Some delectable renderings
JITENDRA PRATAP
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A disciple of the late Pandit Amarnath gave evidence of her sound musical lineage though her concert planning might be better.
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PLEASING RECITAL Sanjuhi Priyadarshini showed promise
It was a well organised concert the other day at the India Habitat Centre, by Delhi's Sahitya Kala Parishad, featuring a classical and semi-classical vocal recital by Sanjuhi Priyadarshini, a disciple of the late Indore gharana maestro, Pandit Amarnath.
Endowed with a rich-toned contralto voice, Sanjuhi rendered khayals in the dusk-time raga Marwa and the early evening's raga Yaman in a methodical manner and with compactness.
One would like her to further extend the range of her voice by at least a note and a half in both the lower, and, particularly in the upper octave at which she seemed to be having some difficulty in negotiating the higher notes.
Sanjuhi commenced her recital of the evening with khayals in raga Marwa.
Her vocal refrains commencing with a deep-toned accent on the note Suddha Dhaivat in the mandra came in handy to release the sombre mood of the dusk-time melody.
The slow khayal set to the 12-beat time cycle of Ek tala "Piyaa morey" received an apt handling with well deployed alap-badhat, sargams and bole-taans.
No allied raga
One does appreciate her able handling of the raga by keeping at bay the nuances of its allied ragas such as the Puriya and the Sohni.
The mid-tempo Teen tala composition "Guru bina gyan" pleased for the short but neatly released variations in taans and sargams with good awareness towards rhythm.
The thumri in raga Desh set to the 14-beat time cycle of Deepchandi, "Morey saiyaan", in spite of being rendered tunefully, did not seem to fit in between the opening Marwa and the next Yaman.
Rendering a semi-classical piece of music in between the khayals in two major ragas could have better been avoided.
Vocal forte
Sanjuhi's vocal forte came out better with her deft handling of the khayal "Mero mana baandh liyo" set to slow Ek tala which she handled with much ease and confidence. She released the desired variations with good artistic insight. One appreciated her rendering of the next piece set to Madhya Teen tala, "Aiso sundar sugharwaa baalamwa" that fell pleasingly on one's ears for her deployment of colourful rhythmic embellishments. She had excellent accompaniment by the three siblings, the Choudhary brothers and sons of Ustad Alauddin Ahmed of the Dilli gharana, Kasif (harmonium), Arshad (esraj) and Amjad (tabla).
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