Strong and sure

Born into a family of renowned musicians, Ishan Ghosh is the gifted son/disciple of Pt. Nayan Ghosh who is an equally proficient tabla and sitar maestro. The fact, with its distinct advantages, stood out clear at the very first stroke of his seasoned fingers on tabla with indubitable clarity of tone and timbre. Ishaan played Teentala in slow, medium and fast tempos respectively with melodious sarangi support by Mudassir Khan.

His touch on the instrument was strong and sure, when he opened with a detailed aalap like peshkara in vilambit Teentala making its way into a qayda from Farrukhabad Gharana. The umpteen varieties of traditional qaydas and relas, comprised some of those composed by Pt. Nayan Ghosh.

The floral bouquet of his repertoire had the leaping trajectories of rhythmic compositions left behind by a whole stream of tabla maestros . The technically complex rela of Ustad Amir Hussain Khan, for instance, in which the bol ‘Dhere-Dhere’ repeated 12 times consecutively, was played with utmost ease and clarity.

The Madhya-laya portion included a ‘rau’ (a pattern of tabla bols) which was derived about 150 years back in Lucknow from the dhol and tasha played during the processions of Muharram. The drut segment comprised marvellous works of great masters such as Ustad Amir Hussain Khan, Ustad Masit Khan, Ustad Ahmad Jan Thirakwa and Pandit Nikhil Ghosh. A unique ‘Chaturang’ composed by Guru Gyan Prakash Ghosh comprised mnemonics of tabla, tarana, kathak and pakhawaj.

Ishaan played all these remarkably distinctive compositions of varied shapes and geometries with absolute ease. There were moments when he went into extempore playing with impressive variations that teased the mind and brought an element of surprise. His instant rapport with the audience and explaining the beauty and uniqueness of compositions were products of insight.

There was not much time left for the Dhrupad singer Aditi Sharma Garg, specially to do justice to a raga like Darbari Kanhada that she chose to sing. She cut short the duration of aalap, although rendered complete in slow, medium and fast speeds, before presenting a Chaturdhatu Prabandh, comprising all four components Sthayee, Antara, Sanchari and Abhog, a traditional Dhrupad “Raajat chandra lalaat…” set to Chautala.

This was followed by her self-composed “Gopeshwar Mahadevan…” set to Tevra tala of seven beats. Accompanied on pakhawaj by Pt. Radhe Shyam Sharma and on tanpura by Ila Sharma and Arush Datt Sharma, Aditi concluded with a Dhamar in raga Jhinjhoti.

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Printable version | Apr 22, 2021 3:17:11 AM |

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