‘Live In Concert’
A performance, be it live or a studio recording is an experience every artiste cherishes. In a studio recording, the artiste’s limitless caliber might tend to get constricted by space and time constraints. However, a live concert works on slightly different parameters. The acoustics and ambience of the performance venue are critical factors and help set the artiste’s mood initially. But the quality of the audience is what matters most. An appreciative audience can enhance the performance level. After all, when someone chooses a career as a performing artiste, the most motivating factor is appreciation. And when that is forthcoming, all else including economics, takes a back seat. The chemistry between the main artistes and their accompanists also gets a boost in the presence of a live audience. Besides, even the accompanists are encouraged to show off their musical prowess and draw personal appreciation.
When a simple ‘Wah’ converts to an ‘Aha an artiste’s ‘Sadhana’ towards the pursuit of the art form is justified. This further inspires the artistes to surpass their own levels. A few such precious moments of creativity have been captured by Saregama and are presented in this series ‘Live In Concert.
Pt. Hariprasad Chaurasia
Pt. 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 1ndia cultural centers and also studied with Shrimati Annapurna Devi, daughter of Ustaad Allauddin Khan of the Maihar School of Music.
In 1984 he earned the National Award of the Sangeet Natak Academy. In 1992, he was awarded the Padma Bhushan and the Konarak Samman and in 1994, he was bestowed the Yash Bharati Sanman. He’s also been bestowed with the Padma Vibhushan. He has collaborated with several western musicians, including John McLaughlin and Jan Gabarek, and has also composed music for a number of Indian films. He has performed throughout the world winning acclaim from varied audiences and fellow musicians including Yehudi Menuhin and Jean Pierre Rampal.
Taking inspiration from the west, Pt Chaurasia was the first artist to develop the
Staccato style and adapt the same to Indian Classical Music’s Jod & Jhala. Pandit Hariprasad Chaurasia’s unique playing style with his innovative fingering and blowing techniques has taken the bansuri to newer levels.
Pt. Hari Prasad Chaurasia’s dream of having a school based on the ancient Guru Shishya Parampara came alive in the last decade of the last century. Shri Rajeev Gandhi the then Prime Minister of India ensured a plot of land be made available to Panditji to pursue his dream. Once the land was allotted the search began for a patron to help put up the physical structure. Mr. Ratan Tata stepped in and today. Vrindaban Gurukul one of Mumbai’s landmark buildings stands testimony to the belief Panditji had in the power of his dreams!.
1. Raga – Miyan Ki Malhar (2000)
2. Raga – Vachaspati (2000)
Accompanists: Pakhawaj: Pt. Bhawani ShankarTabla – Vijay GhateFlute: Rakesh ChaurasiaTabnpura – Geetha Balsara & Mungi ko Furukawa
1. Raga – Jait Bibhas Ang (1982)
2. Raga – Jait Bibhas Ang (1982)
3. Raga – Basant Mukhari (1982)
4. Raga – Bhairavin (1982)
Accompanist: Tabla: Ustad Allrakha
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