Bhava Sargam (भावसरगम) - Pt. Hridaynath Mangeshkar (पं. ह्रदयनाथ मंगेशकर)

Attended concert titled 'Bhava Sargam' (भावसरगम) of Pt. Hridaynath Mangeshkar (पं. ह्रदयनाथ मंगेशकर) (Vocal) accompanied by Radha Mangeshkar (Vocal), Dr. Rajendra Durkar & Vishal Gandatrawar (Percussions) on 29th Aug 2015 at Balgandharv Rangmandir, Pune with Makarand, Shilpa and my father-in-law.

Concert started with a virani (वीराणी) from Dnyaneshwari (ज्ञानेश्वरी) 'Awachita parimalu (अवचिता परीमळु)' followed by 'Runuzunu runuzunu (रुणुझुणु रुणुझुणु )' again from Dnyaneshwari. Then he took a song of a completely different mood 'Tu tenvha tashi (तू तेंव्हा तशी)' followed by 'Lajun hasne an (लाजून हासणे अन्)'. Then he presented a farmaish 'Jiva shivachi bail jod (जीवाशिवाची बैल जोडं)' followed by abhang 'Are are Dnyana zala (अरे अरे ज्ञाना झाला)'. He quipped that this is one of the rare Dnyaneshwar abhang that does not contain his namamudra 'Bap Rakhuma Devi waru (बाप रखुमा देवी वरू)'.

His daughter, Radha, then joined him. They sang 'Maze Rani maze moga (माझे रानी माझे मोगा)', Bha Ra Tambe's 'Mawaltya Dinakara (मावळत्या दिनकरा)', Arti Prabhu's 'Don he ahet pele (दोन हे आहेत पेले)', Suresh Bhat's gazals 'Kenvha tari pahate (केंव्हा तरी पहाटे)' and unknown 'Ujadlyawari sakhya (उजाडल्यावरी सख्या)' followed by 'Sur ale juluni (सूर आले जुळुनी)' before interval of the program.

He was out of tune (बेसुर) many times in the first half. 79 years of age has had an effect on his singing. The song 'Mawaltya dinakara' describes the situation aptly. I was really worried about the proceedings and hoped second half would be better.

Post interval session started with 'Mazya saranga (माझ्या सारंगा)' followed by 'Amhi thakar thakar (आम्ही ठाकरं ठाकरं)', 'Gorya deha warati kanti (गोऱ्या देहावरती कांती)', 'Nabha utaru ale (नभ उतरू आलं)'. Radha started this song in high pitch and struggled when it reached even higher. This was followed by medley of 'Chla jaiyo bedarda (चला जईयो बेदर्दा)' to 'Jambhul piklya zada khali (जांभुळ पिकल्या झाडाखाली)' to 'Koyal bole rama (कोयल बोले रामा)', to 'Gulabi chire wala (गुलाबी चिरेवाला)' and back to 'Jambhul piklya (जांभुळ पिकल्या) '.

He then presented 'Kesariya balama (केसरीया बालमा)'. This was very good. Panditji then provided Makarand with a memorable gift by singing his farmaish 'Mharari giridhar gopal (म्हारारी गिरीधर गोपाल)'. Then he presented excellent rendition of 'Malaun tak deep (मालऊन टाक दीप)'. It was so heart felt and soulful that it gave goose pimples to the listeners. It was by far the best item of the evening. Audience appreciated it with a very long applause. Panditji's humility was evident when he gave all credit to his Guru. Then he presented 'Purtata mazya vyathechi (पूर्ततता माझ्या व्यथेची)' and 'Ti geli tenvha rimzim (ती गेली तेंव्हां रिमझिम)'.

In the last section he started with bandish 'Rasoolillah (रसूलिल्लाह)', then seamlessly moved into 'Dayaghana (दयाघना)' and then back to 'Rasoolillah  (रसूलिल्लाह) '. Concert was concluded with 'Aji soniyacha dinu (आजी सोनीयाचा दिनु)' from Dnyaneshwari.

Second half salvaged the situation. I did not repent the decision of attending.

Panditji encouraged the audience for farmaish and promised to fulfill as many as possible, but in reality fulfilled only those he wanted.

Many of the songs he sung were different from the recorded version. So it would have been disappointing for those who wanted it to match recorded version but those who relish improvisations would have liked it.

Radha was good. She had some difficulty while singing in higher scale. One should not compare her with her legendary aunts (Lata, Asha and Usha) as she is no match, then you like her.

Dr.Durkar and Vishal played very well and were applauded. There were two percussionists but they were placed on right side of the singer instead of either side. Curious.

This auditorium was a point of reference once upon a time. But now it's in a sorry state with pan stains and state of neglect, though the seats are still good.

Entertainment rating: first half 5/10, second half 8/10.

Lakhachi goshta - Raja Paranjpe

Attended concert titled Lakhachi Goshta (लाखाची गोष्ट) of Sanjeev Mehendale (Vocal) & Minal Ponkshe (Vocal) accompanied by Vikram Bhat, Dipti Kulkarni, Anay Gadgil, Aditya Apte (Various instruments) & Manjiri Joshi (Anchor) on 13th Jun 2015 at Indian Embassy auditorium, Abu Dhabi with Aditi and Sucheeta. This concert was organized by Maharashtra Mandal.

This was a thematic program on the great Marathi actor - director Raja Paranjpe. It included commentary, clippings and songs from his films. Songs in his movies were not pasted haphazardly, but took the story forward. A number of them were penned by Ga. Di. Madgulkar (ग दि माडगुलकर) and composed by Sudhir Phadke (सुधिर फडके). Some of his movies are: Jagachya pathivar, Lakhachi Goshta, Suvasini, Jeevacha sakha, Aadhar, Padchaya, Pedgawche shahane, Pudhche Paul, Balidan, Uun paus, Pathlag etc.

Program started with Guruvin kon dakhawil wat (गुरुविण कोण दाखविल वाट) and it was followed by Kal mi Ragunandan pahile (काल मी रघुनंदन पाहीले), Maza hoshil ka (माझा होशील का), Hridayi preet jagte Janata ajanata (ह्रदयी प्रीत जागते जाणता अजाणता), Dolyat wach mazya (डोल्यात वाच माझ्या), Chalali Shakuntala (चालली शकुंतला), Kadhire yeshil tu (कधीरे येशिल तू), Tula pahte re (तुला पाहते रे), Year nath ata (येणार नाथ आता), Tya tithe palikade (त्या तिथे पलिकडे), Jag he bandishala (जग हे बंदीशाला).

Then they presented Baithakich lawni Kaho dharila majwar raag (काहो धरिला मजवर राग) it was followed by Ha maza marg ekala (हा माझा मार्ग एकला), Santh vahte Krishnamai (संथ वाहते), Khedya madhle ghar kaularu (खेड्या मधले घर कौलारु), Uddhava ajab tuze sarkar (उद्धवा अजब तुझे सरकार), Ya dolyanchi don pakhre (या डोल्यांची दोन पाखरे), Ek dhaga sukhacha (एक धागा सुखाचा), Thaklere Nandlala (थकलेरे नंदलाला), Jalimandi pikali karwande (जालीमंदी पिकली करवंदं), Ain dupari Yamuna tiri (ऐन दुपारी यमुनातिरी), Zala mahar pandharinath (झाला महार पंढरीनाथ).

Program ended with Bai mi vikat ghetla Shyam (बाई मी विकत घेतला श्याम).

There were more female songs than male songs, but song distribution could have been better. At times there were three continuous songs to same female singer. Singers omitted the last stanzas of a number of songs.

Meenal has a hard voice and though she got 'once more', she struggled a bit while expressing subtle feelings in soft songs in lower octaves.

Sanjeev was good. On 'ha Maza marg ekala' he imitated hiccups, cough and grunts during the song to perfection. Obviously he got 'once more'.

Manjiriji's commentary was controlled and supporting. She also sung two songs and drew 'once more' for one. She should have sung more. I felt that the commentary lacked information about Raja Paranjpe, the person. Some personal photographs would have been welcome too.

All the musicians were good and were applauded. Program started somewhat late. Sound system was good and audience was happy.

It was an innovative concept and was executed flawlessly. A good program.

Entertainment rating 8.5/10.

Ravindra Chary (Sitar)

Attended concert of Ravindra Chary (Sitar) accompanied by Satyajit Talwalkar (Tabla) organized by Anubhooti at India Social and Cultural center, Abu Dhabi, on 30th May 2014.

Raag of the concert was Raag Yaman.

First Raviji presented Aalap, Jod, Chanda and Jhala. Followed by Gat composed by Ustad Shahid Paevez in Rupak taal.

He then presented a very old Bandish from Kirana gharana in Teen taal.

Composition of Ustad Wahid Khan (grandfather of Ustad Shahid Parvez) was next presentation.

From there they entered seamlessly into Sawal-Jawab (सवाल-जवाब). The artists got a standing ovation for it.

Finally he switched to light music and played dhun (धुन). It was a medley of Assamese, Rajastani, Afghani dhuns.

Raviji is an excellent Sitar player and he demonstrated his finess and command. I came to know that he is an equally good harmonium player. His humility was evident when he expressed gratitude that a top artist like Satyajit is accompanying him and appreciated the hospitality of Anubhooti.

Raviji drew first applause within a minute of starting the concert. And the applauses continued till the end. He has composed a special Bandish on the day of concert in Raag Yaman and titled it 'Anubhooti' in honor of the organizers. It was a privilege, however he forgot to play it. Audience was disappointed.

Satyajitji demonstrated why he is considered one of the foremost tabla exponents today. His economy of movement fascinated me. He played a bouquet of variations with bal (बल) on different bol (बोल). This was a learning experience for students of Tabla. He also drew repeated applauses.

Both artists were visibly enjoying playing with each other and that doubled the joy of audience. People congratulated the artists and organizers. Audience was not ready to come out of the mood for a long time.

Sounds system was optimum. With four programs going on at the same time sound engineer was stretched.

A magical concert. It was an Anubhooti (अनुभूती).

Entertainment rating 9.75/10.

Disclaimer: I am a founder member of Anubhooti.

Sangeeta Shankar (Violin)

Attended concert of Sangeeta Shankar (Violin) accompanied by Nandini (Violin), her daughter & Ajit Pathak (Tabla) on 11th Apr 2015 in NCPA, Mumbai with Ravi. This concert was part of 'Saz-e-bahar', a festival specially conceived to provide a window into the range of instruments that adorn the repertoire of Indian classical music.

Organizers informed that violin was brought  to India in 1790 by British. Balusamy Dixitar (brother of Muttusamy Dixitar) introduced violin in Indian classical music.

In first half of the concert Sangeeta presented evening Raag Gorakh Kalyan (गोरख कल्याण). She presented a composition in Tritaal that she dubbed 'beautiful melody'. Solo piece lasted only a couple minutes before Tabla was introduced. She was about supported by her daughter.

In the second half she presented a very traditional Thumri from city of Banaras called 'Bandish ki Thumri (बंदिश की ठुमरी)' in Raag Desh and Taal Keherwa. It was the first time I heard Bandish ki Thumri.

After Thumri she concluded the concert but audience was not satisfied and she was requested to play Bhairavi. So Sangeeta obliged the audience with a composition in Bhairavi (भैरवी) in Taal Dadra.

Sangeetaji is an excellent violinist. She has the finesse. She plays violin with attention to minute detailing. She plays delicately with great detail and plays effortlessly. Unbelievable. Sangeetaji demonstrated why she was nominated for Grammy award.

Young Nandini is also tomorrow's star. She is ready for stage. Her young age, expressive face and skills with violin drew applause and encouragement from audience.

Tabalji was OK. Sangeetaji had to signal him more than once about the requisite speed (लय) and when the Tabla needed tuning. It was just not his day.

This was first time I watched a Hindustani Violin concert. And I would like to hear more. Special mention of audience. Since Sangeetaji was playing delicate and minute notes, audience did not drown the music in clasps but  applauded the artists with wah-wah.

A WOW concert. Entertainment rating 9.25/10.

Rajrupa Chowdhuri (Sarod)

Attended concert of Rajrupa Chowdhuri (Sarod) accompanied by Satyajit Talwalkar (Tabla) on 11th Apr 2015 in NCPA, Mumbai with Ravi. This concert was part of 4th edition of 'Saz-e-bahar', a festival specially conceived to provide a window into the range of instruments that adorn the repertoire of Indian classical music.

Organizers introduced Indian music instruments starting from ancient India to modern day. Interesting information was that C.V.Raman has performed a lot of work on Tanpura and the black patch on Tabla. They informed that Sarod entered India in 18th century.

First half of the concert was Raag Shyam Kalyan (श्याम कल्याण). Rajrupa first played solo and then Satyajit joined her with Tabla. She demonstrated fine Sarod playing and was focused on details.

Rajrupa presented Raag Tilak Kamod (तिलक कमोद) in the second half of the concert. She presented a rachana taught to her guru by Joshiji.

Satyajit played marvelous Tabla. He showed why he is considered amongst top Tabla players of India. He also appreciated and encouraged much younger Rajrupa.

Rajrupa is a fine Sarod player. Rather than forcing the notes out of Sarod, she extracts them. Lady Sarodiya is a rarity. This was my first concert of lady Sarodiya. Rajrupa plays very well and with humility. She is definitely a star in making.

It was a small but cosy auditorium. Sound system was very good. Sarod required frequent tuning adjustments. A number of foreigners attended the concert.

An excellent concert. Entertainment rating 8.75/10.

Suchismita & Debopriya (Flute)

Attended concert of Suchismita Chaterji (Flute) & Debopriya Chaterji (Flute) accompanied by Sawani Talwalkar (Tabla) on 5th Apr 2015 in Chembur, Mumbai. I attended the concert with Ravi. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

This was a one raag concert. It was Raag Jog. First they played without Tabla (solo, tandem and synchronized) and later Tabla joined them. This raag lasted one hour.

To conclude the concert they presented a Thumri in Raag Mishra Pilu. They said that this has become rare now a days.

Most of the jugalbandis are of two different instruments. Previously I have also attended  carnatic violin duet concerts. This was first time I attended a flute jugalbandi. It was innovative and piqued my interest.

This was also a ladies special concert. It was interesting and entertaining. I had a premium seat right in front of the artists and about 10 ft away. Parents of the artists attended the concert with general audience. It was also birthday of their mother.

Suchismita & Debopriya displayed fine synchronized and complimentary flute play, though they went slightly out of sync on a couple of occasions. They displayed controlled flute in the first half an hour of concert where they played without Tabla, this was the best part of the concert.

Sawani justified her lineage by playing very good tabla. She refrained from playing fancy and stuck to traditional tabla play. She too missed a beat once.

The duration of concert was about 1 hr 10 minutes. Around 250 people attended.

A different concert. Entertainment rating 7.75/10.

Devaki Pandit (Vocal)

Attended concert of Vidushi Devaki Pandit (Vocal) accompanied by Sudhir Nayak (Samwadini), Girish Nalawade (Tabla) & Manisha Joshi (Tanpura) on 5th Apr 2015 in Chembur, Mumbai. I attended the concert with Ravi. This concert was part of 'Sangeet Samrat Alladiya Khan music festival 2015'.

Concert started with early morning Raag Yamani Bilawal (यमनी बिलावल). Never heard this raag earlier. She presented composition 'Prem galiyan mein (प्रेम गलियन् में)' in Rupak taal.

Then she presented bandish 'Mangal gao (मंगल गाओ)' composed by Pt. Babanrao Haldankar in Raag Alhaiya Bilawal (अलहैया बिलावल) and in Tritaal.

Then she presented Raag Hindol Pancham (हिंदोळ पंचम) in Jhaptal and later presented a tarana (तराना) also composed by Pt. Bananrao Haldankar in Tritaal.

Upon request of organizers she finally presented a Bhajan 'Kitak din Hari sumiran bin (कितक दिन हरी सुमिरन बिन)' of Pt. Jitendra Abhisheki in Raag Charukeshi.

Devakiji demonstrated mastery over the entire range of swars. She knew exactly which swar she wanted to go to and reached there effortlessly while demonstrating the minute details. She was in complete command of every swar. Amazing!

I would like to attend a more concerts of Devkiji. Previously I had heard her sing light music, this was the first time for classical. She was too good.

Sudhirji was appreciated by Devakiji and the audience regularly. He was too good. Tabla played only a supporting role.

There was noise in the sound system on a few occasions breaking the concentration of artists and audience.

The duration of concert was about 1.5 hr minutes. It was a full house of 400+.

An excellent concert. Entertainment rating 9.25/10.