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Raag Anuraag
Parameshwar Hegde Music Academy, CD, Rs. 200
Raag Anuraag, the two-CD pack, is the most unusual album of these times. Not just in terms of content, but also as an endeavour. It contains 25 tracks of different ragas of the Hindustani repertoire, preceded by a short introduction to each of these ragas. The most important thing is that they are all sung by students of music and not by professional musicians. However, from the very beginning what is glaring is the remarkable professionalism to the entire production. The crisp renditions, the meticulous scripting of music as well as the spoken word, the structure everything speaks of perfect presentation skills. The credit must go to Pandit Parameshwar Hegde (concept and direction), who’s the guiding spirit of this album. Not many teachers can boast of having trained so many competent students.
Every three ragas in the album forms a set and the common features of these ragas are explained, even as the variations are brought out. For instance, Madhuvanti, Patdeep and Bhimpalasi or Marwa, Puriya, and Sohini… the commentary fills you in with details about the That of the raga, vadi-samvadi, the scale, and the time at which the raga should be sung, apart from the subtle differences that make them different. The album at once, caters to the student and connoisseur, with theoretical inputs and the masterly renditions alike.
Amrita Rao who opens the album with her rendition of Madhuvanti is outstanding. There’s an amazing poise and an enviable maturity to her singing.
The manner in which the special notes are introduced is absolutely graceful. She also sings Kedar, (“Nave ninaar” is lovely) and Shankara in the album. If I was struck by another voice and rendition it was of Shridhar Hegde (he’s not Hedge as it says in sleeve notes). His singing is so reflective, it haunts. As he sings Puriya Kalyan, Maru Bihag, you soak in a sense of tranquil. Kaushik Aithal’s singing is marked by an involvedness of a true student of music. He uses his voice quite brilliantly, and shines in Puriya, “Rang kar rasiya ve more maan”. I like his rendition of Des too (the tabla peshkar is beautiful), probably because it captures many moods and moves through various shades of the raga. Chaitanya has a lovely nasal twang and a slightly coarse texture to his voice which sounds wonderful. There’s an aura of Marathi music to his singing. I would personally vote for his rendition of “Jhanan jhanan baajat paayaliya” in Patdeep more than the Shuddh Kalyan one.
Anagha Hindlekar’s robust voice soars octaves with amazing felicity. I liked her more in Sohini than in Bhimpalasi, which had a few slip ups and rough edges. Netra Nath’s rendition of “Hey chandrachud” was powerful. Atma Deepak was very impressive in Kalyan. The creative passages in her music were worth noting. Sushma Shyamprasad has a rare voice and made quite an impact with Bihag.
The album is also proof to Pandit Parameshwar Hegde’s open attitude to other forms of music. It includes film music and devotional songs too. Bharath is very good in “Nambide ninna” in Puriya Kalyan. He has a perfect understanding of the genre and doesn’t overdo it at any point. But I wonder why he shied of the saying word “laya”? Radhika’s rendition of “Rasik Balma” is mellifluous.
The well-researched and presented album has lovely harmonium support by Vyasmurthi Katti. Equally good is the tabla support by Gopalakrishna Hegde.
For those who want to buy this album contact Parameshwar Hegde Music Academy at parameshwarhegdeacademy@gmail.com or call 080 265673961
DEEPA GANESH
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