Recitals dedicated to the late Pandit Amarnath exemplified the maestro’s contribution to the field. Jitendra Pratap
Photo: Shiv Kumar Pushpakar
In tune Vocalist Shanti Sharma
It was indeed a noble gesture on the part of Shri Ram Bharatiya Kala Kendra to pay homage to a former member of its staff, the late Pandit Amarnath, on his birth anniversary. The late Pandit Amarnath was a very close disciple of the founder of the Indore gharana, the late Ustad Amir Khan. As such it was most appropriate on the part of the organisers to present one of the late Pandit’s colleagues, Ajit Singh Paintel and one of his well-groomed disciples, Shanti Sharma
.
Paintel was Professor of Music at Delhi University’s Faculty of Music and Fine Arts. He earned his Master’s Degree in music from the Bhatkande Sangeet Vidyapeeth under the guidance of the renowned teacher-singer, Dr. S.N. Ratanjhankar of the Agra gharana and subsequently from the illustrious Ustad Amir Khan of the Indore gharana. As such he received a thorough insight into the scholastic aspect of Hindustani classical music from the former and the intricacies of the Indore gayaki from the latter.
Well handled
He commenced his recital with khayals in the good old raga Yaman Kalyan. The slow tempo 14-beat Jhumra tala composition, “Kajara kaise daarun”, was indeed a highly reposeful presentation. The raga’s basic format with the pivotal Shuddha Madhyam note was befittingly handled, the composition rendered with noble effect. The bol-alap-behelawa-badhat pleased for being handled in desired proportions. The mid-tempo Teen tala composition “Aeiso sundar sujanwa bal
amwa” was rendered with lively variations.
The concluding piece in raga Bhupali “Maan le maan joban”, an old and rarely heard composition, was a befitting finale to Paintel’s scholastic performance of the evening, for which he had commendable support on the harmonium by Jairam Potdar and on the tabla by Prasun Chatterjee.
Region no bar
Shanti Sharma, one is given to understand, belongs to the southern parts of India. If this information is true the young lady deserves to be lavishly complimented for being able not only to understand and converse in chaste Hindi, but also to utter the textual contents of the songs without even the slightest tinge or intonation of her mother tongue, significantly also while rendering the swaravali passages.
Beginning her performance on the occasion just at dusk time, Shanti chose to commence her recital in the twilight melody of raga Marwa.
The choice was indeed most ideal, not only for being performed at the right hour but also for its lyrical contents as well.
The slow tempo composition “Piya morey ant” was rendered with appropriate attention to the raga’s complex form as also to its lyrics.
Her elaborate alap-bol-taans would have certainly made her learned teacher proud.
The late Ustad Amir Khan’s mid-tempo Teen tala composition “Guru bina gyan” was also rendered with feeling and regard for the noble sentiments contained within the song, before rendering two compositions in raga Madhukauns.
Jairam Potdar on the harmonium and Madan Sisodia on the tabla provided adequate accompaniment to Shanti.
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