ABOUT THE ARTIST
Dhrupad is an aesthetic journey in the path of self discovery.
Prassanna is a performer and practitioner of Dhrupad and a disciple of Maestro Pt. Uday Bhawalkar one of the foremost exponent of Dhrupad from the Dagarvani tradition. He was initiated by his spiritual master Shri Kulavadhuta Satpurananda in the practice of “Naada-Brahman” in the order of the ‘Natha Sampraday’ and was directed by him to pursue the divine art of Dhrupad .
He has received training in the Tabla from Shri Vinod Pawaskar and has also completed his Diploma in Hindustani Classical Khayal Vocal from Mumbai university under the guidance of Shri Kiran Kamath. He is a senior scholar of the prestigious ITC Sangeet Research Academy Kolkata.
Prassanna is also a Music Composer and lyricist scoring music and singing for advertisements,television, documentaries,web viral and films. He has received the ‘Young Achievers Award’ by the Rotary Club of Coimbatore Metropolis in recognition of his achievement as a Dhrupad Vocalist
Dhrupad is one of the oldest forms of North Indian classical music.
Also known as the mother form of Indian Raga Music.
This is the first part of Dhrupad in which instead of percussion accompaniment the singer uses syllables taken from Sanskrit mantras. The Raga/melodic scale is slowly and methodically set forth developed in a meditative mood, the syllables are used in a specific way to clarify the rendering of the raga. The speed of the Alap increases with the use of gradually accelerating rhythmic pulse that builds to a point where the melodic patterns literally dance in space.
Bandish | Compostion
The ‘Bandish’ is a short poem set to a rhythmic composition of a specific fixed cycle of 12, 14, 10 or 7 beats. The poems are usually devotional or amorous in nature but they can also specify the ways of using Raga, Tala, Swar and Laya. During the Bandish the singer develops the improvisations in the melody and rhythm, dividing the cycle systematically. The intricate patterns and improvisations woven by the Pakhawaj player and the singer, create a dialogue often playing against or complementing one another.
The Dagar Gharana took firm roots under the adept supervision of Ustad Behram Khan (1753-1878), who was associated with the royal court of Jaipur. Ustad Behram’s father was Baba Gopal Das Pandey who was ostracized by his fellow brahmins for having chewed a pan offered to him by the then Mughal ruler in Delhi, Muhammad Shah Rangile, for his excellent rendition of Dhrupad. Haider and Behram were his two sons.
Haider Khan died early while Behram Khan spent the best part of his long life in establishing the purity of the gayaki not known before. The entire credit for keeping alive and passing down to posterity the pure form of dagarvani goes to him. A superb teacher, his disciples included his sons, Haider Khan’s sons and their sons. Particularly famous were his nephew’s sons, Zakiruddin Khan (1840-1926) and Allabande Khan (1845-1927), well known for their jugalbandhi (duet) performances.
The main representatives of the present-day Dagar gharana are the descendants of Ustad Zakiruddin Khan as well as of Ustad Allabande Khan’s four sons, Nasiruddin, Rahimuddin, Imamuddin and Husseinuddin: all of them extremely gifted and highly respected Dhrupad musicians. Nasir Moinuddin Dagar (1919-1966) and Nasir Aminuddin Dagar (1923-2000), now referred to as the Senior Dagar Brothers, were the elder sons of Nasiruddin and grandsons of Allabande Khan. Their jugalbandhi captivated audiences all over India and even in Europe bringing about a major revival of the dying genre. After the death of Moinuddin, their younger brothers, Nasir Zaheeruddin (1932-1994) and Nasir Fayyazuddin (1934-1989) also gained fame as a duo. Major contributions to the upkeep of this tradition also came from the sons of Rahimuddin and Husseinuddin, Rahim Fahimuddin (b. 1927) and Hussein Sayeeduddin respectively, as well as the grandsons of Zakiruddin Khan, Ustad Zia Mohiuddin (1929-1990 – who revived the majestic Rudra Veena as a concert instrument) and Zia Fariduddin (b. 1932).
The rich heritage of the Dagar tradition lives on in the remaining Dagar brothers and their sons and well-groomed disciples from outside the family.
The Dagarbani dhrupad rendition is characterized by meditative and leisurely development of alap. The purity of a raga is usually maintained all through and in spite of intricate rhythmic patterns, there is a profound sense of devotion.
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Upcoming Shows, Events & Concerts
- Israel tour with Pt. Uday Bhawalkar Ji from August 13th to August 21st
- Upcoming concert and teaching tour to UK from September 7th to October 1st