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Regaling music lovers: Aayush Mohan showcased his mettle at the event  

The 2nd edition of Delhi Sanskritik Mahotsava held at Triveni Kala Sangam presented Odissi by Guru Kasturi Pattanaik, Bharatanatyam by Guru Swagata Sen Pillai and Kathak dance recital by Guru Nalini-Kamalini on the inaugural evening. The second evening focussed on music.

The sonorous sarod recital by Aayush Mohan, the young sarodia of Maihar Gharana was worth the wait. Initiated into classical music at a tender age by Pt. Balwant Rai Verma, the senior most disciple of Pt. Ravi Shankar, Aayush became the disciple of late Sharan Rani, imbibing the intricacies of the Senia Maihar Gharana. After her demise, he trained under Pt. Tejendra Narayan Majumdar and also learnt the serenity of Dhrupad Ang under Gundecha Brothers. All of this was evident from his very first pluck of finger and the Jawa (plectrum) on his finely tuned sarod.

When he opened his recital with the timely raga Jhinjhoti, the unmistakable silvery tone of the sarod, those gauzy haloes around every note and that sure clean touch reflected the influence of the two generations of gurus of this gharana.

The systematic progression of the melodious raga during the alaap-jod adorned with the expansive soot-meend, the tuneful gamak and the electrifying taans towards the culmination of jod, vouched for both, his mijaaz, sensitive temperament and riyaaz, the unrelenting practice.

Within the limited time frame he created the romantic ambience of the raga with his delicately conceived alaap and well-designed Jod, leaving the Jhala for the end and presented a vilambit and a drut composition in Teentala, accompanied on tabla by Ram Kumar Mishra.

The inspiration charged first uthaan of tabla encompassed the entire alaap-jod and reached the ‘sam’ with a dramatic tihai, mirroring the mukhda of the gat composition, heralding loud applause.

If the vilambit gat explored the expanse of the raga through gat-toda with imaginative improvisations, the drut gat was played with canny wit and grace. The crystal clear ‘dir -dir’ ka kaam inspired Ramkumar to take a few solo turns on tabla, albeit repetitive at times.

The sarod that was played with utmost care towards the tunefulness till now, alas, lost control towards the gearing up of the jet-speed jhala, sawal-jawab and the umpteen tihais, repeated perhaps in the wishful thinking of providing a sense of wonder but lost it in the haywire thunder.

Aayush should take care of his remarkable tunefulness and refrain from this unhealthy temptation of unnecessary speed to impress the ignorant audience.

Amorous pleading

Meeta Pandit

Meeta Pandit  

Meeta Pandit, the gifted daughter and disciple of Pt. L. K. Pandit and the scion of the Pandit lineage of the Gwalior Gharana, took the stage thereafter. Surprisingly, she opened her recital with raga Desh, normally taken as the second raga after an expansive main raga. Although she mentioned about the paucity of time, the reason didn’t sound convincing enough. Here also, instead of a vilambit khayal, she opened with a medium tempo Marwadi composition in Teentala: “Ho ji Mhari beg sudh leeje…”.

The treatment was also less like a khayal and more like thumri, in the amorous pleading of the nayika to take her remembrance, through the emotion-filled descending meend from taar shadja to komal nishaad. This was of course followed by the cascading aakar and bol taans, but it never sounded like a full-fledged main raga.

The chaturang that followed in the same raga comprised four parts namely, the bandish, sargam, tarana and the pakhawaj/tabla mnemonics, but after rendering it once, Meeta stuck to tarana only, eventually taking it to the jet speed jhala and concluding with a chakkardar tihai heralding the desired applause.

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Printable version | Nov 29, 2020 10:53:03 AM |

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