અમદાવાદમાં સપ્તકના 12મા દિવસે હરીશ તિવારી, વિકાસ પરીખ, રોનુ મજુમદાર અને ફઝલ કુરેશી જેવા દિગ્ગજ લોકોએ પરફોર્મ કર્યુ.
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00:00I am a resident of Uttar Pradesh, in the Devaraya district.
00:05I am a resident of a village.
00:07We did not have music at home.
00:09My uncle encouraged me.
00:12I sent my first guru, Pandit Thakur Chaubey, to Devaraya.
00:17Then I went to Benaras, in Bhechu.
00:21There, I learnt music from Pandit Ajit Bhattacharya and Ashaar-e-Nandan.
00:27He was a student of Pandit Omkarnath.
00:31Omkarnath was from Gujarat, from Suratkar.
00:34He was a student of him.
00:37Then I learnt Punjabi music from Pandit Kundanlal.
00:44My last guru was Pandit Bhimsen Joshi.
00:47I learnt from him in Pune.
00:51This is how our journey started.
00:54Sir, if you look at classical music,
00:57people who come from a musical background,
00:59they move forward in music.
01:02Sir, do you have a musical background?
01:08In our house?
01:10I did not start it.
01:13It is not necessary that you become a good artist only when you are born.
01:19It is not like that.
01:21You should have a good environment.
01:24You should have a teacher, a guru.
01:28You should have a good environment.
01:30You should have good education.
01:34You should do sadhana with them.
01:36Anyone can become a guru.
01:39It is important to have education and truthfulness.
01:43You should have devotion towards your guru.
01:48Only then you will take the subject seriously.
01:52You will take their words seriously.
01:54You will start your sadhana accordingly.
01:57It is important for this.
01:59Sir, what was the level of your life when you started classical music?
02:04What was the time?
02:07Time is done with passion.
02:11First you should have passion in you.
02:14You have to do it.
02:17You have to learn this knowledge.
02:21You have to learn it well.
02:23You have to learn it well.
02:26It is important for us to listen to the artist and know that he is an artist of this tradition.
02:35This is the truth of education.
02:38Sir, this is the 45th year of your musical career.
02:4245th?
02:44Yes, 45th.
02:46Today you are going to give a presentation.
02:48What kind of presentation will you give?
02:50First of all, I have come here for the first time.
02:53I have come to Gujarat for the first time.
02:55I have come to this program for the first time.
02:59I am feeling very good here.
03:03I am a little sad that Manju Mehta is not here.
03:10We thought that we would get to listen to the great artists like Ustad Zakir Hussain.
03:18All these things have been left incomplete.
03:21I am feeling very good that I got this opportunity in my 45th year.
03:29I thank Haital Mehta ji and Sandeep ji from the bottom of my heart for giving me this opportunity.
03:38Sir, what will you do in the presentation?
03:41In the presentation, today we will present Raag Maru Bihag.
03:47We will present two compositions.
03:50The first composition is in one taal, Rashiya Ho Naja.
03:53The second composition is in the third taal.
03:55The words are Parimuri Naav Majhdhara.
03:59All these were sung by my guru Pandit Bhimsen Joshi.
04:03He immortalized this bandish.
04:06This bandish was sung by him.
04:09He has sung it with Mannadej in a film.
04:14Basant Bhaar was made in that film.
04:16Ketaki Gulab Johi Champak Ban Phule.
04:19This composition is in one taal.
04:22Ustad had asked me to present this to him.
04:26So, I will present this to him.
04:32Sir, what is your name?
04:34I am Vikas Parikh.
04:36I am the singer of Mewati Gharana.
04:40I am a disciple of Pandit Jasraj and my father, Krishnakant Parikh.
04:46I run Swaralaya Academy.
04:54I have been teaching since my guru-disciple relationship.
05:00Sir, what do you mean by guru-disciple relationship?
05:04Guru-disciple relationship is taught in the same way in Saptak.
05:11In earlier times, one had to go to the guru's house or gurukul and teach.
05:22One could not go to the guru's house or perform outside the guru's house.
05:32There were certain rules.
05:36There was no exam method.
05:40Guru is the final statement.
05:47Sir, can there be a parallel to the guru-disciple relationship?
05:53Not in music.
05:54In music, there are examinations.
05:58There are exams for Visharad, Alankar, MA, BA, and PhD.
06:06But in that, my opinion is that there is only knowledge.
06:12If you want to progress in performance,
06:16The guru-disciple relationship is the best of the best.
06:22Even today.
06:24Sir, today is Saptak.
06:27It is the 13th day of Saptak in the country.
06:30How do you feel about it?
06:32I am not just an Ambedkar. I am a citizen.
06:37I feel very proud that we have been able to organise such a wonderful festival.
06:45I tell everyone that if you go to see a 13 day festival,
06:53You will not find it anywhere else.
06:57I have not heard of any 13 day festival.
07:01We are very fortunate that such great artists have participated in it.
07:10We get the opportunity to sit face to face and listen to them.
07:15We are very fortunate.
07:21Sir, what is your name?
07:23I am Ronu Majumdar.
07:26I play the basuri. You all know that.
07:30I have come to Saptak.
07:33Sir, you have played Hariprasad Chaurasia on the stage of Saptak two days ago.
07:41Will you play it today?
07:43I am not playing it today. I have been playing it for 35 years.
07:46The only difference is that Manju sister is not here this time.
07:49I have been serving since 1991.
07:54Almost every year since Nandan Bhai's time.
07:57Earlier it used to be in Kashi Ram Hall.
07:59Now it is here.
08:02I have played a lot of items here.
08:05I have also introduced many artists who had not come before.
08:12Saptak is a great yagya where everyone offers their aahuti.
08:23Our guruji, Bharat Ratna Pandit Ravi Shankar ji has also come to Saptak.
08:33Ustad Ali Akbar Khan sahib, Bheeshma Pitamahs have also come here.
08:40Ustad Zakir Hussain has also not come physically.
08:51Ustad Zakir Bhai had played two CDs with me.
08:54Heart to Heart and Ethereal Rhythms.
08:57He had played these two CDs with me.
08:59The third CD's planning was going on.
09:02And this time my composition, with the blessings of all of you,
09:09is called Samvedh.
09:13The song sung together is called Samvedh.
09:16My name has been recorded in the Guinness Book of World Records.
09:20A week ago.
09:22So I am sharing this news with you.
09:25With the audience of Ahmedabad.
09:27This is Guru Kripa.
09:30The special thing was that I conducted and composed the largest Indian orchestra.
09:36But the special thing was that the three raags composed by Sangeet Samrat Tansen,
09:42I had combined them.
09:45One is Mia Malhar, one is Mia Ki Todi and Darbari Kanada.
09:50Darbari was composed by Tansen in Akbar's Darbar.
09:55He had taken Darbari from Adana.
09:58So that is why I am sharing this big news with you today.
10:09Sir, tell us about your performance today.
10:12We haven't seen a tabla performance like this before.
10:16You played the tabla with your mouth.
10:19We should do something new.
10:21We do a lot of performances.
10:25So we should do something new in which the audience feels it is something new.
10:29Like you said, we have never seen anything like this.
10:31So we were having a conversation with the tabla syllables.
10:36Between me, Naveen and Shridhar.
10:40We were showing our playfulness,
10:44We were showing our playfulness,
10:46We were showing our playfulness,
10:49We were showing our playfulness,
10:54and we didn't decide anything.
10:56What you heard was happening on the spot.
10:58What you heard was happening on the spot.
11:0395% of classical music is improvised.
11:08Only 5% is raga, which is fixed.
11:12Only 5% is raga, which is fixed.
11:13The rest is happening on the spot.
11:16The rest is happening on the spot.
11:17Sir, can you give us a name for your performance today?
11:24Sir, can you give us a name for your performance today?
11:27No, nothing like that.
11:28We thought we should do something new.
11:30We thought we should do something new.
11:32These tabla syllables that we call rap,
11:35these tabla syllables that we call rap,
11:37have been around for thousands of years.
11:39have been around for thousands of years.
11:41This is a gift of Indian classical music.
11:44This is a gift of Indian classical music.
11:46Whatever you are playing, you are saying it.
11:48Whatever you are playing, you are saying it.
11:50Whatever you are playing, you are saying it.
11:52It becomes a language for us.
11:54We can have a conversation with each other.
11:59I was thinking that there were three different styles of percussion.
12:06Tabla is North Indian.
12:08Mridangam is South Indian.
12:10And dholak is used more in folk and films.
12:16These three styles are coming together.
12:19And who is tying it?
12:21And who is tying it?
12:22Sarangi.
12:23Sarangi was tying us.
12:25Sarangi was tying us.
12:27We were having a conversation with each other.
12:30We were discussing how we could play together.
12:32We were discussing how we could play together.
12:34We were discussing how we could play together.
12:36Music is one.
12:38Taal is one.
12:40Whether we are from the South, North or folk,
12:42we are all one.
12:44We showed how we can become one.
12:48Tell us about saptak.
12:50You have been playing saptak for so many years.
12:52You have been playing saptak for so many years.
12:54Today is the saptak of this year.
12:56It is dedicated to Saqib Hussain.
12:58It is dedicated to Saqib Hussain.
13:00Saptak has been playing for so many years.
13:03For the last 45 years.
13:04I myself have been playing for 35 years.
13:06This is the only festival that has been running for so long.
13:11This has been happening for long.
13:14Running for 12-13 days is not easy.
13:19Asaan baat nahi hai, aur yeh isme jo organizer hain, un log ka itna shrey jaata hai unko,
13:26Nandan bhai ko jaata hai, Manju bhai unko jaata hai, ab yeh log, young log jo hain,
13:31Sandeep hai, Hetal hai, Purvi hai, yeh log aage badha rahe hain.
13:36To in log ko jaata hai.
13:37To main sab tak ko, main unko, main unko, matlab kehta nahi hai ki parivaar ki tarah
13:43hai.
13:44Zakir bhai bhi aise hi soshte the.
13:46Zakir bhai yahan pe itne saal se baja rahe hain, itne saal se unhone yahan pe performances
13:51diya hai.
13:52Sab abhi yaad karte hain unka jo performance.
13:55To it is like a family to me and I will be coming, whether they call me or not, I will
14:00be here.
14:01Sir, ek aakhari sawal, sir, Shastriya Sangeet mein aage ki journey aapko kaise lag rahi
14:07hai?
14:08Nahi log kaise jhudayenge?
14:11Sir, aamtoor par dekhene to abhi bhi jo log jhud rahe hain, wo kahi na kahi Sangeet
14:15ke background se hote hain.
14:16Toh nahi log nahi jhud rahe hain.
14:18Dekhiye, nahi log jhud rahe the aur jhud rahe jhud rahenge mere isaap se.
14:22Ab jaise kalakar jaise Zakir bhai the, ki jo music ke logon ko jo music bhi nahi, jaise
14:28kisi ne mujhe posha hai ki Zakir bhai ki speciality kya hai?
14:32Mene ka speciality yeh hai ki jab wo concert karte the, jo aage jo connoisseurs, jo jaanne
14:38wale jo baithe hain, wo bhi enjoy kar rahe hain aur jo peechhe jo baithe hain, jinko
14:42music ke baare mein kuch nahi pata, wo bhi enjoy kar rahe hain.
14:45Toh yeh khasiyat thi unki aur aise wajah se itne saare log aate hain.
14:50Aaj bhi dekhiye, kaafi log baithe hain aur program sun rahe hain aur baara din se,
14:54tera din se aaya aaya karke baithe hain aur sun rahe hain.
14:57Toh kalakar jo hai, wo Shrota pe depend karta hai aur Shrota jo hai, wo kalakar pe.
15:04Toh ek doosre pe dependent hain, symbiosis jaise hota hai.
15:08Aur yeh sab tak, yeh classical music mein dekha jaata hai.
15:12Toh main yeh nahi keh raha hai ki abhi kitne log aakar ke mujhe mile hai, abhi itna chota
15:16bachcha aakar ke bol rahe hai, main bhi tabla seekh rahe ho.
15:18Toh yeh mujhe, jab inn logon ko dekhta hoon, toh I get very confidence ke bhai yeh hamara
15:23music aur aage padhega.
15:24Mujhe pata hai.