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Enriching Music The fusion was resplendent.

The 26th anniversary celebration of Sursagar commenced with the Hindustani Classical vocal recital by Kaushiki Chakraborthy Desikan, in which she presented Rag Shyam Kalyan, a twilight melody, in two compositions. In the vilambit composition “Diya Jala”, she explored the nuances of the raga through richly sonorous and melodious alap cycles punctuated with many racy taans followed by the drut teen tal composition, a faster tempo in a rhythmic cycle of 16 beats, “Jab Shyam Ki Man Bhave”. Perhaps a steady emphasis on a mellowed development of the raga would have enhanced the melodic appeal.

Although Kaushiki’s remarkable mastery over sargams, gamak and vakra taans bedazzled the audience, it did not evolve into a consummate rendition. A noteworthy feature of the concert was the brilliant harmonium accompaniment by Pt. Vyasmurthy Katti. The next session was the sitar recital by Kushal Das, a sitarist of high repute also hailing from Calcutta. He was accompanied on the tabla byYogesh Shamsi. Kushal Das rendered Rag Hemant, a raga named after a season. After a tepid free-style alap, it slowly gathered momentum and the jod- jhala –gat improvisations were delightful. Besides, the exemplary tabla accompaniment by Yogesh Shamsi added lustre to the recital.

The Shyama Charan Lahiri Lalit Kala Academy had organised a Hindustani bansuri recital by Pravin Godkhindi. He presented Rag Marwa in the gayaki style in two compostions: vilambit ektaal composition and a drut teental bandish. He created many intricate taan patterns in Marwa, emphasising the dominant and sub-dominant notes of rishab and dhaivat respectively, negotiating certain extremely complex, befuddling phrases with élan and ease. This was followed by an enthralling and most evocative delineation of the popular rag Bhoopali in a unique style, amalgamating several dimensions of this rich melody. Udayraj Karpur on the tabla succeeded in imparting a sensational touch. This was followed by the Hindustani classical vocal recital of Padma Talwalkar, who has assimilated the best of contemporary gayakis, evolving a style of singing which is distinctly individualistic. She presented Rag Nand, a beautiful late night melody.The vilambit teen tal composition, one of the oldest traditional bandishes in the rag “Bare saiyya tore sakala ban dhoondu” She was ably assisted byRavindra Katoti on the harmonium and Udayraj Karpur on the tabla and her student Rasika Varda on the tanpura providing vocal support. The exquisite rendition of the chota khayal composition set to teental “Dhan dhan bhag” was the piece de resistance of the concert. This was followed by an exuberant rendition of a madhyalaya jhaptal bandish “More aye kuwar kanhare” in a rare melody rag Shahana Kanada. The drut teental composition “Mandirwa me more aye” was marked by impressive layakaari and taankaari. The thumri in Misra Khamaj “Chabi dikh laaja savariya” was soaked in sublime shringar bhava and the tarana composition in rag Tilak Kamod sounded more like a lyrical chota khayal composition than a tarana. The 34th anniversary celebration of Hindustani Kalakar Mandali at Bangalore Gayana Samaja was marked by a rich fare of Hindustani classical vocal and instrumental concerts. The morning session featured Pt. Vijay Sardeshmukh of Pune, a disciple of late Pt. Kumar Gandharva. Pt. Sardeshmukh commenced his recital with the vilambit Tilwada composition “Dhyan Mana” in the morning melody Miyan Ki Todi. The expansive alaap in the mandra saptak imparted a meditative dimension to his exposition and the bol taans were highly reminiscent of his guru Kumar Gandharva’s idiosyncratic style. The Drut teen tal bandish “Tumi san lagi ratana mori” was noteworthy for its lyrical appeal. The madhyalaya jhaptaal composition in rag Deshkar “Ayo milane ki” and the bhajan “Aa kalandar ke suva” were followed by another captivating melody Madhmad sarang. Uday Raj Karpur provided the tabla accompaniment.

Kaushiki Chakraborty.

Pt. Indudhar Nirodi’s recital in the evening began with the twilight melody rag Shree known for its majestic, sombre appeal. He explored the rag in great depth with the traditional nom tom alap in the vilambit tilwada bandish “Sanj Bhayi”. An interesting feature of the concert was he was accompanied by his talented disciple Pt. Vyasmurthy Katti on the harmonium. There was such a harmonious communication between the guru and the shishya that the concert in parts was almost like a vocal-harmonium duet. Gurumurthy Vaidya’s brilliant tabla accompaniment infused a sense of euphonious vibrancy to the recital.

The grand finale of the music festival indeed proved to be a resplendent one with a harmonium, accordion, tabla and keypad ensemble represented by Ravindra Katoti, M.B. Prakash, Ravindra, Udayraj Karpur andPramath Kiran Katoti presented three ragas in the Hindustani classical style: Kirwani, Bihag and Pahadi in teentaal and dadra rhythmic cycles which corresponded approximately with the D minor and “sailing on the silvery moon” compositions played by Prakash and Ravindra on the accordion. Udayraj Karpur on the tabla and his disciple Pramath Kiran on the keypad showed inimitable mastery over rhythm.

K.S. VAISHALI

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