Established by flute maestro Pandit Hariprasad Chaurasia. Journey of the Master. Awards Achievements and Recognition. Sangeet Natak Academy Fellowship Award. Honorary Doctorate, Utkal University, Odisha. Honorary Doctorate, North Orissa University. Ordres des Arts et Lettres, France. Officier in de Orde van Oranje, Nassau, Netherlands. Master Dinanath Mangeshkar Award. Padma Vibhushan. Ustad Hafiz Ali Khan Award.
His flute was featured in the track titled The Inner Light, which was released as single. The flautist popularised Hindustani classical music by touring and performing across the world. In , he founded the Vrindavan Gurukul in Mumbai to train students in Hindustani classic music. Hariprasad Chaurasia once admitted though he was not interested in wrestling during his early years, the stamina and strength that he gained during his wrestling-training days still helps him in playing the flute to this day.
He came, learned, played and changed the prevailing tradition. Rather than just follow a traditional style, the flute maestro is credited with not only having mastered the instrument but also developed a distinct style by dint of experimentation, dedication and rigorous practise. His authoritative biography, titled Breath of Gold, was penned by Sathya Saran in In , Surjit Singh authored yet another biography titled Woodwinds of Change on this great musician.
This musician has donned many hats — of an extraordinary flute artiste, titan of Hindustani classical genre and music director. Share Via. Formative years So, rather than have him trained by others, he personally coached his son at home.
Widening his horizon In , he and renowned santoor maestro Shivkumar Sharma began working in films under the assumed name Shiv-Hari. Interesting facts Hariprasad Chaurasia once admitted though he was not interested in wrestling during his early years, the stamina and strength that he gained during his wrestling-training days still helps him in playing the flute to this day.
Sources: Famous people. I remember Panditji telling me before the performance that I should cater a little to the public taste. My response was that I would play only what I was taught. I think the audience enjoyed my playing… Whenever I performed, people appreciated my playing, and I sensed that Panditji was not too happy with the response.
I was not that fond of performing anyway, so I stopped it and continued my sadhana meditation. Later in the chapter, Bandyopadhyay goes on to say that when Annapurna Devi accompanied her husband to perform at about five public concerts to raise money to alleviate his debt, comparisons were often heard being made. When Hariprasad decides to seek out Annapurna Devi, many friends warn him he is like a child crying for the moon.
Annapurna lives alone, shut up in her flat, and will not open the door to visitors. And no, she was not inclined to take students beyond the few she had already agreed to teach. The reasons for Hariprasad seeking a guru are manifold. There was no time for it. And I felt I was losing my touch, getting mechanical in my playing. More often than not, my interventions in the music were for ten to thirty seconds, except in rare cases. How could I grow as an artiste with that!
I realised the only way to progress to where I wanted my music to go was to find a guru and immerse myself in learning. I thought I should leave films. Why was I slogging for banks to enjoy my money? At home, too, he was often gently steered towards his first love, classical music. She felt he was losing touch with his classical roots. The combined result of all the prodding from different sources leads Hariprasad to seriously consider finding a guru and immersing himself in classical music again.
Recollecting the advice given to him by Baba Allauddin Khan in his childhood, he decides to seek out his daughter, Annapurna Devi. The year was
0コメント