Soaked in rhythm
JITENDRA PRATAP
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Vocalist Naresh Malhotra gave an impressive performance at the Kashi Baithak Sangeet Sabha in Delhi's Poorva Sanskritik Kendra the other day.
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Naresh Malhotra has all the required talents to become potentiality for becoming a musician to reckon with. His master's degree with high marks and a gold medal from Rohtak's Maharshi Dayanand University, and the coveted M.Phil degree from the Delhi University's Faculty of Music and Fine Arts speaks highly about his academic prowess in classical music.
Besides receiving several diplomas and awards from leading institutes and organisations it is the basic grounding that he had received earlier from the renowned vocalist duo of Singh Bandhus (Tejpal and Surinder Singh). However, for the past several years he is regularly receiving guidance from Tejpal Singh, regarded a highly learned scholar and a dedicated guru to scores of his disciples with many of them being vocalists of repute and others as teachers and scholars.
This critic had several opportunities of listening to Naresh's singing, even as a young debutant vocalist in the Sahitya Kala Parishad's Yuva Mahotsav several years ago, in the I.C.C.R's Guru-Sishya Parampara, and in recent times on the concert platforms, radio and the television.
On each of these occasions he did display his inherent talent and the good outcome of his regular persistence, hard work and the deep devotion to his guru.
PSK performance
Performing at a concert presented by Kashi Baithak Sangeet Sabha at the Poorva Sanskritik Kendra in East Delhi, Naresh commenced his recital in raga Bihag with the well-known composition of Shah Sadarang `kaise sukh soweyn needariyaa'.
His leisurely handled elaboration at a very slow pace and in the intricate fourteen beat time cycle of `jhumra tal' impressed for his scholastic exposition of the raga and its lyrical contents with scores of hauntingly released melodic sequences.
The rich-toned `meend-soot' (forward and reversed glides) fell soothingly on the ears. The trail of charmingly permuted sargams and the flow of neat and bold taan sequences (2) were released with pleasing effects and rich melodic flavour.
The fast tempo Teen taal' composition, `mero man atkyo sundar dhyan' was laced with liltingly deployed variations.
Naresh provided a befitting finale to his recital of the evening with the mid-tempo seven beat Rupak tal composition of the late Ustad Amir Khan in raga Kalawati `anmaani piyaa so rahat hai'.
In spite of the raga's format having fewer notes, the singer did display his musical capabilities in an highly impressive manner.
Excellent accompaniment was provided by Asif Ali (sarangi), Sajjad Hussain (harmonium) and Akhtar Hassan (tabla).
Earlier in the evening, Pandit Temple Singh opened the concert by lighting the inaugural lamp.
This was followed by the young Adnan Khan's tuneful sitar recital in raga Bageshwari with `alap-jod and jhala and gat-todas'. He impressed with his deft handling of the frets and the strings. Rashid Zafar provided commendable tabla accompaniment to Adnan Khan.
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