the all-smelling eye

a weekend of hindustani vocal music

this past weekend was a great one to be in alberta for fans of hindustani vocal music. those who were willing to do a little driving had the opportunity to experience three concerts on three consecutive nights:
there's much that one could say, but there are limits to what the human memory can retain, so i'm going to try to keep my comments brief. i'd not heard Sangeeta Bandyopadhyay before, and personally found her music the least engaging of the three. admittedly, i'm also not a big khayal fan. my reaction to Purnima-ji's concert was much the same as the last time i heard her sing, which is no criticism at all. and i'm a bigot when it comes to dhrupad: i'm ridiculously fond of it, and of Uday-ji's approach to it.

thanks to the raga-mala societies of calgary and edmonton for making this weekend possible!
the all-smelling eye

Pravin Godkhinde flute recital

yesterday evening, the edmonton raga-mala music society presented a flute recital by Pravin Godkhinde, accompanied by Charudatta Phadke on tabla.

the first half of the concert was presented very much in the khayal style. the first raga was Maru Bihag, and after an alap that was somewhat longer than one might expect in khayal performance (but not very long for all that) the compositions were in ati vilambit ektal and drut tintal. this was followed by a "thumri-dhun" (Godkhinde-ji's term) in Misra Khamaj.
the second half was more instrumental-style. the first raga was Hansadhwani (selected due to the performer's familiarity with Carnatic music?), with a full alap/jor/jhala, and compositions in vilambit rupak and drut tintal. this was followed (at the audience's demand) by a Pahari dhun.

Godkhinde kept up a friendly convesation with the audience between pieces, and occasionally included some commentary during the performance (mostly in the first half, talking about the Kirana-style taans he was playing in the Maru Bihag, and singing some of the compositions briefly). his technique left nothing to be desired, and his presentation of the ragas was clear. in the Pahari, he switched to a small flute for the composition.
Phadke's accompaniment was rarely flashy, but dependable throughout. the two artists communicated with each well throughout.
the all-smelling eye

two nights, two concerts

Edmonton is perhaps unusual for a North American city of its size in having two organizations producing concerts of indian classical music: jhankaar and raga-mala. This past weekend, both societies presented concerts, making for a full but enjoyable weekend.

Saturday evening, Jhankaar presented Rajeev Chakraborty (sarod) and Reena Chakraborty Shrivastava (sitar), accompanied by Subhen Chatterjee (tabla). In the first half, they presented raga Hemant in alap/jor/jhala, and compositions in chartal ki sawari and tintal. In the second half, they played raga Zila Kafi, with a composition in adha, and a medley of dhuns (can one call that a "dhunmala"?) anchored by a Bengali folk song. Apparently after that, a persistent audience demanded a Bhairavi encore. The music was enjoyable, especially the interaction between the siblings—jugalbandi can sometimes feel like attempts to show each other up, but I never got that sense in their presentation. It was also nice to hear the first composition in Hemant: chartal ki sawari isn't particularly common in concerts.

Sunday evening, Raga-mala presented Samaresh Chawdhury (vocal) accompanied by Ramesh Mishra (sarangi) and Pradyut Ray (tabla). In the first half he sang vilambit ektal, drut tintal in raga Nat Bihag, and raga Kedar (compositions in madhya tintal, drut ektal). After the interval, Mishra-ji presented two brief dhuns, one from Rajasthan, which he almost followed with a Chaiti, but then noting the recent rain played a Kajri instead. The main concert resumed with a carnatic raga (the name of which I didn't catch), again presented in vilambit ektal and drut tintal. It finished with a pair of thumris in Manj Khamaj and Misra Pahari. Chawdhury-ji's voice is an amazing instrument, and his ability with tans, akar tans in particular, was astonishing.

All in all, a great weekend of music!

To My Beloved

6 августа, 19:00  - Московская консерватория им. П.И.Чайковского
Рахманиновский зал                          

Концерт индийской духовной музыки

в рамках международного фестиваля "Собираем Друзей"

Вишал Вардан (флейта бансури)

Анил Дикшит (табла)


В программе: вечерняя рага бупали.
Вход свободный

Спонсор концерта - Om Balm

Вишал Вардан с детства обучался игре на флейте у своего отца, Пандита Харш Вардана. В 2002 году поступил в гурукулу великого мастера Харипрасада Чаурасии, где постигает искусство игры на бансури до настоящего сремени. Музыкант выступает не только в Индии, но и за её пределами: его концерты проходят в Бельгии, Франции, Германии.

Анил Дикшитвыдающийся исполнитель на классических индийских барабанах табла. Музыкальная традиция в его семье продолжается уже более 400 лет. Анил с раннего детства обучался игре на табла у отца, Пандита Ман Мохан Сингха. В России музыкант 4 года преподавал в Московской государственной консерватории им. Чайковского и в Культурном Центре имени Дж. Неру при посольстве Индии. Сейчас Анил посвятил себя записи дисков и концертной деятельности

Также с 30 июля по 15 сентября в Москве будут проводиться мастер-классы игры на бансури.
Запись на занятия: +79260752844 – Екатерина

the all-smelling eye

Sugato Nag sitar recital

on friday evening, the edmonton raga-mala society presented a sitar recital by Sugato Nag, accompanied on tabla by Subhajyoti Guha.

in the first half, Nag-ji gave a long-form presentation of raga Bageshri, with a full alap and three compositions (slow, medium, fast). in the second half, he opened with Darbari Kanhra, with a short alap followed by a slow composition (by his guru Buddhadev Dasgupta) and a medium composition (by ustad Vilayat Khan), after which he wandered into a different Kanhra raga (i think it may have been Lachari Kanhra), followed by a digression even further into Bahar. he followed this with a short piece in Pilu. he wanted to end the concert with some Khamaj, but the audience begged from him instead a little bit of Bhairavi. aside from the medium composition in Bageshri (which was in ektal) all the compositions were in teental.

for me the highlights were the alap and medium composition in Bageshri, and the Pilu and Bhairavi—Nag-ji brought out the emotions of the ragas best at those points. i found the Kanhra presentation interesting from an academic point of view (it sort of turned into a raga-mala, to the extent of his actually retuning his sympathetics while the performance proceeded), but ultimately less engaging. to my hear, his jor and much of the composition work sounded routine. the jhalas were of course technically impressive.