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Photos: S.R.Raghunathan and V.Ganesan.

Mellow mood: Shivkumar Sharma (left) and Hariharan.

The very air rippled with anticipation as Shivkumar Sharma took centre stage in his santoor recital at the Bharat Sangeet Utsav held under the auspices of Carnatica and Sri Parthasarathy Swami Sabha. The maestro dedicated the concert to the memory of his disciple, the late Vishveswaran, with whom he had shared a unique guru-sishya bond.

The mellowness of raag Jinjhoti permeated jod, jhala and two compositions as strings thrummed with a celebration of life and love - a wellspring of joy that needs no reason and knows no bounds. The use of the shadja, the madhyam and nishadh as constants in phases anchored twists and turns in narrative. Time flowed unnoticed as this detailed exposition lasting almost an hour and a half, soothed and rejuvenated. Tisra gati patterns added points of interest to the vilambit, while the spirited dialogue between notes in the dhrut gat concluded in a burst of energy.

A light classical piece based in Pahadi had deliberately sounded single notes in a prelude that instantly invoked repose. Ramkumar Misra (tabla) played his role to perfection, enhancing but never intruding.

On the concluding day, ghazal exponent Hariharan’s presentation had something for everyone, whether cognoscenti or wide-eyed enthusiasts. The artist explained that he would be singing two types of ghazals - compositions set to a particular raag and those which freely use all possible notes to create an idiom and atmosphere. A gentle pulsing prelude in Yaman, employing shadja and panchama-varja passages, echoed evocatively by the sarangi, whetted one’s appetite for the piece ‘Bahut Bechhain He.’

A touchdown at the mandra ‘sa’ in passing announced that voice was in fine form. The play of notes on the words ‘yaad ke’ and ‘suhaani raat’ as well as a harmonium interlude touched by whimsy added that extra dimension. In ‘Mohe Apne Hi Rang’ from a recent album based on sufiana quawwali, the accelerated pace, vibrant swaras and taans whirled towards a foot-tapping finale at ‘Rang De.’ Power-driven, open-throated singing in the tarasaptak was an effective contrast to the softer middle octave excursions. There was much to delight classical aficionados in the plaintive ‘ga’ and ‘dha’ statements in Kirwani (Ranj Ki Jab Guft), the shifting light and shade of dual madhyams in Shuddha Sarang (Patha Patha) and a lovely piece capturing the lilt of Jaijaivanthi. The choices offered by a freer more unstructured scale in other compositions yielded kaleidoscopic glimpses of varied spectrums.

Liaquat Ali Khan (sarangi) Akhlakh Hussain (harmonium) Ojas Adhiya (guitar) and Chintu Singh (tabla) harvested rewarding moments with their teamwork highlighting subtleties.

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