An overnight concert to remember ! – A report

One of the good things about Spring is an overnight concert of classical music , that truly brings out the essence of the Hindustani Classical Music. An overnight concert is always a special treat , and SPIC-MACAY deserves special thanks from all music connoisseurs for this wonderful concert lineup and arrangements at the CV Raman Auditorium of IISER, Pashan in Pune.

The lineup of concerts starting around 9pm included one of the best mix of Indian Classical Vocal, Instrumental , young – masters of dhrupad and hindustani styles. It was a feast for all music lovers and 9 hours of concerts by five talented artists was enjoyed every moment. Every artist and the accompanist was applauded with a well deserved standing ovation by the connoisseurs !  The time flew starting with the Yaman in the evening when Lalat and Nat-Bhairav arrived early morning to signoff with a Bhairavi !  Here is the lineup starting at 9pm :

Smt. Padma Talwalkar (Hindustani Vocal)

Pt. Dhruba Ghosh (Sarangi)

Smt. Manjusha Kulkarni – Patil (Hindustani Vocal)

Pt. Pushpraj Koshti (Surbahar – Dhrupad)

Pt. Jayateerth Mevundi (Hindustani Vocal)

 Vid Padma Talwalkar opened the concert with a Yaman with a traditional bandish “Mori gagariya bhara na det”  ( मोरी गगरीया भर न देत ) and followed up with the raag of the season Basant , with the traditional bandish “Fagawa brij dekhan ko chalo ri”(फगवा ब्रीज देखन को चलो री ). She concluded her presentation with a bhajan in Marathi , “Govind Govind manaa lagaliyaa chand” (गोविंद गोविंद मन लागलीया छंद )

Pt Dhruv Ghosh started the presentation with a ati vilambit aalaap in Bageshree to build up  a serene calm and a contemplative midnight splendor. With a vocal bandish “Charan kamal darshan” (चरण कमल दरशन ) and a jod bandish on sarangi  he mesmerized the audience. He was ably supported by Pt Arvind Kumar Azad with  a complementing soft but subtle tabla in Banaras style. This was followed by a drut bandish “Fargan ko gun dekhe hamane , mandir me shyam ki murat” (फर गन को गुन देखे हमने , मंदिर मे श्याम कि मुरत ) where he demonstrated the Delhi Gharana style of playing popularized by Ut Bandu Khan. He was ably accompanied by his disciple Ugi Nakagawa on Sarangi. This Bageshree rendition of over an hour was unique and the one to remember for long time for the vilambit lay and the aalaap !  Pt Ghosh concluded with a rare raag , Nilambari , composed by Pt Onkarnaath Thakur  , with a bandish “mitavaa , e mitavaa” (मितवा , ए मितवा )

Smt Manjusha Patil started the presentation with an alaap in raag Kaushi-Kanada in ati-vilambit lay  accompanied on Tabla by Bharat Kamat and on Harmonium by Milind Kulkarni . Followed up with a Vilambit lay bandish “Naiyaa mori paar karo , aan padi mazdhaar” (नैया मोरी पार करो , आन पदी मझधार ). The drut bandish by PraanPriya livened the audience “kaase kahu aagiri , man ki vidha, binati na maane” (कासे काहू आ गीरी, मन कि विधा , बिनती ना माने )  .  Raag Sohoni with a madhyalay bandish “re jiyara re” ( रे जियरा रे ) caught up the mood of audience and was followed up by a drut bandish “beg beg man lalachyaye” (बेग बेग मन ललचाये)  and a brilliant taranaa that was applauded by the audience with a thundering applause. She concluded the presentation with a Mira bhajan in Khamaj  “paayo ji maine ram ratan dhan paayo” (पायो जी मैने राम रतन धन पायो )

Pt Pushparaaj Koshti with the Surbahar in Dhrupad style presentation started with a long Tilak Kamod aalaap and a bandish. It was followed up by raag Bhinna-Shadaj alaap , bandish in Chautaal. This was a soulful serious performance that suited the late night calmness and contemplation. The lower octave of Surbahaar ( as compared to Sitar) , its resonance , the meend , the accompaniment of the resonant bass of the Pakhaavaj , all brought in a kind of ambiance in the auditorium that was pleasing , soothing and spiritual.

The featured concert of the night by the popular young and brilliant vocalist with a mellifluous voice , gamaks and taans .. Pt Jayteerth Mevundi. The presentation started at around 4.15 am with an apt alaap of Lalat that gripped the mind of audience signaling the “bhor” an early morning hour pre-dawn ! The vilambit bandish “ye kahan jaage raat” (ये कहां जागे रात ) was followed by a drut “bhair- bhor jhanjhariyaa baaje” ( भैर भोर झान्झरीया बाजे ) . Accompanied ably by Bharat Kamat on Tabla and a playful Harmonium by Milind Kulkarni , the vocal presentation was a treat to ears !

As the the dawn dashed in , Pt Jayteerth Mevundi began raag Nat-Bhairav with a bandish “Nainan bara saat , biti saari raat , ginat rahi ghatiyaa, piyaa ke aawan ki bhor-bhayee” ( नैनन बरसात बीती सारी रात , गिनत रही घटीयां ,पिया के आवन कि भोर-भई) .  While the concluding bhajan was set in Bairaagi , “Raam ka gungaan kariye” ( राम के गुणगान करिये ) … it quickly moved to “Tirtha Vitthala , Kshetra Vitthala” ( तीर्थ विठ्ठल -क्षेत्र विठ्ठल ) that was set to Bhairavi and was twined with “Jo Bhaje hari ko sadaa , sohi param pad paavegaa” (जो भाजे हरी को सदा , सोही परम पद पावेगा).. The morning had arrived and the audience were pleased to have enjoyed this Saturday night with a feast of music that is difficult to be expressed in words !

SPICMACAY overnight Pune


About Prasad Bhave

Clinical Scientist / Healthcare Informatics Consultant
This entry was posted in Classical Music, Hindustani Classical Music, Indian Classical Music, Jayteerth Mevundi, Lalat, Music, Pune, Punekar, SPICMACAY and tagged , , , , , , , , , . Bookmark the permalink.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s