Ganesh (Violin) & Kumaresh (Violin)

Attended concert titled "Aalap-5". This was the concert of famous violinist duo Ganesh (Violin) & Kumaresh (Violin) accompanied by Sankaranarayan (Mridangam) & Trichi Krishnaswamy (Ghatam). This program was organized by India Social and Cultural Center in its facility. I attended the program with Nandu, Jayant, little Gargi & Prakash.

They told a story, which was the theme of the concert, of a student who is attracted to Carnatic music and wants to know what is Carnatic music. He is then introduced to it by the musician. The concert was the journey of this student. An innovative and interesting idea.

Concert started with a short varnam that lasted about 7 minutes. This set the mood of the concert. Second song presented by them was a Tyagaraja Kriti 'Brobaparama'.

Then they played the first Ragam. It was, not often heard, Ragam Nasikabhushani also known as Nasamani. It was followed by Raga pravaham, a wordless composition.

They asked five persons to choose five swars (They fixed Sa and Pa). Audience chose Sa, R2, G2, M2, P, D2, N3 thus creating the notes of Ragam Dharmavati. They then asked if the audience wants Kriti or Ragam Thanam Pallavi (RTP). RTP was the choice of audience. After playing Ragam and Thanam they asked the audience to give them five words and used these words as lyrics to play Pallavi.

Then Ganesh presented a vocal composition "Adi vadi kanna"

Concert ended with grand finale 'Bhagyada Lakshami'

Ganesh & Kumaresh mesmerized the audience. They have awesome command over violin, be it soft or forte. They demonstrated individual, synchronized and sawal jawab violin playing to the satisfaction of audience.

Sankaranarayan's Mridangam was excellent. Trichi Krishnaswamy played very well. But his mike should have had more gain. Both of them drew applause from audience.

The sound system was flawless. Audience was able to clearly hear the soft notes distinctly.

Audience today was very learned. They recognized ragam and compositions without fail. Kumaresh also repraminded some one in audience for talking while artists were playing thereby disturbing them.

A very innovative way of presenting the concert that demonstrates the command and innovation of Ganesh- Kumaresh. It was mind blowing.

Entertainment rating 9.75/10.

Kalapini Komkali (Vocal)

Attended concert of Kalapini Komkali (Vocal) accompanied by Prashant Pandav  (Tabla) and Abhishek Shinkar (Samvadini) organized by Anubhooti at Embassy of India auditorium, Abu Dhabi, on 20th Feb 2014.

Concert started with Raag Bilaskhani Todi (बिलासखानी तोडी). It is said that this variation of Todi was first sung by Bilas Khan, son of Miyan Tansen. She presented three bandishes. First was traditional Khyal (ख्याल). Second was again a traditional madhyalay rachna (मध्यलय रचना). Third was Tarana(तराना), a composition of her father Pt Kumar Gandharva.

Kalapiniji told the audience that her father used to say 'Bandish should have spark, there is no use of torch here (बंदिशमें चिंगारी होनी चाहीए वहॉं मशालका कोई काम नहीं).'

Then she presented two bandishes in two Bilawals. First a very old bandish in rarely sung Raag Shukla Bilawal (शुक्ल बिलावल). Then she presented one bandish in Raag Alhaiya Bilawal (अलहैया बिलावल).

She then presented Raag Kafi ke swar (काफी के स्वर) followed by a Bandish 'chado chado chaila mori baiyan (छडो छडो छैला मोरी बैंया)'  of Gwaliar gharana that she learned from Pt. Ramashray Jha and Pt. Shantaram Kashalkar.

Finally she sung two bhajans. First bhajan was of Mirabai 'Fagun ke din char (फागुनके दिन चार)'. She termed this bhajan as aprapya (अप्राप्य) & adhyatmik (अध्यात्मिक). Second bhajan was famous Nirguni bhajan and my favorite 'Sunta hai guru gyani.. (सुनता है गुरू ग्यानी)'

She demonstrated her range of octaves, technicality, emotions and improvisations.
She was especially good when she sung in lower octaves. She also encouraged the accompanying artists when they did well and corrected them when they strayed a bit.
Kalapiniji is a perfectionist and enjoys singing. When the artist enjoys, audience enjoy as well. She also gave few small anecdotes that audience liked very much.

Prashant played excellent tabla. Kalapiniji had to tell him about adjusting the lay once or twice. Abhishek's harmonium was perfect. He followed the singer religiously. He should become a fine successful harmonium player in future.

For a change this concert was not in the evening. It was a rare occasion to attend a morning concert. This gives an opportunity to the singer to sing morning ragas and audience to enjoy them.

Sound system was very good and was appreciated by the performers. Temperature in auditorium was comfortable.

Special mention should go to the audience. Audience attended in big numbers (more than 100) even though it was Friday morning. When she asked if they would like to hear bandish or bhajan, the response was "both".

A very good morning concert and a wonderful experience.

Entertainment rating 9/10.

Disclaimer: I am a founder member of Anubhooti.

Swar Nakshatra (स्वर नक्षत्र)

Mandar's concert report

Attended concert titled "Swar Nakshatra (स्वर नक्षत्र)". Singers of the evening were Pradnya Deshpande & Pt. Hemant Pendse (a disciple of Pt. Jeetendra Abhisheki) accompanied by Dr. Narendra Chiplunkar (Samvadini), Kedar Paranjpe (Keyboard), Rajeev Hasabnees (Tabla), Manoj Bhandvalkar (Pakhwaj), Rajendra Salunkhe (Side rhythm) on 30th Jan 2015. The program was anchored by Ravindra Khare. This program was organized at Indira Sanskritik hall, Phaltan (फलटण) by Yashwant Co-op Bank Ltd to commemorate anniversary of their Kolki-Phaltan branch. I attended the program with my father. Format of the program was interesting. They had selected a few raagas and presented 2-3 songs of each one.

Concert started with Raag Yaman (यमन). Three songs in Yaman were presented. 'Sundar te dhyan (सुंदर ते ध्यान)', 'Man re parasi Hari ke charan' and Babuji's 'Jeevalaga kadhi re yeshil tu (जीवलगा कधीरे येशील तू)'.

Second raag was Bhoop (भूप). Pu. La. Deshpande's 'Maze jeevan gane (माझे जीवन गाणे)', Sudhir Phadke's 'Jyoti kalash jhalke (ज्योती कलश )', 'Dhund madhumati (धुंद मधुमती)', Pt. Abhisheki's 'Abeer gulal (अबीर गुलाल)' (This was a different rendition of the song from what I have heard earlier, I liked this one very much), 'Rang rang rangli.... Radha' probably of Master Krishnarao (मास्टर कृष्णराव) and finally 'Marmabandhatli thev hi (मर्मबंधातली ठेव ही)' of Dinanath Mangeshkar from play Sanyasta Khadg'

Next raag was Puriya Dhanashree (पुरीया धनश्री). Two songs were presented. 'Payaliya jhanaka..(पायलिया झनका..)' (The song was cut short after aalap) and 'Jeevalaga rahile re.. (जीवलगा राहिलेरे)'

Then came Khat. Khat is a mixture of six ragas. They presented 'Surat piya ki chin bisraye..(सुरत पियाकी छिन बिसराये)' Composed by Pt. Abhisheki from play 'Katyar kaljat ghusli'.

Next raag was Charukeshi (चारूकेशी). First song was 'Rutu hirwa rutu barva' written by Shanta Shelke and composed by Shreedhar Phadke. Then they presented 'He surano Chandra vha.. (हे सुरांनो चंद्र व्हा)' written by Kusumagraj from play Yayati-Devyani. Then a virani of Mirabai 'Neenda nahi ave ji (निंद नहीं आवे जी)' was presented with accompaniment of Harmonium and chords on key board without any percussion instrument.

Then came raag Pilu (पिलु). They presented a gavlan sadrush (गवळण सदृश) song composed by Pt. Pendse, 'Kashi jau mi vrundavana (कशी जाऊ मी वृंदावना)' on pre-recorded music track. Next came famous 'Nahi punyachi mojni..(नाही पुण्ण्याची मोजणी)' and finally they presented a Gharandaj Lavni 'Ka ho dharila majwar raag.. (काहो धरीला मजवर राग)'. Lavni requires dholki and there was no dholki. So tabalji played dholki pieces on Tabla. Interesting!

Last section was Abhang (अभंग). First composition was Janabai's 'Sant bhar Pandharit..(संत भार पंढरीत)' followed by apratim virani of Tukaran maharaj 'Bheti lage jeeva laglise aas.... (भेटीलागे जीवा)'. The program ended with a Bhairavi (भैरवी) 'Kaivalyachya chandanyala... (कैवल्याच्या चांदण्याला..)'

I would have liked if they had also given an introduction of each raag before first song, rather than going to the songs directly. I would have also liked to see a few duets. Although they had male and female singers, both sung solo songs.

Pradnya Deshpande had chosen all her songs in higher octave. She could have chosen a few in lower octave to demonstrate that she can sing in lower octaves. Pt. Hemant Pendse sung very well. Especially the songs with more classical base and the bandishes (बंदिश).

Anchor was a very knowledgeable person. His study of sant (संत) literature and current events was evident and he had a knack of quoting the quotes and poems most appropriately and with authority. He also provided interesting nuggets of interesting information. He was an ideal anchor that anchors but doors not overshadow.

All the musicians played well. Dr. Chiplunkar on Samvadini was the best. All in all a pleasing experience.

Auditorium was in a state of disrepair and unless something is done soon, it would not remain good enough for programs.

I had no plans to attend a concert this week end. It was an impromptu decision that turned out to be a good one.

Entertainment rating 8/10.