Melodic meet in a serene milieu
LALITHAA KRISHNAN
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It was a confluence of unique, noteworthy talent at the recent music fest in the city.
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Photo: G. Praveen Raju
Vibrant passages: Nagabhushan Hegde.
Every year in the month of July, the verdant environs of the peaceful town of Gadag resonate to the exquisite melody of alaap and bol taan during the annual Sangeet Sammelan hosted by the Panchakshara Gavai Ashram. A trickle swells into a flood as mu
sic enthusiasts from sleepy hamlets and small townships converge to listen to the best and brightest from various gharanas.
“It should be seen to be believed,” beams Veereshwar Madri, managing trustee, Sri Guru Ganayogi Panchakshara Sangeet Yogashram Trust, with justifiable pride. His resolve to introduce these talented artists in Chennai and the untiring efforts of a small band of dedicated volunteers and well-wishers paid off when the three-day Sri Ganayogi Panchakshara Hindustani Music Festival was held in the city, co-sponsored by the SGS Sabha.
Stunning taans
Against a rich maroon backdrop flanked by the glow of flickering lamps and the garlanded portraits of Kumar Swamiji and Panchakshara Gavai, the founder saint-musicians of the ashram, the stage was set for a display of noteworthy talent.
The sombre shades of raag Lalith were painted with compelling strokes by the strong pliant voice of J. Niranjan (Dharwar), in the vilambit khayal ‘Rayin ka Sapna’ (ek taal) and dhrut khayal ‘Jogi Aa More Ghar Aayi’ (teen taal). Stunning taans were steered with excellent control in a display of full-throated power by this accomplished disciple of Puttaraj Gavai.
The lively gait of the abhang ‘Santaan Chiya Gaavi’ communicated the exhilarating lilt of Amrithavarshini to percentage effect. The uninhibited vocalisation of the lyrics and the commanding stance at the tara saptak gandhar added punch to the feel of the composition. Anantkumar Kodaganur added weight and zest through his powerful strokes on the tabla.
Lakshmi Sreeram (Chennai) negotiated the lovely glides of raag Shuddha Sarang with an ease born of familiarity in her vocal recital. Taking her time over the vilambit entrée, she uncovered layers of melody that seeped into the placid noon ambience with flowing passages that touched upon both madhyams. Taans flowed with a precision that bespoke a meticulous approach.
The pensive grace of raag Patdeep came to the fore in a sensitively crafted bandish in which medium tempo passages reflected the glint of polished facets. Fresh colours sprang from an unusual palette in the virahageet ‘Aaja Re.’
Nagabhushan Hegde (Mysore) elaborated raag Hemant in a ringing voice loaded with enough puissance to render the mike a superfluous accessory. The structure of the vilambit ek taal khayal gained in stature through vibrant passages at the dhaivat and nishadh. The artist’s interpretation opted for solidity rather than spectacular display. What really impressed was the evenness of tone in successive registers and the full-bodied voice testifying to healthy voice culture.
The taans that embellished the dhrut teen taal stood out for clarity. Sharply honed instinct and perception coalesced in Veerabhadrappa’s percussive support on the tabla. Mallikarjun Shamsi of Dharwar who provided harmonium accompaniment to all the artistes captured the flavour of every alaap, bhajan and abhang with emotive accuracy and smooth skill.
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