ITC Sangeet Research Academy dedicated the 40th ITC Sangeet Sammelan to the late Girija Devi, who had shifted base from Banaras to be the youngest Guru with the Academy since its inception in 1977. The opening item of this much awaited three-day feast of music, nicely spread in the sylvan surroundings of the Academy’s well-covered lawns and enormously attended by connoisseurs despite the nippy weather, touched hearts and moistened eyes when a bunch of SRA scholars, Sucheta Ganguly, Aparajita Lahiri and Shoumi Roy, led by Omkar Dadarkar, the newly-appointed Junior Guru, paid warm tributes to their beloved Guruma.
Stalwarts in action
Following the annual ritual of honouring revered musicians, the coveted ITC Samman 2017 was bestowed on Pandit Venkatesh Kumar, one of the most favourite vocalists of his generation belonging to Kirana-Gwalior lineage of Dharwad region. Later as the final artiste of the first evening, he treated his fans to his delightfully full-throated and soulful rendition (Bihag with predominant Gwalior elements, Durga, Khamaj Hori and Bhairavi bhajan) replete with numerous uniquely designed taan-patterns.
Pandit Ajoy Chakraborty, known for his unabated skill-show, almost always turns to his alma mater with great veneration where virtuosity comes only to propel the purity of raagoop and enhance its emotive content. In the wee hours of the Sammelan’s final day, his delineation of Nat Bhairav, followed by a Bhairavi thumri in purab anga left a memorable impression. Young Meher Paralikar offered commendable vocal support to his Guru.
Later in the evening’s final segment, Pandit Ulhas Kashalkar, the unrivalled master of jod-ragas, gifted a gem of Kausi Kanada in Nayaki anga as envisaged by Agra Gharana with MnPnS and oscillating gMRS along with komal dha of Malkaus dominating different phrases that created an enigmatic effect of light and shade all along. The same thing happened when the verve of tappa-anga-dominated raga Sohini, a gem from Gwalior treasure, turned to his final piece (Jamuna ke teer in Bhairavi) and peeked in piety. His disciples Alick Sengupta and Nirbhay Saksena followed him with laudable clarity. Young harmonium wizard Gourab Chatterjee accompanied both the masters.
ITC Samman 2017 being bestowed on Pandit Venkatesh Kumar
Ustad Rashid Khan’s golden voice cast its spell with the beautiful melody of Gorakh Kalyan. While he and his disciple Shrinath Adgaonkar did not touch Pancham, veteran harmonium wizard Jyoti Goho displayed the note’s swiftly dissolving but sweet presence a la Gwalior. Encores led Khan to sing two dadras later. In this segment, Murad Ali’s sarangi did wonders. The meditative and majestic character of Malkauns, as portrayed in the elaborate aalap by Pandit Uday Bhawalkar, the sole dhrupad exponent of the entire conference, left an indelible mark with its simple purity. Well supported by his disciples Sagar and Prasanna, he sang two compositions in tewra nad Shooltaal. Young Pratap Awad’s pakhawaj rose to occasions with superbly anticipated saath-sangat.
Ustad Shahid Pervez was his usual self while etching Bageshri, a late night raga around four in the morning (alap-jod-jhala with Pancham of the Jodi-strings disturbing all along) and following it up with another evening raga Rageshri (rupak and teental gatkaris) followed by the famous Baul dhun. Kala Ramnath’s singing violin could do better by avoiding the controversial chromatic use of both Gandhars in her otherwise attractive portrayal of Jogkauns. Kaushiki Chakraborty’s singing (raga PuriaKalyan slow Ektal and complex Ekwai taal later switching over to Teental) was as dazzling as her beauty – with little room for warmth. However, her Majh Khamaj thumri was very sweet despite stuffed with taans.
Southern connection
The scintillating clarity of all possible ornaments of classical vocalism in different tempos was the hallmark of Padmabhushan awardee Sudha Raghunathan’s rendition (ragas Vasantha-varnam, Jaganmohini, central piece in Shanmukhapriya). To this, she added the unmatched feel for the laudably enunciated lyrics (kritis by Thyagaraja, Papanasana Sivam, Annamachari and Rajagopalachari’s famous ‘Kurai onrum illai’). She was ably assisted by PR Ravi (mridangam), R Raman (morsing), Pakkala Ramadas (violin). However, it was L Ramakrishnan who’s violin won hearts for its melodic appeal while accompanying Trichur Brothers. The duo enthralled with their ingeniously arranged and elegantly rendered pieces (Khamas-varnam, Adana, Narayanagaula and main item in Vrindavani Sarang) superbly supported by their Mridangam Vidwan father Trichur R Mohan and DV Venkatasubramaniam (ghatam).
Superb support
Three world renowned tabla maestros set new standards of accompaniment to musicians of different temperaments; and belonging to varied styles. While Yogesh Samsi’s unobtrusive, mellow tabla was teamed with vocalists Ajoy Chakraborty, Ulhas Kashalkar and Kaushiki Chakraborty, Subhankar Banerjee handled Venkaesh Kumar, Rashid Khan and Shahid Pervez with élan. Kala Ramnath enjoyed the reassuring tabla of Abhijit Banerjee.
Young Turks
This year saw three SRA-groomed young musicians. Sucheta Ganguly regaled listeners with her robust melodious voice and emotive singing of khayals (raga Yaman), Desh thumri and a lilting dadra. Ashoke Mukherjee (tabla) and Rupashri Bhattacharya (harmonium) provided perceptive accompaniment. Talented Ayan Sengupta (sitar) etched pristine version of ragas Jog and Sohini blending the poignancy of gayaki with thrilling tantrakari in equal measures with Indranil Bhaduri’s tabla. Paramananda Roy (flautist) displayed his confident grip on complex tala-variants while playing tuneful alap and gatkaris in raga Yaman with Ashoke Mukherjee’s tabla support. These Young Turks can easily claim that they have already arrived in this highly competitive arena well-equipped with their melodic armoury.
