Download Pt. Laxmi Ganesh Tewari May 3, 2008

Pt. Laxmi Ganesh Tewari
Swar Sadhana Presents:
Anuradha T. Singh’s
Mancharohan
Born and raised in India, Dr. Laxmi Ganesh Tewari studied
with Dr. Lalmani Misra. His destiny took him to Varanasi
where he lived with Dr Misra in the Guru-Shishya parampara
while receiving an extensive musical education . Dr. Misra
initiated his study of vocal music with Pandit Madhav Vaman
Thakar. Dr. Tewari completed his musical education with a
Doctor of Music degree with honors from Banaras Hindu
University.
In 1968, Dr. Tewari came to the United States to teach and
study at Wesleyan University. He received a M.A. and a Ph.D.
in Ethnomusicology. Since 1974 he has been teaching at
Sonoma State University, where he is currently a Professor of
Music. During his tenure, he has been honored with an
Outstanding Professor Award, a Meritorious Performance and
Professional, Achievement Award, and the Friends of the
Library Faculty Award.
Dr. Tewari is an accomplished performer, teacher and scholar.
He has studied and collected folk music of India, Turkey, and
Trinidad and has produced numerous recordings from his field
research.
May 3, 2008
Mitralaya
Hindustani Classical Music
Program
Background
Gandha Bandhan
Indian classical music is divided into 2 broad categories – North Indian or
Hindustani and South Indian or Carnatic. Today’s performance is in the
Hindustani style of music. Indian classical music is mainly improvisational,
but within the structure of the 7 note melodic scale. Both styles of music are
made up of raags or melodic structures. These could be combinations of
4,5,6 or 7 notes. Raags were composed over the years to suit times of day,
seasons, or emotions such as love, pathos, devotion and so on.
Rendition of a Raag
Raags follow strict guidelines regarding their rendition. Each raag has a
specific set of notes and these notes are to be sung in certain order while
ascending and descending the melodic scale. Two or even three raags may
be identical in their melodic notes, but differ only during rendition based on
the combination of notes allowed. These combinations define the raag and
help the singer establish a particular mood or emotion while rendering the
raag. During the rendition, the singer improvises with the note
combinations in different ways including using the lyrics of the song, using
the actual notes of the raag, or in hum-like pattern using the sound “aa”.
Rhythm
As part of the rendition, the performer has to render the raags set to a
particular rhythm cycle. Both during the slow rendition and the fast, the
singer has to maintain this cycle. The cycles could be set to 5, 7, 8, 10, 12,
or 16 beats. Each composition within the raag is set to a particular cycle.
The singer uses the lyrics to first introduce the listeners to the cycle and
establish the first beat of the cycle or “sum”. Then she starts to improvise
within that cycle to bring out the beauty of the raag. The singer will create
3, 9, 32, 48, beat improvisations while staying true to the notes & returning
to the sum at the end of each improvisational cycle – no mean feat!
Harmonium
The harmonium is a popular accompanying instrument in Hindustani
classical music. The accompanist follows the singer as closely as possible on
the harmonium in order to enhance the thought process of the singer. It is
common to see the accompanist play a short solo piece during the
performance.
Tanpura
This is typically a four-stringed drone instrument that provides a harmonic,
key-note accompaniment to an Indian music performance. Its standard
tuning is 5881 or sol, do, ‘do’, do or the Indian Pa Sa Sa Sa. The round base
or gourd, is made from teak wood and usually the bridges are cut from one
piece of bone. Hindustani musicians typically prefer to use the “Miraj” style
tanpura.
The gandha bandhan ceremony is core to the lifelong traditional teacher –
student relationship necessary to learning the musical arts in the Indian subcontinent. The ceremony is conducted by the teacher tying a thread around the
student’s wrist and certifies that the student has become a formal disciple, ready
to show commitment in learning music. The union is not just from a musical
sense but involves a spiritual attachment between the teacher and student.
Raag Yaman
Salona re balam …(Bada khayal)
My husband is adorable; he is very beautiful and fearless with a strong body
His colorful garment is attractive and suits him; today is our honeymoon
Naveli nar sajan ghar … (Chhota khayal)
The new bride has come to her husband’s home
She has decorated herself with 16 traditional cosmetics and jewelry
She has adorned her eyes with mascara and she is wearing the mangala sutra
She is with her husband.
Raag Rageshri
Bela chameli (Chhota khayal)
O dear one, bring the kneaded garlands of jasmine and chameli
My husband ‘Pranav’ [the composer] loves them
This is the season of fragrant champa flowers, jasmine, rose and malati
The air is full of their sweet smell.
Jayadev’s “Ashtapadi”
Sweet notes from his alluring flute echo nectar from his lips
His restless eyes glance, his head sways, earrings play at his cheeks.
A circle of peacock plumes caressed by moonlight crowns his hair.
A rainbow colors the fine cloth on his cloud-dark body.
Jayadeva’s song evokes an image of Madhu’s beautoful foe
Fit for worthy men who keep the memory of Hari’s feet.
My heart recalls Hari here in his love dance,
Playing seductively, laughing, mocking me
“Ba Sakhi” by P. T. Narasimhachar (Pu. Ti. Na.)
Come quickly, friend, come to Brindavana, the abode of happiness!
As the waves of the river Yamuna play the rhythm, the trees on the
shore are alive with expression.
The creepers and the vines sway and dance as the wind blows.
This is the place, this is the moment we fall in love with the inspirational flute!
Cheating the mother of darkness the romantic moon is peeking from the heaven above
The earth below is glowing as though drenched in melody
The heavens have shed their grandeur, the earth has shaken off its heavy burden
And the people have forgotten their monotonous routine; Such is the magic of this
divine flute. There is no distinction between what is yours, what is mine, what is
wrong, what is right. Only the enchanting flute remains, the melodious song remains
Everything else in life is far removed and discarded. Hurry up and come, oh my friend