Voice of tomorrow

Aparna Chakravarti
28 July 2006

ITC Sangeet Research Academy has been offering a platform to its scholars, who are undergoing training in Indian classical music from various gurus – training that is not only advantageous but essential for those whose aim it is to be professional musicians. They are given selective opportunities to perform in various music functions in the city and elsewhere.

Recently, a presentation by the scholars was held at GD Birla Sabhaghar on two consecutive evenings. There were six vocalists and two instrumentalists (on the sitar and sarod). The soirees were rounded up with recitals by gurus Ulhas Kashalkar and Girija Devi. It was apparent from the performance of these budding musicians (which happens to be a trend in all professions these days) that the amateurishness which used to be noticed in earlier days was completely absent. The determination to succeed in their chosen career was apparent in the riyaz and application of these young performers.

Tabla maestro Kishan Maharaj stressed on an important point in his speech. He pointed out the vast difference in the training imparted in innumerable music schools and in the true gurukul system, without which nothing worthwhile can be achieved.

Sameehan Kashalkar, son of Ulhas Kashalkar, proved in his performance (Kheyal in raag Mian ki Malhar) that he is a chip of the old block. The gandhar and two nishads employed in this rather difficult raag were demonstrated with the ease that requires not only practice and talim but also an inner perception. The raag was unfolded step by step, the bandish was clearly articulated well, the tans and layakari not just a device to air one’s dexterity. Ruchira Kale also gave a good account of herself in her presentation of kheyals in raag Gaud-Malhar. She has gained in maturity. Her performance held out hopes of her being a proficient singer of the Gwalior gayaki. Nilanjana Roy sings with confidence and élan. Her kheyal in raag Kamod was proof of her riyaz Perhaps, a little more emphasis on bhaw (emotion) might be beneficial. Sucheta Ganguli’s choice was raag Shudh-Kalyan. Special mention should be made of her tans, which were not only sapat, but interspersed with phandas.

Sumana Gupta’s introspective manner and adaigi are her plus points. She gave a neat rendering of bandishes in raag Shyam Kalyan (vilambit and drut). On the other hand, Sandip Bhattacharjee, who has the makings of a good musician, will definitely make his presence felt if he is a little more emotive, as was evident in his presentation of kheyal in raag Bihag.

The instrumental section of SRA is comparatively new. Sitar and Sarod are being taught. The first instrumentalist to appear on the stage was Abir Hossain. His choice was raag Surdasi Malhar in which he presented two gats in Madhya and drut laya after a short aochar on the Sarod, which were appreciated by the audience.
Supratik Sengupta presented raag Megh on the sitar (the season being varsha, naturally the emphasis was on the Malhars). His recital was mature, manifested in his vistar and taankari, which were clear and effortless, though he did have some trouble with a snapped string.

The accompaniment was provided by the tablavadaks and harmonium players connected with the academy who are primarily known. The same can be said of the gurus who were the closing artistes during the two evenings. Guru Ulhas Kashalkar presented a rare raag Shuddh Nat, followed by a bhajan, once sung by famous actor musician Bal Gandharv. Guru Girija Devi with two of her students, started her recital with a kheyal in raag Surdasi malhar. Then she unfolded her magic box containing her repertoire of thumri, dadra, kajri and bhajan of the Beneras gharana.