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When the day began with a pleasant morning raga

Rekha Hegde

Geetha Javdekar shows her ‘riyaaz' in raag Bibhas at music festival

A CLASS ACT:Geetha Javdekar performing at the morning concert of Indian Classical Music, Dance and Folk Festival in Hubli.

HUBLI: The second day of the two-day Indian Classical Music, Dance and Folk Festival was a unique experience for classical music lovers as the concerts were organised on Sunday morning giving ample opportunity for artistes to render morning and midday raagas.

The festival had been organised by Dr. Gangubai Hangal Music Foundation and Hubli Arts Circle to mark the 98th birth anniversary of Gamgubai Hangal.

The musical sojourn began with Geetha Javdekar's concert. Ms. Javdekar had her training from Pt. Panchakshr Swami Mattigatti, Pt. Mallikarjun Mansur and Pt. Ratnakar Pai. She is gifted with a melodious voice. It was evident that she had enriched her repertoire with good “riyaaz”. She began her concert with an early morning melody – raag Bibhas. It has only five notes and the second and fifth note being the komal, this raag creates an aura of devotion as well as freshness of the morning.

Ms. Javdekar presented two compositions. The first one set to Madhalaya Jhaptaal (rhythm cycle of 10 beats), praatha kaala nandalaal, khelathe hai hori (Krishna is playing with colours in the early morning), followed by druth (fast tempo) in ek taal ( 12 beats) Chando Krishna. Her alaap was impressive though short and brisk and clear taan patterns helped elicit the beauty of the raga. Her second presentation was raga Hindol, a favourite of late Dr. Gangubai Hangal.

Notes in the higher octave are given importance in this raag and it expects cultured voice to render this. Ms. Javdekar dealt it with ease and poise.

Vilas Parpattedar, a doctor by profession and a musician by vocation, presented a sitar recital.

He presented raga Todi, another morning melody. He elaborated the raga with systematic alaap. Jod and Jhala followed by a composition set to Roopak taal (a cycle of seven beats), followed by another composition in druth teen taal.

He was accompanied on tabala by Uday Kulkarni.

The music festival concluded with an impressive concert by Anand Bhate of Pune. He is the last disciple of Pt. Bhimsen Joshi and his concert proved his mantle as a singer. He presented raga — Vrindavani Saarang in detail. He is gifted with rich and vibrant voice like his illustrious guru and it was evident throughout that he could be a perfect successor of his guru.

The alaap was in detail exploring the possibility of every note and decorated with murki (short and fast note patterns) and firath. The powerful and clear rendition of taan got him accolades from the audience.

Then he sang Bhagyada Laxmi Baaramaa in Kannada, written by Purandara Dasa and popularised by Pt. Joshi. Although a Maharastrian, his attempt to sing in another language was commendable. On demand from connoisseurs of music, he sang a Marathi naatyageeth and concluded with thumri in Bhairavi, jamunake teer.

Being a disciple of such stalwart as Pt. Bhimsen Joshi, one tends to imitate his style of singing.

But Anand has developed his own style of rendering, keeping the tradition alive. That sends a positive note as far as his musical journey ahead was concerned.

Both the vocalists were ably accompanied on tabala by Shridhar Mandre and on harmonium by Pt. Sudhamshu Kulkarni.

The same evening dance festival was held where promising dancers Sweekruth (from Bengaluru), Seema Kulkarni, Urmila Pathra, Prerana Sindhe, Manjari Pathra, Sahana Bhat (all are from Hubli) and Rekha Hegde of Belgaum presented Kathak and Bharathanatyam.

The folk music and dance performances at Nrupatunga Betta added more colour to the festival while the philately and numismatic exhibition held as part of the festival attracted many.

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