Sitar and Vocal singing regale live invited audience
@ Ananya Sabhangana, Malleswaram,Bangalore
12 SEP 2015 EVENING
Distance and time have never been an impair to my moods should I truly set out on some live music listening spree and as it went on an otherwise mind-numbing day workwise. Parveen Begum (Ustad Faiyaz Khan’s Late wife) Memorial quarterly music programme offered two masterly concerts to the invited audience at Ananya Sabhangana, Malleswaram, Bangalore, was also a tribute to Renowned Music Doyen and Karnataka Pride Padmavibhushan Late Sri Mallikarjun Mansur’s 100th birth centenary Anniversary. It’s a matter of great pride, for the unparalleled Musical Wizard of Kirana Gharana, being dotingly remembered by all those discerning platforms throughout the state and elsewhere. Nevertheless, I would be however meting out great injustice to all performing artistes if I don’t venture out on few words of appreciation one shot in exchange of their rigorous training for years and years – may not suffice too. So much so, I deem it an honor to share my views and experience.
Sanjeev Korti on SItarHe honed his Music proficiency for Eighteen years of rigorous sitar training from Ustad Shafique Khan. An exponent of Gwalior Gharana, he undertook tutelage initially from mother Smt.Shailaja, a devotional singer. Evening Raag Marwa was the most perfect exposition that elaborately displayed his deftness. His control on strings is therefore reminiscent of both gayaki and tantrakari ang. Raag Marva was so mellifluously played. Sri Sanjeev Korti has performed at many prestigious concerts – aired and telecast in AIR and Doordarshan. He is also known to have composed good music exhibiting his inherent artistic talent that shore up his command over the sitar instrument. He’s also ably accompanied many dance concerts and has scores of aspirants in his music school in Bangalore.
On percussion Tabla, Rahul Phopli was most apt and suited to Sanjeev Korti’s imaginative raag-alaap with so much ease and soft play.
Pandita PRIYADASHINI KULKARNI – Hindustani VocalAcclaimed for her purity of traditional music honed in Guru-shishya parampara, Pandita Priyadarshini Kulkarni has been a very conscious student of music enriching herself talent through many sources.
Her initial training was with Annasaheb Gunjkar from Aurangabad and later, Nath Neralkar, a prominent Kirana gharana singer and teacher. Meeting Music Doyen Late Mallikarjun Mansur’s son and pupil Rajshekhar Mansur in 1993 stimulated her to learn the Jaipur-Attrauli Gharana though she is proficiently influenced in multi gharanas
Known to bring about the best of unknown ragas, Late doyen Mallikarjun Mansur had an astonishing breath control in creativity at its best. 2015 being Centenary birth year of Sri MAllikarjun Mansur, Priyadarshini Kulkarni had immense satisfaction while she presented an intricate Chota Khyal in Raag GAURI and then Raag Tilak Kamod in traditional purity redolent of her Gharana to venerate the singer unparalleled in skills. A Masters Degree holder in Music, Priyadarshini fondly recollects to have benefited immensely from her various mentors. The voice modulation, purity of music and twirling gayaki ang, Priyadarshini’s performance tenuously reminds me of Pandita Kishore Amonkar in shades.
Still a learner under Pt.Udayaraj karpur, Sumit Nayak accompanied to his limited capacity on percussion, but Sarfaraz Khan on Sarangi (Disciple son of Ustad Faiyaz Khan and the revered Pandit Ramnarayanji) holds great promise as I have heard him few times now in solo performances too. Promising budding singer Kavana Hegde was on Tanpura.Presenter Sri Vijayendra Athanikar and Organizer in Chief Ustad Faiyaz Khan most aptly spoke on the quarterly series of music baithaks conducted under the aegis of Parveen Begum Memorial that also happened to be a befitting tribute to Musical Wizard Late Sri Mallikarjun Mansur.
An ardent adherent of pure good music, I try not to comprehend the non-existent characteristics on a particular day performance while anything untoward may happen. I don’t try to judge performances either. For me, the mental succor is vital, but for an artiste it gives gooseberry bumps should something go wrong or if some accompanying artistes give a miss or two in the milieu. At the end of it, what matters to audience is whether or not the performance was pleasurable, but for the artiste feels vice-versa. Senior Percussionist Pt.Udayaraj karpur wasn’t apparently in position to play with a swollen finger leading the organizers to arrange substitutes that may have hypothetically affected the morale of main performer on view. Keeping in view of the limited audience, matter is trivial I guess. There’s always a next time for things to fall in place. The music remains eternal in those who enjoy the substance