Celebrating Pt. Vasudev Upadhyay’s legacy

The torch bearers of Pt. Vasudev Upadhyay’s legacy presented the nuances of the unique blend of dhrupad and pakhawaj

Music lovers witnessed an array of impressive performances last week, by talents representing rich legacies of Hindustani classical vocal and instrumental music. If Milan, Mahima and Rishi Upadhyay represented the dhrupad and pakhawaj tradition of Pt. Vasudev Upadhyay Parampara with a remarkable lecture-demonstration (lec-dem), Waseem Ahmed Khan the gifted vocalist of Agra Gharana gave a rousing recital for the Raga Dopahari concert of Sangeet Natak Akademi and young Saumitra Thakur, featured in the ‘Legends of Tomorrow’ series of Pracheen Kala Kendra, brought a whiff of Vishnupur and Maihar Gharanas in his Sitar recital.

The exceptionally talented Milan, Mahima and Rishi Upadhay, were featured in the monthly Baithak of IHC Music Club, organised with an aim to ‘Listen, Share & Discuss’; in this case, the contribution of Pt. Vasudev Upadhyay Parampara to dhrupad and pakhawaj. The gifted children and disciples of Malati and Pt. Ravi Shankar Upadhyay from Pt. Vasudev Upadhyay Parampara, Milan is trained in dhrupad whereas Mahima and Rishi Shankar Upadhyay play pakhawaj. They took turns, deliberating upon the history and salient features of this tradition, known for both dhrupad gayan and pakhawaj vadan.

The originators of this four hundred years old tradition were two brothers from Rajasthan named Ugan and Budhan Upadhyay, one was a dhrupad singer and the other was a mridangam player. Invited as court musicians by the king of Behat Estate, they settled in Gaya thus the gharana carried forward both, the dhrupad

gayan and pakhawaj

vadan from the very beginning. The parampara was named after Pt. Vasudev Upadhyay in view of his significant contribution to the age old tradition. This introductory deliberation was followed by a dhrupad recital by Milan Upadhyay in raga Bageshree, set to Chautala “Tum ho Karuna-nidhan…”, accompanied on pakhawaj by Mahima and Rishi Upadhyay. Milan later explained that the four part introductory alaap had vilambit, jod, gamak and the fast speed fourth segment of ‘Nom-tom’.

Story of pakhawaj

Rishi underlined the importance of pakhawaj sangat that goes hand in hand with the dhrupad singing and demonstrated it evoking Veer rasa since this tradition comes from the Khandar Bani. Rishi also talked about how Pakhawaj was created by Lord Shiva and played first by Ganesha, reciting the famous Paran of his gharana, “Shravan Sundar naam Ganapati….”. He also recited the Ganesh Paran of Pt. Kishan Maharaj that refers to “Brahma Vishnu Mahesh Taal dai Dhurpad gavain, Ati-vichitra Gananaath aaj Mirdanga bajavain…” He explained how the application of atta, the wheat flour on the left side of Pakhawaj adds to the grandeur of its sound. He then talked about the special features of pakhawaj compositions of his grandfather Pt. Ram Ji Upadhyay, his father and Guru Pt. Ravi Shankar Upadhyay and how he himself and his younger sister Mahima have added to the wealth of compositions in family tradition. The special work of Pt. Ram Ji Upadhyay in off-beat ‘aad laya’, especially in Tisra Jati were demonstrated, adjusting four in three i.e Kahrawa Ang in dadra, on pakhawaj. Milan talked about dhrupad and explained how they refrain from the lighter ornamentations like khatka-murki and use meend instead, by practically demonstrating it. Her totally tuneful renditions of dhrupad were mesmerising. There was also a question-answer session with active floor participation before Milan concluded with a Sooltala Bandish in raga Adana.