Young Punyasos provoked the spirit of monsoon at Malhar festival

It is a pleasure to see musicians turning the organizers as their artistry comes into cursing. So it was recently with the Malhar Utsav held in Delhi. It was kept together by the Tabla Akram Khan’s Tabla Academy of Ajara Gharana of Tabla.

The first concert was a jugalbandi between Emdakhani Gharan Sitarwadi Shakir Khan, and Kiran Gharan singer Arshad Ali Khan. He was accompanied by 22 -year -old Zargham Akram Khan, Azarra Gharana’s scon on Tabla.

Shakir and Arshad have collaborated on the first stage, although this was their first performance in Delhi. Shakir is the son of Sitar Mestro Ustad Shahid Parvez with an impressive eight generational music heritage. Arshad is a child prodigy, belonging to the family of the founders of Kiran Gharana, Ustad Abdul Karim Khan and Ustad Abdul Wahid Khan. Although the cameradary was visible, both the artists were showing them in this performance. Talim And RiazThe concert was not about the musical one-upmanship, the two artists made it exciting by matching each other’s skills.

He chose the raga of the season, Mian Malhar. Shakir The Old & Senior started a concert with the customary of his household; Arshad responded directly to ‘Sa’ in the lower octave, a difficult achievement for any singer before the voice gets hot. He rendered a brief Alap according to the musical tradition, then moved to the composition. The concert was low, less than 60 minutes, but every minute was used well.

The composition was a traditional vocal restriction on the Mughal Emperor Mohammad Shah Rangila. Arshad’s guru Ustad Mashur Ali Khan is known for his treasure of rare old restrictions. Shakir did not need the spread of his own songs to talk, he did not talk. The tone of ‘Choot’, which Shakir played easily, was at a fast pace, stunning. They coincided with Arshad’s long and complex tan in three octaves. The Zarkam on Tabla was not much by his senior co -actors. His SangaT was mature and most suitable. The closing Tarana was again an old creation with a beautiful ‘Antara’, which is sad that Arshad sang only once, perhaps due to lack of time.

Abhishek Lahiri on Sarod | Photo Credit: Special Arrangement

Correct note striking

Abhishek Lahiri is another talented young artist on Sarod. After learning from his father Alok Lahiri, he is clearly trained in three traditions of Sarod – Mahar, Shahjahanpur Senia and Bangash.

Starting with the raga cloud, the original raga of the monsoon, which before Malhar, created a quiet atmosphere. His ‘Jor’ was in Dhrupad style, his ‘Jhala’ was wide, crystal clear and extremely satisfactory. It was happy to hear a solid artist, who once did not resort to gimmick to attract the attention of the audience.

While switching to Raga Surdasi Malhar, Abhishek was included in the tabla by Ustad Akram Khan. Surdasi Malhar has a different, brief character. Jhaptaal Gat was composed by the father’s father, with an unusual pick of ‘Mukhra’ from the 8th Beat; During its single piece. Akram also ended at the face instead of ‘Sam’.

The ‘Sawai Jwab’ was fresh between the two. One praised Abhishek for control over the instrument, and his simple lakery. His artistry was reminiscent of the music of the earlier era.