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""
 
Paramahamsa Omkarananda Saraswati

 

Special Issue

Omkarananda Mahotsava: 25.12.2005 - 4.1.2006

   
Sitar-Concert
in Omkarananda Ganga Sadan
27th December 2005
 

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A musical evening was organized on the 3rd Day of the Mahotsava at Omkarananda Ganga Sadan under special supervision of Usha Deviji, in which a Sitar-Concert was presented by Sri Jagat Adhikary, who is a direct disciple of world famous Sitar Maestro Pt. Ravi Shankar.

The programme was inaugurated by Sri Vinod Barthwal with the lighting of the lamp. The evening was unveiled with a speech on Indian Classical Music delivered by Miss Sangeeta Adhikary, Head of Department, Computer Science, Omkarananda Saraswati Nilayam, Rishikesh. Some excerpts from that speech:

'My heartfelt salutations to H.H. Swami Vishveshwaranandaji Maharaj, Respected Narasimhuluji, Somashekhariji, Usha Mataji, and other Swamijis who have blessed us with there benign presence here, today.

'Good evening ladies and gentlemen! It's my privilege to welcome you all to this auspicious day when we, the entire Omkarananda family are celebrating the Mahotsava of our Great Gurudev Paramahamsa Swami Omkaranandaji Maharaj.

'Indian Classical Music took its origin from the concept of Nada Brahma, which means that the whole universe was created from the energy of sound, it's only the sound that exists in the beginning. The music of India is one of the oldest unbroken musical traditions in the world, because it is said that it has come from SAMAVEDA (one of the four ancient scripts of the Hindus). 

'This form of music went further exploring the mysteries of nature with immense spiritual interpretations. This great knowledge was carried forward by GHARANAS or traditions for thousands of years. One of the very ancient traditions of receiving knowledge from the teacher in India is known as Guru - Shishya Parampara. This teacher-student tradition established a method, which is being passed down through generations, with equal devotion from the teacher and to the student. Today we are very fortunate indeed to have Mr. Jagat Adhikary as one of such disciples, who have received his music training in this tradition, an unique but very effective tradition of GURU SHISHYA PARAMPARA from world renowned Sitar Maestro Pandit Ravi Shankar''


A spell-bound audience listening to the Sitar-concert
of Shri Jagat Adhikary

A brief life sketch of the day's artist, the well known Sitar Maestro Sri Jagat Adhikary, was also presented:

''Born in Krishnanagar near Calcutta (now Kolkata), West Bengal, Maestro Adhikary has been brought up in a Spiritually High and Musical atmosphere. Initially he had taken training from his father and later on started taking music lessons from a very renowned Sitar exponent, Late Pt. Jitendra Mohan Sengupta, - a disciple of Ustad Enayet Khan of Miya Tansen Gharana, (the legendary Saint musician of 16th Century).

'On the advice of Ustad Allauddin Khan (Popularly known as BABA) and Guru of Pandit Ravi Shankar, in 1950, he went to Delhi to meet Pt. Ravi Shankar. After observing his performance Pandit Ravi Shankar accepted him as one of his 'Shishya' (disciple) and started giving him thorough training in Guru-Shishya Parampara.

'Maestro Adhikary has exhibited his expertise in various public performances, such as in 'Allauddin Conference' in 1968 at Calcutta and other Classical conferences at Delhi, Nepal, Allahabad, Varanasi, Lucknow etc.

'He is a founder-director of a music cultural organization named 'SANGEETA' at Lucknow. Maestro Adhikary proved his authenticity towards the direction also. In 1970 he was felicitated by the then Governor of Uttar Pradesh for his extraordinary performance as director and music composer for a Ballet named 'Sangeet Utpatti' (the Evolution of music). He had started a music Academy named 'Sangeet Kala Kshetra' at Lucknow in late 70's too.

'In the year 2003 he was invited and honoured by the Governor of Uttaranchal, His Excellency Sri Surjeet Singh Barnala, for his outstanding service to Indian Classical Music.

'The Director General of ALL INDIA RADIO, 'PRASAAR BHARTI' (Dept. of Broadcasting Corporation of India) appointed him as member of Classical Music Audition Board of ALL India Radio (A.I.R.).

'Nowadays Maestro Adhikary is living in Rishikesh with his family and working restlessly to spread out the power of Spiritual and Pure music throughout the world by giving advanced training in the field of classical music to the students, those who come from different parts of the world''

The speech was followed by the Sitar concert of Sri Jagat Adhikary. He had started his concert with aalap, jhor and jhala in Raga Kausik Kanara and continued his concert with gat in Rag Jog fixed in Teen Taal i.e. 16 beats, followed by Ek Taal i.e. in 12 beats. A very difficult, but extremely beautiful and exciting part of Shri Jagat Adhikary's performance was 'Sawaal-Jawaab' - a 'Question and Answer' play, in which Adhikaryji and the Tabla-Master performed rhythmic skills on their instruments as a sort of musical 'challenge'. This really thrilling part of the performance earned a lot of spontaneous applause from the audience. Shri Adhikary then concluded his concert with a composition based on mixed Raga, in which the knowledgeable listeners could get the flavour of some devotional songs also. He was accompanied on Tabla by Mr. Shivananda Sharma, a worthy disciple of Ustad Ilmas Hussain Khan of Lucknow Gharana, and Shivanandaji's younger brother on the Tambura.


Vote of Thanks by Swami Vishveshwarananda

The evening had come to an end with the Vote of Thanks by H.H. Swami Vishveshwaranandaji Maharaj. He honoured the guest artists and appreciated them with his heartfelt verses. He could inspire everyone with his worthy influential words and explained the magical impact of music on all living beings. A large number of music lovers and eminent guests of the city witnessed and enjoyed that beautiful evening.

The Indian Music: Its Differentia

Apart from its aesthetic and artistic value, this wonderful art of music had always held for the Indian mind, a clarion call to spiritual development, and had been widely cultivated and had attained a high level of perfection in India... It was never regarded in India as a mere lay art, as a mere system of pleasing the sensuous part of man. It was always held to be but an extension and outward symbolisation of the Omnipresent Pranava Sound - OM - and utilised only for purposes of God attainment...

- Swami Omkarananda -

 

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