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His Musical Journey

Influenced by the music of Classical Stalwarts such as Gan-Tapasvini Mogubai Kurdikar, Surshri Kesarbai Karkar, Ustad Bade Gulam Ali Khan, Pandit Kumar Gandharva, Pandit Bhimasen Joshi and Ustad Vilayat Khan, Shivraj was most profoundly motivated and attracted by the genius of "Gayan Saraswati- Vidushi Kishori Amonkar" and "Pandit Kumar Gandharva"

 

At a very early age at 9, Shivraj started his Sangeet Sadhana under "Swara-Sant Pandit Manohar Buwa Dabke" of the "Gwalior Gharana" at the Pune- Gandharva Mahavidyalay.

Thereafter on the Thursday, 5th of May 1988, he was accepted as disciple by "The Gayan Saraswati Vidushi Kishori Amonkar" Herself --­ Indeed a dream come true!

His time with Gaana Saraswati Vidushi Kishori Amonkar

Here started the rigorous and arduous task of 'Trial by Fire' for Shivraj, as a Shishya of a strict and non-sparing Guru, but at the same time, once out of the Riyaz room, the Guru became an affectionate and caring Mother figure towards all her disciples who had the rare good fortune of living and learning in the pure and meditative environment of Kishoriji's Home, which Is no less than a "Sanctum Sanctorum'' of music.

Classical Vocal definitely was the predominant Art Form that Kishoriji fortified but at the same time she made Shivraj at ease and proficient at singing lighter art forms such as Bhajans, Ghazals, Thumri's and Geets by which she broadened his musical horizons.

Shivraj also had the privilege to seek the blessings and the loving guidance from Kishoriji's Mother "Gaana Tapasvini Mogubai Kurdikar- Maai", The Doyen of the Atroli- Jaipur Gharana and a disciple of "Sangeet Samarat Ustad Alladiya Khan Saheb" • the founder of the "Atroli-Jaipur Gharana", to which Shivraj belongs and has had formal training in this very school of Hindustar11 Classical Music from Kishoriji.

His Gaayaki, musical skills and expertise

  1. His effortless presentation of the Bandish (Lyrical Composition) in its most authentic classical form.

  2. Perfection in pronunciation of the 'Shabda' (words) without hampering the Serenity and Purity of the 'Swara' (Musical Note) and maintaining balance of the Taal (Rhythm).

  3. Restrained phrases of Aakaar-Yukta Aalaapi and Aesthetical and Rhythmical Bol-Aalaapi.

  4. The dazzling speed of Intricate and highly Embellished Taan without losing the Raag-Bhaav (Soulfulness & Emotion) and the Swara-Maadhurya (Beauty & Melody)

  5. Simple but highly expressive and short phrases of Notes so as to create a Swara-Samawad (Musical Dialogue).

  6. Emphasis on "Rasa-Siddhanth" In Music as taught by the Master Kishoriji.

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