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Thursday, May 13, 2021

‘Khayal Yadnya’ — The most effective of outdated and new

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The three-day ‘Khayal Yadnya’ was an ideal tribute to Pt. Bhimsen Joshi on his centenary

An enormous, three-day musical competition was held in Pune not too long ago to commemorate the one centesimal delivery anniversary of Pt. Bhimsen Joshi. Titled ‘Khayal Yadnya’, 38 vocalists representing numerous khayal varieties carried out from 7 a.m. onwards; thus one heard a number of morning and afternoon raags.

Pt. Bhimsen Joshi  

Streamed reside as properly, the competition was organised by the Pune-based Sangeetacharya Pt. D.V. Kanebua Pratishthan, brainchild of vocalist Manjusha Patil. The competition opened with the only real dhrupad presentation by Uday Bhawalkar, whose sombre raag Bhairav and devotional composition, ‘Narayan tum Hari’ set the tone for the competition.

Listening to so many vocalists, of various ages and stature, one after the opposite repeatedly for 3 days was a singular expertise. With an allotted time slot of round 45 minutes, it was fascinating to watch that the majority singers selected to current one raag in entirety reasonably than two or extra concise choices; doubtless the flexibility to lengthen a raag is seen as a advantage today. About 4 a long time in the past, the flexibility of a performer to extract the essence of a raag (nichod ) in a short while was hailed as a lot because the competence to linger and increase. One additionally famous with remorse that the majority new technology singers don’t fairly hassle to do riyaaz within the kharaj saptak (decrease octave), leaving their voice span a lot decreased. The grandeur and majesty of singing the decrease notes are misplaced.

The inflexible adherence to rendering raags in response to the time of the day was deserted every now and then; maybe Hindustani music is slowly going the Carnatic manner, which gave up the time concept years in the past.

Manjusha Patil

Manjusha Patil  

Particular moments

There have been some particular moments — Vijay Koparkar’s Basant Mukhari, Ram Deshpande’s Todi, Devaki Pandit’s Hindol with a profusion of genuine Jaipur taans of various gaits, Omkar Dadarkar’s Puriya had energy and drama and Manjusha Patil’s Bageshwari was each emotionally interesting within the vilambit and thrilling within the dhrut. The piece de resistance of the competition was introduced by Ustad Rashid Khan. Accompanied by three disciples, he was at his mellow finest in Puriya. His voice is certainly unparalleled.

Ram Deshpande

Ram Deshpande

A cautious number of raags ensured that one was capable of hear some uncommon ones — Ashwini Bhide Deshpande sang raag Jogiya with a meticulous thoroughness in her splendidly regular voice. Arati Ankalikar Tikekar’s raag Sarag Valari was thought frightening. Over time, she has chosen to invariably current uncommon raags. Nishad Bakre’s Kukubh Bilawal included some good taan patterns, Kalapani Komkali skilfully expanded Beehad Bhairav, which she described as ‘dhun ugam’ (based mostly on a dhun) and Raghunandan Panshikar rendered Savani Kalyan with élan. After the live performance he stated, “for me, the bandish has a devotional really feel which is essential.”

Spectacular selection of raags

Many singers of the youthful technology additionally impressed with their raag selection corresponding to Arati Thakur Kundalkar’s (Kirana gharana) raag Bhupal Todi, Saurabh Kadgaonkar’s (Jaipur Attrauli gharana) Lalita Gauri, Nagesh Adgaonkar’s (Rampur Sahaswan gharana) Puriya Dhanashri and Sham Kalyan, Saurabh Naik’s (Gwalior gharana) raag Vrindavani Sarang, Anuja Zokarkar’s (Gwalior gharana) Gaoti, and Basant. It was stunning to not hear extra Basant renditions throughout Basant Panchami (February 16).

Younger vocalists like Dhananjay Hegde additionally held their very own. Bhuvanesh Komkali appears to be getting higher and higher, whereas Sawani Shendesings her personal compositions with pleasure and polish. Rahul Deshpande’s Nat Bhairav was noteworthy.

Ustad Rashid Khan

Ustad Rashid Khan  

Mature interpretations of raags by seniors together with Pt. Venkatesh Kumar ( Asavari), Madhup Mudgal (Chayanat, Suha Sugrai and Jog), and Shaunaq Abhisheki ( Marwa and Bhoop Nat) ensured a balanced presentation.

It was heartening to see many musicians within the viewers. Their presence, and that of erudite listeners throughout a reside efficiency held within the reminiscence of a legend introduced out the most effective within the singers.

All bulletins had been in Marathi, which was stunning, given the worldwide attain of the web platform.

The competition featured among the finest accompanying artistes corresponding to Arvind Azad, Vijay Ghate, Ramdas Palsule and Bharat Kamat on the tabla, and Aravind Thatte, Suyog Kundalkar, Milind Kulkarni and Tanmay Deochake on the harmonium. The competition, which was memorable in some ways, ended with Pt. Rajan-Sajan Mishra’s heartwarming rendition of Bhairavi.

The Delhi-based writer writes on Hindustani music and musicians.

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