MAKING MUSIC

The future of tradition -Meena Banerjee

Hindustan Times
Thursday June 28, 2007

The monthly classical music session of the Ramakrishna Mission Institute of Culture coincided with World Music Day on the June 21. Two young musicians – vocalist Jainul Abedin and Sarod player Prattyush Banerjee enthralled music buffs with their stylish presentations at the Vivekananda Hall.

While Abedin’s unflinching loyalty towards the diminishing traditional Agra gayaki with all its darbari grandeur and alap was distinctive, Banerjee’s gripping melodic appeal and superb technique spoke highly of his technical virtuosity.

Considering that he is a sought after commercial artist as well, Banerjee flouts the myth that such exploits get in the way of sadhana- so essential in maintaining the purity of the classical idiom. In the latter half of the evening he played the seasonal Miyan ki Malhar.

The contemplative alap and rhythmic jod explored new vistas within the framework of the very popular raga. His clarity of thought, mandatory for the delineation of a raga, handled the innovative phrases with such confidence and ease that each left a lasting impression; more so because they kept coming back at a regular intervals throughout his recital of 45 minutes.

The long heavy glides etched the somber, overcast sky, sparkling phrases ripped through it at lightning speed and the crisp taans were as stimulating as the first shower.

That he has a rich collection of gat bandishes was evident from the slow, medium, fast and very fast compositions he played, splendidly supported by young Indranil Mullik on the tabla. Each composition focused on a special angle of the raga, each had a mood and unique character, tailor made to suit the cadence. With the soul of the raga dancing to the melodic patterns of his taans he displayed almost all the ornate technicalities of sarod. Banerjee concluded with a beautiful kirtan-based composition in Mishra Kafi.

Earlier, Jainul Abedin had commenced the evening with an elaborate nom-tom alap in Yaman Kalyan. Steped in piety, this unique feature that sets Agra apart from other schools, was evidently Abedin’s forte.

Faiyaz Khan’s favourite bandish in slow teentaal Mukut par vaari unfuried its beauty with inspired bolbaants made livelier by the saath-sangat of Lakshmi Narayan Mishra’s tabla that seemed to read the intent of the vocalist like an open book. Very smoothly saanjh bhayi, set to fast ektal, stepped in at the chauguni laya of the teental and unleashed well-crafted fast taans. Abedin finished his performance with a neatly executed tihai.