Cultivating class

The recent gradation test at ITC’s Sangeet Research Academy had some of the finest musicians giving vital lessons on harmony on stage and beyond.

Omkar Dadarkar.

The Indian Tobacco Company created the Sangeet Research Academy (SRA), establishing a ‘Gurukul’ in Kolkata way back in the 1970s with the aim to revive the traditional guru-shishya parampara to preserve and perpetuate the rich Indian musical heritage along with its underlying philosophy, spirit and values. Some of the greatest stalwarts were brought as gurus to this Gurukul to live with and groom the selected scholars (students) of extraordinary talent into top class musicians who could carry forward the rich tradition. The results were astonishing. The ITC-SRA carved a niche for itself as a modern gurukul equipped with research facilities, the latest recording equipment and rich archives of the rarest recordings. The institution is known for maintaining high standards where not only the initial selection of the scholars but their progress is also assessed by an expert committee that periodically evaluates them granting certain grades.

The recent gradation test had some of the finest musicians like Pandit Shiv Kumar Sharma, Pandit Hari Prasad Chaurasia, Pandit Rajan Mishra, Pandit Vijay Kichlu (founder director of the institution), Pandit Suresh Talwalkar, Vidushi Purnima Sen, Vidushi Shruti Sadolikar as members of the jury along with the resident gurus of the SRA and two music critics. Ravi Mathur, the present Executive Director, requested the expert committee to give the junior and senior scholars appearing for vocal and instrumental performances, some guidelines for further improvement.

The precious gems of advice were like the

Sookti-Muktaavali coming out as the quintessence of their own lifelong

t

apas . Pandit Shiv Kumar Sharma reminded the budding musicians that cultivating the audience is their responsibility instead of compromising for the sake of popularity. He warned them not to be misguided by the audience applause. “Cultivate the

saakshi bhava or

drashta bhaava of Indian philosophy/spirituality,” he said, “where one watches oneself objectively”. He suggested “record your performance, listen to it objectively and analyse/criticise yourself like your own Guru who resides in your heart.”

Pandit Hari Prasad Chaurasia said there should be a balance between

raga-bhava and swara-laya . Laya also dictates the expression of bhava . Pandit Vijay Kichlu advised that the raga should be established first and for the correct image of the raga the swaras should be hundred percent accurate. Pandit Rajan Mishra emphasised on chaindari or repose where as Shruti Sadolikar warned them against showing strength. “Music has nothing to do with physical strength hence it matures with age.” Pandit Suresh Talwalkar remarked that the alap should be given the same importance as the taans because the ‘asar’ comes from the depth of alap. These pearls of wisdom enriched one and all.

Mathur also proudly showcased some of the musician tutors or junior gurus like Abir Hussain (sarod), Kumar Murdur, Omkar Dadarkar and Arshad Ali Khan who were groomed in this gurukul just like the senior gurus of SRA like Pandit Ajoy Chakrabarty, Pandit Arun Bhaduri, Ustad Mashkoor Ali Khan and Shubhra Guha. The Dhrupad performance by the disciples of Guru Uday Bhawalkar assured one of the positive progress of the Dhrupad and Pakhawaj wing too. It was a delight to witness the musical calibre of such high standard and the overall grooming of the future musicians.

(The writer was a member of the jury as a music critic.)