At Pt. Janardhan Mitta’s sitar recital, one discovered the sophistication and subtlety of his musical mind. It seemed to better grow with each and every sensitive stroke that he played.
Pt. Janardhan, a student of Pt. Ravi Shankar, began with a khayal in raag Puriyakalyan. He excelled in the gayaki tradition of the Maihar Gharana. His melodic lines were an extension of the shadja and seemed to draw their energy from it. The music unfolded when the reposeful yet dominant nucleus of the shadja became charged; the concentration on the komal ‘re’ of Puriyakayian that strained away from and then returned to the ‘sa,’ created pulsating patterns that showcased alap, jod, vilambit and dhrut gats set to Teentaal.
Next, Pt. Janardhan played Mishr Kafi, which he explained does not have the serious tone of Kharaharapriya. In the Hindustani system, this raga is extensively used for thumris; the tradition allows the performer freedom to indulge in permutations and combinations. Creating a unique aura of laya and sur with every measured beat, Pt. Janardhan’s playing made for a fulfilling experience.
With great élan, spontaneity and poignancy, he combined ragas such as Zila Kafi, Palas Kafi, Hori Kafi and Kafi Kanhra in an appealing way. His handling of the thumri ang evoked acute suggestions; through his skilfully orchestrated different strokes, he seemed to present different meanings just through musical manipulation.
In addition to the gayaki ang, Pt. Janardhan showcased the characteristics of the tanterkari ang in hisstyle of Malkauns. He touched upon the mandra saptak with his steady and definite strokes which evoked a feeling of pathos. The jodjhala and tabla were in sync even at high speed. Chandrajit on the tabla, a disciple of Pt. Abhijit
Banerjee, showcased Laggi and Chakradhar and some beautiful Qaiyda in rhythmic oscillations that stood out in the dhrut.
The last piece, which was in traditional Sindu Bhairavi, was a feat of musicianship as well as aesthetics. It brought forth many beautiful and familiar dhuns with purity and restraint.
