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The ‘Teen Prahar’ pageant in Bengaluru showcased a implausible mixture of younger and established artistes
The ‘Teen Prahar’ pageant in Bengaluru showcased a implausible mixture of younger and established artistes
The ‘Teen Prahar’ music pageant, organised by the Mumbai-based Banyan Tree Occasions, was again in Bengaluru after a protracted hiatus. Held in Chowdaiah Memorial Corridor, it showcased Carnatic and Hindustani exponents and featured twilight and evening melodies (sandhiprakash and nishakaleen) from the teenager prahars (three quads) of the raagdari Hindustani music custom.
The five-hour pageant started with ‘Younger Blossoms’ that includes artistes of promise. Percussionist Roshan Kolatkar skilfully delineated the varied facets of Teental (rhythmic cycle of 16 beats). His lucid execution of the kaidas and his energetic tihais bore the unmistakable stamp of his guru, Pt. Suresh Talwalkar. He was accompanied on the harmonium by the gifted Sriraksha, whose mellowed saath was an ideal foil to the colourful tabla solo.
One other younger prodigy, Sana Manoj, endeared herself to the viewers along with her rendition of the well-known Tyagaraja composition, ‘Shobillu saptaswara’ in raga Jaganmohini (Rupaka). The disciple of Kalavathi Avadhoot, Sana stole the hearts of the listeners along with her earnest try and seize the salient facets of manodharma sangeetam by her evocative alapana and spectacular rendition of the composition, ‘Mi valla gunadosha’ in Kapi (Khandachapu).
Her improvisations, marked by neraval and kalpana swaras, and her commendable sense of involvement with the music made it amply clear that the little woman can blossom right into a promising artiste. Pranavi’s melodic violin accompaniment and younger Sudhanva’s full of life help on the mridangam enhanced the live performance.
Rahul Sharma with Pt. Bhawani Shankar and Pt. Ram Kumar Mishra
| Picture Credit score: Banyan Tree Occasions
Rahul Sharma, son and disciple of Pt. Shiv Kumar Sharma, started his santoor recital with Bhoopali, that hails from Kalyan thaat and is a audav jati raag with 5 notes. He was accompanied by the pakhawaj virtuoso Pt. Bhawani Shankar and was supported on the tabla by Pt. Ram Kumar Mishra.
His alap-jod-jhala was a pleasant mix of rhythm and melody. Within the jhala in Bhoopali that he carried out with Bhawani Shankar, the intricate facets of the ‘tantrakari ang’ fused with the sounds of the pakhawaj, highlighting the engaging options of the ‘dhrupad ang’.
Within the gat, Rahul offered a composition in Mat taal (9 beats), adopted by a glowing Drut Teen taal composition in a sooner tempo. He concluded the live performance with a lilting Mishr Pahadi composition set to a brisk Dadra (six beats).
People-classical collaboration
Carnatic violinist Kumaresh stunned the viewers by taking on raga Mohanam, the equal of raag Bhoopali. He explored the nuances of the raga by his rendition of the Muttuswamy Dikshitar composition. The colourful phrases in ragas Mohanam, Gamanashrama have been matched by an effervescent accompaniment on the mridangam by Arjun Kumar and on the ghatam by Tiruchi Krishnaswamy.
Kumaresh with folks singer Suryakanth
| Picture Credit score: Banyan Tree Occasions
Kumaresh collaborated with the gifted Kannada folks singer Suryakanth to carry out a folks and classical model of raga Kamboji.
Probably the most-awaited live performance of the pageant was of Ustad Rashid Khan, probably the most celebrated classical vocalists at the moment. Commenting on his musical abilities, Pt. Bhimsen Joshi had stated, “The way forward for North Indian vocal music rests in Rashid Khan’s voice”.
The scion of the Rampur-Sahaswan gharana started with the late night raag Purva Kalyan. A temper of nostalgia set in, as he took up the standard bandish, ‘Aaj so ban’ in Vilambit Ektaal, reviving recollections of Pt. Bhimsen Joshi’s magnificent gayaki of this vilambit bandish.
Maintaining with the temper and sensing the expectations of the viewers, when Rashid Khan took up the Drut Teental bandish, ‘Bahut din beete, beete’, the signature composition of the late maestro, there was thunderous applause. Together with his deep emotive powers, astounding vocal abilities, mature raagdaari, technical finesse and selection, capacity to sing complicated taans, and forceful enunciation of sargams, Rashid Khan proved his mastery over khayal music.
Whereas Ojas Adhiya alternated between mellowed and ebullient saath on the tabla, Vinay Mishra on the harmonium and Murad Ali on the sarangi accompanied the ustad with precision and class within the ‘alap-bol-alap- sargams-taan’ sequences eliciting many ‘wah wahs’ from the viewers within the Drut teen taal composition, ‘Man magan mero bhayo sajani’ in the identical raag.
Ustad Rashid Khan concluded the live performance with the traditional thumri ‘Maar dala najariya milaike savariya’ in Pahadi, and the favored Bade Ghulam Ali Khan thumri, ‘Yaad piya ki aaye’.
The Bengaluru-based author opinions classical music.
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