Hindustani singer performs in Bengaluru as part of Pancham Nishad’s ‘Pratha Swar’ series
Hindustani singer performs in Bengaluru as part of Pancham Nishad’s ‘Pratha Swar’ series
One of the most fascinating and unique aspects of Hindustani classical music is the allocation of fixed times and seasons of day/night for the singing of specific ragas. Musicians usually do not take a raga out of its temporal context. I remember a late evening concert by sarangi maestro Ustad Sultan Khan. Someone in the audience requested him to play the morning tune, but Khan sahib refused, saying it would be sacrilegious to break the ‘prahar’ protocol.
A day is divided into eight ‘prahars’ or quartets, each lasting three hours. The ‘Dingeya’ or ‘Suryamsa’ raga is sung during the day and the ‘Nishkalin’ raga at night. There are also ragas of twilight which are known as ‘Sandhi Prakash’. Since most of the concerts take place in the evening, connoisseurs rarely get a chance to listen to the early morning melody like Miyan Ki Todi, Lalit, Bhairav, Ahir Bhairav, Ramkali, Jaunpuri, Bhatiyar, Shivmat Bhairav, Bilasakhni Todi etc. Is. are artists. Also left without the option of exploring these tunes.
To showcase the splendor and splendor of morning ragas, the ‘Pratah Swara’ concert, conceptualized and organized by Pancham Nishad, was started recently in Bengaluru. The series is a well-known event in Mumbai, where it has been held for over two decades.
make your teachers proud
The second concert of ‘Pratha Swara’ was held at the Chowdia Memorial Hall in Bengaluru and performed by Aarti Anklikar Tikekar. A famous disciple of the learned Kishori Amonkar, Aarti began her training under Pandit. Vasantrao Kulkarni and Pt. Dinkar Kaikni. His singing was notable for his impeccable rendition of the rarely heard complex raga Salag Varali Todi and another. obsolete (uncommon) Joint or mixed raga, Bhairav-Bhatiyar.
Starting with Bandish, ‘Aaj Badai Baje Nandmahal Mein Sakhi’ set to a delayed ektaal in Worali Todi, Aarti took her audience through a journey. He transcends the elaboration of this sad raga with precise and carefully crafted aalap, bol aalap and bol taan sequences in an uncluttered manner. He created the prayerful mood of the invocation with a beautiful bandish in a quick three taal of 16 beats, ‘Sumir Saheb Sultan Aalman, Nizamuddin Auliya Mana, Kar Yaad Naam Parvardigar’. He decorated it with a spring of taunts for the grand accompaniment of Pt. Ravindra Yavgal on tabla.
The raga Bhairav-Bhatiyar added by the aarti was selected by Pt CR Vyas, as he did with his mentor, the great Pt. Jagannath aunt priest of Agra Gharana, ‘O Karma Karo Mope Sai’. The Quick Tental Bandish, again a Pt. Jagannath Bua’s composition, under his pseudonym ‘Gunidas’: ‘A Ali Re Mori, Kachu Na Suhave’ was rendered with vigor and lyrical intensity.
Vyasamurthy Katti on Pt. Sanwadini made a mesmerizing effect, albeit an unobtrusive one, while conversing on melodious phrases. The jhula ‘Aavo Sab Sakhiyan Jhula Jhulo’ in Manj Kamaj provided the much needed interval after two ragas.
rich in makeup juice
Bandish’s thumri aarti rendition in raga Brindawani Sarang, ‘Roko Na Chail Mori Gadiya’, was a fitting choice after Jhula, while the fast-paced Tental composition, ‘Ali Akhiya Piya Jadoo Bhari’ was full of makeup rasa and was impressive. The Tankari Aarti concludes with Bhairavi, showcasing his lively repertoire of compositions in this raga by presenting a Chaitanya Kunte song in a rare cadence of nine and a half beats, ‘Kahe Roka Shyam Dagariya’ and also the unique Tarana Numa which includes rhythmic syllables. Huh. Lyrics in half and second: ‘Bhairavi Priyadarshini’, by his guru Pt. Dinkar Kaikini.
The Bangalore-based critic is a trained musician.