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In the Ancient times, sages recited Vedic mantras in vocal form accompanied by the veena.
In the early Medieval period, Indian music was used to popularise the Hindu philosophy and religious ideas, taking Indian music to a peak with the emergence of Dhrupad.
Impactful influences from Persia and Central Asia catalysed the evolution of a musical culture unique to North India, known as Hindustani Music. Dhrupad art form flourished and remained prominent until the second half of the 18th century, the age that heralded the development of Khayal.
Rudra Veena (been) : One of the only instruments having expressive capacities close to the human voice, the been, once associated with Dhrupad singing, embodies the concept and the aesthetics of the raga (particularly the alaap). Bearing still a nimbus of distinction, it’s tradition is now maintained by a mere handful of musicians.
Sitar: Taken to India from Central Asia, the sitar is the most dominant instrument in Hindustani music, to perform Khayal, which means a thought or an imagination. Keeping the dictum of a raga, to express oneself by elaborating the raga through different stages of alaap and taan.
Rajeev Janardan is an exponent of Hindustani Classical Music and a torch bearer of the Imdadkhani Etawah Gharana. A charismatic leading sitar artiste of the present generation, his renditions represents the pure essence of a highly revered musical heritage.
Initiated into Hindustani Classical Music at the tender age of eight, he blossomed into a true artist under the valuable guidance of his gurus, Pandit Bimlendu Mukherjee and Pandit Arvind Parikh, doyens of the famous ImdadKhani Gharana of Sitar.
Rajeev Janardan is an unparalleled artist; his versatility with the instrument and its techniques combined with his deep understanding of the ragas stands him apart. Under the patient guidance of his Guru Pandit Arvind Parikh, he has developed subtle variations and improvisations by modulating volume and sound, creating innovative spacious and colourful phrases ranging across 3 octaves. His melody and rhythm is inspirational.
He has upheld the aesthetic principles of traditional music and has mesmerised the world with his pristine pure, delicate yet fiery music. Being a powerhouse performer, he has gained an extremely respectable reputation, always captivating the audience with his exceptional ability to project beautiful music. He is equally proficient in Rudra Veena and Surbahar. He has performed at all the prestigious festivals in India and has performed extensively abroad.
Sharada Mushti is trained in Dhrupad style under the distinguished Imdadkhani gharana of Indian Classical music. She is a disciple of Pandit Arvind Parikh, doyen of Imdadkhani gharana. She received foundation training in Dhrupad from Shri Rajeev Janardan, who gave her a vision in music and continues to nurture her musical journey.
Sharada was introduced to Indian and World music at a very early age and was continuously engaged in many musical genres, in both vocal and instrumental. She is a artist of All India Radio and has Sangeet Prabhakar degree. She has performed at various concerts across Europe and India.
She is a trained architect, an apprentice of Laurie Baker, master in India for conscious sustainable architecture. She was actively employed as the co-director of designhabit, a premier design studio in Delhi, specialising in Storytelling/Narrative Museum design. Amongst many others, one of their well noted projects is the Virasat-e-Khalsa, a world class narrative museum on Sikh history. Her responsibility was research and concept visualisation for the entire experience.
Over the last few years, she has gradually withdrawn from active responsibilities from everywhere, so that she may dedicate herself entirely to practising the Rudra veena, applying learnings and experiences in life so far, to her chosen art form.
Recognized as one of the finest tabla players in the country by both musicians and audiences alike, Pandit Ravindra Yavagal has excelled both as a soloist as well as an accompanying artist. His sensitive yet virtuosic playing style places him in the rare category of musicians who are able to enhance the overall quality of the performance while ably demonstrating their mastery over their instruments. Having already accompanied many of the renowned musicians over the past four decades, he remains a highly sought tabla artist to this day. The sheer number of performing tabla artists who have been trained by him owes testimony to his dedication to giving back to the art that endears him to his listeners.