A rewarding performance

Striking a chord: Ustad Shahid Parvez

Striking a chord: Ustad Shahid Parvez  

While Ustad Shahid Parvez impressed with the intensity of his artistic expression, Sanjeev Abhayankar showcased all the essential features of Mewati gayaki at different events in the Capital

Mujhe aap ne bulaaya, ye karam nahin to kya hai / Mera martaba badhaaya, ye karam nahin to kya hai?” (you have invited me and raised my stature, what is it, if not your kindness?) the Urdu couplet was the emotional outpouring of Ustad Shahid Parvez, after receiving the Kalajyoti Lifetime Achievement Award, instituted by Pandit Birju Maharaj in memory of his father Guru Achchhan Maharaj, on the concluding evening of 22nd Vasantotsav organised by Kalashram at a packed Kamani auditorium. “An award becomes meaningful,” he explained, “when it comes from the buzurg (seniors), whom I have admired since childhood and have understood the crux of art from him. This is definitely the most precious award for me,” Parvez gushed

Though short, his performance had an exceptionally soothing element. The tonal quality of hissitar and the delicate nuances, tender like a silken thread, captured the subtle shades of emotions during his inspired rendition of raga Pilu, one of the favourite ragas of his Etawah Imdadkhani Gharana.

The delicate melodic embroidery during the poignantalaap adorned with elongated meends of 4, 5 notes and the enticing shades of the all-time favourite songs like “Mohe Panghat pe Nandlal Chhed Gayo re…” and “Nimbua tale…” created perfect preface for the rich repertoire comprising the choicest gems of compositions from treasure trove of his illustrious Gharana, including some of his own freshly minted ones.

Parvez reached the intensity of artistic expression, not just through ‘sur’ but also with the intricacies of ‘laya’ (rhythm), the two components of music. Perhaps, he was inspired by the irresistible instant appraisal coming from Pt. Birju Maharaj, appreciating each of his intricate nuances.

Opening with a Thumri-like composition set to Chaanchar Theka of the 14 beats time cycle of Deepchandi Tala, for instance, Shahid astonishingly fitted the Tisra Jati Chhand in the Misra Jati contour of the composition, adjusting the fractional intervals ofsix beats (tisra) into the seven beats (misra) combinations with utmost precision, while reposefully rendering the raga.

There was another composition in Teentala with its ‘Sam’ on ‘Avagrah’ simply a void, offering awesome surprise. Many of his unusual rare compositions laced with quicksilvertaans, inspired Akram Khan on tabla to pick up the ‘mukhda’, the opening phrase from 'khali', instead of the mandatory ‘Sam’, in umpteen ways.

Earlier, Vidushi Malini Awasthi rendered Thumri-Dadra in the leisurely style of Purab Ang Gayaki.thumri Mishra Kafi “Tum toh karat barjori…” was sprinkled with the intricate nuances of Tappa as well. There was a rare Hori in raga Khambavati and a traditional Dadra too. The texture and tension of her well-groomed, full-throated, earthy voice is the forte of her effortless renditions that she enjoys unabashedly. The tender touches of Pt. Dharmanath Mishra’s harmonium and the Banarasi Laggi of Ram Kumar Mishra’s tabla enhanced her lively performance. The concluding Hori “Rang darungi Nand ke Lalan par…”, composed by Bindadin Maharaj, created vibrant ambience of the festival of colours. Malini’s daughter Mamta, a disciple of Pt. Birju Maharaj, plunged into an impromptu Kathak Jugalbandi with the vocalist. She was later joined by Saswati Sen turning it into a delightful floral Holi.

Night-long festival

Sanjeev Abhayankar

Sanjeev Abhayankar  

Natya Tarangini celebrated ‘Mahas Shivaratri’ with a night-long festival of music and dance at the Raja-Radha Manch featuring Sanjeev Abhayankar and Pt. Channulal Mishra. With a voice that is a close facsimile of his esteemed guru Pandit Jasraj, Sanjeev has truly comprehended the characteristic features of Mewati Gharana. His swaras sounded exquisitely contoured and his music showcased all the essentials of this gayaki.

Accompanied by Pt. Vinod Lele on tabla and Dr Vinay Mishra on harmonium, Sanjeev opened with raga Jog. The spacious alaap and fine phrasings in bada khayal set to vilambit Ek-tala were rendered with a planned strategy. The slow, deliberate and perfect diction of the anguished bandish “Nahin parat chit chain / Jahi lage so hi jaane, Sanware ke sain” (my heart is getting no relief from pain, my predicament could be understood only by someone whose heart is also pierced with the penetrating glance of the dark-skinned Krishna), sensitively augmented the bhava.

And this trait of giving importance to proper pronunciation, bringing out the meaning musically with the gradual elaboration of the raga throughalaap, bol-alaap, sargam and akaar taans was evident not just in this raga but also during the Rupak and Teentala compositions of the following Gorakh Kalyan and the concluding bhajan “Gale bhujanga, bhasma anga….” rendered in raga Desh. One was disappointed though with the selection of their ragas. Neither Sanjeev nor Pt. Chhannu Lal Mishra who sang Hamsadhwani, Shyam-Kalyan, Thumri Khamaj, Dadra and Hori thought of the most appropriate ‘Shankara’, the panta-tonic evening raga to evoke ‘Shankar’ on Maha Shivaratri.

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Printable version | Apr 2, 2020 12:45:12 AM |

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