Once a stalwart, always so
Photo: K. Ramesh Babu.
The Master...Pandit Kishan Maharaj.
THE CONFLUENCE was conspicuous but the performance was solo. It was an evening of celebration at the Chanakypuri house of Pandit Ravi Shankar the other day where Padma Vibhushan Pandit Kishan Maharaj, with his 83-year-old fingers, played tabla and mesmerised the invited audience in the presence of the Bharat Ratna. After a long time, they were together. In 1945, for the first time, they had presented their Jugalbandi and evolved as a popular `Jodi' of Indian classical music.
But here, one master was expressing himself with table and the other listening to him, quietly. Enunciating this historical evening with Uthan, Amad, Alap, Jod, Jhala, Bant and Rela (the inevitable components of tabla playing), he described his `Sadhana' with the numerous `Cheej' (other melodic components) of Benaras Gharana. Referring to tabla and pakhawaj, he explains, "the five major baj" (styles).
"Punjab Gharana, also called Amritsar Gharana, has a pakhawaj-like approach, resembling mridangam. We put kneaded flour on the `bayan' or `duggi' (left hand drum) to get the effect. In Benaras Gharana, anamika (fourth finger) is used with available support in dance recitals, sarod and sitar concerts and Dhamar singing. So it requires a delicate approach," he says.
"Delhi Gharana comes in between," he adds. The Farukkabad Gharana, also known as Ajrana Gharana, emphasises on playing softly on the periphery. In Lucknow Gharana, he says, dance accompaniment plays a principal role. "A special sound is achieved by using tarjani (index finger) and madhyama (middle finger). I use unique rhythmic patterns such as cycles of 13, 17 or 19, called Vakra talas."
Matured thap
A disciple of Pandit Kanthe Maharaj, the master, even today takes his start with matured Thap with the all nuances of tabla. After presenting the initial components, he delivered, through tabla, the `Cheej' of Pt. Ram Sahai, Janaki Sahai, Bhairav Sahai, Baldev Sahai, his Guru Kanthe Maharaj, Hari Maharaj, Kudou Singh, Babu Jodh Singh, Madan Mohan and Ram Sevak, the stalwarts of tabla and Pakhawaj. Though the `bayan' has only a limited number of sounds which are Ghe and GA, and Ke and Kat, the first lot being undraped or `Khula,' the latter the `Bandh' ones, Pt. Kishan Maharaj uses the both `bayan' and `dayan,' with effective efficiency. Similarly, Dha is the mnemonic for the sound produced when both hands are used to strike the drums with the index finger of the right hand, hitting the edge of the tabla by the left strikes, the middle of the `bayan'. Dhin is the mnemonic, used for the sound created by both the hands striking the tabla together with the right hand index finger hitting the `Sur' of the tabla. Maharaj presents it with his matured rhythmic patterns. And finally, he completed his life song with tabla as Ganesh Paran. Everybody was eagerly waiting for this well known final touch of him, accompanied by Mannulal Mishra in harmonium.
Before Pt. Kishan Maharaj's performance, his grandson Shubh Maharaj presented 13, 17 and 19 matras on his tabla and surprised Pt. Ravi Shankar.
GAUTAM CHATTERJEE
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Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
