When abstract takes form
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Eminent vocalist Prabha Atre presented a recital in Varanasi with all the hallmarks of the Kirana gharana, writes GAUTAM CHATTERJEE.
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Prabha Atre... all grace.
THE MUSICAL grace still occupies her virtual space. Prabha Atre seems relentless while enlightening the listeners, especially when she performs in Varanasi. Recently she presented two ragas, Kiravani and Shuddha Kalyan in this death-celebrating city.
The late Sureshbabu Mane and his famous sister Padmabhushan Hirabai Barodekar - both stalwarts of the Kirana gharana, trained her in the traditional guru-shishya parampara system. She drew much inspiration from the styles of renowned maestros Amir Khan and Bade Ghulam Ali Khan Saheb. This is the subconscious ambience where the abstract effect seems to have taken root in her riyaaz. And eventually itmanifested when the record in which she had sung Maru Bihag was first released nationwide. "I too was amazed," she remembers. It was in the 1970s.
Raga Kiravani
With the image of this effect, she enunciated raga Kiravani. Usually neglected, this raga completes all its varnas. She presented it with her swarit, where her tonal experience does not want to happen quickly, establishing tana into Khayal. It seems to influence the choice of raga repertoire, such as the predilection for the Kirana gharana. That's why this sampoorna raga, in presentation, was evoked in its intrinsic form. The importance of bandish was beautifully taken care of. Then it was time for Shuddha Kalyan. After Kiravani the flavour of the evening sublimated into different colours. It is a single note that differentiates Shuddha Kalyan from Kalyan. It does not use all the notes of the parent scale as the use of Tivra Madhyam and Nishad is prohibited in the ascent. This audav-sampurna raga, in its ascent, uses the same notes as raga Bhupali, while its descent consists of the same notes as Yaman.
Prabha uses the komal swaras with the new paradigm of her gharana, where the abstract form persists. She says, "Music is considered to be the purest form of art. Its abstract nature detaches it from all the `known' in this world. This abstract quality of music is best represented in the concept of raga in Indian music. Therefore, it is difficult to approach a raga in its bare form, both for an artiste and a lay listener."
Broad range
While executing fast tanas, it is not possible to permit a note like Ma, but she presented it beautifully. Raga Shuddha Kalyan is more suited to being sung in a slow tempo, in which the technique of meend can be used to greater advantage. And for this Prabha has a gifted voice. Is it impulsive? She answers, "To sing is a natural human impulse. When music springs spontaneously from the mind and passes through a deliberate aesthetic shaping process, art music is evolved. Then there is no need to be impulsive. Raga-time theory is yet another attempt to provide some `concreteness' to the `abstraction' in raga.
At one time, man was very close to nature, which perhaps explains the relation between the raga and the particular time. Today man is far away from nature, living in closed walls, in an artificial environment.
As a professional classical singer, I am directly and continuously involved with the creative aspect of music. I have often mused over certain things that have been termed as `modern' in North Indian classical vocal music, especially in Khayal."
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