In praise of the guru
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Two concerts were organised on the occasion of gurupoornima, in memory of the visionary guru, Panchakshari Gawai
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UNASSUMING Chandrashekhara Puranikmath suffused connoisseurs with a glow of serenity
Swarasankula Sangitha Sabha had arranged two Hindustani concerts at Vasudevacharya Bhavana in memory of the noble visionary, Ganayogi Panchakshari Gawai. On this gurupoornima, the organisation honoured Chandrashekhara P. Puranikmath, a direct discipl
e of Panchakshari Gawai. Many noted sabhas of Mysore paid their reverence to the Panditji.
Jugalbandi by Prakash Sontakke (guitar) and Samir L. Rao (flute) accompanied by Udayaraj Karpur (tabla) featured the first part of the program.
The artistes complementing each other’s technique and style built up the concert in progressive increments. A well-struck balance between proficiency and involvement ensued in an absorbing ambience.
Nevertheless, the whole structure was built mainly in a compartmental fashion rather than out of inspiring or challenging interactions expected of a Jugalbandi. Whereas the guitarist exercised dexterity and care in bringing out the tonal characteristics in their pure state, irrespective of fast glides over the fret (except rare occasions of discrepancies in Yaman), the flautist’s controlled blowing technique elicited subtle intonations in furtherance of a wholesome musical accomplishment.
Consider Yaman: Alaap ideally commenced in the vilambit tempo, and improvisations laid equal emphasis on both swara vistaar and rag vistaar. Artistes liberally and aesthetically employed meends, katkas, gamaks and glissandos to realise their imagination. Fine touch of lilting cadence in jod reached a pleasing climax in jhala. Some areas of the gat brought their style much closer to that of the gaayaki ang.
All along, the tabala saathi with vibrant tekas and layakaris provided lively lift to the accomplishment. Chandrashekhara P. Puranikmath, an unassuming octogenarian and a repository of his Guruji’s disarming personality and musical traits, suffused the ardent connoisseurs with a glow of serene musical aroma.
The virile voice endowed with succulent fineness readily and faithfully unfolded to realise the master’s generously flowing mesmerising extempore. Panditji represents the Gwalior gharana. The mature intellect fosters deep profundities setting aside stereotypic formal patterns. Bandish is his main focus on which his creativity firmly establishes lively imaginative melodic strains. He enwraps all the embellishments – behlavas, taans, murkis and so on, in the warm folds of refined expressions.
Consider the bandhishes (“Kaise Sukh” – vilambit - Sadarang and “Saiyan Tum” - Drut) sung in Behag: optimum tempo suited his style and the available time. A formal briefing of the raga, auchar, later gained wide momentum in the khyal through incessantly flowing creativity with pellucid accents and clear diction.
Methodically he introduced into the expatiation bolaalaps, bolupajs and gamaks along with other indispensable embellishments. Swara meends characterised short sargam section, and sapaat thaans featured taan sections.
Now, it is the alluring Rag Dhani. The bandhish was Gunjan Ban deriving all its charm from the veteran’s manodharma comprising neatly latticed sargams and swift but sweet taans.
Two vachanas (Basavanna and Akkamahadevi), a Devaranama (Purandaradasa) were the other highlights. Panditji concluded his concert with “Bhavani Dayani” in Bhairavi.
The supporting artistes Vyasa Murhy Katti (harmonium), Udayaraj Karpur (tabla) and Siddana Gouda Tondihal (vocal support) - inspiringly worked in harmony with the lead artiste’s grit and gentleness.
V. NAGARAJ
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