Amrita Sher-Gil Cultural Centre

Budapest, Hungary

Kedves India-barátok!

Mindenkit szeretettel várunk 2022. november 15-én (kedd) 19.00 órakor Sumeet Anand Pandey (Dhrupad) és Beate Gatscha (Pakhawaj) koncertjére az Amrita Sher-Gil Kulturális Központban. 

Helyszín: Amrita Sher-Gil Kulturális Központ, 1025 Budapest, Búzavirág u. 14.

Időpont: 2022. november 15., 19.00

Kapunyitás: 18.30

A belépés ingyenes!

Regisztrációt kérünk: kérjük, legyenek szívesek kitölteni a honlapon lévő poszt végén található regisztrációs blokkot.

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Sumeet Anand progresszív  hagyományőrzőnek tartja magát, és ez igaz zenei stílusára is.  Illusztris zenészcsaládban született, és abban a kiváltságban volt  része, hogy otthon zenét hallgatva és tanulva nőtt fel. Nagyapja, Shri  Birendra Mohan Pandey tanításai és anyai nagyapja (Padmashri) Pandit  Siyaram Tiwari alkalmi útmutatása szilárd alapokat adott neki. Egyetemi  tanulmányait követően Pandit Abhay Narayan Mallick, (Padmashri) Pandit  Ram Chatur Mallick unokaöccse és mestertanítványa alá került, aki több  mint egy évtizeden át szigorúan képezte Sumeetet a Guru-Shishya  parampara (mester-tanítványi lánc) hagyományai szerint, és  professzionális Dhrupad énekes vált belőle. Ma, mint a Dhrupad stílus  egyik legígéretesebb tehetsége, arra törekszik, hogy a Darbhanga  hagyomány Dhrupad stílusát hagyományos formájában mutassa be.

Dhrupad:

Az  észak-indiai (más néven hindusztáni) klasszikus zene ősi stílusa, amely  a 15. században fejlődött ki, és a következő 3-4 évszázadban virágzott,  mielőtt felváltotta az új stílus, a Khayal. Eredetileg templomokban,  majd királyi udvarokban, ma pedig nyilvános koncerteken éneklik. A  Dhrupad nyugodt menetű, dallambeli, ritmikai és lírai gazdagságáról  ismert. 

Még több információ a művészről: http://www.sumeetanand.com/about.html

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Dr. Sumeet Anand Pandey (Delhi) 

Dhrupad Vocalist, Darbhanga Tradition (India)

Sumeet  sees himself as a progressive traditionalist and that is true of his  musical expressions as well. Born in an illustrious music family, he was  privileged to grow up listening and learning music at home. His  childhood training under his grandfather Shri Birendra Mohan Pandey and  occasional guidance from his maternal grandfather (Padmashri) Pandit  Siyaram Tiwari gave him a solid foundation. After completing university  education in Science and Management, he came under the tutelage of  Pandit Abhay Narayan Mallick, grandnephew and master disciple of  (Padmashri) Pandit Ram Chatur Mallick, who rigorously trained Sumeet for  over a decade as per Guru-Shishya parampara (Master-Pupil tradition)  and moulded him in to a professional Dhrupadiya. 

Today as  one of the most promising talents in Dhrupad, he strives to present  Dhrupad of the Darbhanga tradition in its traditional form, doing  justice to the opening of recital (alap), composition (pada) and  improvisation (upaj) while maintaining the sonority of voice. 

He  broadcasts from All India Radio (A.I.R) New Delhi and regularly invited  to present dhrupad recitals in music festivals across India. He is an  empanelled artist of the Indian Council of Cultural Relations (I.C.C.R)  and has presented Dhrupad recitals in Berlin, Hague, London, Prague,  Budapest and Paris. He is also an enlisted artist of Society for  Promotion of Indian Classical Music and Culture Among Youth (SPIC MACAY)  for Workshop-Demonstrations and regularly invited to institutions of  repute such as UCLA, in the USA for lec-dems. His debut Dhrupad album,  Morning Meditation-Dhrupad of Darbhanga Tradition released on Naxos  World in 2020. 

Besides  being a Dhrupad vocalist, Sumeet also puts his research and management  experience to the service of music as a festival curator-organiser,  researcher-writer and teacher-collaborator. 

More at www.sumeetanand.com

Ms. Beate Gatscha (Berlin) 

Beate  is a freelance musician with a career in North Indian classical music  spanning over two decades. Her initiation in this field is through dance  as she trained in Kathak at Academy of Kathakdance Berlin between 1998  and 2015. Since 2014 she has devoted herself intensively to the Indian  Dhrupad style (singing and pakhawaj), first with Amelia Cuni in Berlin,  since 2019 with master singer Dr. Sumeet Anand from Delhi (Dhrupad from  Dharbanga) and master drummer Pandit Radheshyam Sharma from Delhi  (Pakhawaj in Nathadwara style). In the last 20 years she developed  numerous interdisciplinary and transcultural dance and music projects  with artists from different cultures. 

Since 2019 she curates and organizes the world music salon "The Flying Carpet" to promote intercultural projects in Berlin. 

More at www.beate-gatscha.de

About  Dhrupad: It is the ancient style of North Indian (also known as  Hindustani) classical music that developed in 15th century and  flourished for the next 3-4 centuries before acceding its popularity to  the newer style Khayal. Originally sung at temples and later in royal  courts and now in public concerts, Dhrupad is known for its calmer  nature, majestic gait, melodic, rhythmic and lyrical richness. The  presentation strives to create a sense of tranquil and avoids  exhibitionist approach but not bereft of depth and virtuosity.

A  typical concert opens with Ālap-slow and systematic unfolding of a raag  (a melodic framework) having a non-pulsating (anibaddha) and pulsating  (nibaddha) parts, sing over drone of Tanpura. The musical notes are  pronounced through vowels derived from Sanskrit chanting ‘Hari Om Anant  Narayan’. Compositions, mainly in Sanskrit and Braj bhasha are sung in  the later half of the concert rhythmically accompanied by Pakhawaj-  barrel shaped drum. 

Though,  predominately spiritual and religious in nature, many of them are about  human values, life philosophy, nature and yoga too. 

A  concert culminates with upaj or improvisation where the artists engage  in spontaneous musical conversations moving away from the fixed  structure of composition improvising melodically, rhythmically as well  as emotionally yet staying with in the melodic and rhythmic boundaries  of the raag and taal. Tihaais, a speciality of Indian classical music  and that of Darbhanga tradition too, are repetitions of a phrase thrice  to arrive on the Sam or starting point of the rhythm cycle signalling  the crescendo and bringing the concert to its finale.