Sangeet Mishra and Niranjan Deodhar LIVE Sarangi and Tabla in Wollongong

Sāraṅgī -One of the oldest fretless bowed instrument with 3-4 playing strings and approximately 37 sympathetic strings is related to other bowed instruments like violin, cello, double base and the medieval Viola da Gamba and Viola d’Amore.

The origin of the word is from Saṁskṛta Sāraṅgin – one who possess an arrow as in a bow acknowledging it’s origin from the hunting bow of the central Asian horsemen who discovered horse hair to make a bow to play string instruments.

Saṅgīta Miśra

Saṅgīta Miśra-an 8th generation Sāraṅgī player hails from the renowned Sāraṅgī Gharānā (school) of Banārasa, India. Like Gaṅgājala his Sāraṅgī nurtures the heart and rejuvenates the soul.
Born into music, Saṅgīta excelled in classical singing under the tutelage of his paternal grandfather the great maestro late Paṇḍita Nārāyaṇa Dāsa Miśra.

Subsequent training and guidance under his grandfather Paṇḍita Bhagavāna Dāsa Miśra – the renowned Sarangi maestro and his father Paṇḍita Santoṣa Kumāra Miśra, saw Saṅgīta blossom into a versatile artist. His unique style – a perfect blend of ancient tantakārī and gāyakī is so refreshing that it integrates seamlessly into contemporary music.

Saṅgīta has accompanied the local greats, the likes of Śrīmatī Girijā Devī , Paṇḍita Channūlāla Miśra, Paṇḍita Birajū Maharāja as well as performed solo in prestigious Classical music festivals in India -Savāī Gandharva (Puṇe), Gaṅgā Mahotsava (Vārāṇasī ) and abroad – India Festival (Japan), Woodstack Festival (Polland), Royal Theatre (Australia) with equal poise.

Nirañjana Deodhara

Nirañjana Deodhara’s performances reflect the depth and variety of the Dehlī Gharānā; the oldest school of Tabalā, with its emphasis on precision of individual finger strokes as opposed to whole hand strokes and elaboration through Qāyadās.

To this rich tradition, Nirañjana adds the thrilling gift of layakārī (mastery of rhythm) and his own style of creativity involving rhythmic patterns that follow the Fibonacci sequence. He has also studied other instruments and genres of music such as pakhāvaja, guitar, saxophone, which he relates back to his primary instrument, Tabalā.

Initiated into the world of music at an early age Nirañjana received his training from Ustāda Śer Mohammed Khān of Dehlī Gharānā and has performed as both accompanist and soloist in India, USA and Australia. He has also recorded for All India Radio and ABC Radio. Over the years he continued his advanced training under Ustāda Zākira Hussain, Ustāda Fazal Quraiśī, Dr. Aban Mistrī and Tāla Maṇi Āditya Kalyāṇpura.