Shaunak Abhisheki and Anand Bhate performing in Barkha Ritu | Photo Credit: Courtesy: Banyan Tree
Thematic concerts have made listening to music an exciting experience. Curators are always trying to present music in new ways. As far as thematic concerts are concerned, Barkha Ritu is a pioneer. She explored the ancient connection between monsoon and music through this series, which is in its 23rd edition this year.
In Delhi, the festival kicked off with a singing jugalbandi by Shaunak Abhisheki and Anand Bhate. Despite belonging to different gharanas and having different pitches, the Pune duo has performed together before. Shaunak is the son of Pandit Jitendra Abhisheki, whose singing style incorporated features from various gharanas including Agra and Jaipur. Moreover, he was one of the most prolific teachers and musicians, with a vast repertoire and rich legacy.
Anand Bhate is a singer of the Kirana Gharana and has been a disciple of Pandit Bhimsen Joshi. Due to his singing skills and excellent control over his breath, he produces complex taans.
It was a joy to hear them together, as they both brought different perspectives, making the concert enjoyable and multi-layered.
The programme began with Shaunak singing Raag Miyan Ki Malhar. His portrayal created a complete picture of the Raag highlighting unusual aspects. The rare Madhya Laya composition ‘Sakhi Kase Kahun’ composed by Pandit Ratnakant Ramnathkar ‘Premrang’ was in Jhaptal. His soulful rendition gave an opportunity to experience the Raag in all its dimensions.
The second Teentaal drut bandish was again not common. Pandit Sharad Chandra Arolkar’s composition, Shaunak, unusually began with twelfth taal, like many instrumental compositions. The lyrics of the antara ‘Dhadak Dhadak Chatiya’ were sung with gamak movements, which resonated clearly on the tabla played by Bharat Kamat. On the harmonium, Suyog Kundalkar took care not to interfere during the raga portrayal. Abhed Abhisheki displayed his talent as an accompaniment singer. Though the duration of the recital was less than 30 minutes, it lasted for a long time.
Anand Bhate sang Surdasi Malhar; this Malhar belongs to the saint-composer Surdas. This Malhar has a high devotional feel. Though Miyan ki Malhar composed by Tansen around the same time became popular and is known as Malhar today, Surdasi has its own beautiful flavour. Anand sang this slow, long and traditional Ek Taal composition, showing the specialty of the Kirana Gharana.
The drut teen taal ‘Badarwa Barsan’ was flavoured with breath-taking notes. Suyog on the harmonium played his part time and again, confident of his role in enhancing the music. The 30-minute performance was spectacular, a far cry from Shaunak’s performance, who used the rag vidya to mesmerise the audience.
Both the singers, famous for their abhangs, concluded the programme by singing ‘Abhiir Gulaal’ together. This abhang presented by Pandit Jitendra Abhisheki never fails to lift the spirits of the audience.
The evening concluded with a musical performance by sitar player Shujaat Khan, accompanied by two young tabla players from Delhi, Shariq Mustafa and Zuheb Ahmed Khan.
Shujaat Khan with Shariq Mustafa and Zuhaib Ahmed Khan | Photo Credit: Courtesy: Banyan Tree
Shujaat decided to play Raag Bihag instead of Malhar. He said that monsoon based concerts become boring as their focus is only on Malhar. His Bihag was elaborate and poetic. In the Jor section, he chose to present stroke work inspired by Rudra Veena with Dhrupad style tabla. Shujaat said that his playing is inspired by Rudra Veena player Ustad Dabir Khan, whom he heard in his childhood. Shujaat concluded with Bhairavi.
