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IMPRESSIVE NOTES Pandit Dinanath Mishra in performance.
IMPRESSIVE NOTES Pandit Dinanath Mishra in performance.

JITENDRA PRATAP

Pandit Dinanath Mishra is a well accomplished vocalist with a style of his own and he showed his skill at a recent recital in New Delhi.

Born in 1943 at Azamgarh in Uttar Pradesh, Pandit Dinanath Mishra comes from a family where music was always a way of life. Initially trained by his mother, his formal training later began under his father Pandit Rakhal Mishra - a torchbearer of Pandit Sukhdeo Maharaj of the Banaras gharana. He was later influenced by the style of Sangeetacharya Chinmoy Lahiri of Lucknow and received extensive guidance from him for several years in `khayal' and `thumri' and emerged as a well-established artiste with a style of his own.

Choice of ragas

However, his recent recital would have appealed more if he had avoided the choice of ragas of hybrid permutations such as the Puriya Kalyan and the Carnatic Jan Sambodhini. Of late, the raga Puriya-Kalyanhas gained popularity with musicians who seem to be reluctant to render either the chaste Puriya or the serene Kalyan, which demand a higher level of musicianship and a better understanding of the ragas' hidden folds. The slow tempo khayal (Hari ke guna gaava) did contain some charming variations in alap-badhat, sargams and taans. His full-throated singing and the wide compass of his vocal range was impressive. The madhya tintal composition `Baaje Mori Paayaliya' was embellished with quite a few colourfully inserted nuances.

Banaras idiom

The renderings in Jan Sambhodini with the slow khayal `Guni ke Gun Gaavo' followed by the tintal piece Narayan did appeal in parts though. Pandit Mishra finally did enthral with his charmingly rendered thumri in Mishra Khamaj `Saanware Salone Ghanshyam', which was typical of the Banaras idiom of light classical music. While Mehmood Dholpuri provided excellent support on the harmonium, Jaya Shanker Mishra did the same with his tabla accompaniment.


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