>> Nityanand Haldipur
The talented Nityanand Haldipur – ranked among the country’s
leading flautists and a senior disciple of the reclusive
genius, Padma Bhushan Smt. Annapurna Devi – represents
the pure essence of a highly revered musical heritage.
Born in Bombay in a deeply
spiritual family, Nityanand was fortunate to have the
right environment for his latent musical talents to
blossom. His first guru who initiated him into the art,
technique and aesthetics of flute playing was his father,
the late Shri Niranjan Haldipur – a senior disciple
of the renowned flute maestro, the late Pandit Pannalal
Ghosh. The warm soothing sounds of the bamboo flute
were an early, pervading influence. And for young Nityanand
to be attracted to the instrument was only natural.
Over the next two decades, Nityanand’s training continued
under the late Pandit Chidanand Nagarkar, and Pandit
Devendra Murdeshwar, seniormost disciple of late Pandit
Pannalal Ghosh, under whom Nityanand perfected his technique.
However, it was after 1986, when Padma Bhushan Smt.
Annapurna Devi – doyenne of the Senia-Maihar gharana
– and daughter of the legendary Ustad Allauddin Khansaheb
(Baba), the fountainhead of the gharana – accepted him
as one of her disciples, that Nityanand’s talent and
musicianship truly flowered. It progressively acquired
depth, maturity and a new dimension.
The polished tonal grace,
rhythmic elegance, and depth as well as lucidity of
expression evident in Nityanand’s playing are the result
of his continuing advanced training and refinement under
Smt. Annapurna Devi. It embodies the hallowed teaching
traditions of the Senia-Maihar gharana and follows the
same arduous riyaaz, and persevering commitment
that has produced virtuosi like Ustad Ali Akbar Khan,
Pandit Ravi Shankar, the late Pannalal Ghosh, and the
late Pandit Nikhil Banerjee.
To the rigours of such a pre-eminent tradition, Nityanand
has added his own dedication and finesse – through painstaking
practice, assiduous assimilation and erudite presentation.
Absorbing what is pure, beautiful and dignified in Hindustani
classical music, Nityanand has imbibed the difficult
grammar, discipline and subtleties of the rich legacy
he has inherited. While his Dhrupand-ang alaps
and the distinctly formatted jod in the vilambit
compositions are serene, contemplative and introspective,
his drut renderings are lilting and imbued with a fascinating
variety of rhythmic patterns.
Nityanand has performed
at several music conferences including the SAARC Festival
and the Apna Utsav series. Music lovers and critics
alike, in India and abroad, have acclaimed his imaginative
and haunting rendition of ragas. His performances are
replete with unexpected, sweet and breath-taking improvisations.
An eclectic musician, Nityanand has kept his mind and
ears open to the beat that other styles and cultures
have to offer. His rich and extensive repertoire covers
a wide canvas: from the pure classical to the experimental
A regular broadcaster over the Bombay Station of the
All India Radio and Doordarshan, Nityanand has participated
in the National Programme of Music and the All India
Radio Sangeet Sammelan. His music is also available
on the Magnasound and Lineage labels.
from Press Reviews
True Voice of the Flute….
“However, three cheers to Nityanand Haldipur who brings
a breath of freshness and originality and restores the
true utterance to the flute in the midst of the prevailing
depravity. The golden rule is what the human voice does
the flute can and should do. Haldipur brought back memories
of good old days when flute had a stately gait and the
demeanor as opposed to the “childish frolics and flippancy”
characterizing its playing today.”
The Hindu, 28th Nov. ’97
“As for Nityanand Haldipur, he breathes into his flute
the cumulative creative motivation he has had from Smt.
Annapurna Devi. He virtually poured his heart into the
opening Yaman exploring the potentialities of the raga
to the utmost through a series of exciting swar-sangati.”
Indian Express, 24th Oct. ‘91
Melodious flute recital….
“Nityanand commenced his performance with the Raga Yaman.
The finesse with which he systematically developed the
raga was admirable. His shifting of “sum” on the upper
note for a short while brought out a certain freshness.”
Deccan Herald, 6th Nov. ’92
Gimmickry and brilliance…
“The most impressive performance of the evening came
from Nityanand Haldipur. The tone of his flute was rounded
and appealing. The alaps were placid and intense. Haldipur
developed the raga on the lines of the Late Pannalal
Ghosh and the tant-ang of Smt. Annapurna Devi.”
The Indian Post, 1st June ‘89
Nityanand’s flute reflects his quiet, dignified personality…
“ In practical terms therefore, Nityanand’s style is
a reflection of his dignified and quiet personal behavior
and thus his playing, is a sort of fluidity rather than
a ‘beat based style’. There is, of course, a division
of the beat but on the whole, the music just flows.”
The Asian Age, 2nd September ’94
Its pure music…
“It was indeed gratifying to observe the sedate mannerisms
of Nityanand Haldipur. What impressed most was his ability
to reflect some of the nuances of his present mentor
– Smt. Annapurna Devi.
Pioneer, September 1994
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