The VSK Baithak and the dhrupad homage to Ustad N. Zahiruddin Dagar delighted rasikas. Manjari Sinha
The VSK Baithak
The VSK Baithak treated music lovers to a memorable musical evening this past week at Satya Sai Sabhagara with vocal recitals by two talented young artistes. Sawani Shende of course, has delighted rasikas earlier but Dhananjay Hegde was a sonorous surprise for the Delhi audience. The most talented and dedicated Shishya (disciple) of the extraordinary vocalist and Guru Pandit Vinayak Torvi, Hegde has not only imbibed the essence of his Guru’s Gaayaki but has also emerged as a remarkable vocalist in his own right.
Dhananjay opened the evening with the most appropriate and appealing raga Yaman, presenting the Bara Khayal “E Sakhi kaise karoon…” set to slow Ek tala. The detailed “Sur-dar-sur” barhat, while elaborating the raga, had the architectural symmetry and compactness of design in phrases like “dha ni re sa” corresponding with “ga me dha pa” or “sa pa me” apposed to “‘ma sa ni” to cite just a glimpse of the beauty he created with his fertile imagination. His remarkable aesthetic sense was evident not only in the slow composition but also during the chhota khayal ‘Aaj bajaai Kanha baansuree…’ and in each of the following ragas that he sang.
The popular bandish (composition) “Saajan more ghar aaye…”in raga Jog came next. After dealing with the lyrical content he went on to sing a Tarana in Teen tala composed by Ashwini Bhide, where one could enjoy the flourish of varied taan patterns.
Tilak-Kamod was another treat before Dhananjay concluded his recital with a Kabir bhajan in raga Mishra Kirwani. The lyrical content in whatever he sang, was treated with utmost sensitivity and laya. Dhanajay revealed a high level of musicianship and artistic depth, totally devoid of unnecessary showmanship.
The gifted disciple of Veena Sahasrabuddhe, Sawany Shende opened her recital with raga Bageshri. The slow composition of her Dada-Guru the late S.K. Bodas ‘Shubha din aaj…’, set to slow Ek tala was handled well with detailed aalap-barhat and refreshingly executed taans, followed by her own composition set to Teen-tala. Her finely accented sargams and slick taans were captivating in the next raga Vachaspati also but more than her singing Sawany impressed with her prowess as a talented composer with her compositions in Bageshri, Vachaspati and the Hori in Mishra Maand before she concluded her concert with Bharavi. Prasoon Chaterjee on the tabla and Rahul Bhole on the harmonium gave commendable support to the vocalists.
Dhrupad tribute
The India International Centre in collaboration with the Dagar Brothers Memorial Trust presented an evening of Dhrupad in memory of Ustad N. Zahiruddin Dagar this past week. Philippe Falisse, the Belgian disciple of Dagar Brothers opened the evening with a detailed aalapchari and a Dhrupad in raga Bhimpalasi ‘Naad saagar aparampaar….’. Despite coming from altogether a different cultural background, Philippe has imbibed the spiritual essence of his gurus, spending more than twenty years in their tutelage. His dedication and sensitivity are the most appealing aspects of his singing. Whether it was the Dhrupad in Bhimpalasi or the Dhamar in raga Bihag, he impressed not only with his command on Sur and Laya, but also with the soothing renderings where even the ‘Sam’ was arrived with a feeling instead of the usual aggressiveness.
Ustad F. Wasifuddin Dagar who is the son of Ustad N. Faiyazuddin Dagar and nephew of Ustad N. Zahiruddin Dagar, the famous Dagar Brothers, presented a detailed aalap and Dhrupad in raga Chandrakauns prevalent in his own gharana, with the conspicuous use of Shuddha Rishabh. The Dhrupad ‘Niranjan Nirakar….’ set to Chautala was dealt with different layakaaris and Bol-baant before he went on to sing the next composition “E ri e apano se paayo” in Bangaal Bhairav. Manohar Shyam Sharma gave able accompaniment on the pakhawaj to both the artistes.
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