In tune with tales
MANJARI SINHA
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A unique programme of Natya Sangeet commemorated Pandit Vasant Rao Deshpande's 85th birth anniversary.
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IN FORM: Marathi Natya Sangeet programme at the IIC in New Delhi.
The India International Centre in collaboration with Vasant Kala Vilas presented a unique programme of Marathi Natya Sangeet highlighting the eight-fold gayaki of the legendary Bal Gandharva the other day. Conceived by Privamvada Navathe, researched, written and directed by Pandit Jayaram Poddar, himself a disciple of Pandit Vasant Rao Deshpande, the programme was a tribute to the late Pandit Vasant Rao Deshpande on his 85th birth anniversary.
The evening started with the traditional naandi paath which is a must according to the Natya Shastra of Bharatamuni as an invocatory item in any such event. The naandi in raga Bilaaval and Dhumali tala was written by Anna Saheb Kirloskar for his famous musical drama "Shaakuntal". Each song was preceded by commentary based on the well-written and informative script by Jayaram Poddar, highlighting the song's main features read by the sutradhar Jaishri Manekar.
Musical influences
It is a well known fact that Marathi Sangeet Natak has incorporated all sorts of musical influences, specially of classical music over the years, but very few people would know which Marathi song was inspired by which classical bandish. The popular song "Sujan Kasa Man Chori" for instance, is based on a composition by Mohamed Shah Rangile in raga Bhoop that goes "Phulwan Sej Sajaavoon", while the Natya geet "Mam Sukhachi" from "Sangeet Swayambar" is based on a composition in raga Tilak Kamod, "Sur Sangat Raga Vidya" in Roopak tala, which was composed by Alladiya Khan Saheb, the famous ustad of the Jaipur Atroli gharana. Poddar does not even forget to tell us in his informative script that Khan Saheb was the guru of Bhaskar Bua Bakhale, the music director of "Sangeet Swayambar", which this natya geet belongs to.
The narrator tells the audience about the origin of Natya Sangeet way back in 1690 when the king Sarphoji Bhonsale of the Maratha dynasty wrote "Lakshmi Narayan Kalyan Natak" much before the glorious tradition of professional Marathi musical theatre started with Sangeet Natak "Shaakuntal", written by Kirloskar. There was much more information for the uninitiated listeners, like what is a thumri and the difference between the Banaras, Lucknow and Punjab anga thumri, before the singer presented a thumri on which the Natya geet "Madhu Madhura" from Sangeet Natak "Vidya Haran" is based; or what is a dadra before presenting "Piraya Mori ankhiya" on which the Natya geet "Vinayhin Vadata" is based.The script also includes a ghazal by Malika Jaan of Calcutta inspiring the famous Natya geet "Khara To Prema" from Sangeet Natak "Manapaman". Before presenting the abhang "Awadhashi Sansar" in raga Bhimpalasi, immortalised by Bal Gandharva, the narrator informs us that in 1940 the bhakti pradhan natak became popular. One also comes to know about the two kinds of lavani - the bathakachi lavani and the one sung along with the dance, before the popular lavani from "Sangeet Saubhadra" is presented.
The programme concluded with the Bhairavi Natya geet "Prabhu Aaji Gamala" from "Ekach Pyala". The full-throated aakar and clear enunciation of the singer Priyamvada Navathe did full justice to the lyrics. Shrikant Shirolkar specially came from Pune to accompany her on the tabla. Jairam Poddar of course was on the harmonium that mirrored each and every nuance of the Natya geets. Dressed for the occasion in typical Marathi attire Jaishri Manekar compered the show in Hindi to reach one and all.
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