, Jitendra Abhisheki. Devakitai is currently receiving instruction from Babanrao Haldankar. In light music, she counts poet-composer Sudhir Moghe among her gurus. She started performing at the age of nine and did her first recording at the age of twelve, but came into the limelight when she was given a break by Hridaynath Mangeshkar in a programme on doordarshan. A highly talented singer, she has not only given performances in India, but has undertaken concert tours all over the world at the invitation of prestigious institutions. She has also sung for various films, with renowned music directors. However, her focus remains on Hindustani classical music. She has been also being honored as one of the judges in the very famous Marathi Programme called Idea SaReGaMaPa on Zee Marathi, along with Avadhut Gupte

Tarun Bhattacharya

For Maestro Pt Tarun Bhattacharya Indian classical music was running deep in his genes as he inherited it from his father Late Pt. Robi Bhattacharya, who is not only Pt. Tarun Bhattacharya's first Guru but also has been a Guru to hundreds of students, having set up a Music Institution, one of the first in West Bengal. Pt. Tarun's late mother and two sisters, all are sitar players.Maestro Pt Tarun Bhattacharya was initiated into music at the tender ago of four by his father and later he was under the talim of Pt. Dulal Roy.

Maestro Pt Tarun Bhattacharya ultimate evolution as a musician happened when his talents were honed and nurtured by none other than the legendary music wizard Bharat Ratna Pt. Ravi Shankar, under whose tutelage (since 1982) Pt Tarun's 'baaj1 (style of play) as in the Maihar Gharana attained perfection, poise and style and his technique reached its zenith.

Pt Jasraj

Jasrajji was born in Hissar, Haryana to Pandit Motiramji, a classical exponent. His family is well known for singing in the Mewati Gharana style. Jasraj was initiated into vocal music by his father. He also received training from his elder brother, Pandit Maniramji, and later from Maharaja Jaywant Singhji Waghela. He was also greatly influenced by the voice of the famous ghazal singer, Begum Akhtar, whom he used to listen to, skipping school, at a small hotel playing her songs all day. Jasrajji is blessed with a rich, soul stirring and sonorous voice, traversing effortlessly across three and a half octaves. His vocalizing is in perfect diction and clarity. He also did extensive research in Haveli Sangeet.His greatest contribution to Indian classical music is his conception of a unique and novel jugalbandi, styled on the ancient system of moorchanas, between a male and a female vocalist, each singing in their respective scales and different ragas at the same time.

8th Jan, 2010

Rajendra Kandalgaonkar

Born in 1959. Mr. Rajendra Kandalgaonkar is a well-known Vocalist of Indian classical Music. Most renowned gurus have trained Rajendra. At the young age of seven, he began his basic training in Vocal Music from Pandit Vishnu A. Ghag of Gwalior Gharana from 1967 to 1984. Since 1980, he has the good fortune of being trained by Pandit Bhimsen Joshi of Kirana Gharana. Mr. Rajendra has topped the "Sangeet Alankar" in 1978 - 79 in the Akhil Bhartiya Gandharva Mahavidyalaya Mandal, Miraj.

Mr. Rajendra is an A Grade Artist of A.I.R. Since 1997. He has performed Various A.I.R. Stations in all over India. Mr. Rajendra has also performed on Mumbai Doordarshan.

Pt. Hariprasad Chaurasia

Pandit Hariprasad Chaurasia, the internationally renowned exponent of the bansuri or bamboo flute, surprisingly does not come from a long lineage of flautists. His father was a famous wrestler who had aspirations of his son following in his footsteps.

The younger Chaurasia had an early love of music, however, and by the age of 15 was taking his first steps toward a lifetime as a performer by studying classical vocal with Pandit Raja Ram of Benares. Soon after, he heard a flute recital by Pandit Bholanath and was so impressed he changed his focus to studying the flute. When he was just 19, he got a job playing for All India Radio, Cuttack, Orissa, and within five years he was transferred to their headquarters in Bombay. There he got the additional exposure of performing in one of India's cultural centers and also studied with Shrimati Annapurna Devi, daughter of Ustaad Allauddin Khan of the Maihar School of Music.

Shrinivas Joshi

Blessed with being born in a home where music was breathe, Shrinivas Joshi took to music naturally. Son of Hindustani classical music maestro Pandit Bhimsen Joshi. Shrinivas drew inspiration from his parents. After completing B.Tech from IIT, Delhi his decision to make music a career was conscious one. Shrinivas started serious pursuit of music in a traditional Gurukul System under his father and mother late. Smt. Vatsalabai Joshi.

He is a highly original vocalist with the most authentic voice. In addition to his mastery over pure classical Khyal music, he also renders semi-classical Thumri, devotional compositions and other forms. Shriniva's devotion, sensitivity and integrity are clearly reflected in his music, translating it into a complete and enriching experience.

Smt. Malini Rajurkar

Smt Malini Rajurkar is one of the most well known vocalists of her generation.

Malini Rajurkar was born in 1941. She grew up in Rajasthan, finishing her Sangeet Nipun from Ajmer Music College. She studied music under the guidance of Govindrao Rajurkar and Vasantrao Rajurkar. She was influenced by musicologist K.G.Ginde, Jitendra Abhisheki and Kumar Gandharva. Thus, she is not a pure Gwalior gharana follower.

Her concert career started in 1964. Ever since then, she has been a regular on the Indian concert circuit. She also had successful tours of the US (1980) and UK (1984). Since 1970s she has settled down in Hyderabad. Malini Rajurkar sings khayal in the slow tempo, like in Kirana gharana. She is the acknowledged master of Tappa, a composition with fast phrases.

Malini Rajurkar has received several awards, including the prestigious Sangeet Natak Academy awards in 2001.

9th Jan, 2010

Chandrashekhar Waze

Qualifications: Masters of Fine Arts(Music-Vocal) from the University of Mumbai.

Chandrashekhar hails from a family that literally breathes music and art. His maternal grandfather Late Shri Mama Pendse was a revered and highly respected Gurutulya Marathi Stage Artiste. His father Pt. Raghunath Vaze is a gifted Vocalist and a composer,was the first to sow the seeds of swara and laya while nurturing the musical talent so evident in the young Chandrashekhar. Initially it was Tabla that capture his attention and it was not long before his restless fingers started making rhythmic sense. An arduous grooming under Pt. B.D.Tambe and the Tabla Maestro Pt. Sadashiv Pawar soon bore fruit as young Chandrashekhar began making a mark as an accompanist as well as a soloist.

Shrikant Deshpande

Shrikant Deashpande is the grandson of Late Sawai Gandharva ,who was an exponent of the Kirana Gharana and Guru of Pt Bhimsen Joshi. Shrikant was initiated into the intricacies of music by his father, Late Dr. Vasant Deshpande, also a disciple of Sawai Gandharva. Later he was under the tutelage of Mrs Sarswati Rane, Pt Bhimsen Joshi and Pt Feroze Dastur. Gifted with a mellifluous voice marked by depth and range, Shrikant has developed a distinct style of his own. He has performed at a number of prestigious concerts in India as well as in Canada, US, UK and the Far East. Shrikant organizes music festivals in different cities to promote young and talented artists. He is also associated with a number of prestigious organizations including the Sawai Gandharva Sangeet Mahotsav, in the capacity of an advisor.

Biswajit Roy Chowdhury

Notable among today's matured generation of serious exponents of Hindusthani classical music Biswajit Roy Chowdhury stands out not only for his singular commitment to music, but also for his conscious combination of the best of his varied training and thought.. Biswajit Roy Chowdhury showcases this integration of aesthetics when he plays as varied items as a auchaar and gat in Darbari or Shyamkalyan, a khayal in Bihagda or Shahana, a bandish ki thumri in Khamaj or a tappa in Adana-bahar, on his Sarod. His aesthetics traverses the traditional trajectory of alaap-jod-gat-jhala, or it takes the form of a vilambit and drut khayal played to the accompaniment of a majestic theka on the tabla. All these are equally informed by an acute sense of rag-swara and bhava and the contours of the bandish to be elaborated within the intricate syntax of the taal. The final effect: the listener gets to hear the results of an intricate thought process, executed through superb technical mastery but above all aimed at sharing with the audience the sheer joy of music making.

Sanhita Nandi

Sanhita Nandi is an exponent of Hindustani Classical Vocal, Kirana Gharana in the Khayal and Thumri genres. After initial training, Sanhita was later groomed by Late Pandit A. Kanan, the senior most Gurus of the ITC Sangeet Research Academy, Kolkata. She got added exposure under Pandit Vinayak Torvi in Kirana and Gwalior traditions. This opened up the large canvas of vilambit to fast tempo tarana gayaki(style) that has been developed over the last 150 years in India by various gharana maestros. After years of practice, and greatly influenced by Gharana maestro's, she has assimilated the distinctive features of the Kirana Gharana. The central motif of her gayaki is Kirana: the slow tempo of raga development (voice culture, voice throw, and tonal application), ornamented sargams and exposition of "chota Khayal and tarana" with inimitable "taan" patterns. With practice, she has excelled in the exposition and elaboration of ragas with all the variations, modulations and split-second precision. An unmistakable feature of her presentation is blending of the two major wings of Kirana gayaki and bring out ragas in imaginative trajectories of "sur-laya-phirat." She has won several awards in state and national-level competitions including the prestigious Dover Lane Young Talent search contest in Kolkata, and performed regularly on All India Radio as a graded A.I.R. artist.She performs frequently in India and the U.S. At universities, chamber music series, music festivals and concerts. She also holds a degree in Music and a Masters degree in World History .

Pt. Ulhas Kashakar

In an age when maestros of the older generation express fear of the decadence of Indian musical traditions, Ulhas Kashalkar's voice and music stands like the Colossus, as it were, an eternal reminder of the strength of this great art.

Ulhas Kashalkar was born in a family of musicians. His father, Shri N.D.Kashalkar, a musician in his own right, initiated him into vocal music. In time, he was accepted as a disciple by such great masters of the art as Pandit Ram Marathe and Pandit Gajananbua Joshi. Thus he received training of the highest order in three distinct prominent gharanas- Gwalior, Agra and Jaipur.

With a blessed voice and the gifted ability to blend the three gayakees with authenticity and aesthetic excellence, he soon emerged to be one of the most formidable vocalists of the country. While his music remains well within the confines of tradition, the listener revels in an experience of listening to a seemingly new gayakee

10th Jan, 2010, Morning Session

Pt. Raja Kale

Endowed with a rich heritage of music. Pt. Rajaram aka Raja Kale has developed it further to a class of his own. Initiated by is father Prabhakarrao Kale, he was under the able tutelage of the legendary Pt. Jitendra Abhisheki, a veteran vocalist and a great composer of classical and semi-classical forms. He also received valuable guidance from Pt. C. P. Rele and Pt. Balasaheb Poonchwle of Gwalior Gharana.

Pt. Raja Kale is known as a senior disciple of the versatile Pt. Jitendra Abhishekhi whose complex individulized style arose from a blend of various aspects of the Agra, Jaiupur and Gwalior traditions apart from the obvious influence of his own Guru Pt. Raja Kale has made a studiously analytical and interpretive study of older and contemporary Hindustani composers like Great Ptl S. N. Ratanjankar “Sujaan” Pt. C. R. Vyas and others, all of whose compositions he renders in a manner true to his own imagination and personality while remaining faithful to their original content.

Ustad Shahid Parvez

Ustad Shahid Parvez Khan is one of the finest sitar players alive today. His dazzling virtuosity and innovative genius have earned him a legacy as a giant of the sitar. Ustad Shahid Parvez Khan learned his craft from his father, Ustad Aziz Khan, and enjoys an impeccable pedigree. He is a seventh generation heir to the sitar's first family, the Etawah Gharana. Ustadji's global reputation as an awe inspiring performer is complemented by another rare gift - his ability to spread his music as a dedicated and loving guru. Ustad Shahid Parvez Khan sums up his mastery of this most intricate art form with a profoundly simple philosophy: "Music is my life"

Ustad Shahid Parvez Khan (b. 14 October, 1955) is a Sitar player of Hindustani Classical Music. He carries on a legacy of sitar playing that goes back seven generations in his family. He is one of India’s more celebrated younger musicians, prized especially for the vocalistic phrasing of his raga improvisations.

Smt. Girija Devi

A star, Smt Girija Devi was born on 8th May 1929 in Varanasi. From her childhood she was devoted to music. At the age of Five she started learning music from Late Pt. Sarju Prasad Misra and from Late Sri Chan Misra. She learnt both Shastriya and Upshastriya Sangeet. Two melodies traditiojnal gayaki ang, Saniya Gharana and Benaras Gharana can be found in her gayaki. In Shatriya sangeet, she sings Dhrupad, Kheyal, Tappa, Tarana, Sadara, Thumri and many others. She did specify research in Thumri. In this she pays similar attention to literature and music. In traditional folk music, holi, chaiti, jhula, dadra, kajri, bhajan,etc. makes her music unique and attractive.

In 1949 she sang for All India Radio, Allahbad for the first time. And from 1951, she started giving vocals recitals in many sangeet sammelans.

10th Jan, 2010, Evening Session

Raja Miyan

Ghulam Husnain Khan, popularly known as Raja Miyan was born in an illustrious family of tradition musicians of the Agra Gharana, which has given India such doyens as Aftab-e-Mausiqui Ustad Faiyaz Khan, Ustad Vilayat Hussain Khan, Ustad Khadim Hussain Khanand many others. Son of Late Ustad Anwar Hussain Khan, another famous ustad of the gharana who was well known for his skillful rendering of rare ragas, Raja Miyan inherited a remarkable understanding of music. After the untimely demise of his father, Raja Miyan started his formal training with his uncle, Padmabhushan Ustad Khadim Hussain Khan, a deeply respected guru of the Agra Gharana who was well known for his phenomenal knowledge and erudition. Raja Miyan was intensely groomed by Ustad Khadim Hussain Khan Saheb for over a decade till his demise. Raja Miyan is also fortunate to receive taalim from another great guru of his gharana, Ustad yunus Hussain Khan, the Khalifa of Agra Gharana.

Pt. Ram Narayan & Harsh Narayan

Ram Narayan's name is synonymous with that of the sarangi. Its practitioners found an easy way out simply exchanged it for vocal chords and even become extremely successful vocalists some of whom are Ustad Bade Ghulam Ali, Ustad Amir Khan, etc. In the hierarchy of instruments it remained at the bottom because of the secondary role it played in a vocal presentation. This situation did nothing to attract enterprising players they were generally content with their lot, did not expect to do any better and made no effort to study and improve their art.

Ram Narayan began his professional career in Lahore in 1944 and continued in Delhi and Bombay emerging as the most sought after accompanist. Throughout this period, he was learning, researching and experimenting with his instrument. His efforts received encouragement and praise from singers like Pandit Omkarnath Thakur, Pandit Krishna Rao Shankar Pandit and many others. His command over the technique of playing the sarangi reached a point when he felt his role as an accompanist was too constructive as he had far too much to offer in music than his role allowed. He then launched a solitary one man effort to enhance the status of the sarangi on the concert platform. As any pioneering enterprise, the initial response is always disheartening.

Pt. Satysheel Deshpande

Born in Bombay, India in 1951, Satyasheelji possessed from the beginning the capacity to reproduce the music of the great masters. The great masters of the time frequented his house to confer with his father, the eminent musicologist Pandit Vamanrao Deshpande. Satyasheelji thus grew up surrounded by stalwarts like Pandit Bhimsen Joshi, Padmabhushan Mogubai Kurdikar, Pandit Vasantrao Deshpande and most importantly Pandit Kumar Gandharva , who was later to become his chief guru and mentor. His boyhood days were spent listening to and absorbing the music of his father, Kumarji and the many other stalwarts to whom Vamanraoji was a constant source of encouragement, appreciation and intellectual stimulus.

Satyasheelji performed at the India International Center in New Delhi in 1989, where he presented a captivating demonstration of a raga as approached by different gharanas. He demonstrated each approach to the same raga complete with that gharana 's particular aesthetic, it's treatment of rhythm and structure, with every particular quirk and eccentricity of pronunciation, attitude and even voice-culture unique to eachgharana . A programme officer of the Ford Foundation, USA who happened to be present in the audience was so enthralled by this scholarly performance that he offered Satyasheelji a grant under the Ford Foundation's 'Preservation and Education' programme. The Idea was to document and archive the rare and dying traditions of North Indian Classical Vocal Music.

Dr. Mallika Sarabhai

Mallika Sarabhai is a Gujarat-based activist, development worker, social entrepreneur and performer working to bring forth ideas, issues and concerns to affect change. A multifaceted individual, she celebrates positive reaffirmation of images of womanhood. She has used every medium-dance, theatre, television, film, writing and publishing-for her work, winning recognition in India and abroad.

Mallika was educated as an economist and a business manager from the prestigious Indian Institute of Management in Ahmedabad and obtained a PhD from the Gujarat University for her thesis in the area of Organizational Behaviour. She is known as one of India's best-known Bharata Natyam and Kuchipudi dancers who has taken her work and that of her company Darpana to over ninety countries of the world.

Smt . Prabha Atre

An eminent personality in the field of music, Dr. Prabha Atre has earned for herself a place of distinction as a brilliant thinker, performer, composer and teacher of music. She is one of the senior most front ranking female vocalists in the country representing the Kirana Gharana, today.

A Science and Law graduate, she also holds a Doctorate in music. A former Assistant Producer with the All India Radio, former Professor and Head of the Department of Music, SNDT Women's University, Mumbai, and former Producer Director of the recording company "Swarashree", displayed constant innovation and creative endeavour which has distinguished her from other vocalists, both in classical and light classical idioms.

Dr. Atre is an acclaimed Guru both in performance and research. Quite a few of her students are already well known stage and mass media performers. Dr. Atre has also been teaching at foreign universities as a visiting professor. Her public concerts, radio and TV programmes and lecture - demonstrations in India and abroad to audiences of varying tastes have always been highly appreciated. She was honoured with the National Award 'Padmashree' in 1990 and the 'SANGEET NATAK ACADEMY' Award in 1991 as the Indian Government's appreciation for her outstanding role in enriching, preserving and popularising the Indian art music