When delight came in a double dose
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Satyasheel Deshpande gave a wonderful concert in Delhi the other day. Then there was some more!
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NOTHING PART-TIME Satyasheel Deshpande in concert
Satyasheel Deshpande received the Raza Award for music at Kamani auditorium the other day. The event was part of Art Alive gallery's Swasti Mudra series of music and dance inspired by Saiyyad Hyder Raza's art, in celebration of the renowned painter's 85th birthday. He gave a riveting recital on the occasion, and in a surprise development the next day too.
Gifted son of the famous scholar, musicologist Vaman Rao Deshpane and dedicated disciple of the legendary Kumar Gandharva, Satyasheel Deshpande believes that art cannot be a part-time activity. Deep into music, he not only sang and composed brilliantly but also went on to document, record, relate and analyse the music of almost all the gharanas, collected in the archives of Samvaad Foundation.
Albums
One can savour the typical enunciations of particular bandishes of different gharanas in his album Kahen, brought out by the Dinanath Smruti Pratishthaan, that reminisces about the old world charm of the stalwarts of the bygone era. His latest CD, Thumri Katha - the story of thumri, brought out by Ninad, was released by Raza during this event.
Opening his concert with the often heard raga Shuddha Kalyan in altogether a different flavour as found by his guru Kumar Gandharva, he went on to sing raga Darbari, normally associated with a serious mood, again in a totally opposite chanchal roop i.e. lively and vibrant, singing a composition of Manrang that went "Nain so Nain... ", followed by a tarana in Teen tala with a fascinating tihai of Tit Kat Gadi Gan Dha, where the first Dha had the andolan of Komal Gandhar (typical of raga Darbari) in the upper octave, the second Dha with a corresponding tremolo in madhya saptak (middle octave), with the third and final Dha coming dramatically on Sam.
Humorous comment
Music lovers acquainted with the expansive mukhra (the initial phrase) of the traditional bara khayal composition, "Kahe ho... " a famous bandish of raga Gaud Malhar, enjoyed his sense of humour when he said, "If that one is a Mahakaavya (an epic), this one is a Haiku," before singing his own composition, "Van Mein... ". A poetic composition, it went "Van Mein, Sawan Mein, Jamuna Pulin Mein, Sakhi Baras Gayo Shyam Ghan Tan Mein", proving him a sensitive composer. He concluded his concert with a lively Hori in raga Bhairavi.
Satyasheel had come to listen to Mukul Shivputra's concert when he was made to sing for the whole evening the next day.
The rare thumri "Mori Karak Gayi Bangari... " composed by Raja Bhaiya Poochhwale in Dhani was followed by a lovely drut Ek tala composition "Kan Kan Sur Tala Mein".
Connoisseurs were delighted when he sang the Charukeshi composition of Pandit Ratanjankar, "Banara Ban Aayo... " in the typical kahen (enunciation) of Ginde Saheb. The concluding dadra in Bhairavi, with the sensitive use of all 12 notes, also had the flavour of Marathi Natya Sangeet at times.
MANJARI SINHA
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