The musicians at Chandigarh’s forty third sangeet sammelan hosted by INT highlighted the specialities of various gharanas
Nothing can heat the soul like calm, seamless swaras on chilly winter nights. So it was on the forty third 12 months annual sangeet sammelan held in Chandigarh lately. Offered by the Indian Nationwide Theatre (INT) in affiliation with Durga Das Basis, the pageant in its over four-decade-long journey has turn into an integral a part of the nationwide cultural calendar. Nearly each stalwart has carried out right here and, together with the INT household, has helped maintain the standard of Hindustani music.
The live-streaming of this 12 months’s sangeet Sammelan reached a a lot bigger viewers, together with Navjeevan Khosla, the INT’s 99-year-old founder-president. Although he couldn’t attend the sammelan in individual, he remained related on-line and didn’t miss a chance to recall his associations with legendary performers. For example, when Ashwini Bhide, the well-known consultant of the Jaipur-Atrauli gharana sang raag Madhmad Sarang, he mentioned, “In 1945, I listened to this raag being sung by Bhurji Khan, the son and disciple of Ustad Alladia Khan, the founding father of your gharana.”
Ashwini started her meticulously deliberate live performance with Bahaduri Todi, a uncommon number of Todi and a standard raag of her gharana. She sang a standard Vilambit Khayal ‘Mahadeva…’ set in sluggish tempo of Teentaal after which matched it together with her personal composition invoking Shiva in Drut Teentaal. Raag Bahaduri Todi with each the rishabhs, komal gaandhar and komal dhaivat was adopted by Hindol-Pancham with contrasting swaras and temper that turned the serene ambiance full of life. This jod-raag, a mix of raags Hindol and Pancham, is once more a speciality of her gharana. This was adopted by a Drut Teentaal Tarana in Hindol in a sooner tempo .
The Madhmad Sarang opened with a lovely bandish, ‘Jab se mann lagyo Shyam so’, composed by the late Kishori Amonkar, set to Madhya-Vilambit Rupak Taal. Ashwini rendered it in a leisurely method, exploring the raag step by step ascending by its melodic centres. The favored Chhota Khayal ‘Rang de rang-rejawa’ was studded with a wide range of aakar and sargam taans earlier than the concluding abhang in Bhairavi. Her caressing voice unveiled the expansive panorama of the raags at the same time as she introduced out the inherent traits whereas experiencing their feelings. Vinod Lele’s unobtrusive help on the tabla and Vinay Mishra’s intuitive accompaniment on the harmonium was admirable as typical.
Properly-structured live performance
The 2 additionally accompanied Shashank Maktedar, who introduced an excellent live performance. That Shashank, the disciple of Pt. Ulhas Kashalkar, has imbibed the genuine gharanedar taalim was apparent in his scholarly rendition of Kaunsi Kanhada, sustaining the Naayaki Ang all by. If the Bada Khayal ‘Naiya paar karo…’ set to Vilambit Ektaal had the signature of Gwalior gayaki, the teentaal composition by Ustad Vilayat Hussain Khan, ‘Praan-Piya’, had the Agra rang. The classic flavour of Bahar in Jayadeva’s Ashtapadi ‘Priye Charusheele…’ and Tarana Teentaal had been a part of his well-structured presentation.
Shashwati Mandal, disciple of Bala Saheb Poochhwale who additional educated beneath Malini Rajurkar, is a rising star of the Gwalior gharana. Her Tappa Kafi and Sargam Geet vouched for it. Opening her vocal recital with Dhankoni Kalyan, created by Pt. C.R. Vyas, she tried to enterprise into one thing new. Introducing the raag, she mentioned that when Pt. Vyas conceived the raag he sought Pt. Ok.G. Ginde’s recommendation. Even scholar Pt. Ratanjankar authorized of the inconceivable mixture of teevra madhyam and komal nishad because it was pleasing. Purists, nonetheless, may need felt Shashwati wouldn’t have sounded repetitive had she chosen a extra elaborate and established raag reasonably than Dhankoni Kalyan wih its restricted potentialities.
The pageant opened with Dhananjay Hegde’s vocal live performance and Harvinder Sharma’s sitar recital. Dhananjay’s Yaman and Jog renditions vouched for his coaching beneath Pt. Venkatesh Kumar and Vinayak Torvi, and his rigorous riyaaz. A senior disciple of Ustad Vilayat Khan, Harvinder had command over the strategy of the Imdadkhani Etawah gharana and performed the choicest gat compositions of the famed gharana in raag Khamaj, however his introductory alap, interspersed together with his singing of Amir Khusro’s kalams, gave the impression of a preface to Thumri Khamaj.
The Delhi-based reviewer writes on artwork and tradition.