HarVallabh Sangeet Sammelan: memorable moments
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Vedprakash Sharma
Dec 29, 2010, 6:41:31 AM12/29/10
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HARIVALLABH SANGEET SAMMELAN
Pt Jasraj strikes meditative notes
Aparna Banerji/TNS
Jalandhar, December 27
For those who believe classical music is only for the 'classes', the last day of the 135th Harivallabh Sangeet Sammelan would have been a sweet myth-busting treat. Harivallabh always supported the classical-music-for-the-masses cause but the huge Sunday crowds were a revelation.
As the winter sun set at the Shree Devi Talab Mandir, Manni Bhardwaj, the talented percussionist, his esteemed guru, Pt Ramakant, and his other disciples, Harman Singh and Sandeep Sharma, teamed up to perform a recital titled "Yesterday, Today and Tomorrow". They were accompanied by Sunny Bhardwaj (harmonium).
Next came Ramneek Singh, the woman who had played a humble visitor to the sammelan last year and had showed promise right from the time she stood chanting a raga to curious TV cameras at the entrance to the Shree Ram Hall. A Toronto-based artiste, Ramneek rendered a delightful recital in Raag Madhuwanti and Raag Kalawati this time, ending her performance with a shabad. The sweet santoor strains of Harjinder Pal Singh Namdhari followed in Raag Jog with Rajesh Malvia for tabla accompaniment.
Somewhere towards the middle of the next performer Kalapini Komkali's recital, the crowds started pouring in. Daughter of the late Kumar Gandharva, Kalapini's range and boldness are hard hitting. She performed Raag Nand, Hamir and thumri in Raag Sindhura, along with many more compositions brimming over with classical wisdom from her gurus.
Yogesh Samsi, Ustad Allah Rakha's talented disciple, who came next, witnessed the city's madness for tabla talent. The pandal had so many people crowding on the mattresses that the ones who were sleeping had to get up. The pandal ran out of space. Samsi's one and a half hours' tabla spell had people glued to their seats.
Among other things, his tabla sounds denoted hesitance ('hichkichahat'), a heated dialogue between a couple ('nok-jhonk') and cannon balls (top). Plus there were the remarkable and rare tabla pieces he got from his guru.
Parthasarthy Desikan's melifluous, drugged notes rendered Raag Abhogi, a thumri in Mishra Khamaj and the immortal "yaad piya ki aaye". The talented Sandeep Das accompanied him on the tabla.
Buddhaditta Mukherjee's persuasive sitar strains and sensitive 'meendhs' were to die for. Touching on the 'virah' part, he presented Raag Bageshwari and Rageshwari, ending the recital with a thumri. At the break of dawn, came Pt Jasraj, dressed in saffron like saints. He did sound like a saint and his voice took you back to some ancient time. His disciples Rattan Mohan Sharma and Tripti Mukherjee accompanied him. Performing Raag Bairagi, Basant, Bahar and Basant Bahar, the accurate, deep, meditative notes of this wise old man of Hindustani classical music brought the most befitting end to the three-day-long festival.
Pt Jasraj strikes meditative notes
Aparna Banerji/TNS
Jalandhar, December 27
For those who believe classical music is only for the 'classes', the last day of the 135th Harivallabh Sangeet Sammelan would have been a sweet myth-busting treat. Harivallabh always supported the classical-music-for-the-masses cause but the huge Sunday crowds were a revelation.
As the winter sun set at the Shree Devi Talab Mandir, Manni Bhardwaj, the talented percussionist, his esteemed guru, Pt Ramakant, and his other disciples, Harman Singh and Sandeep Sharma, teamed up to perform a recital titled "Yesterday, Today and Tomorrow". They were accompanied by Sunny Bhardwaj (harmonium).
Next came Ramneek Singh, the woman who had played a humble visitor to the sammelan last year and had showed promise right from the time she stood chanting a raga to curious TV cameras at the entrance to the Shree Ram Hall. A Toronto-based artiste, Ramneek rendered a delightful recital in Raag Madhuwanti and Raag Kalawati this time, ending her performance with a shabad. The sweet santoor strains of Harjinder Pal Singh Namdhari followed in Raag Jog with Rajesh Malvia for tabla accompaniment.
Somewhere towards the middle of the next performer Kalapini Komkali's recital, the crowds started pouring in. Daughter of the late Kumar Gandharva, Kalapini's range and boldness are hard hitting. She performed Raag Nand, Hamir and thumri in Raag Sindhura, along with many more compositions brimming over with classical wisdom from her gurus.
Yogesh Samsi, Ustad Allah Rakha's talented disciple, who came next, witnessed the city's madness for tabla talent. The pandal had so many people crowding on the mattresses that the ones who were sleeping had to get up. The pandal ran out of space. Samsi's one and a half hours' tabla spell had people glued to their seats.
Among other things, his tabla sounds denoted hesitance ('hichkichahat'), a heated dialogue between a couple ('nok-jhonk') and cannon balls (top). Plus there were the remarkable and rare tabla pieces he got from his guru.
Parthasarthy Desikan's melifluous, drugged notes rendered Raag Abhogi, a thumri in Mishra Khamaj and the immortal "yaad piya ki aaye". The talented Sandeep Das accompanied him on the tabla.
Buddhaditta Mukherjee's persuasive sitar strains and sensitive 'meendhs' were to die for. Touching on the 'virah' part, he presented Raag Bageshwari and Rageshwari, ending the recital with a thumri. At the break of dawn, came Pt Jasraj, dressed in saffron like saints. He did sound like a saint and his voice took you back to some ancient time. His disciples Rattan Mohan Sharma and Tripti Mukherjee accompanied him. Performing Raag Bairagi, Basant, Bahar and Basant Bahar, the accurate, deep, meditative notes of this wise old man of Hindustani classical music brought the most befitting end to the three-day-long festival.
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