Bhimsen Joshi’s recognition and respect transcend gharanas and generations. Born on February 4, 1922, his delivery centenary this 12 months was celebrated with live shows in varied cities throughout India, culminating in a three-day titled ‘Poornahuti’, that includes 38 artistes at Pune. The all-day occasion was organised by the Kanebua Pratishthan, which held an identical pageant final 12 months.
The primary two days featured instrumentalists and Kathak dancers. Fairly just a few flautists carried out, the at first being maestro Pt. Hari Prasad Chaurasia accompanied by Debasmita and Suchismita Chatterji, adopted by two of his senior disciples, Rakesh Chaurasia and Rupak Kulkarni. It was attention-grabbing to see how totally different the displays of Rakesh and Rupak have been — the previous selected a lightweight interpretation of the morning raag Lalit, flamboyantly offered within the gayaki type, foraying into unorthodox be aware mixtures whereas choosing sprightly compositions. Ojas Adhiya on the tabla supplied wonderful and interactive interludes. Rupak adopted the normal tantrakaari presentation of aalap-jor-jhala, with an professional although sedate accompaniment by Mukesh Jadhav. Rupak selected the considerably uncommon raag Prabhat Bhairav. Amar Oak, the fourth flautist, offered with elan the raag Vrindavani Sarang. His live performance confirmed that he’s as proficient within the classical idiom as in mild music.
Sitar exponent Pt. Nayan Ghosh’s Mian ki Todi stood out for its raagdari, proportion, and presentation and, for me, this was probably the most satisfying instrumental live performance of the pageant. Bringing in a pleasantly totally different strategy was Purbayan Chatterji, of the Senia Maihar gharana, who curiously performed a raag of his personal, a mixture of Patdeep and Shahana. Sahana Bannerji, representing the Rampur Senia gharana, offered conventional and well-structured compositions.
Amaan and Ayaan Ali Bangash
| Photograph Credit score: Particular Association
The one sarodiyas have been brothers Amaan and Ayaan Ali Bangash; their inclusion within the pageant was particularly welcome as Pt. Bhimsen Joshi, whereas in Gwalior, had briefly learnt from their grandfather, Ustad Hafiz Ali Khan. Presenting the not often performed raag Lalita Gauri (which lately is often heard solely in vocal live shows), Amaan was in his factor. The following raag they selected was Nandkauns.
It was laudable to incorporate the sarangi for a solo live performance, offered by Jodhpur gharana’s Ustad Dilshad Khan, who performed raag Gurjari Todi. Professional sarangi gamers are often nice musicians with a wealth of surprising compositions, gleaned from singers of all gharanas. Dilshad is a 10th technology exponent with huge riyaaz.
Violin recitals by Pt. Atul Upadhye, and the subsequent day by his son Tejas, and a jugalbandi by the mother-daughter duo of Sangeeta and Nandini Shankar have been fulfilling. Saskia de Haas Rao on the cello performed a jugalbandi along with her sitariya husband Pt. Shubhendra Rao. There have been additionally santoor recitals by Rahul Sharma and Ninad Daithankar; a considerably disappointing slide guitar live performance by Manish Pingle, whose management appeared shaky, and sundari and shehnai live shows by Pramod Gaikwad and Kalyan Apar. One missed the rudra veena and surbahar, two conventional devices of the north, which are discovering fewer performers.
The concluding day featured solely vocalists. This was a veritable deal with, with singers from all gharanas. It was pleasant to listen to so many morning to nighttime raags comparable to Mian ki Todi, Bairagi Bhairav, Kirwani, Desi Todi, Bhairon-Bahar, Jaunpuri, Samant Sarang, Multani, Shudha Sarang, Gaoti, Patdeep, Purvi, Puriya, Shuddha Kalyan, Kedara, Basant Bahar and Bhairavi. They have been, nonetheless, not all the time offered within the appropriate sequence and, sadly, some have been repeated, one thing by no means executed by the older technology of musicians.
It was an exquisite alternative to listen to gifted vocalists comparable to Prabhakar and Diwakar Kashyap of Banaras gharana and disciples of Pt. Rajan and Sajan Mishra; the Goa-based Pravin Goankar; Hemant Pendse; and, most curiously, younger Noushad-Nishad Harlapur from Karnataka. The brothers, nonetheless of their 20s, present promise. Concert events by Kalpana Zokarkar, Apoorva and Pallavi Joshi, Sanjeev Chimalgi, Manjusha Patil and Pt. Venkatesh Kumar have been noteworthy, satisfying not simply aurally however cerebrally too.
Pt. Ulhas Kashalkar
| Photograph Credit score: Particular Association
The piece de resistance expectedly was the finale by Pt. Ulhas Kashalkar. It was his first dwell live performance up to now two years and elicited a standing ovation from the viewers. His extremely masterful rendition of the jod raag Basant Bahar, which is extraordinarily tough to sing, introduced alive the temper of spring. He demonstrated his unequalled place together with his concluding raag, a elegant Bhairavi.
‘Poornahuti’ was an inclusive and acceptable tribute to Pt. Bhimsen Joshi. The organiser, Manjusha Patil, must be complimented for choosing worthy singers from all streams. After all, one missed vocalists from the Patiala and Delhi gharanas, even whereas realising that it’s onerous to accomodate so many artistes on a single day.
Pt. Venkatesh Kumar summed up the temper, “ Do saal hum sab ghar baithe sirf tambura ko dekh rahe the, aaj itna accha lag raha hai” (For 2 years, we sat residence simply wanting on the tambura, it feels so good right now).
The live shows can be found on showline.in
The Delhi-based reviewer writes on classical music and musicians.