How Girija Devi inspires artists

Girija Devi, who elevated Thumri’s profile. Photo Credit: SR Raghunathan

It may be eight years of his passing, but music is organized in memory of Thumri Queen Girija Devi. This reflects the permanent effect of her music and personality. Recently one was held in Delhi to mark the 96th birth anniversary. Girija Darshan Trust, established last year by Girija Devi’s senior disciple Sananda Sharma, presented two vocal concerts as a tribute to the legend. The evening was shown in a couple in a couple in a doubles in Sananda with a floor metaphor Kulkarni, and PT Sajan Mishra performed with Son Swaranash.

When Girija Devi started her career in the 1950s, Siddheshwari Devi, Rasulan Bai and Badi Moti Bai were dominated in the world of Thumri. Later, Shobha Gurtu became a Thumri singer, such as stallwarts like PT. Chanulal Mishra. But as Girija Devi or Appji she was known by love, gained an unprecedented popularity as both an artist and teacher. His fame increased well for Thumri, which was historically demolished as a mild classical form. Since it was more associated with emotions than the classical structure, it was not given the same respect as Khyal or Dhrupad. Girija Devi proved this perception wrong with her disqualified singing style, which estimated Thumri’s lyrical quality. In addition to his music appeal, it was also his warmth and affection and humble conduct that attracted the audience to his concerts.

Inaugurating the program held at India Habitat Center, Ustad Amjad Ali Khan said, “I knew him since 1963 when I first went to Benares. Purra Banaras Unke Andar Bassa Hua Tha(The whole Banaras were within him). ,

Sunanda Sharma with Rupak Kulkarni | Photo Credit: Special Arrangement

Referring to a close relationship between his guru and PT. Hari Prasad Chaurasia, Sunanda said that it was appropriate to demonstrate his disciple metaphor Kulkarni. Both began with Raga Eman Kalyan; There were two compositions after a brief ‘Aur’. Sunanda’s beautifully executed sargam and Tans were enthusiastically matched by a metaphor on the flute. Sunanda’s ability in the third Octave was impressive. Next, hopefully, Mishra in Taal Jat (16 Beats) had a thumri in Khamach. This rhythm is used more in ‘Purba Aung’ Thumri. The last piece was a Kajri, ‘Kenawa Mano, Radha Rani’. PT Mithilesh Jha on the table and Sumit Mishra on Harmonium; Both artists from Banaras granted excellent support.

PT Sajan Mishra, who is also from Banaras, was doing his second concert in memory of Appji that day (he sang in a program in Banaras in the morning). Girija Devi learned from her uncle PT. Srichand Mishra.

PT. Sajan Mishra performed with son Swaranash. They were with PT. Vinod on tabla, and PT. Vinay Mishra on Harmonium | Photo Credit: Special Arrangement

PT Sajan Mishra started his concert with Raga Bageshwari, which was his favorite. As usual singing was highly emotional with notes, which was originally flowing and creating an atmosphere of apathy.

It is said that no one can tell the nuances of restrictions like a singer of Banaras Gharna; This was clear in this concert. PT. Sajan Mishra, who sings three compositions in a slow and unnatural motion, in the Banaras style. It appreciated the audience.

After the concert, the Evtran Voksallist shared how he and his brother, PT Rajan Mishra sang only the idea to establish the presence of their home in more than 40 years. He said that in the last century, singers, especially women, focused on Thumri, from the region and made it so popular that the Banaras Khayal style was almost forgotten. So the brother vowed to sing Thumri until he re -established the Khayal Gudak of Banaras.

But in this concert, Appji, as a tribute to PT. Sajan Mishra and Swarnash sang a beautiful thumri in Mishra Tilang. It was PT to contribute extensively to the concert. Vinod on tabla, and PT. Vinay Mishra on harmonium. Both are from Banaras and have also been trained in style.