Feast for the senses

The Shriram Shankarlal Festival saw some exquisite performances from the stalwarts of Indian classical music

March 29, 2019 12:50 pm | Updated 12:50 pm IST

Impactful performance Pandit Madhup Mudgal

Impactful performance Pandit Madhup Mudgal

Delhi’s Shriram Shankarlal, now in its 72nd year, commenced last week. The stage with multi-hued flowers and verdant greenery provided the visual stimulation to the senses. The varied delicacies from old Delhi’s best outlets assuaged one’s sense of taste.

Of course, the real feast was for the aural senses – this year the organisers focused on younger artists to bring in a younger generation of listeners. The festival opened with Rahul Sharma on the santoor – son of Pt Shiv Kumar Sharma, Rahul is ably following in his father’s footsteps with his signature “laya” driven concerts. His Raga Bhupali was delineated as much as was possible given the limitations of his instrument; one respected his serious non gimmicky approach to his music. He ended with a light “dhun” style Mishra Pahari.

Flawless execution

The seasoned vocalist Pt Madhup Mudgal in the first four notes brought up the shape of raga Jhinjhoti, something many youngsters fail to establish. Both his khayals were compositions of his mentor Pt Kumar Gandharva; embellished with grace and propriety. The next raga was Kedara, in which he sang two compositions, but the piece de resistance of his concert was his own self-composed tarana in raga Kafi Kanhra, which was wonderfully lyrical, yet dramatic. As the master explained, “I composed it some 4-5 years ago; any composition, maybe more so a tarana should come naturally; it cannot be through forced trial.” Accompanying him on the harmonium was one of the finest most erudite and dexterous musicians today, Pt Arawind Thatthe. Despite being an amazing soloist, Arawind never exceeds his role as an accompanist, keeping to within the boundaries laid by the main artist.

Ustad Shahid Parvez

Ustad Shahid Parvez

Ustad Shahid Parvez played one of his finest concerts that night – unusually, he played raga Jogeshwari, a raga composed by Pt Ravi Shankar (combination of Rageshwari and Jog). Playing a raga that is not in one’s “taalim” with such flair was indeed laudatory. His “meend” work was extraordinary – he revelled in playing the notes from different frets showing not just mastery but an unerring discernment in achieving the exact shades he needed to add to the notes. As usual he played an eight “bol”, then four “bol ulta jhala” with great clarity. Carrying his tribute to the maestro further, the Ustad played the first gat in “Rupak taal, tisri gati” a “taal” composed by Pt Ravi Shankar where the beat count is 10-and-a-half. Stretching himself, he concentrated on his display of “layakaari”, playing in different time cycles, coming to the sam with amazing “aamad”. The second composition was in traditional seven- beat “rupak taal”, ending in a “drut teen taal” where his double speed work on the “chikaari” during the four “bol seedha jhala” was stupendous. The concluding Bhairavi was a light composition. Expectedly, there was a standing ovation.

The next day opened with the young star, Manjusha Patil, one of the finest singers of her generation. Her vocalism today is a judicious blend of “bhaav” and “tayyari”. Fully aware of her prowess as a singer, Manjusha understands that classical music is not just about virtuosity and vocal acrobatics; it has to touch the soul; and as such she is in no hurry to let fly her vast multitude of “taans” in the slow Jaipur Attrauli, the Agra “bol baant” taans as well as the double speed intricate, two and even three octave traversing “taans.” Her Raga Purvi was carefully protected by her – from showing shades of similar ragas, both compositions being embellished with different types of “taans”. Sensibly keeping the Purvi short, she then sang a brief raga Bhupali, the popular “Jab se tum sang”. Correctly, she stopped her recital short of the 45 minutes allotted to her by the organisers, much to the dismay of the crowd who wanted more.

Pt Biswajeet Roy Chowdhury played raga Bihag, aalap jor jhala, before displaying his unusual training in the vocal tradition from Pt Mallikarjun Mansur, by playing raga Bihagada. The “khayal” was given a tantra ang, with the addition of his strong stroke work; he then reverted to raga Bihag in which he played four beautiful old compositions. He ended with raga Bahar, the rare 2nd Senia composition was taught to him by Pt Radhika Mohan Moitra in which each phrase is played twice (Dopalli). Pt Samar Saha on the tabla was a true delight, with appropriate repartee.

Pandits Rajan and Sajan Mishra sang a magnificently etched raga Nayaki Kanhra; grand and sombre. The “mahaul” they create is truly resplendent, and uniquely their own. Their control in the “mandra saptak” is praiseworthy. The next raga Basant-Bahar was brilliantly rendered; the merging of both the ragas was well done, and the subtle use of the “uttra re” in the “taar saptak” was masterly. They concluded with a bhajan.

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