Review: 7/26 - Khadilkar/Vinchhi concert (Hopkinton, MA)
Warren Senders
featured two vocalists who represented essentially the same gharana,
along with an instrumental interpolation by the excellent harmonium artist
Kedar Naphade. The bio-data of Purvi Vinchhi (spounse of rmic regular
Chetan Vinchhi) and her mentor Dr. Vivek Khadilkar has already been
presented (and quibbled, squabbled and dibbled over in the earlier
thread advertising this concert), so further restatement is unneccessary.
Newcomers to the thread are invited to peruse the posts of a few
weeks back for bio-data and a wide variety of superfluous accompanying
verbiage.
Purvi Vinchhi sang a three-tier Puriya, beginning with the canonical
vilambit, "Piya Gunavanta" followed by bandishes in madhyalaya and
drut teental. The artiste accompanied herself on tanpura, and was
supported by Kedar Naphade and Nitin Mitta on harmonium and tabla
respectively.
Purvi's voice is well-modulated, and her intonation is quite precise.
Raga development was careful and intelligent; Puriya catchphrases
such as the vakra sanchara DNMDGMG were present but not exaggeratedly
so. The methodical layakari-charged passagework which characterizes
the singing of Yashwantbua Joshi was very much in evidence; several
avartanas of excellent behelavas were highlights of the pre-antara khyal
presentation. I had been enjoying her singing from the beginning, but
these sequences caught my ear powerfully; behelavas of such quality
are the hallmark of very skillful singers.
The introduction of the higher register emerged naturally and organically
from the madhya-saptak badhat. However, Purvi's tar shadja, while well-
projected and intoned, seemed to trigger a brief interlude of nervousness
evidenced by overly rapid plucking of the tanpura strings and frequent
omission of the nishad-tuned string from the drone, which lent the first few
avartanas of the antara a slightly "hollow" quality (This nervousness was
also evidenced by Purvi's eyes-closed demeanor, which suggested the
concentration of a younger artist unused to the demands of perfomance,
rather than the relaxed inward focus of a "swar-yogi" like Amir Khan).
Purvi's subsequent development of the antara was meticulous and
aesthetically consistent, and her return to the asthai accomplished
with assurance.
It was during the next few avartanas that her use of the mukhda
broke free from the standardized four-unit phrase which had been the
default during the initial phases. Varied layakari and short but clearly
articulated taans made the elaboration of this section interesting and
satisfying. Purvi's voice has great flexibility, and her use of taan is
sensitive to the overall mood of the raag and bandish, which means
that the virtuosity is contextualized by the music (rather than the other
way around, as is so often, and so distressingly, the case).
Both drut bandishes were new to me. "Ab na rahoongi lal ke nagariyaa"
was a very well presented madhyalaya composition, with pleasing
rhythmic variations and a nice balance of bol-alap and bol-taan. The
mukhda was frequently altered, both in melodic phrasing and in rhythmic
placement, which meant that the overall presentation had a nice "swing"
to it. The raag concluded with a short tintal chiz, "Langar dhit ab kaahe
rokat baat," whose setting had an ektaalish rhythmic lilt which supported
layakari and short taan phrases of one or two avartanas.
This was followed by a two bandishes in Binnashadja, "Kal naa pare tum
bin" in tintal and "Ghadiye ghadiye giinat jaat" in ektaal. This raag occupied
the "thumri" position in the standard sequencing of HCM vocal performances,
and Purvi appropriately gave more attention to expressive bol-banao.
The presentation was relaxed and fluid, and a fine way to end the first
portion of the evening. I understand that Purvi and Chetan will be moving
to Bangalore shortly; it's the East Coast's loss and Bangalore's gain, for
I'd be happy to hear Purvi sing more!
Kedar Naphade gave a multiple-part presentation of harmonium solo:
a long Hamsdhwani with gats in slow jhaptaal, medium and fast tintal; this last
item was a composition of Kedar's Guru Tulsidas Borkar which displayed
Kedar's prestidigital dexterity to good effect. This was followed by a Pilu
dhun and a Marathi natyageet. While harmonium solo is not everyone's
cup of tea, Kedar is a virtuoso player, and his musicality and
intelligence made this instrumental interlude enjoyable and rewarding.
Dr. Vivek Khadilkar, a disciple of the late Manikbua Thakurdas, began his
section of the performance with a long Kaushi Kanada. I was not familiar
with Khadilkar's music, and was quite curious about his singing. It was well
worth the long drive out to Hopkinton. While his voice is not a huge-toned
instrument, Khadilkar's intonation is clear and exact, and his presentation of
the bandish characterized by fluid rhythmic placement and crisp enunciation.
The impression is of an artiste of great maturity and individuality. Each
successive avartana of vilambit ektaal (for the standard "Rajana ke raja")
showed a penetrating musical intelligence at work. No two mukhdas were
the same; throughout the vilambit the arrival of the sam always came as a
function of Khadilkar's melodic development. By this I mean that
he moved smoothly through the beat structure; there was no sense of "counting"
(or of
the all-too-common behavior describable as "meander-aimlessly-until-the-
bayan-returns-and-then-try-to-get-organized-in-time-to-reach-the-sam").
Khadilkar's
improvisations were organic, coherent and forward-moving, and his badhat
offered
a great deal of insight into Kaushi Kanada's complex compound structure. I
remember being impressed by his subtle use of pancham (employed less often
than in other versions of the raag I've heard).
The antara and concluding movements of the vilambit were consistent
with the opening portions. While his taans were generally fairly short,
they were unpredictable and infused with rhythmic tension, and the
approach to the sam continued to vary continually. The vilambit was
followed by "malaniyaa gund lavori" in drut tintaal. This bandish uses a
three-syllable mukhda, a structure which allows great freedom of improvisation,
and the artiste took full advantage of the composition's qualities.
Khadilkar's
variations were playfully creative, and his enjoyment of the process was
palpable and infectious. He's not just a fine musician, but an excellent
performer with a good handle on communication with the audience
and accompanists, and this bandish was a good-humored treat which had the
daad flowing.
This was followed by a surprise: a two-part khyal in the rarely heard
Arabhi. The first item, "Nainaa nahiin maane bin dekhe saanwalii suratiyaa,"
was in medium-slow rupak, and was followed by "Paapii papiharaa kaahe
naa laavyo piyaa ko sandesavaa" in teental. This melodic structure was new
to me; although some sancharas of Durga and Bhoopali were evident, the
raag was entirely coherent and beautifully integrated -- lush, relaxed and
flowing. Khadilkar's romantic side was on display, and he handled the
material with tremendous assurance. I would like to hear other presentations
of Arabhi -- any recommendations, Rajan?
A Marathi ghazal was followed by a Kabir bhajan in Bhairavi. Both were
presented with elan and enjoyment; the Bhairavi in particular, for this non-
Marathi speaker, was a thorough delight. By the time the final item was
complete, the music had continued for about five hours -- a very welcome
change from the current trend to on-again-off-again programs which allow
no time for artists and listeners to get well into the mood.
Padmaja and Salil Shinde's residence was ideally suited for such a mehfil;
it's understood by musicians but infrequently noted that the venue plays
a large part in the success of a baithak, and their large and comfortable hall
was the ideal place for a long saturday night of khyal.
It was a pleasure to hear such Nitin Mitta's excellent theka; New England
has had a regrettable lacuna in this area for far too long, and Nitin, now
residing in Rhode Island, is clearly an artist of very high calibre. His tabla
sangat
was utterly and completely musical, supporting the artists with confidence,
sensitivity and precision. Kedar Naphade's accompaniment exemplifies the
idea that good melodic sangat is the highest form of daad. Kedar's penetrating
musical intelligence means that he hears and understands the vocalists' phrases
completely, and his thoughtful and virtuosic restatements are charged with the
empathy and awareness of a true rasika.
This was a good evening, friends. A young musician whose performance
showed a high level of artistry and the potential for true excellence, a senior
musician who qualifies as an artist of great originality and power, a team of
supportive and sensitive accompanists in a pleasant and congenial venue...
who could ask for anything more? My only gripe is that evenings like this
one don't happen more often.
Warren Senders
Medford, MA
August 5, 2003
Rajan P. Parrikar
>material with tremendous assurance. I would like to hear other presentations
>of Arabhi -- any recommendations, Rajan?
Quickly -
The famous Marathi natyageeta "chandrika hi janu" is often
considered to be in Arabhi. Abdul Karim Khan's rendition
of the same is (mis)labeled Devagandhar when they must have
meant Devagandhari (again a Carnatic rAga of similar vintage).
From the same family comes another Carnatic rAga called
Pratapavarali. Aman Ali Khan of Bhendibazar and Ramrang
have composed beautiful compositions in P'varali. At one
point I had considered outting together a Sawf feature
on this family.
I have a private recording of Basavraj Rajguru's Arabhi,
which I will put up later tonight IF I can find it.
Meanwhile, try the following Pratapavarali renditions -
http://www.sawf.org/audio/ramrang/pratapvarali_vil.ram
http://www.sawf.org/audio/ramrang/pratapvarali_druta.ram
http://www.sawf.org/audio/tt/andharia_pratapavarali.ram
Also see Prof. Rajeev Patke's site under Pendharkar and
Patwardhan. He has now added audio samples.
http://courses.nus.edu.sg/course/ellpatke/Miscellany/music.htm
Warm regards,
r
ps: Just remembered - try Kumar Gandharva's own
Raga Malavati (mangal din aaja).
Rajan P. Parrikar
demand.
Basavraj Rajguru, Raga Arabhi (pronounced "aarabhi") -
http://www.sawf.org/audio/tt/rajguru_arabhi_vil.ram
http://www.sawf.org/audio/tt/rajguru_arabhi_druta.ram
(The mukhDA of this cheez will at once remind Marathi
natyageete afficionados of something they have heard
often)
Rajguru has employed the same vilambit composition
("sundara roopa salone"), mutatis mutandis, for both
Ragas Arabhi and Durga, thus providing an illuminating
comparison. This clip was posted some months ago -
http://www.sawf.org/audio/tt/rajguru_durga.ram
Warm regards,
r
ps: For a beautiful Indian kaleidoscope see -
http://www.cmp.caltech.edu/~mcc/India/index.html
Warren Senders
>demand.
"demand?"
Thanks - I will listen with interest.
WS
Rajan P. Parrikar
>Padmaja and Salil Shinde's residence was ideally suited for such a mehfil;
>it's understood by musicians but infrequently noted that the venue plays
>a large part in the success of a baithak, and their large and comfortable hall
>was the ideal place for a long saturday night of khyal.
Another vital element missing from your review is the
nature of food that was provided (unless it was a 'Konkanastha'
concert in which case the invitation will have unambiguosly
declared, "PLEASE HAVE FOOD BEFORE YOU COME"). Was it free,
bundled into the ticket price, or was there a kiosk set
up, are some of the questions that at once come to mind.
A few remarks on the quality of samosa, the crispness
index of a kachori, the texture and flavour of chai etc
would have been helpful.
Warm regards,
r
naniwadekar
"Rajan P. Parrikar" wrote -
>
> Another vital element missing from your review is the
> nature of food that was provided (unless it was a 'Konkanastha'
> concert in which case the invitation will have unambiguosly
> declared, "PLEASE HAVE FOOD BEFORE YOU COME").
> Was it free,
> bundled into the ticket price, or was there a kiosk set
> up, are some of the questions that at once come to mind.
>
If the Shindes are true representatives of their surname,
the thought of their concert being labelled 'Konkanastha'
would pique them into setting up 2-3 kiosks for the
next concert for no extra charge.
By the way, all Pune Brahmins are supposed to belong (morally)
to the Chitpawan Konkanastha gharana. They are also supposed
to welcome visitors with : 'you must have had your tea'.
I have always wanted to hear that sentence and enjoy
it first-hand but, alas, no such luck. Does anybody know
whether they play this trick upon, say, Boston Brahmins?
- dn
PS : The food at last month's Basant Bahar concert by
Padma Talwalkar was excellent, thanks to 'Deedee's'.
Hot Upma served just for a dollar.
PPS : RMIC readers are advised to visit 'Badshahi',
near Tilak Smarak Mandir, for lunch/dinner the next
time they visit Pune to enjoy heavenly chhaaj and read
the NOTICE for the visitors. It doesn't just suggest that
the visitor bear in mind that he doesn't own the lodge,
it actually says so in so many words. The notice also
carries a friendly warning 'not to test our patience'.
The notice board is at least 100 years old and the
visitor will have the pleasure of having read the same
notice which had amused Bhaskarbuwa Bakhale and
Vazebuwa in their day when they felt like having their
fill of Badshahi's 'sumadhur taak' (chhaachh).
doogar rajib
> "demand?"
> WS
"demand" as in "market demand"? an (observable) expression or articulation of preference by consumers?
r.
--
Rajib Doogar www.cba.uiuc.edu/doogar
Warren Senders
I also omitted comments on the dress of the participants.
Everybody wore clothes. There was food. It was good.
Cheers,
Warren
Nimish
news:bgrb7g$r3lpq$1...@ID-75735.news.uni-berlin.de...
>
> By the way, all Pune Brahmins are supposed to belong (morally)
> to the Chitpawan Konkanastha gharana. They are also supposed
> to welcome visitors with : 'you must have had your tea'.
> I have always wanted to hear that sentence and enjoy
> it first-hand but, alas, no such luck. Does anybody know
> whether they play this trick upon, say, Boston Brahmins?
>
I have heard a similar but more amusing incident from a friend of mine who
claims to have experienced it first-hand. My friend and his brother went to a
Pune KB's place in Sadashiv Peth (an area in the heart of Pune City where
there is a considerable concentration of the above-mentioned species) in order
to see some rooms that he was offering on rent. After chatting on various
issues for a while, the land lord made following comment in Marathi: "Aloch!
Chahaa ghevoon yeto!" [Wait a moment! I will get some tea.] Having made this
promise, he disappeared into what appeared to be the kitchen of the house. My
friend and his brother waited for sometime assuming that he was going to get
some tea for them. But alas! There was no sign of the Land Lord for a
considerable length of time. When he finally emerged and resumed the chat with
them there was no sign of tea except for a distinct smell of tea prepared with
extra sugar. Apparently, he had gone inside the kitchen, had savored tea at
his leisure and had then come out. After all, he had never said that he would
get tea for the guests. He had just said that he was going to get some tea!
- Nimish
Nick H (UK)
Clothes, food, good. Fair enough! My girlfriend has only one question
of any program or function I attend: "Was there food?".
Thankfully, so far, she seems to take on trust the matter of people
being dressed:-)
Nick H (UK)
> Cheers,
>
> Warren