Raags that seize the romance of Basant


Manjusha Patil acting at Sahana Bahar organised Navaras College of Performing Arts, Patna. 

The time idea of Hindustani music has categorized raags into totally different ‘prahars’ or time zones from early morning to late evening. There are additionally seasonal raags, similar to monsoon or spring ragas which might be carried out particularly throughout that season.

‘Sahana Bahar’, organised throughout Basant Panchami in Delhi, focussed on raags of Basant Ritu (spring). Offered by the Navaras College of Performing Arts, Patna, in collaboration with the India Worldwide Centre (IIC), Delhi on the CD Deshmukh auditorium of the IIC, it featured raag similar to Bahar, Basant, Shahana and Hindol by instrumental (sitar) and vocal recitals.

Conceptualised and launched by Dr. Ajit Pradhan, founding father of Navaras, as “Mausam-e-bahar ke mauqe par, shahana-bahar ka unwaan”, studded with Urdu couplets, the night opened with raag Shahana (means royal) on the sitar by Adnan Khan, the younger sitarist who’s linked to the Dilli Gharana from his maternal facet and Kirana Gharana from his paternal facet. Nonetheless, his recital appeared impressed by Ustad Vilayat Khan.

Adnan’s introductory aalap captured consideration within the decrease octave. His imaginative improvisation etched the myriad hues of spring. The jod part featured spectacular gamakas and the jhala wove geometrical patterns in a wide range of chhands.

Adnan Khan presented the myriad hues of spring through his sitar strings.

Adnan Khan introduced the myriad hues of spring by his sitar strings.

Adnan displayed management over Shahana’s swaras in alap-jod-jhala earlier than Zuheb Khan joined him on the tabla for numerous compositions he performed in several taals. Beginning with a madhya-vilambit Jhaptaal composition, elaborating the raag with restraint and sometimes catching the ‘sam’ from the mukhda itself, Adnan went on to play the well-known Teentala bandish of Ustad Amir Khan and the favored Drut Ektaal Gat composition of Ustad Vilayat Khan. He introduced alive the signature kinds of the Ustads.

It was heartening to see how Adnan has matured over time, right into a performer of distinction. Nonetheless, he may have prevented the extended jet-speed jhala.

Manjusha Patil, a number one Hindustani vocalist of the current technology, took the stage thereafter and opened with raga Basant. At current, a disciple of Ulhas Kashalkar, she has mastered the nuances of the Gwalior, Agra and Jaipur gharanas. Her aesthetic sense and huge repertoire of compositions of those gharanas had been evident in her collection of raags and presentation of conventional bandish.

Manjusha opened her vibrant vocal recital with the standard Basant bandish ‘Nabi ke darbaar sab mil gaavo bajaavo Basant’ set to Tilwada, a favorite for bada khayals within the Gwalior-Agra gayaki. This was adopted by the Chhota Khayal ‘Kanha garava lagae’ and the well-known Gwalior composition ‘Druma druma lata lata…’ set to Drut Teentaal. She concluded the primary raga with an exhilarating tarana. She immediately established a rapport with the viewers.

Subsequent got here the jod-raag Hindol-Bahar. Manjusha sailed by each the raags of contrasting moods, with superb ease. Singing ‘Mai ri aaj…’ the Madhya-Vilambit (medium-slow tempo) bandish set to Rupak taal, she created the colorful atmosphere of raga Bahar earlier than taking a seamless flip to enter Hindol.

Manjusha concluded with ‘Aayo fagun maas’ in Bhairavi. She loved the melodious touches of Vinay Mishra’s harmonium however didn’t waver from her imaginative shade of Bhairavi. Prashant Pandav supplied unobtrusive accompaniment on the tabla.

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