Pt. Deobrat Mishra represents the seventh generation of a family of exceptional musicians whose names are synonymous with the Benaras gharana. Related to tabla maestro Pt. Kishan Maharaj on his maternal side, the sitar and surbahar exponent who has been performing for over two decades is the recipient of several awards and titles that include Kashi Ratna and Swar Mani. Visiting Chennai for two concerts, the artiste shares his musical perceptions.
Key differences between playing on surbahar and sitar….
The rudra veena is an ancient instrument said to have originated from Lord Siva. As playing it called for a yogic discipline marked by demanding austerities, the surbahar was created as an alternative. Thus, surbahar, also called Uttar Bharathi veena/bass sitar, matches rudra veena in depth and tone. Its heavy timbre makes it ideal for playing dhrupad in its purest form and vilambit elaboration. The sitar evolved later, around the eighteenth century. Lighter, tonally sweeter and more high-pitched, its construction makes for easier handling and playing, for both dhrupad and khyal. Since I come from a paramparik family of beenkars as well as surbahar artistes, I play both. In surbahar, one’s technique should be tradition-bound and perfect. There is limited scope for innovation. But sitar offers scope for innovative playing techniques.
The uniqueness of Benarasi thumri and contribution of your lineage …….
Thumris are uncommon compositions. They are usually set in a handful of specific raags such as Khamaj, Bhairavi, Pilu, Tilang, Desh and Ghara, many of which feature two gandhars or two nishadhs. A raag like Darbari is not used. The speciality of Benarasi thumri lies in ‘bol banao’ or creating myriad shades/meanings around a single word. While playing thumri on sitar, a lot of meend and minute anuswara clusters are used. My ancestors including my great grandfather, the famed Pt. Bade Ramdas Mishra and my grandfather Pt. Mahadev Prasad Mishra known as ‘thumri samrat’ have been custodians of this tradition. Benaras is famous for 4 compositional styles – dhrupad, khyal, thumri and tappa, collectively known as char patt. I play all four on sitar. Surbahar is best suited for dhrupad and the occasional khyal, but not for thumri and tappa. I have had the honour of playing for doyenne Girija Devi who was very appreciative of my interpretation.
On learning from and performing with your father and guru ……
Amazing experience, every time! His style is melodic, yet incorporates considerable layakari. As he teaches many students, I sit in on their classes whenever I am in town and learn so much just by listening. His guidance has moulded my nephew Prashant Mishra into a good table artiste. During my formative years, my father subtly instilled confidence, yet kept me firmly grounded by discouraging undue praise from others. A nod of appreciation from him, a word now and then, gave me the impetus to grow as an artiste. Once, just five minutes before a concert, he casually declared that we would be playing raag Kaushi Kanada which I had never attempted before. Seeing my nervousness, he reassured me. On stage, I carefully observed and followed his lead. Recently, a full 10 years after this incident, he told me I had performed well and that he had sprung that surprise to cure me of stage fright!
Your work with orchestration ……
When the Shankaracharya of Dwaraka peet launched an awareness programme to clean the Ganga, I was asked to conduct an Indian orchestra. I invited 108 sitarists from different schools and cities accompanied by flute, tabla, pakhawaj and vocals - 151 musicians in toto. They played a piece in Desh composed by my father and myself, set to Deep Chandi taal (14 beats). An awesome experience, with listeners comparing the ‘naad’ to a gigantic wave from the river. Performing with the 200-member Orchestra Del Piemonte of Torino, Italy, along with my father and nephew was also memorable.
The fusion trail….
Fusion not handled the right way could result in confusion. Often, drumming up and prolonging a thundering finale is considered a sure-fire way to grab and hold audience attention. But listeners, both in India and abroad have frankly begun opining that this generates a headache! The sensitive approach is fast gaining appreciation. Engaging with world music from 1998, I have worked with several musicians, especially from Luxembourg and France in projects titled ‘’Europe meets India”. But in 2014 when I began collaborating with renowned jazz saxophonist Roger Hanschel, something clicked. His approach is based on a keen understanding of Hindustani classical and was already playing tihais. He stays within the raag, his insight sustains raag atmosphere. I perform with Roger and Prashant as ‘Trio Benares’.
Highlights of your recent European tour…
a whistlestop tour across Italy and Switzerland, with nine concerts in eleven days! It was wonderful performing at heritage buildings such as exquisite churches and city halls with excellent acoustics at Carrara, Verbania, Rome and Northern Italy. At Monza, we had a 1000-strong audience. Many were listening to live sitar for the first time. Post concert, people were eager to see the instrument up close and touch it! Being a cultural ambassador is my way of giving back to music.
Pt. Deobrat Mishra will play surbahar in a jugalbandhi with veena vidwan Bonala Sankara Prakash at Mahaswami Hall, Vani Mahal, Sri Thyaga Brahma Gana Sabha at 6.30 pm on Friday, June 8 (Contact: 9840639934/9840352549). His Hindustani sitar solo will be at 6.30 pm on Sunday, June 10 at Wandering Artist, Second Floor, 51, 6th Main Road, R.A. Puram. (Contact: 9840111425)