Pandit Manilal & Mita Nag
accompanied by
Subhen Chatterjee (tabla)

Saturday, April 3, 2004
Time: 6:00 PM
Venue: Art Auditorium, UT-Austin
(23rd and San Jacinto)
Tickets: $20 (adult), $10 (Sr/Stu)
Free for ICMCA members. Join today!


Pandit Manilal & Mita Nag

Pandit Manilal Nag and his daughter Mita Nag are among the world's most talented sitarists. This should be a surprise to no one who is familiar with their illustrious genealogy. Pandit Nag's grandfather, the late Pandit Govinda Nag and great-grandfather, the late Pandit Bauridas Nag, were both distinguished exponents of the sitar in their own times. The style of music that the Nags have evolved over the last two centuries has come to be called the Bishnupur gharana (literally, house or style) of music, and Pandit Nag is its foremost exponent today. He was initiated into the art of sitar playing by his father, the late Pandit Gokul Nag, when he was only 4 years of age. He made his public musical debut after 10 years of strict studies and instruction, and is today indisputably one of the world's most distinguished sitar maestros.

Pandit Nag's style retains the depth, resonance and sensitivity of one who has dedicated decades as a musician to perfecting his craft. Combining with this the originality of a true genius and entrepreneur, he brings to perfection the delicacy and sentimental mood of every raga (melody) he plays. He is a master of improvisation and possesses the ability to breathe life and originality into a classical theme, molding it into a living and captivating form.

Born in an aroma of music, Mita Nag was initiated into sitar playing at the age of four by her grandfather Pandit Gokul Nag and continued her training under the tutelage of her parents. As a child performer (aged 10), she wowed audiences in her debut appearance in the International Year of the Child concert series in 1979 with her virtuosity and talent. Ms. Nag has performed - both solo and with her father -- in all major musical destinations in India, earning praise everywhere. Her music has attracted and enthralled audiences and disciples in locales as varied and widespread as Belgium, Japan and several cities in the United States.

Mita's expository style embodies the depth and melodic fidelity expected of a true student of her Gharana, combined with an innovative spirit that delights while remaining faithful to the classical purity of the ragas. Music, for her (as indeed for her audiences) conveys messages of peace, transcendence, joy and beauty, pantheistic in its appeal.



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