Posts Tagged ‘Sitar’

MisraBani TantriCharya–Varanasi

04.26.13

Dr Lalmani Misra 

The first MisraBani TantriCharya is proposed to be organized at Varanasi in October 2013 with collaboration of  cultural organization(s) at local/ national level. Benares Hindu University has kindly offered its facilities for organizing Tantricharya. The event shall be held at Academic Staff College from 12 to 18 and at Faculty of Music and Performing Arts no 19th and 20th October 2013.

 

Dr. Lalmani Misra

Dr. Lalmani Misra, well known as a Vichitra Veena player, had an extraordinary ability for creating music. Spontaneity and perfection defined his music. The following remarkable quotes by prominent artists and members of the musico-academic community would give a brief notion of Dr. Misra’s exemplary creative strength before we proceed to analyze his genius:

"Prof. Misra was the Music Director of Udaya Shankar’s troupe and job amply speaks of his eminence as musician. He contributed some of lively tunes and melodious notes to music performances given in foreign countries which kept the audience spell bound. He gave his performance in almost 150 big towns of America and Europe and was hailed by one and all as a talented artist of the age. Prof. Misra can play on eight instruments with a master’s hand." [News Paper item (Telegraph May 6, 1952) excerpt]

Dr. Misra’s contribution to the music world is that he has written hundreds of compositions for sitar in more than 150 common and uncommon Ragas. Moved by a desire to perfect a system in instrumental music that would be as complete as the vocal tradition, he created a new Gat style, which gradually has come to be known as ‘Misrabani’. It was also referred to as ‘Koot Ki Gat’ owing to the complexity of the Gat. They were so labeled, recalling instances of using such complex rhythmic patterns by earlier musicians in flourishes hailed by the aficionados as Koot ki Taan.

 

MisraBani

DawnVeenThe Misrabani compositions he created are serious compositions in stylistic sense. They clarify that selection of Raga-s influences the minds of musicians.

Under this style he created a new Gatkari in Vilambit Jhoomara Tal, Vilambit Jhap Tal and Madhya-laya Ada Char Tal. In this new style Dr. Misra introduced Mizrab Bol DA RDA -R DA. Especially, in vilambit pace Da Rda -R Da shows a very different dimension of manifestation.

The oblique movement and complexity of a Raga is considered one of the main reasons for its unpopularity. There are many Raga-s that are extremely melodious and fulfill all the desired norms of Indian classical music (proper consonances with lower and upper tetra-chords) but owing to their complex nature they are rarely played by the instrumentalists. Most of such demanding Raga-s like Basant Bahar, Gandhari, Malhua Kedar, Anand Bhairav, Multani, Kaushik Kanhada, Malgunji, Bageshri Kanhada, Sindoora, Neelambari etc. were played by Dr. Misra.

Workshops have been engaged by Dr. Ragini Trivedi around the country to train Sitarists in this advanced and cerebral style of playing. One may view few excerpts on Youtube channel of Omenadnet.

 

Programme

MisraBani TantriCharya is aimed at young instrumentalists who have received professional training for 5 years or more.

Learners in the group (10 to 15) would be trained by two Misrabani Sitarists under supervision of Dr. Ragini Trivedi, daughter of Sangeetendu Pt. Lalmani Misra, creator of Misrabani string style. Senior-most disciple of Dr. Misra, Dr. Pushpa Basu would give expert guidance.

MisraBani TantriCharya would be hands-on intensive workshop of two four- hour sessions each day for 7 days.

  • Learners would be provided detailed syllabus with Mizrab Bol-s, Alankar-s and Compositions in play-as-you-read digital notation system, Ome Swarlipi.
  • Learners would make their own arrangements for lodging & boarding.
  • Learners would bring their own instruments: Sitar/ Sarod/ Veena/ Santoor.

 

Registration

Interested learner may send in their application forms through email and hard copy.

Email should be sent to ich@madhukali.org with subject; MisraBani TantriCharya attaching filled in application form by 15th August 2013 and scanned image of Demand Draft. The hard copy should be sent to Astha, B-31, Aakriti Garden, Nehru Nagar, Bhopal – 462003 (M.P.) India so as to reach before 31st August 2013.

Registration Fee:

Till 30th June 2013 Rs. 3,000.

Till 31st July 2013 Rs. 4,000.

Till 31st August 2013 Rs. 5,000.

Till 30th September 2013 Rs. 9,000 provided seats are available.

Discount for Students* Rs. 1,000.

 

Sponsorships

A limited number of Sponsorships by disciples of Sangeetendu Pt. Lalmani Misra have been reserved for exceptional learners between 21 to 28 years pursuing regular course in music in college/ UTD, subject to their selection by Madhukali.

Those desirous of Sponsorship should submit a detailed note of recommendation from a teacher of repute. The note should detail particulars of Raga, Tal the candidate can perform flawlessly. Application form & detailed note with Demand Draft of Rupees 1000 only payable to Madhukali at Bhopal should reach Astha, B-31, Aakriti Garden, Nehru Nagar, Bhopal – 462003 (M.P.) India before 15th June 2013. Scanned image of Demand Draft and duly signed note of recommendation, along with application in pdf (Portable Document Format), should be emailed to ich@madhukali.org before 10th June 2013.

*Students of UGC recognized College and University Teaching Departments would have to present current Scholar Identity Card along with recommendation of Head of Department.

Application

Click here to download form.

Resources

Articles on Omenad
Video on Omenadnet
Tweets #Tantricharya    Follow  @madhukali and @omenadnet

Discography

Misrabani Vichitra Veena: heritage aLive Vol. 1 {Published}

Format:  Sound Recording
Year: 2013
Publisher: Misrabani, Philadelphia, 2013
Description 1 audio disc (52 min.) : digital ; 4 3/4 in.

lalmanimisra-884501956475 

Tracklist

Raga Malgunji                             38:50
            Alap, Jod
             Vilambit Jhumra Tal (slow 14 beats)
              Drut Ada CharTal (fast 14 beats)
Raga Bhupali                                  12:50
              Alap
               Kaharwa Tal (8 beats)

A Dawn of Veena: Bairagi  on Vichitra Veena by Dr. Lalmani Misra {more}

Format:  Sound Recording
Year: 2013
Publisher: Madhukali, Bhopal, 2013
Description 1 audio disc (51 min.) : digital ; 4 3/4 in.

Tracklist

Raga Bairagi 
                Alap:  19:33
                   Jod:  10:24
                    Gat:   11:20
Raga Bhairavi
                  Dhun:  05:22 

Celestial Music of Pandit Lalmani Misra: Vichitra Vina  {more at omenad}

Format:  Video
Year: 2006
Publisher: Rohnert Park, CA: Music Dept., Sonoma State University, 2006
Description: 1 video disc (45 min.) : sd., col. ; 4 3/4 in.

Tracklist

Raga Sindura 
           Alap, Vilambit & Drut teental:  31:28
Raga Tilang                                                   10:23
Raga Bhupali                                                 15:31

India: Vicitra Vina : The Music of Pandit Lalmani Misra = Inde : Vicitra Vina : La Musique De Pandit Lalmani Misra    {buy at amazon?}

Format: Sound Recording
Year: 1996
Publisher: France: Auvidis Unesco, 1996
Description: 1 sound disc (62 min.) : digital ; 4 3/4 in.
Tracklist

Raga Kausi Kanhada (Malkauns style)
                                                   Alap
                                                    Jod
                                                    Jhala
                                                    Gat in slow tintal
                                                     Gat in fast tintal

Nectar of the Moon: Vichitra Vina Music of Northern India  {buy at amazon?}

Format: Sound Recording
Year: 1981
Publisher: Los Angeles: Nonesuch, 1981
Description: 1 sound disc : 33 1/3 rpm, stereo. ; 12 in.

Tracklist

A Raga Ananda Bhairava                20:04
B1 Raga Multani                                   12:16
B2 Dhun In Raga Ananda Bhairavi  7:54

Material in possession of Libraries (Worldcat)

Publisher: Los Angeles, Ca. : Ravi Shankar Music Circle, ©1979

Document Type: Sound Recording

All Authors / Contributors: Lalmani Mishra; Chotey Lal

OCLC Number: 11153496

Performer(s): Lal Mani Mishra, vichitra veena ; Chotey Lal, tabla.

Production notes:
"Recorded in concert, Herrick Chapel, Occidental College–3/18/78"– Container.

Description: 1 sound cassette (60:00) : stereo.

Contents:

Basant bahar in Ektal, 12 beats and Teental, 16 beats —
Bhairavi  in Dadra, 6 beats —
Tabla solo Delhi style in Teental, 16 beats.

Sitar in willing hand: 3rd Workshop in Pune

02.13.13

Stalwarts in music were prone to make a trite remark to a novitiate eager to impress – “Prove through performance not by idle talk”. IMG_4566Often did pupils of Dr. Lalmani Misra hear this remark and were motivated to devote themselves to their art. As Dean, Music & Performing Arts and Fine Arts, he introduced a weekly concert where a teacher and a student were selected to present recital each Thursday. He insisted on breaking the monotony of self-same Riyaz through such innovative practices. Madhukali, in keeping with thought and practices of its mentor, has sought ways and means to energize practice and appreciation of music. To mark the tenth anniversary of UNESCO Convention for Safeguarding of Intangible Cultural Heritage, Madhukali planned this year’s activities to start with teaching of music.  Click here to view a clip of   Workshop in progress

Read the rest of this entry »

End of an Era

12.12.12

In the condolence meeting organized at Madhukali premises, Bhopal, Founder Director Pt. Omprakash Chourasiya paid tribute to Madhukali patron Bharat Ratna, Pandit Ravishankar, whose loss is deeply mourned by classical music community. Pt. Chourasiya said, “Pandit Ravishankar ji would invariably meet with Guruji (Dr. Lalmani Misra) whenever he visited Varanasi. As disciples, we would maintain our distance, but still could learn a bit of plans about promotion and education of Indian music, the two would discuss. Pandit ji always loved us as his own.” Still later, he would call Pt. Chourasiya to ask after the affairs of Ustad Allauddin Khan Sangeet Academy. Once when during some bureaucratic restructuring, it was proposed to rename the music academy, Pt. Chourasiya sought advice of Pandit Ravishankar, Ustad Ali Akbar Khan and other musicians. Ravishankar ji wrote a letter to Prime Minister Shri Atal Bihari Bajpeyi requesting not to take away the name of Baba from the only academy to be named after a musician. Thus, music academy in Madhya Pradesh still continues to be known as Ustad Allauddin Khan Sangeet Academy.

Dr. Ragini Trivedi considered his deep classicism as the bond between Pt. Ravishankar and her father. She fears that with Pandit ji’s passing away, Indian Classical Music may suffer setback in area of performance similar to that, it has undergone in area of academics after demise of her father, Dr. Lalmani Misra, Acharya Brahaspati and Thakur Jaidev Singh. It would be hard to find an artiste of similar stature who is committed to classical knowledge and enjoys global acclaim. She almost broke down, recalling how Ravishankar ji assured his friend and colleague that he would look after the children. He would send for them whenever he was in town, inquire about their progress, eagerly examining their fingers for string marks. Pandit ji flew to India on a short notice to bless the couple when Ragini was married in 1985.  Dr. Kiran Deshpande  recalled various interactions with Pandit ji – how he would put younger artistes at ease motivate them by example. Pt. Ramswaroop Ratonia tried to express his grief; he said, that Pandit ji’s presence  is felt through his creativity in daily routine of Akashvani. Dr. Sudha Dixit marvelled at Panditji’s depth of understanding which gave him the ability to successfully use Karnatic Raga-s along with Hindustani equivalent.

Several members located across the country called to express their sorrow.  Smita Tanshikar of Ahmednagar who learnt Misrabani had also come in contact with Dr. Chandrakant Sardeshmukh the sole common disciple of Pt. Ravishankar and Annapurna ji. She helped maintain interaction between musicians in different locations. Young Santoor player Satyendra Solanki looked after the hurriedly called meeting  at  ‘Asthaa’, the Madhukali headquarter.

The year 2012 has taken its toll on Indian music. A complete generation of stalwarts bid adieu this year, leaving music colder stroke by stroke. With Ravishankar – a synonym for Sitar, Classicism and innovative orchestration –  an era of tradition, experimentation and creation that always cherished melody and aesthetics, draws to a close.

Voicing Tri-tantri Veena: Darshanam Workshop, Puna

05.04.12

sDSCN3518Till the moment when a fatal accident on 14th August 2011 claimed this noble, vibrant soul, Dr. Chandrakant Sardeshmukh was moved by thought of bringing music to children, especially in India. He was on his way to attend Independence Day Celebrations at a school he had adopted. He had made Indian Classical Music work in several ways taking it to many far-east countries for the first time. Apart from traditional presentations, he innovated with Japanese artistes, introducing them to galaxy of Indian Raga-s; taught Sitar, traditionally, to young and mature learners and healed many with his music. A child prodigy himself, he realized the importance of recognizing and nurturing talent at an early age.

Read the rest of this entry »

Darshanam Sitar Workshop

04.01.12

Dedicated to legendary Sitar Wizard, Dr. Chandrakant Sardeshmukh, Darshanam has announced extension of Dr. Chandrakant Sardeshmukh Music Academy to benefit pupils desirous of learning Sitar from experts in India.

The first workshop being held at Pune offers intense courses to basic and advanced learners. The four-day Basic workshop beginning 1st April 2012 shall be conducted by Misrabani practitioner Dr. Santosh Pathak. For Advanced workshop on 6th, 7th and 8th April, Dr. Ragini Trivedi has been invited. She is known for expertise in performance, preservation, critique as well as her innovations in Indian Classical Music.

Registrations from eager students from Japan, U.K. and India have been received for these courses. The workshop shall be conducted using Ome Swarlipi – the symbol-based, digital notation system created by Dr. Ragini Trivedi. Exponent of Misrabani, a style created to enhance range of string instrument by father Dr. Lalmani Misra, she has been hailed both as teacher and performer of Jal Tarang, Sitar and Vichitra Veena. Working for Safeguarding of ICH practices in the area of ICM, she is nonpareil when it comes to knowledge of form and content. She plays rare Raga-s on a rare instrument, Vichitra Veena.

Dr. Chandrakant Sardeshmukh had studied Sama Veda and other Vedic literature apart from Ayurveda and directed his knowledge in innovating ways to use music for providing succor to patients suffering from life-style diseases. A number of students who studied with him in Japan & Australia have contributed to popularity of Sitar in their countries. Dr. Pooja Sardeshmukh invited experts in Misrabani tradition to conduct workshop, as child-prodigy and sole student of both Vidushi Annapurna Devi and Pandit Ravishankar ji, Dr. Chandrakant was inspired by Dr. Lalmani Misra’s work on Vedic music and elucidation of Bharat Chatuh Sarana.

Malhar 2009

08.04.09

Appreciative Generation | 1 Aug 09

Appreciative Generation | 1 Aug 09

In January 2009, Madhukali had organized appreciation events in Bhopal and Indore. Students of Trinity Engineering College, Bhopal were addressed by Mr. G. Raj Narayan, an engineer-cum-musician of Bangalore and Veena player Smt. Radhika Raj Narayan. The engineering students were captivated by the lucid presentation of the speakers who narrated the story of how music and electronics merged empowering performers and learners of Indian music. Dr. Chandrakant Sardeshmukh gave lecture-demonstration at Music College, Indore and Science College Indore. Story-telling and recitation by poets were planned along with film sessions in the two cities. At a media institution, after a show of his documentary……  (Click here to read more)