Paadva PahaaT

This morning, one got the opportunity to attend a Indian Classical Music Concert "chaitr paalavii navii" that featured four of the stalwarts in this field. The mehaphil was held together by Pt. Shivkumar Sharma (Santoor), his son Rahul Sharma (Santoor), Pt. Anindo Chatterji (Tabla) and Pt. Bhavani Shankar (Pakhwaj). In many ways, this was a very significant and special concert. One had the good fortune of listening to Pt. Shivji's brand of Santoor mastery once again (the first occasion being Sawai Gandharva '06). It was also the first time one saw father-son together in concert. Talking of father-son acts, one would finally get to listen to Pt. Chatterji, after the Pune crowds as well as Ustad Amjad Ali Khan sang praises of his teenage son's command over the tabla- this was Sawai '06 again. Finally, Pt. Bhavani Shankar on the pakhwaj- an instrument that had intrigued one quite often- it made its presence felt in a very subtle kind of way.

Unlike most Classical Music Concerts (at least in the North), this was an early morning (read as 6:00 am) affair. Who is gonna leave their beds on Padwa morning to attend a Santoor double whammy- seating will be a breeze. But not to be deterred by such trivialities, Pune crowds once again thronged to the venue and one was greeted by a line of five hundred odd folks- most awake- but only just. It would take the best of another hour for things to get under way. It was worth the wait.

The maestro (=Pt. SS) appraised the audience of the first of the morning's renditions- राग बसंत मुखारी essentially a morning raga. The two santoors would emulate the Dhrupad style. It is on such occasions when one can truly appreciate how close instrumental can get to the vocal form- one was reminded of a performance on similar lines (Sawai '07-The Gundhecha Brothers "shiv shiv shiv...."). The pakhwaj took centrestage as the ustads interwove the raag through Roopak Taal. The combination, it radiated power, but softly. The surprising thing about the rendition was how well the pakhwaj could really carry through a piece- one had often felt it would prove too frail or subdued. The tabla eventually joined in as the real mood was set.

यह विदेशी आर्टिस्ट, इनका मानना है की हिन्दुस्तानी संगीत बहुत ही धीमे चलता है, इसमे कोई excitement की भावना नही है..... ऐसी बात नही है। हम चाहे तोह इस प्रकार से सुर सजा सकते हैं, पर असली मजा धीरे धीरे उस राग को बंदिश मे सजाने मे होता है..... भैरवी राग मे... दादरा बजायेंगे ..धृत गति तीन ताल मे अनिन्दो जी इसका समापन करेंगे।

What Pt. SS basically meant when he said this the audience would fathom around half an hour later as the maestros inched closer towards the crescendo- one's favorite part of the piece being played. It is at this pinnacle that every bit of music is flowing outward from the instrument and one can continuously ogle and cheer as previously unknown sentiments arise purely from the draw for that music, from the haunt of that music.

All in all, just a great way to spend a Sunday morning (that would otherwise involve slug like behaviour); for the first time in the last couple of weeks, one felt all those late hours spent completing (mundane copying) finally served their purpose.