In a city dominated by the Carnatic tradition, ‘Gharana’ represents an opportunity for music lovers of the city to connect with the richly resonant art of Hindustani music. The festival was held for the first time in association with the Sangeet Natak Akademi, New Delhi in 2006 showcasing the wonders of the Dhrupad tradition. The artists were Abhay Naryan Mallick, Uday Bhawalkar, Bahawuddin Dagar, Umakanth & Ramakanth Gundecha, Wassifuddin Dagar and Asad Ali Khan.
The enthusiastic response led to ‘Gharana’, becoming an annual festival of Hindustani classical music held every year at the Museum Theatre, in March. In the year 2007 we had with us Dhrupad Vocal by Fahimuddin Dagar, Hindustani instrumental on the Sarangi by Pt Dhruba Ghosh and Hindustani instrumental on the Surbahar by Pushpraj Koshti, in 2008 we had Hindustani Music on Sarod by Rajeev Taranath, Hindustani Vocal by Sruti Sadholikar and flute recital by Nityanad Haldipur.
This Year Festival is from 23rd March – 25th March 2009. at the Museum Theatre, Egmore.
23/03/09: Hindustani instrumental on the Sitar by Ut.Irshad Khan, Rudra
Narayan Kalyan on Tabla @ 7 PM.
24/03/09: Hindustani instrumental in the Shehnai by Pt. Krishna Ram
Hemant Raj Choudhary, Sumit on Tabla, Vivek on Harmonium,
Deepak on Swarpetti, Mangal Prasad on Dukkad @ 7 PM.
25/03/09: Hindustani Vocal by Ms Shanno Khurana, Akhtar Hasan on
Bharat Bhushan Goswami on Sarangi, Maitreyi Majumdar on
Swaramandal @ 7 PM.
Profiles of the Artists:
Descending from a legendary musical family heritage which dates back to 400 years. Irshad Khan is the torchbearer of the younger generation of “The prominent Imdad Khan-i Etawa Gharana (School)”, credited to his great-grandfather, this Gharana is the most influential and authoritative school in the world of Sitar.
Being recognized as a child prodigy, today he has emerged to be among the most sought after and versatile Indian musicians of India. Has achieved unparalleled mastery over sitar-surbahar technique and in different genres of Indian music such as Dhrupad, Khyal, Tappa, and Thumree.
Son and disciple of Sitar Legends Ustad Imrat Khan and nephew of Ustad Vilayat
Khan. Irshad's ancestors had been among the best musicians and leading sitar
players of India and are credited for the introduction of the 'Gaiki-ang' vocal
style on the sitar. The creation of Surbahar (bass Sitar), was invented by
Irshad's great-great grandfather Ustad Sahebdad Khan.
Irshad Khan is considered among the world's best Sitar players and the leading Surbahar (Bass Sitar) player of his generation and among the finest instrumentalists of the world.
PANDIT KRISHNA RAM CHOUDHARY
Pt. Krishna Ram Choudhary was born in Benaras. The musical environment of the family enabled him to imbibe the best in Indian musical traditions and paved the way to achieving proficiency and perfection in his chosen field. He began his professional career in Shehnai playing at the age of twelve under the guidance of his father late Shri Buddha Lal Choudhary, a devoted Shehnai player and disciple of late Pandit Bade Ram Das Ji, the famous Hindustani Classical Vocalist of India. He further went on to learn the nuances of Raga-exposition and higher technique of Shehnai playing at the feet of the great Vocalist of Benaras Gharana, late Pandit Mahadeva Prasad Mishra, Varanasi (India).
Shanno Khurana’s legendary voice continues to capture our hearts even today, 63 years after her first broadcast on Lahore radio in 1945. Born in Jodhpur, Rajasthan, in 1927, she was trained from a young age to carry her voice with open abandon, zest and power, a far cry from the modern voices that are created for microphones. Shanno Khurana is one of the greatest living treasures of Hindustani music who has enthralled audiences from the United States to London, Vienna and Paris, through the Middle East, Southeast Asia to Tokyo in some of the most memorable concerts of our times.
Shanno Khurana excels in the entire gamut of Hindustani musical forms. Her Khayal recitals are marked by their deeply affecting plaintive vilambit compositions that are contrasted with vivid drut and taranas. She sings thumris and dadras with the typical lilt and poignant depth of the poorab-ang. And a Maand, Hori, Kajri or Chaiti can see her voice dance sentimentally. Musically, she has inherited a serious legacy: the tradition and rigour of the Rampur-Saheswan Gharana from Padmabhushan Ustad Mushtaq Husain Khan and the intellectual vision of the eminent philosopher and musicologist Padmabhushan Thakur Jaideva Singh.
VIDUSHI SHANNO KHURANA