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Lyrical music
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Pandit Ganapathi Bhat Hasanagi’s concert was a combination of the best from Kirana, Gwalior and Patiala gayaki
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ENTHRALLING Ganapathi Bhat Hasanagi intuitively fulfilled the expectations of his ardent listeners
Smruthi, an organisation founded by Lalit J. Rao, the Bangalore-based exponent of Agra gharana gayaki, celebrated its anniversary recently. Pandit C.G. Anantaswamy, a veteran harmonium artiste and the founder of Sruthi, including half a dozen music a
ssociations was felicitated on this occasion. A Hindustani classical vocal concert by Pt. Ganapathi Bhat Hasanagi was also organised. Pt. Ganapathi Bhat is the gandabandh shishya of the legendary musician Pt. Basavaraj Rajguru who was hailed as the custodian of vast musical treasures and whose style tended towards judicious eclecticism, brilliantly combining the best from Kirana, Gwalior and Patiala gharana gayaki. Ganapathi Bhat has carved a niche for himself in the performing circuits of Hindustani music. Ganapathi Bhat commenced his recital with a meditative alaap in the evening melody Raga Shyam Kalyan. He presented a vilambit ektaal (a rhythmic cycle of 12 beats ) bandish “Neend na avat piya bina dekhe” in the Rag, embellishing the composition with his lyrical improvisations. The latter half (antara) of the composition “Ghadi pal chin” demonstrated his ease and nuanced execution of phrases in the tara saptak. Bol alaps and taans in the vilambit composition were followed by an aadha teentaal composition in the same rag “Mora man har lino shyam sundar ke nainva”. Pt. Ravindra Yavagal provided exemplary tabla accompaniment for this rendition. The drut ektaal composition in Shyam Kalyan “Jaare jaare pakado na baiyya mose” was noteworthy for its brilliant taankari and an immaculate sense of rhythm. Ganapthi Bhat intuitively fulfilled the expectations of his ardent listeners when he chose to render a devi stuti in Madhyalaya teental in Raga Durga “Durge Maata Bhavani, Jagat Janani, Krupa Karni, Mahishasura Mardini”. His exposition of the composition was in consonance with the post-navaratri festivities and the scintillating tarana in Durga, enthralled the connoisseurs. The fact that the artiste also had the rare privilege of training under the renowned musicologist, the late Pt. C.R. Vyas was obvious in the finesse with which he rendered a rare melody Charu Kauns, combination of the raga Charukeshi and Malkauns. This raga is another interesting inclusion to the family of unique mishrakauns raga varieties such as Jog Kauns, Guni Kauns, Nand Kauns, Sarang Kauns etc that were popularised by Pt. C.R. Vyas, Pt. Prabhakar Karekar, Begum Parween Sultana and others. Pt. Bhat’s rendition of the raga in the teentaal composition, “Kaise rijhavu man ko Shyam sundar chitta chor” was a lyrical masterpiece. Ganapathi Bhat concluded the concert with the Meera bhajan “Mero man Ram hi ram rahe” in rag Bhairavi.
K.S. VAISHALI
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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