How Girija Devi continues to inspire artistes

Musical tributes to thumri queen Girija Devi continue, showcasing her lasting impact on Indian classical music.

It may be eight years since her passing, but musical soirees in memory of thumri queen Girija Devi continue to be held. It shows the lasting impact of her music and persona. The recent one was organised in Delhi to mark her 96th birth anniversary. Girija Darshan Trust, established last year by Girija Devi’s senior disciple Sunanda Sharma, presented two vocal concerts as a tribute to the legend. The evening featured Sunanda in a duet with flautist Rupak Kulkarni, and Pt Sajan Mishra performed with son Swaransh. 

When Girija Devi began her career in the 1950s, the world of thumri was dominated by the likes of Siddheshwari Devi, Rasoolan Bai and Badi Moti Bai. Later, Shobha Gurtu became a thumri singer to reckon with, as were stalwarts such as Pt. Channulal Mishra. But Girija Devi or Appaji as she was affectionately known, earned an unprecedented popularity both as a performer and teacher. Her fame augured well for thumri, which was historically downplayed as a light classical form. Since it was associated more with emotions than classical structure, it wasn’t accorded the same respect as khayal or dhrupad. Girija Devi proved the perception wrong with her inimitable singing style that projected thumri’s lyrical quality. Apart from the appeal of her music, it was also her warmth and affection and humble demeanour that drew listeners to her concerts.

Inaugurating the event held at India Habitat Centre, Ustad Amjad Ali Khan said, “I knew her since 1963 when I first went to Benaras. Purra Benaras unke andar bassa hua tha. (the whole of Benaras was within her).”

Referring to the close relationship between her guru and Pt. Hari Prasad Chaurasia, Sunanda said it was appropriate to have his disciple Rupak Kulkarni perform. The duo began with raga Aiman Kalyan; the brief ‘auchar’ was followed by two compositions. Sunanda’s beautifully executed sargam and aakar taans were matched spiritedly by Rupak on the flute. Sunanda’s ability scaling notes in the third octave was impressive. Next, expectedly, was a thumri in Mishra Khamach, in taal Jat (16 beats). This taal is used more in ‘Purab ang’ thumri. The last piece was a kajri, ‘Kehanawa mano, Radha Rani’. Pt Mithilesh Jha on the table and Sumit Mishra on the harmonium; both artistes from Benaras, provided excellent support. 

Pt Sajan Mishra, who also hails from Benaras, was performing his second concert in memory of Appaji that day (he sang at an event in Benaras in the morning). Girija Devi had learnt from his uncle Pt. Shrichand Mishra.  

Pt Sajan Mishra began his concert with raag Bageshwari, a favourite of his. As usual the singing was highly emotive with the notes flowing seamlessly and creating an ambience of nostalgia.

It is said that no one can convey the nuances of a bandish like a singer of the Benaras gharana; it was evident at this concert. Pt. Sajan Mishra, in the characteristic Benaras style, sang three compositions in a slow and unhurried pace. It drew appreciation from the audience.