Though Chaurasia does not not boast of a musical lineage or a hoary gharana, he is among the most celebrated Indian musicians, who has established two gurukuls called Brindavan in Bhubaneswar and Mumbai. Labels don’t matter, only good music does.” He pauses and then asks again, “Do you know which gharana Kabirdas and Surdas hailed from?’’ “These stalwarts and saint-poets continue to stir our souls only with their amazing body of work. Balasubramanian belong to any gharana,” he asks. There are no time-saving methods in music,” he points out.ĭoes he feel the same about gharana? “Did Bismillah Khan or G.N. Many youngsters feel fusing genres is an easy way to reach out to listeners. Do it, if you wish to, as a creative exercise.
We don’t need to forcibly enter into collaborations to heighten the impact. Pattamal are proof of the fact that our music can stand on its own. A divine voice that left a lasting impression on me like it did on several others,” he says.Īnd then quickly adds that it’s the result of purity in art. “I have met her when I was working at All India Radio, Cuttack. He is also delighted that the performance coincided with the centenary birth anniversary celebration of M.S. The best part is you have not lost touch with yourĭharohar despite the demands of the time.” Where can I get such an audience, who identify the raga even before you launch into a full-fledged alaap. It’s after a gap of ten years,” he says, opening a box of scented betel nuts. “You don’t know how happy I am to be playing a solo concert in this city. Back in the green room, he is ready to talk about “the difficulty he faced in reaching the upper octave of his musical career” it’s not easy” he reminds you, amidst constant requests for photographs and blessings. And when he finally emerges on the stage, he lets the audience experience the intensity of the bansuri’s tone and the haunting melody of his raga-play.Īt the end of almost 120 minutes of non-stop blowing, he draws a magnificent visual of snow-clad mountains with his characteristic Pahadi. He quickly closets himself in the small green room for a pre-recital discussion with his accompanists. Clad in elegant silk dhoti-kurta and angavastra, he greets his admirers with a broad smile as he enters the venue (Sivagami Pethachi), showing no trace of a frenetic performance schedule.
The old and new finds the most evocative juxtaposition in his modest bamboo reed.īut all these hardly cross your mind when you see the 78-year-old Hariprasad Chaurasia alight from the car and walk casually in the heavy drizzle before the Barkha Ritu concert recently. His bansuri has echoed through ritzy auditoria, prominent global festivals, small Indian towns and recording studios. Youtube.He is not a typical maestro - reticent, with an impregnable aura and hard to please. Subscribe Music Today channel for unlimited entertainment So it forms its resemblance to the ragas based on thaat Khamaj. Its origin from thaat Kaafi is peculiar as it uses the shuddha form of “ni” in its Aaroha, whereas the komala form of “ni” and “ga” is the main characteristic of the Kaafi thaat. The notes Ga and dha are not used in this raga (but there are some schools of opinion that applies dha as well in a particular way). It is believed that he brought Lord Krishna to earth by singing this raga who took the form of an idol which can still be seen in Mathura. This raag is also called as Kafi thaat raga. His consummate artistry has distinguished him as the greatest living master of the North Indian Bamboo Flute. An internationally acclaimed flautist of India, Pandit Hariprasad Chaurasia is an artiste par excellence who is known for his outstanding contribution in popularizing Indian Classical Music all over the world.