The Devnandan Ubhayker Yuva Sangeet Utsav brought some extraordinary performances by young musicians

The 27th Devnandan Ubhayaker Yuva Sangeet Utsav 2013 featured brilliant vocalists who conclusively proved that they were indeed performers par excellence and also exemplary disciples of their illustrious gurus. Yuva Sangeet Utsav commenced with a Hindustani classical vocal recital of young Shivani Mirajkar , the disciple of Pandit Kaivalya Kumar Gurav. Shivani impressed the connoisseurs by her aesthetically nuanced performance. Her skilful and subtle use of ‘pakkads’ or catch phrases in the delineation of the Raga Bageshree was a testimony to her creative prowess . The vilambit ek tal bandish “Ab na rahu mai to ri nagariya” was embellished with alluring melodic improvisations , executed with such ease , fluidity and uncompromising mellifluousness, thereby successfully etching the ‘raagabhava’ of this beautiful night melody. Shivani’s dazzling ‘taankari’ in her delineation of the drut teen tal bandish “Gundh lavori malaniya” coupled with a dulcet sense of lyrical abandon was noteworthy. Adarsh Shenoy’s tabla accompaniment enhanced the rhythmic appeal of Shivani’s exquisite and intricate ‘taans’. Bharath Hegde, a talented disciple of the harmonium maestro Pandit Vasant Kanakapur captured the tender poignancy of Bageshree faultlessly on the harmonium . The second session was a Dhrupad recital by another young vocalist Chintan Upadhayay, a disciple of the dhrupad maestro Pandit Uday Bhawalkar. Chintan’s rendition of the sandhiprakash raga Marwa in the dhrupad mode displayed all the traits of high classicism both in content and spirit, highlighting the sublime and contemplative appeal of dhrupad music. After an impressive rendition of the alap sequence, Chintan took up “Anahat nada Akash vayumandala” in Chautal, a rhythmic cycle of 12 beats in Raga Marwa. Chintan was energetically supported on the Pakhawaj by Sukhad Munde, talented disciple and son of Pandit Manik Munde.

On the second day of the music festival, the morning session began with the Hindustani classical vocal recital by Chitanya Bhat, a disciple of Bangalore-based virtuoso Pandit Parameshwar Hegde. Chaitanya started his recital with the morning melody Raga Bhatiyar. His rendition of the vilambit ek tal bandish “Ab sumiran kar” ushered in a prayerful mood emphasising the spiritually uplifting characteristics of this haunting morning melody. Sarwar Hussain on the sarangi brought out the lyrical allure of the chota khayal composition “Jago jago pyare mere lal’ in drut teen tal. Chaitanya concluded his recital with another popular morning melody Gurjari Todi. Kedar Havaldar’s exuberant tabla support for the rendition of a tarana in this raga was noteworthy.

Apratim Majumdar, a young sarodiya enraptured the listners with his captivating sarod recital. A remarkable combination of talent, restraint and aplomb, there was not a single faltering note in the heartwarming recital of Apratim Majumdar. Apratim’s inspiring recital was marked by melodic

fluidity, enthusiasm and expert craftsmanship. After an impressive alap-jod-jhala in Raga Jaiajaiwanti, Apratim took a ‘gat’ composition in jhaptal, sculpting the gestalt of this raga with admirable precision. He concluded his recital with a Dadra composition in the uncommon raga Palas — kafi popularised by late Pandit Ravishankar. Apratim’s ingeniously brought in ragas like Nand, Bhupali, Durga tinged with hues from Bhairavi. The grand finale of the festival was the Hindustani classical vocal recital by Ramakanth Gaikwad, an exponent of Kirana and Patiala Khayal gayaki. Ramakanth began his recital with a majestic exposition of Raga Gorakh Kalyan, exploring assiduously the melodic possibilities of this raga in his evocative ‘alap avartans’ in the vilambit ektal khayal bandish “Tu Rab Krupa Karo”. It was an intense and passionate utterance. In the ‘bol- alap’ section, Ramakanth embellished his renditions singing ‘sargams’ with consummate artistry, emphasising the solemnity of his intonation, made all the more prononuced by his deep and sonorous voice. After the delineation of the Khayal in Gorakh Kalyan , what followed was a richly romantic and memorable rendition of the vintage thumri “Saiyya Bina Ghar suna” in raga Misra Pahadi, set to Keherwa tal, rekindling memories of the peerless rendition of the same thumri by Salamat Ali and Najakhat Ali brothers. Endowed

with fertile imaginative resources, Ramakanth invested the thumri with such lyrical allure and poignance that it left the audience with a lingering sense of yearning .