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Event 

Title:
ABIR SINGH KHANGURA & APURBA MUKHERJEE- Indian Esraj & Tabla
When:
30.05.2013  at  20.00 h
Style:
India
Price:
15€ (10€ for students under 26 and jobseekers)
Reservation:
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ABIR SINGH KHANGURA & APURBA MUKHERJEE- Indian Esraj & Tabla

Description

Abir Singh Khangura belongs to the musical lineage of his Father Prof. Mohan Singh Khangura and his Mother Smt Suchismita Singh.
Born in Shantiniketan, Abir began his Esraj training from Sri Ranadhir Roy, disciple of Pandit Asesh Bandopadhyay. After the untimely demise of his guru, Abir continued with Sri Buddhadev Das of the same tradition. Later Abir had the fortune to receive talim from Dr. Sisirkana Dhar Chowdhury, disciple of Ustad Ali Akbar Khan of Maihar Gharana. An awardee of national scholarship by Govt of India, Abir has received many  awards including junior fellowship in the field of Hindustani Classical Music.
Abir has travelled extensively in India, Bangladesh, Europe and U.S.A, with his music and teaching.
Apurba Mukherjee is a bright and talented Tabla player in the world of Indian Classical Music. As a disciple of Pandit Shankar Ghosh, he has performed widely in India and abroad, accompanying well known musicians of the country(such as Ustad Saiuddin Dagar,Smt Purnima  Sen, Smt Sanjukta Ghosh,Sri Sanjoy Banerjee,Sri Kaivalya Kumar Gurav,Sri Partho Sarothi,Sri Kushal Das, Sri Partha Bose and others) as well as composing and performing experimental music projects with musicians overseas. Apurba also plays different percussions.
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http://www.facebook.com/abir.singhkhangura
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www.bandish.net/apurba/home_apurba.htm
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A Short History of Esraj


The Esraj (Israj) is a string instrument played with bow, which is hardly known outside Bengal (Vishnupur and Santiniketan). Still then we can find Esraj in different places in India. Such as Maihar, Benaras and also in South India.

In 17th Century they used to call this instrument as ‘BALASARASWATHI’ in South India. The construction of the instrument and bow was little different from Esraj.

In 19th century Baba Allauddin Khansahib used Esraj in his famous Orchestra at Maihar. The construction of the instrument was same but there was no peacock.

In late 19th Century Sri Surendra Chandra Bondopadhyaya, uncle of the famous Esraj player of Visnupur Gharana Pandit Ashesh Chandra Bondopadyaya, brought about the major changes in holding the instrument. Now the instrument was played in a straight position on the lap instead of a tilted one. Also he brought about some major changes in holding and playing with the bow


Before these major changes by Sri Surendra Chandra Bondopadhyaya,it was played like ‘Sarangi’ tilted over the shoulder. But the bow remains same like ‘Chello’. However it was one of the first revolutions of the technical aspect of Esraj.

In early 20th Century Pandit Ashesh Chandra Bondopadhyaya came to Santinketan (Viva Bharati University of Rabindranath Tagore). Pandit Ashesh Chandra Bondopadhyaya was from a famous musician family of Vishnupur and he successfully played this instrument in straight position following the footsteps of his famous Uncle Sri Surendra Chandra Bondopadhyaya.
During that time he had been developing some construction of the instrument. He made his Esraj with one piece of wood and he added more three sympathetic strings for better resonance. But he did not change the construction of the instrument.
His style of playing gats and tans was like Khayal  same as vocal. But he also used to play ‘tantrakari’ (instrumental style) like Jord, Jhala and few ornaments of bow.

Then after a long time Prof. Ranadhir Roy disciple of Pandit Ashesh Chandra Bondopadhyaya developed and changed some major structure of the Esraj around 70s.

He also brought few major changes in holding the instrument, technique of playing, holding and using the bow, and few new ornaments of both hands.
After these big changes he modified lower portion of the Esraj in the year 1979. He made the bottom (skin and hollow chamber) bigger and he added fence on the back side of the hollow chamber.

After these major changes the Esraj looks different from its earlier version. As an effect this instrument now produces a wide range of tonalities, acoustically more rich and has taken a much impressive shape as a solo instrument.

It is a short history of Esraj spanning approx. 17th Century to late 20th century.

While Sri Randhir Roy was still in the process of developing the construction and the techniques of playing Esraj he died in the year 1979. After his sudden death I Abir Singh Khangura disciple of this great maestro took upon his unfinished work i.e. developing the construction and playing technique of   the Esraj.

Now I am working with the ideal shape of the bow for flexible bowing. An ergonomic bridge design for better vibration through the skin of the instrument, make a good setting of the freats (reed) for flexible movement of the left hand and for good tonal qualities.

I am also working with the development of the construction of the instrument, playing techniques and development of playing “Gats”, “Thans” and ornaments in “Dhrupad” style.

RESEARCH AND WRITTEN BY- ABIR SINGH KHANGURA

Samples and videos





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