This year, the annual Vishnu Digambar Jayanti by the Gandharva Mahavidyalaya in New Delhi, opened with a difference with Chaitanya Kunte, who belongs to the Paluskar legacy, talking about the musician’s composing prowess, and how he opened up the world of Hindustani music to enthusiasts wanting to learn or listen.
Though he drew attention to Paluskar’s comprehensive list of khayals, taranas and even dhrupad compositions, their popularity largely remains confined to vocalists in his tradition. Of course, his numerous bhajans tell a different story, being instantly recognisable to elderly radio listeners. The beautiful clips that were played brought alive wonderful memories.
Vishnu Digambar Paluskar founded the Gandharva Mahavidyalaya in Lahore in 1901. The aim was to teach music to any aspirant without the necessity of being associated with a guru and gharana. He wrote books on music, and compiled texts on compositions that should be taught. It is interesting to recall that at the time, the acknowledged centre of classical music in North India was Lahore, and notBenaras, Delhi or Lucknow. Later, Gandharva Mahavidyalaya shifted to Mumbai. After his death in 1931, the Delhi branch was inaugurated in 1939 by Pt. Vinay Chandra Maudgalya, who belonged to the same musical tradition.
Taking the music out of the court and temple to the concert stage is without doubt Paluskar’s most significant contribution. He initiated the tradition of teaching music out of the guru-sishya parampara.
Pt. Vinay Chandra Maudgalya during a rehearsal at the Gandharva Mahavidyalaya | Photo Credit: Gandharva Mahavidyalaya
Systematic approach
Mumbai-based Dhananjay Hegde of the Gwalior/Kirana gharana sang a beautiful raag Puriya. He is known for opening the raag systematically through the bandish, with emotional embellishments, that make his singing a pleasure to listen to. He appropriately concluded with ‘koyaliya’, a popular composition by Pt. Vinay Chandra Maudgalya in Tilak Kamod. He was accompanied by Delhi artistes, Vinod Lele on the tabla and Vinay Mishra on the harmonium.
Pt. Tejendra Narayan Mazumdar accompanied by Shubh Maharaj, grandson of Pt. Kishen Maharaj, played a comprehensive aalap jor and a short ‘jhala’ in raag Chayanat, then three compositions in raag Durga, ending in a Raagmala, with three traditional bolkaari gats in Bhairavi. His layakari, vast repertoire of sarod techniques, emotional content and immense knowledge of raags make him a well-rounded performer. However, the loud volume was jarring on the ears.
The impact of softer music is undeniable. Shubh Maharaj, one of the rare exponents today, sits in vajrasana when playing the instrument and makes the listeners sit up with his natural flair and adaa (style).
The next morning began with Gandharva Mahavidyalaya students’s presentation, followed by Mehtab Ali Khan’s sitar recital.
Sibling revelry
Mehtab was accompanied on the tabla by his 19-year-old brother, Khurram. Mehtab demonstrated how one doesn’t need a musical pedigree to play well, and how dedicated riyaaz, and taut presentation skills can command audience’s attention. One also needs indepth knowledge of raags, 23-year-old Mehtab will surely acquire this along the way. His playing with beautifully executed crystal clear taans, pitch-perfect meends, encompassing several notes, wazandaar (weighty), over seven-minute long, jhala, elicited much appreciation. Even more commendable at his age was his instinct to know when to stop; he moved on to a brief Punjabi ‘dhun’ to conclude. Both boys are worthy disciples of their father Mohsin Ali Khan, who admirably transcended gharana limitations to learn tabla from his uncle Ustad Dayam Ali Qadri, and sitar from Pt. Partha Das of the Maihar tradition, and Maqbool Ali Khan of the Senia Bangash tradition. Despite this, Mehtab follows the Ustad Vilayat Khan’s style of playing, demonstrating that musical inspiration cannot be confined to gharanas.
The morning concluded with a vocal recital by the Gwalior gharana ace, Pt. Venkatesh Kumar, who delighted the packed hall with a variety of small, crisp compositions. Raags included Alaiya Bilawal, Jaunpuri, Vrindavani Sarang and Bhairavi. It was wonderful to see the largely young crowd give him a standing ovation.
The festival concluded with a flute recital by Parasnath, who was accompanied by Babar Latif. Surprisingly, the Mumbai-based flautist, who has his roots in Benaras, played the late evening raag Jog at 6.30 p.m.
Pt. Ulhas Kashalkar | Photo Credit: Avinash Pasricha
The grand finale was by Pt. Ulhas Kashalkar, inarguably the finest singer in the North Indian classical tradition today. He started with raag Mian ki Malhar, coaxing the essence of the raag slowly, with finesse. In a great mood, his work on the two ‘nikhads’ created a sublime ambience. He then sang the complex jor in Paraj Kalingra, and ended with the equally rare Meera Bai ki Malhar. Being able to present a raag that can easily veer into another Malhar is possible only by a master. A vocalist with a huge collection of obscure raags, he makes them discernible to even students of music. Accompanying him as usual was Pt Suresh Talwalkar on the tabla, Vinay Mishra on the harmonium and vocal support was by his senior disciple, Ojesh Pratap Singh.
The standing ovation at the start and finish of the festival was heartening and showed how much live concerts and musical legacies matter.
The Delhi-based writer specialises in classical music.
Published - September 01, 2022 06:21 pm IST
