Deep, profound explorations
LALITHAA KRISHNAN
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HINDUSTHANI With their moving recitals, Rajeev Taranath, Lakshmi Shankar and Mala Ramadorai offered a treat.
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Photo: M. Karunakaran.
NON-STRIDENT AESTHETICS: Rajeev Taranath
Where have all the music lovers of Chennai gone? This was the question uppermost in one's mind on viewing the below-par audience turnout at the Hindustani concert series organised by Hamsadhwani. Local rasikas could have done the city proud by attending in large numbers, as in the past, they have always been the first to welcome and appreciate other genres of performing art. After all, this is the same city that revered Bade Ghulam, idolised Bismillah Khan and was mesmerised by Parveen Sultana. Sometimes, it is necessary to revisit the past in order to learn valuable lessons to shape the future.
Rajeev Taranath, illustrious disciple of the renowned maestro, Ustad Ali Akbar Khan, has evolved a style characterised by the quintessential features of his gharana — depth and profundity in the exploration of raga and the dexterous weaving of sparkling permutations in layakari. The artiste's musical expression is distinguished by an innate sense of dignity and sensitised by a natural affinity for non-strident aesthetics.
The burgeoning notes of raag Yaman constituted an apt beginning for Taranath'd sarod recital. The elaborate alaap unfolded in slow, exquisite detail, pausing to explore myriad possibilities at every turn, illuminating the concept that the journey is as important as the destination. Superior craftsmanship was in evidence as thought crystallised into expression that burst forth into iridescent hues, borne aloft by eddying swirls towards the tarasaptak shadja and gandhar. A few tantalising glimpses of komal madhyam served to heighten the texture of the lengthier passages. Jod and jhala were embellished by thaar paran (double strokes) and the progression of ideas was orderly without obstructing the fluidity of movements.
In raag Desh Malhar, where vilambit gat and madhya drut gat were set to Teen tal, solemnity pervaded the lower register phrasing. Soaring glides enabled the transition from the middle to higher reaches, attaining the tarasaptak rishabh in unhurried sequence.
Lakshmi Shankar
As the pace grew more rapid, the sawal-jawab between sarod and tabla wove undulating rhythmic patterns with pancham and shadja as emphatic landing points. Even at their fastest, the phrases were interspersed with subtly graced passages alternating light and shadow play that culminated in the final imposing tihai.
The light piece that followed was a tribute to serendipity where the artiste bowed in unconditional surrender to the enchanting vagaries of Mishra Kafi.
In the dialogue that followed, Taranath veered away from the main motif to greet shades of surfacing ragas with the warmth reserved for long-lost friends, skilfully stringing melodies together in a ragamala redolent with bhava. Udayaraj Karpoor's accompaniment on the tabla ably complemented the main artiste's playing.
Kaunsi Bhairavi, an amalgam of Malkauns and Bhairavi, is a rarely-encountered cousin of the familiar (Sindhu) Bhairavi. The composition was rendered with finesse, an evocative piece that apparently attracted the attention of the elements.
It is said that Art imitates Nature. But outside, a slow drizzle accelerated to a steady patter, in perfect empathy with the quickening pace of the composition — an intriguing example of Nature imitating Art.
Serenity reigned supreme in Lakshmi Shankar's vocal concert. The sweet voice was laced with the poignancy that comes with heightened musical perception. Her voyage through raag Kirwani in the vilambit khayal "Saajan aaye" (Ek taal) and the dhrut khayal (Teen tal) composed by Pt. Ravishankar, was one viewed by the listeners through the looking glass of the artiste's rich experience.
The tumri, "Neend na jaane moray naina," in Maaj Khamaj set to Deepchandi taal (14 beats) conjured up a leisurely ambience. The variations at "Naina" alternated between a call, a plea and a caress, the modulations an extension of the natural flow of the voice, which gained in puissance when approaching the tarasaptak notes. As the tempo quickened, the music swelled in a paean of celebration.
Stunning Accuracy
It is always a moving experience for the audience when the artiste shares that which is precious to her. So it was with Lakshmi Shankar's bhajans. Meera Bai's "Nainan me Nandlal" was memorable while "Tum re karan" in Bhoop Kalyan brimmed with joie-de-vivre. Here, the opening notes hit the tarasaptak shadja with a controlled power and stunning accuracy that could teach young vocalists a thing or two about voice projection.
Yet, there was an undertone of contemplation and unquestioning acceptance in the phrases gliding into the lower octave, also echoed by the beautifully modulated lines soaring to the tarasaptak gandhar with "Meera dasi janam janam ki".
Mala Ramadorai.
"Hari tum haro," one of Mahatma Gandhi's favourite bhajans, was a soulful rendition in Madhukauns.
Immersed in the narrative lyrics describing Lord Krishna as Saviour of his various devotees, the artiste's interpretation was emotionally stirring.
Dr. Narmada's softly-nuanced violin accompaniment sustained the compositional mood and Nitin Mitta on the tabla provided commendable support.
Stamp of Assurance
With a commanding voice that made its presence felt, Mala Ramadorai's vocal recital carried the stamp of assurance. It was particularly a delight to experience her well-trained voice in frequent and happy confluence with the tarasaptak shadja.
Jog is a raga that invariably awakens the poet in the musician's soul. The vocalist's interpretation, however, seemed to lean more towards the robust than the lyrical in the bada khayal "Pi harva," though the chotta khayal, "Saajan moray ghar," moved ahead in terms of emotional content.
Just as the speedy passages got under way, the mikes stopped functioning. Kudos to the artistes who continued without missing a beat. Thankfully, the power supply was restored in time for the next item, but it was the soothing refrain of the tanpura that ensured that the mood remained unbroken.
The tumri in Khamaj, "Aaj moray kalaai," detailing a gopika's conversation with Krishna was ornamented with charming graces while another composition seemed more allied with the light classical genre with which this raga is often associated.
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