Swar Deepotsav 2024 (स्वर दीपोत्सव २०२४)

Attended Swar Deepotsav 2024 (स्वर दीपोत्सव २०२४), a concert celebrating Diwali morning. Main singer of the concert was Hrishikesh Ranade and Swapnaja Lele. He was accompanied by Vikram Bhat on Tabla, Abhijeet Made on Octopad, Kedar Paranjpe (he was also the arranger) and Yash Bhandare on Keyboard. This program was anchored by Madhura Velankar. This concert was organized by Maharashtra Mandal Abu Dhabi (MMAD) on 2nd Nov 2024 at Al Jaheli theater, Armed Forces Club, Abu Dhabi. I attended it with Thangaokar, Banchhode, Mane, Patil, Sambhaji, Kamble and Oka families.

Diwali early morning or morning concert is a tradition of Maharashtra. The content varies from instrumental to classical to light music. But unless you send Diwali Pahat or Diwali Sakal concert, Diwali is incomplete. MMAD has kept this tradition alive in Abu Dhabi for all these years.

Pre-concert performance was by  MMAD member, Manas Jain. He played solo guitar and enthralled the audience.

Concert started with Ganesh vandan "Sur niragas ho (सूर निरागस हो)". The audience got involved in the concert from this first song and started clapping. It was appreciated by the artists.

Hrishikesh started with a medley. Nij roop dakhva ho (निज रूप दाखवा हो), Zala mahar Pandharinath (झाला महार पंढरीनाथ) and Kanada raja Pandharicha (कानडी राजा पंढरीचा). This medley was a tribute to Sudhir Phadke (Babuji). His next tribute was to Srinivas Khale with his immortal and difficult song "Bagalyanchi malphule (बगळ्यांची माळफुले).

Hrishikesh sang all these songs very well with additions with his variations. Not too many to make the song unrecognizable but enough to stamp his individuality.

Then entered Swapnaja Lele and presented two songs "Ka re duraavastha (का रे दुरावा)" and "Ruperi walut (रुपेरी वाळूत)". Singing Asha Bhosale songs is never an easy job, but Swapnaja did a decent job in first one. She sung second one very well.

Hrishikesh then sung his original song "kadhi tu rimzim zarnari barsat (कधी तू रिमझिम झरणारी बरसात)". Audience applauded as soon as he announced it. This was worth a 'once more' and they got it. Since this song from movie Mumbai-Pune-Mumbai was appreciated he sung two more songs from the sequels of this movie. "Saath de tu mala (साथ दे तू मला)" and "Tula pahta (तुला पाहता)". Audience was mostly quiet for these two songs as they are not as famous as the first one.

Madhura then presented a beautiful poem about Radha. But she didn't name the poet. Since Radha is a special topic next two songs had the same theme. First was "Radha hi bawri "(राधा ही बावरी)". The audience sung these lines in unison as chorus to the main singer. It created very good vibes. Second was the song that won multiple awards "Jeev rangla (जीव रंगला)". It's such a beautiful song. The singers did full Justice to it.

He then sung his own song that got him the Mirchi award. "Jata jata tipur chandne (जाता जाता टिपुच चांदणे)". It was a lesser known song, the audience response was Luke warm. However, he doing very well.

Swpnaja then presented a lavni "Reshmachya reghani (रेशमाच्या रेघांनी)". The opening dholki piece was played by Vikram on Tabla and was hugely applauded. Audience made him play it again after the song ended. Lavni always draws big applause and whistles in any concert. This one was no different. Although it was difficult to match with Asha Bhosale, the original singer, Swapnaja did well. Lavni is a rhythmic Marathi genre that everyone likes to listen but is frowned upon socially. 

That was interval.

First song after the break was "Swaye Shri Ram Prabhu aikati (स्वये श्री रामप्रभू ऐकती)" from Geetramayan. MMAD member Girish Pande joined them on stage for this song. MMAD member Sachin Raje joined in for next song "Prem he (प्रेम हे)". It was a nice gesture to involve the local talent by MMAD and kindheartedness by Hrishikesh.

Hrishikesh then sung the song "O Rama (ओ रामा)" that he had sung for the Hindi version of movie "Seeta Ramam". It was a little known but good song. They then presented a Kishore Kumar songs Yeh Jo mohabbat hai (ये जो मुहोब्बत है) , kehna hai (कहना है). Audience expected more of Kishore Kumar, but that was it. Madhura presented a beautiful Vaibhav Joshi poem on Lata Mangeshkar. It was followed by Piya rose naina lage re (पिया केले नैना लागे रे). It's a difficult song.

Madhura asked for a choice of audience between Sufi and Gazal. Greedy audience refused to choose and demanded both, so couple of Mukhda of each were presented. Gazal was Ghulam Ali's "Awargi (आवारात)". The Sufi song was "Teri deewani (तेरी दीवानी)". It's impossible to match the pitch of Kailash Kher but he did well. Hrishikesh sung these songs from a genre, that I haven't seen him sing much, with dexterity. 

Penultimate song was "Nigahein milane ko jee chahta hai (निगाहें मिलानेको जी चाहता है)". Although Swapnaja sung it technically correctly, the attitude of the original was missing. Final song was "Mauli mauli (माऊली माऊली)". Very meaningful words, excellent composition and the Bhaktiras make this song unique and difficult to replicate the recipe. This song is so good that it makes audience sway even when an average singer sings it. And when Hrishikesh sings it, it becomes a fitting finale for the concert.

It was an excellent concert in first half. Somehow, the break broke the flow. Although second half was good, artists appeared to be interested in wrapping it up. Although all songs were good and liked by the audience, what was missing was theme. There was no theme for the concert. Hence it appeared like a collection of beautiful flowers but not as a bouquet. Chance for improvement?

Al Jaheli theater Is a very good auditorium. Excellent acoustics, spacious, good layout and out of the city, so no parking issues. Stage lighting could have been better. Madhura and one keyboard player were in partial shadow.

Audience left the auditorium with contented smile on their faces and serene expressions. Such a concert gives satisfaction and sense of belonging. Congratulations to MMAD for the same. 

A very good concert.

Yadnesh Raikar (Violin)

 Attended an Indian classical music concert of Yadnesh Raikar (Violin). He was accompanied by Arindam Chakravarty on Tabla. This private concert was organized by ADICM in Abu Dhabi on 25th Aug 2024.

Concert started with Bada khyal. Chosen raag was Raag Lalat (ललत). Lalat is a 4th prahar of night (4am to 7am) raag from Poorvi thaat. 

Yadnesh started on a serene note that instantly touched the audience. Tabla joined-in in about three minutes. A little too early for me considering such fine and delicate serene notes were played. He played first in Vilambit and then in Madhya lay and then in Drut lay (लय). I especially liked the vilambit portion. Yadnesh was immersed in the Raaga and immersed the audience with him. I liked his style of telling Tabalji what lay (लय) he wanted through violine. 

Chota khyal presented by Yadnesh was Raag Bilaskhani Todi. Bilaskhani Todi is a 2nd prahar (9am to 12pm ) raag from Bhairavi thaat. He presented a Bandish ‘Sajani kawan des’ composed by Gaan Saraswati Kishoritai Amonkar.

He then played another Chota Khyal, Rag Hansadwani. Hansadwani is a Carnatic raaga. It is a 2nd prahar (9am to 12pm ) raag of Bilawal thaat. Later he presented a beautiful composition 'Ganapati vighnaharan gajanan' of Gaan Saraswati Kishoritai Amonkar.

Both these Raags were appreciated by the audience and applauded at the right places.

Audience suggested Bhairavi to end the concert but since Yadnesh had presented Bilaskhani todi, he chose to end the concert with Hansadhwani.

Yadnesh performed with his father Milind Raikar for Anubhooti in Abu Dhabi in 2016. Yadnesh was 15 at that time. In last 8 years he has grown and matured as a musician and has become an accomplished young artist. I had goosebumps wile listening to him. I also liked his thehraw (ठरवावं). It felt really satisfying to see his progress. We have a future start in the making.

Arindam ably supported Yadnesh on tabla. Probably they haven't performed together earlier. It was a small but knowledgeable audience encouraging the artists. 

A very good concert.

Saylee Talwalkar (Vocal)

​Attended concert by Saylee Talwalkar. She was accompanied by Bhushan Rao on Tabla and Amit Oak on Harmonium. Abhay Samant on Taal (टाळ). This private concert was organized by Anubhooti in Abu Dhabi on 8th Oct 2023. I attended with friends and family.

This concert was slightly different than usual pure classical Anubhooti concerts. This one was a bouquet of variety of genres to satiate all the tastes of audience because of lack of concert in last three years.

Concert started with Raag Ahir Bhairav (अहिर भैरव). Ahir Bhairav is a Mishra raag with Raag Bhairav in Purvang and Raag Kaafi (काफी) in Uttarang. It belongs to Bhairav thaat (भैरव थाट). It’s known as Chakravakam in Carnatic music. First bandish was Kishiriji’s Nainava Barse sajni (नैनवा बरसे सजनी). Audience applauded twice in this first peshakash. Second one was Albela sajan ayo re (अलबेला सजन आयो रे). Sayali sung the Sargam beautifully.

After the pure classical performance she moved to semi classical with Thumri (ठुमरी) / Dadar (दादरा). Today’s choice was the immortal Rangi sari gulabi (रंगी सारी गुलाबी). Needless to say that audience liked it very much.

After semi classical, it was Bhajan. She presented bhajan penned by Pt. Narendra Sharma, composed by Shrinivas Khale in raag Patdeep (प्रदीप). Sung by Pt. Bhimsen Joshi and Lata Mangeshkar. You guessed it right. Of course it was Baje muraliya baje (बाजे मुरलियाँ बाजे). 

She then presented Abhang Bolawa Vitthal (बोलावा विठ्ठल) composed by Pt. Jitendra Abhisheki and sung by Pt. Jitendra Abhisheki, Prabhakar Karlekar and Kishori Amonkar; separately. At the end of the Abhang when she started the gajar (गजर). Oh! the goose bumps! Some of the audience had tears in their eyes. It was pure bliss!

After the bliss, she presented speciality of Marathi sangeet, Bhavgeet. Written by Nitin Akhwe. Sung by Arati Anklikar-Tikekar. Composed by Shridhar Phadke. Album Tejomay Nadbrahma. Mi Radhika (मी राधिका). Very enjoyable.

She then wanted to present Bhairavi, but audience demanded Natyageet (नाट्यगीत). So she presented a natya geet on public demand.

Concert concluded with a Bhiravi. It was Bhairavi Dadra (भैरवी दादरा) “Sun Yashoda mai dungi duhai, tere Kanhane dhoom machayi (सुन यशोदा मैं दूंगी दुहाई, तेरे कान्हाने धूम मचाई)”.

Audience was starving for good music. Sayali is an accomplished singer. Bhushan and Amit are well known names in UAE music circle. Anubhooti is known for organizing quality concerts without charging any ticket from the audience. The ingredients were all there, the recipe was perfect.

This was an Anubhooti concert after a gap of three years. It was also the first at someone’s home, all previous concerts were in auditoriums. 

All in all, a very satisfactory experience.

Disclosure: I am founder member of Anubhooti.

Amol Nisal (Vocal)

​Attended an Indian classical music concert by Shri. Amol Nisal (Amol Gandharva). He was accompanied by Bhushan Rao on Tabla and Amit Oak on Harmonium. This private concert was organized by ADICM in Abu Dhabi on 29th Oct 2023. I attended with Nandu.

Concert started with Bada khyal. Chosen raag was Raag Lalit (ललित). Lalit is a 4th prahar (3am to 6am) raag from Poorvi thaat. He presented Bandish  ‘Ka se kahun’ in vilambit Ektaal.

Then he presented another Bandish of Pt. Rajan Mishra, “Jane na doongi Kanha” in Madhyalay Ektaal. Bandishes are known more for Gayaki than the lyrics. However, this one has beautiful lyrics and the singing made it even better.

He then presented a special bandish “Sadarang” in Teen taal written by Shankar Abhyankar. The speciality of this bandish is that it’s a tribute to all the famous bandish writers of past.

Chota khyal presented by Amol ji was Raag Shuddha Sarang. Shuddha Sarang is a 2nd prahar (9am to 12 noon) raag from Kalyan thaat. He presented a Bandish of Bade Gulam Ali Khan ‘Beg daraswa dewo saja wa ’ in Teen taal.

On the farmaish of the audience he then presented Raag Jaunpuri. Jaunpuri is a 2nd prahar (9am to 12 noon) raag from Asawari thaat. He presented bandish “Prabhu mohe bharosa” in Teen taal followed by “Payal bajan lagi re” of Bade Gulam Ali Khan. Amol ji honestly informed that this was the first time he was singing Raag Jaunpuri in a mahfil.

Next presentation was a Kabir Bhajan of his Guru Anoop Jalota “Zini re zini”. In this Bhajan he sung one line in various raags. It was a medley of Raag.  Audience loved it. It was a fantastic idea of introducing raags and showing their differences to the audience. Predictably and aptly, medley ended with Bhairavi.

He then presented a Marathi Gazal written by Vaibhav Joshi “Sukhat ahes aikato”. A slow, delicate one.

Concert ended with famous Bhajan sung by Pt. Bhimsen Joshi and Lata Mangeshkar, composed by Srinivas Khale “Baje muraliyan baje”.

Singer was quick to establish rapport with the musicians. As a result their confluence became enjoyable. Amol ji even appreciated the accompanists who form a base for his musical sorties.

Amol ji has a mellifluous voice that has the smell of earth. He covers the entire range effortlessly and sings boldly.

Bhushan on Tabla and Amit on Harmonium complemented the singer very well. They are well known in Abu Dhabi musical circle.

It was a small but knowledgeable audience who applauded the performers at all the right places. Such audience gives real pleasure to the performer.

As confirmed by the organizers, concert started on time. Credit to the organizers and audience considering it was a Sunday morning.

All in all, a satisfactory experience.

Swaralaya: Symphony on strings by Rahul Sharma

​Attended a Indian classical music concert titled “Swaralaya: Symphony on strings” by Rahul Sharma (Santoor). He was accompanied by Mukundraj Deo on Tabla, Avinash Chandrachud on Keyboard, Barkha Sharma on Tanpura. This concert was organized at Emirates International School auditorium, Dubai, on 7th May 2023. I attended with Jayant.

This concert was a tribute to the great Late Pandit Shiv Kumar Sharma, Guru and father of Rahul Sharma.

Concert started with Aalap, Jod, Jhala in Raag Rageshwari. This set the tone of the concert. It was followed by two compositions. First in Rupak taal and then a fast one. The section ended with Chakradhar. This section only had Tabla and Tanpura for accompaniment. 

For the second section Avinash joined on Keyboard. Rahul presented Pahadi dhun in light classical. This dhun reminded audience of natural beauty back home and freshened up the mood. He played first in madhya lay and then in drut lay. Avinash mainly played chords. Then Rahul played second dhun. It’s the one on which film song Dholna is based. 

Third section of the concert was Jazz. This was my first time to enjoy Santoor jazz live. The absence of drummer was compensated by Tabla and Keyboard compensated for saxophone. Avinash did very well in this section. I liked this section very much and so did the audience. It was a novelty. Would like to listen to more of it. 

Concert concluded with tribute to Shiv ji with famous Shiv-Hari song ‘Ye kahan aa gaye hum (ये कहॅां आ गए हम)’ from movie Silsila.

It was neatly organized concert with classical, light classical, jazz and film music. There was variety. Technically they played very well. No complaints. But somehow I felt that the soul was missing from the concert. Was it so or it was only I who thought so?

Rahul is a very good Santoor player. He is carrying forward the legacy of his father ably. He doesn’t hesitate to experiment with Santoor. Mukund Raj Deo hails from Banaras and Ajrada gharana and is a well known name in Indian classical music. Avinash Chandrachud has composed background score and music for several films with Vishwajit Joshi. They have also composed the wedding song for latest Hollywood movie Murder Mystery 2. Barkha is Rahul’s wife. She’s a fashion designer, author and classical dancer in addition to being a Tanpura player. 

Since this concert was a tribute to Shiv ji, I was expecting that Rahul will share some anecdotes and memories of his father. That was not to be. His tribute to his father was purely musical. It would have been appreciated either way. 

It is a good auditorium with good acoustics. Concert started half an hour late. 

“Surtaal 3” by Kaushiki Chakraborty, Bickram Ghosh and Rajesh Vaidya

Attended a Indian classical fusion concert titled “Surtaal 3” by Kaushiki Chakraborty (Vocal), Bickram Ghosh (Tabla) and Rajesh Vaidya (Veena). They were supported by Anay Gadgil on keyboard, Arunkumar on drums, Debopriya Chatterjee on flute. This concert was organized at Emirates International School auditorium, Dubai, on 4th March 2023. I attended with Aditi, Sucheeta and Jayant.

Concert started with Saraswati Vandana ‘Aao sajao mandir aaj (आओ सजाओ मंदिर आज)’, a Bandish in Rag Bageshree in Teen taal composed by her father, Pt. Ajay Chakraborty. Everyone excelled. Audience applauded multiple times to the sawal-jawab of all six artists. This start raised the bar for what was to come. While this was going on the curtain started to close. An apparent malfunction! It was a hilarious moment. But rather than getting annoyed Kaushiki and Bickram took it gamely and cracked a couple of jokes about it. A sign of great artists!

Next piece was led by Rajesh. It was a composition of Bickram Ghosh from album Rhythm Scapes. This rhythm riot transposed into ‘Baat chalat nayi chunari rang dari (बात चलत नई चुनरी रंग डारी)’ in my favorite Raag Bhairavi from 1957 movie Rani Roopmati.

Kaushiki (and all others) then presented two compositions. First was ‘Sajanwa kab aaoge (सजनवा कब आओगे)’ in Raag Mishra Pahadi. It’s a slow delicate composition of Kaushiki’s father. She then changed the mood with ‘Rangi Saree Gulabi chunariya re’ (रंगी सारी गुलाबी चुनरिया रे), a Dadra Originally sung by Shubha Gurtu.

That was interval. 

Second half started with ‘Little Krishna’, a composition from Bickram’s album Rhythm Scapes, loosely set on Raag Kalawati. This was a Tabla and Drums jugalabandi. Arun matched Bickram stroke-by-stroke, beat-by-beat. It was a rhythm riot. This was Arun’s show! No wonder Bickram rates him as India’s best drummer. Bickram played some innovative rhythm using his chest and face in sawal-jawab with drums. As if this was not enough, so they got down to sawal-jawab of bol. Sawal-jawab with audience clapping. Completely crazy!

Although it was not rehearsed, Kaushiki honored Farmaish from organizers by singing ‘Salonasa sanjan hai aur main hun’ (सलोनासा सजन है और मैं हूं). Originally sung by Asha Bhosle. 

Then they played a piece called ‘Gokul’ (गोकुल) from new, yet-to-release, album of Bickram and Rajesh. Everyone, except Kaushiki, contributed. Anay excelled with keyboard and drew applause. He is a talented artist. 

Upon audience’s insistent Farmaish Kaushiki sung ‘Yaad piya ki aye (याद पिया की आए)’, a Thumri of Bade Gulam Ali Khan, founder of her Patiala gharana. Her variations of ‘kuuk’ were awesome!

And then the concert ended. I was expecting a predetermined composition to end the concert but they ended it with a farmaish. It appeared like an abrupt end. 

Kaushiki is confluence of the beauty, the music and the beauty of music. Today she was wearing a Sharara and not a Saree. Bickram Ghosh, who recently received Sangeet Natak Acadami award, is a famous percussionist and is known for his innovative ideas and energy. Rajesh is a very well known name in Carnatic music. His Veena is a joy to watch and listen. Although they have performed with each other, this was the first concert of three together. 

Bickram held the concert together and controlled the pace, accelerating and decelerating as per the intended mood. Kaushiki was the soul of the concert. She has an impressive stage presence. Rajesh’s Veena brought an exotic touch to the fusion, giving that something extra, every time. Debopriya, Anay and Arun had a Herculean task of standing up these three stalwarts and complimenting them. They did admirably well. 

It was a rare occasion where Tabla was at the center and vocalist on the left. Bickram was sitting between Rajesh and Kaushiki. He was blocking line of sight (an essential element) between Rajesh and Kaushiki. He should have been little behind forming an arc rather than line. 

The graphics and focus lights behind the artists gave a mystic touch to the atmosphere but at the same time robbed the audience of clear photo opportunities.

All in all, it was an enjoyable concert. 

Babuji te Ajay-Atul (बाबूजी ते अजय-अतुल)

​Attended a concert titled “Babuji te Ajay-Atul (बाबूजी ते अजय-अतुल)”. Madhuri Karmarkar, Mandar Apte (my namesake, not me), Vidya Karalgikar were the singers. They were supported by Ameya Thakurdesai on Tabla, Zankar Kanade on Keyboard and Prashant Lalit on Keyboard. The concert was conceived and anchored by Mangala Khadilkar. This concert was organized by Maharashtra Mandal Abu Dhabi (MMAD) at Indian Islamic Center, Abu Dhabi, on 23rd Oct 2022. This was the Diwali concert. I attended with Mihika, Dada, Aditi and Sambhaji, Mane, Oka, Patil families.

The title of the concert made the theme abundantly clear. It was going to be a journey of Marathi light music from Sudheer Phadke until the Ajay-Atul.  Concert started with all three singers singing ‘Lakh lakh Chanderi tejachi (लखलख चंदेरी तेजाची)’ from 1940 film ‘Shejari’. Audience lapped it up immediately. It’s a melodious song. 

Real deal started with Babuji’s famous Hindi song ‘Jyoti kalash zhalke (ज्योती कलश झलके)’ in Raag Bhupali, originally sung by Lata Mangeshkar and presented by Madhuri. Vidya then presented ‘Zini zini vaje Veen (झिणी झिणी वाजे वीण)’. Written by Ba. Bha. Borkar, Composed by Shridhar Phadke and sung by Asha Bhosle. Mandar presented a song ‘Jenvha tuzya batanna (जेंव्हा तुझ्या बटांना)’ based on Raag Mishra Khamaj, Written by Mangesh Padgaokar, composed by Srinivas Khale and sung by Suresh Wadkar. Madhuri then presented ‘Kanadau Vitthalu (कानडाऊ विठ्ठलु)’. It’s a virani of Sant Dnyaneshwar, composed by Hridaynath Mangeshkar in Raag Yaman, sung by Asha. Madhuri sung well, especially when she sung the line Kanadau Vitthalu karnataku  with Kanadi drawl. 

There were two back-to-back duets. Music by Babuji, written by GaDiMa and Shanta Shelke respectively. First Mandar and Vidya presented  ‘Navin aj chandrama (नवीन आज चंद्रमा)’ followed by ‘Aj chandane unhat hasle (आज चांदणे उन्हात हसले)’ from movie ‘Kalank Shobha’ by Mandar and Madhuri. Vidya then presented ‘Jithe sagara dharni milte (जिथे सागरा धरणी मिळते)’. Original is Sung by Suman Kalyanpur, composed by Vasant Prabhu from movie ‘Putra vhawa aisa’. Vidya pronounced the ladik जिथ्थे perfectly. 

Second section was a medley of title songs of serials. All composed by one and only Ashok Patkie. It started with the song that started the era of title tracks, title track of Gotya ‘Beej ankure ankure (बीज अंकुरे अंकुरे)’ . This was followed by title tracks of Abhalmaya (आभाळमाया), Wadalwat (वादळवाट), Awaghachi sansar (अवघाची संसार), Pimpalpan (पिंपळपान), Maza hoshile na (माझा होशील ना?) and Tula pahate re (तुला पाहते रे). This is a genre, probably unique in Marathi, and it was given its due credit. 

Vidya presented ‘Firuni Navi janmen mi (फिरुन नवी जन्मेन मी)’. Composed by Babuji in Raag Pilu, written by Sudhir Moghe, sung by Asha. She also presented ‘Sukhache chandne (सुखाचे चांदणे)’. This one was sung on pre-recorded track. This was followed by Mandar’s ‘Kitida navyane tula athawawe (कितिदा नव्याने तुला आठवावे)’. This one was also on pre-recorded track. He is also the composer of the song and has won many awards for it. Audience demanded once more and Mandar obliged with one stanza. Madhuri then presented a Lawni ‘Chum chum payi waje ghungur (छुम छुम पायी वाजे घुंगुर)’

Mandar presented ‘Yeshil yeshil rani (येशील येशील राणी)’. Sung by Arun Date and composed by Yashwant Deo. Madhuri presented ‘Mi Radhika (मी राधिका)’ , composed by Shridhar Phadke and sung by Aarati Anklikar. Madhuri sung it very well with all the harkat. Mandar and Madhuri presented ‘Fite andharache jale (फिटे आंधाराचे जाळे)’ composed by Shridhar Phadke and sung by Sudheer Phadke and Asha. Written by Sudheer Moghe. Raag Mishra Bhairavi. Diwali concert is incomplete without a Diwali song. Here it was. Vidya presented the Diwali song ‘Ali mazya ghari hi Diwali (आली माझ्या घरी ही दिवाळी)’ from movie Ashtavinayak. It is composed by Anil-Arun, written by Madhusudan Kalelkar, sung by Anuradha Paudwal. 

Madhuri presented ‘Sakhyare ghayal mi harini (सख्या रे घायाळ मी हरिणी)’ from movie Samna. Written by Jagdish Khebudkar, Sung by Lata. Music Bhaskar Chandavarkar. Madhuri sung it very well. Request for once more was not granted. Mandar presented ‘Datun kanth yeto (दाटून कंठ येतो)’. Sung by Vasantrao Deshpande, Written by Shanta Shelke. Music Anil-Arun. The song is fantastic and Mandar sung very well. As a result one could see some wet eyes in the audience and overwhelmed with emotions. 

Next section was Lawni medley. Lawni is not Lawni without Dholki. Logistical constraints led to use of Tabla in place of Dholki. But Tabaji put his heart into the dholki piece. He also involved audience and made them clap to his rhythm. Madhuri started with’Kalidar kapuri paan (कळीदार कपुरी पान)’ she modulated her voice to suit Sulochana. Impressive.  It was followed in quick succession by ‘Patang udavit hote (पतंग उडवित होते)’, ‘Chala Jejurila jau (चला जेजुरीला जाऊ)’ & ‘Mala lagli kunachi uchki’ (मला लागली कुणाची उचकी). MMAD audience is known to shake a leg on rhythm. So the audience danced freely during Lawani medley. 

Sandeep Khare, Salil Kulkarni and Awdhoot Gupte collaborated to create ground breaking song ‘Dhipari dhipang (ढिपारी ढिपांग)’. It was presented by Mandar and Vidya. And then there was the finale with Ajay-Atul medley. It started with ‘Malharwari’ (मल्हारवारी), ‘Man udhan waryache’ (मन उधाण वाऱ्याचे), ‘Adhir man’ (अधिर मन), ‘Lallati bhandar (लल्लाटी भंडार)’, &‘Zingat (झिंगाट)’ The last one was played on track, not sung. Mandar tried to sing but couldn’t. 

Audience started the dance from Lawni medley and continued through Dhipari Dhipang and and into Ajay-Atul medley. The dancing members kept increasing. It started with ladies, then gents joined in, then the girls joined in until there was no space to dance and some of them had to stand down. 

Concert ended with ‘Ne majasi ne (ने मजसि ने)’. Immortal poem of Swatantryaveer Savarkar, composed by Hridaynath Mangeshkar. 

Title of the program was ‘Babuji te Ajay-Atul’. So I expected the program to unfold step-by-step, the transformations in Marathi music. It would have been great if the program was like an onion where the anchor peals one layer at a time and the ecstasy of. Music continues unabated. But the format had some entropy. Mind you, it was good, but could have been better. 

Madhuri had some difficulty to attain the very high notes on a couple of occasions. May be the temperature of auditorium! There was some problem with her mic, her words were not clear. However she got her act together quickly and delivered a good performance. Mandar doesn’t have a delicate voice like Arun Date, however he sings the emotional and delicate songs with ease. This gives him a command over wide range of songs. Rather than being a specialist of a genre, he is versatile. Vidya too is a good singer. She had the role of singing non-specialist songs and mostly flew under the radar. She’s definitely has potential. We should see more of her going forward. She appeared a little distracted. Musicians did well. Doing a program with just tabla and two keyboards is not an easy feat. 

Mangala Khadilkar is considered yardstick of anchoring. She has excellent command over Marathi and never used English words in Marathi sentences. She also can quote Marathi, Sanskrit and English quotes off the cuff spontaneously.

Program started half an hour late. Music system was ok. The auditorium was cold, probably by design, with everyone decked in traditional heavy attires and jewelry! Cold might have been the intention, in reality it was chilled. It made audience lethargic and probably a little parsimonious in applause initially. However as the concert progressed the audience warmed up and finally danced. It was a celebration! India Pakistan T20 World Cup match started towards the end of concert. It distracted the cricket loving audience. 

All in all it was a very good concert and audience left with a feeling of satisfaction and contentment. MMAD committee 2022-23 deserves credit for organizing a good memorable Diwali concert.