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AT ITS SPLENDOUR BEST (From left) Ustad Shafqat Ali Khan of Pakistan, the Jagatjit Palace and Hans Raj Hans.

The sixth edition of the festival was organised by the Kapurthala Heritage Trust, in collaboration with The Indian National Trust for Art and Culture Heritage (INTACH), Department of Cultural Affairs and Tourism and supported by the Government of Punjab. At one end, the festival was a tribute to the respected spiritual and temporal leader of Punjab, Baba Jassa Singh, on the other, it aimed at reviving the waning musical and monumental heritage of the State.

As a backdrop, the beautifully lit and majestic Jagatjit Palace played the perfect host for melodious classical soirees that spanned over three days. Six classical musicians from across the genres warmed many a heart, even as the temperature dipped a couple of degrees during the open air concerts. The festival started on a spiritual note with shabad kirtan by Bhai Manohar Singh. Also, the President of the Gurbin Sangeet Academy, Singh sang verses from the Guru Granth Sahib. He was well supported by two tabla players along with the harmonium accompanist and vocal support.

But setting the mood for the evening was the talented and young Shafqat Ali Khan of Pakistan, son of the renowned vocalist Salamat Ali Khan. Coming from the Sham Chaurasi gharana, he enthralled the audience with his repertoire of thumris and sufiana kalam. He was at his best with his detail rendition of alaaps and ragas.

The next day saw the Punjab Chief Minister Prakash Singh Badal gracing the occasion and praising the organisers for their efforts. The evening was pretty heavy duty with two big names set for performances. The renowned vocalist Padma Shri Shubha Mudgal was the first in line. Dressed in a red silk sari, she was given a roaring welcome by the packed audience. With a tanpura in hand, a tabla and harmonium as accompanists, she weaved magic with her powerful yet emotive voice. Her first two rachanas were composed in raga Hemant and set to Rupak and Teen taal. Even though her rendition was impressive, she didn’t manage to stir the audience and may be that’s why she decided to change her style and sing something more popular. Her next piece was based on raga Pilu, while the final one was a mesmerising haveli sangeet. It was a wonderful piece on Lord Krishna and Radha and was much appreciated.

The next performer was equally mystic. Sufi Kathak dancer Manjari Chaturvedi took centrestage with local singers from Rajasthan and Lucknow. She danced elegantly to Punjabi sufiana kalam sprinkled with some Rajasthani flavour. She experimented with the traditional Kathak to showcase something new with each piece like the one where she performed Kathak in a quawwali style. Her movements to “Duma dum mast kalandar” brought the audience under a spell.

Mustafa Raza, the popular Vichitra veena player from the Patiala gharana, was the first to perform on the last day. He was ably supported by the tabla and a pakhwaj accompanist. The slow pace of the veena was a limiting factor. But Raza was good in spite of it. It took a Hans Raj Hans to really stir the audience. He came as a replacement for Jagjit Singh who couldn’t make it to the event due to his ill health, and clearly showed why he is popular. The energy he exudes is worthy of appreciation. All the young and the old swayed to his numbers. He was joined by his sons, Navraj and Yugraj. He began his show with Moinuddin Chishti’s composition, “Rakho mori laaj garib nawaz”, which was followed by “Oh tera ki lagda”. Bulle Shah’s “Avo ni sakhi rall devo ni vadhayi” was sung in the style of his idol Nusrat Fateh Ali Khan. He concluded the evening on a devotional trance with “Dama dam mast kalandar”.

Curiously enough, the packed audience showed little or no interest in any performances, except for Hans Raj Hans. It seemed their presence was merely a call of duty than genuine interest.

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