Sweet digressions on sitar
GARIMELLA SUBRAMANIAM
|
The audience was witness to Pt. Janardan Mitta's excursus into ubiquitous ragas.
|
REFINED: Pt. Janardan Mitta performing at the Russian Cultural Centre. Photo: S. Thanthoni
As lead sitarist in hundreds of Tamil and Telugu films and music director in a few, Pt. Janardan Mitta may have remained on the fringes of Hindustani classical music. Yet this illustrious disciple of Pt. Ravishankar, the legend, rivals many contemporary instrumentalist greats both in temperament and aesthetic sophistication. Mitta is gifted with an uncanny ability to blend the raw richness of folk melodies with the distinct refinement of classical ragas. Hidden qualities hitherto known only to the who is who of Chennai's musical elite. Lately, the maestro has come into notice in the classical genre through some soul-stirring solo performances and jugalbandis.
Familiar
The Tchaikovski Music Club, his host last week, and a small but keen audience were witness to Mitta's excursus into familiar ragas, sometimes known by different names. Yes, Madhuvanti is a genuine Hindustani parallel to the scale that goes in the name of Dharmavathi down south. The opener in Madhuvanti was intended just as a prelude to the evening's proceedings and a short brisk alap indeed strengthened that impression. But soon, as the composition was developing in the madhyalay, it was clear that Mitta's initial observation was at best his way of establishing rapport with listeners at the Russian Cultural Centre.
Lilting finish
In the madhyalay, Rajendra Nakod took off on the tabla to complement the lead artiste. The two remained in the same even tempo for a while, then modulating the tone and the tempo with elan. The dhrut in ektaal brought the bandish to a lilting finish to Madhuvanti after a good 45 minutes.
Inevitably, Charukesi brings to mind a painful recollection of a definition of convenience of this raag. It is in contemporary parlance, a cut-and-paste idea that has been around for a while. Stick the first half of Sankarabharanam to the latter half of Todi and you end up with Charukesi goes the simple formula.
Fortunately though, there is timely respite from such simplistic incursions, this time through Mitta's exquisite presentation. In a languid style, he explored Charukesi for the best part of an hour in at least three octaves, revealing in the process, the tonal richness of the sitar as well as his own imagination in knitting together a neat edifice.
Once again in the madhyalay, in teentaal, Nakod drew applause for a controlled display of his prowess.
The raag mala based in Piloo was noteworthy for the sense of continuity and subtle shift through different scales. Aabhogi, Shivranjani, Gorakkalyan, Miyaankimalhar, Kedar and Bahar were featured leaving listeners with a sense of the deceptive similarity among distinct ragas.
The undulating tone from the tanpura in the background was noticeable, thanks to Geetha Chandrasekher's diligence.
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
