Welcome to Venugoonj Sangeet Sammelan
Experience the rich heritage of Hindustani Classical Music at Venugoonj Sangeet Sammelan, a prestigious festival dedicated to preserving and promoting India’s classical music traditions.
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About Us
Venugoonj Sangeet Sammelan is a revered institution committed to the preservation, propagation, and promotion of Indian Classical Music. Our mission is to attract and encourage more people to appreciate and develop classical music, while honoring outstanding artists and institutions.
Our Objectives
- Promote Indian Classical Music: Encourage appreciation and development of classical music
- Institutional Support: Establish training institutions for music education
- Recognition and Awards: Honor exceptional artists and institutions
- Cultural Preservation: Revive and popularize India’s rich musical traditions
- Collaboration: Partner with organizations to further our mission
Explore Our Initiatives
- Music Festivals: Immerse yourself in classical music festivals and events
- Workshops and Seminars: Enhance your musical knowledge and skills
- Artist Profiles: Discover inspiring stories of legendary musicians
- Music Resources: Access exclusive content, including audio recordings and articles
Pandit Chetan Joshi Official Channel
Venugoonj Foundation Workshop
The Venugoonj Foundation has hosted a flute workshop from March 28 -01 April, 2025. Participants were from North East, Jharkhand, West Bengal, and M.P..
The workshop was a residential one, running from 9 am to 7 pm, where they have learnt flute almost the entire day. Special guest lectures and demonstrations were held during the evening time.
Day 1:
Day 1 : A five-day flute workshop (Bansuri) was initiated by the Venugunj Foundation on March 28, 2025, under the expert supervision of Pt. Chetan Joshi, a renowned flautist in the country. The workshop was attended by disciples of Pt. Chetan Joshi from five distinct regions of the country. Mr. Ashok Singh from Jamshedpur, Jharkhand, Dr. Samir Seth from Purulia, West Bengal, Dr. Santosh Kumar from Gangtok, Sikkim, Nitin from Madhya Pradesh, and Anjaneya from Noida, Uttar Pradesh have all joined. Mr. Nimesh Rathore, a renowned Tabala performer from Jharkhand, also participated in the event.
The workshop’s primary objective was to emphasise the production of the performance of Bansuri. The first day commenced with Raga Yaman, during which Pt. Joshi instructed the participants on the intricacies of the raga and taught two compositions in Jhaptal bilambit and teental madhyalaya respectively.
The second session of the day commenced with a raga that is unique to South Indian music but is also employed in North Indian classical music. Pt. ji has initiated the alap, which is accompanied by the distinctive composition of rupak bilambit. Pt. Ji instructed Tihai in various laya from the various beats of the tala during the bilambit, which was conducted at a slow pace. Subsequently, he instructed students in the composition of Pt. Raghunath Seth, “teen taal in drutlaya.”
He began playing the raga Hemant with alap and jod, followed by gat in Rupak taal. The teen taal composition on the same raga was initiated by Pt. Joshi. All the participants have contributed their own elaboration in making the raga Hemant lively. “Saware ai jaiyo” was the final bhajan of the session. the closing song for the session.
Mr. Divyansh Harshit Srivastava, an aspiring santoor player, and his wife Swati Tiwari initiated the third session with a lecture demonstration and conversation. The lecture demonstration commenced with Swat Tiwari, a disciple of the renowned vocalist Saswati Mandol. Tiwari demonstrated Tappa, a semiclassical genre of North Indian music. She provided a concise overview of the historical lineage of Tappa and the manner in which the style has been popularised in various styles. Mr. Nimesh Rathore provided her with exceptional accompaniment as she performed two distinct Tappas. Mr. Divyansh Harshit Srivastava, a disciple of Late Pt. Bhajan Sapori, initiated the second segment of the lecture demonstration by demonstrating the string instrument Santoor. He commenced by elucidating the various components of the Santoor, which is also referred to as the satatantri veena in ancient and mediaeval literature, as well as its historical and cultural significance.
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