With Dawud Jérome Côrmier (vocals), Gérard Hababou (pakhawal percussion), Sérana Mesureur (violin) and Ibtissam Alouch (tampura).

Dawud Jérome Cormier was a Student of Ustad Sayeeduddin Dagar

Retreat with Sheikh Hassan in Chateau de Wanne- Belgium- July 2017 Concert de Jérome Cormier Dhrupah – student of Ustad Sayeeduddin Dagar http://musicosophe.fr/index.html Ustad Sayeeduddin Dagar is the last singer of the 19th generation of the Dagar lineage, a name associated with Dhrupad for centuries. Dhrupad is considered to be the oldest genre of Indian Classical Music still practised today in Northern India. The inimitable style of Sayeeduddin Dagar, full of poetry and delicacy, has made him a respected and sought after artist and teacher, followed by many faithful listeners and students. . Ustad Sayeeduddin Dagar – Guru-ji passed away this very day 30th July 2017 in Puna India – Inna lillahi wa inna ilayhi rajiun

Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest known style of major vocal styles associated with Hindustani classical music, Haveli Sangeet of Pushtimarg Sampraday and also related to the South Indian Carnatic tradition.^[1][2] It is a term of Sanskrit origin, derived from dhruva (ध्रुव, immovable, permanent) and pada (पद, verse). The roots of Dhrupad are ancient. It is discussed in the Hindu Sanskrit text Natyashastra (~200 BCE – 200 CE),^[3][4] and other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the Bhagavata Purana (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized.^[4]

The term denotes both the verse form of the poetry and the style in which it is sung.^[5] It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination.^[6][7] Thematic matter ranges from the religious and spiritual (mostly in praise of Hindu deities) to royal panegyrics, musicology and romance.

A Dhrupad has at least four stanza, called Sthayi (or Asthayi), Antara, Sanchari and Abhoga. The Sthayi part is a melody that uses the middle octave’s first tetrachord and the lower octave notes.^[7] The Antara part uses the middle octave’s second tetrachord and the higher octave notes.^[7] The Sanchari part is the development phase, which holistically builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes.^[7] The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or caugun (fourth).^[8] Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupads were composed to praise kings.^[6][8]

The tradition of Dhrupad is recorded back to saints of Braj (Mathura) namely Swami Haridas, Surdas, Govind Swami, Asht Sakha of Haveli Sangeet and followed by Tansen and Baiju Bawara. When Dhrupad composition are based on Bhagwan Shri Vishnu or his incarnations thereof, is called Vishnupad.