Spring and its connect with the Indian classical music

An ‘Evening of Basant’, aesthetically showcased by the Ramakrishna Mission Institute of Culture astatine Vivekananda Hall, Kolkata, opened with a recital by well-known sitarist Sahana Banerjee. Interestingly, raag Shahana, the root of her name, represents the outpouring season, truthful does her chosen raag Kaushik Dhwani (also known arsenic Bhinna Shadaj successful dhrupad parlance). Quite adept astatine dhrupad ang baaj, acknowledgment to her grooming successful Senia Rampur School, Sahana’s sitar explored the depths of mandra and ati-mandra with plentifulness of meend-laden phrases. The powerfulness down the saccharine travel of melody was palpable, particularly successful the thhonk taans.

With a graceful uthaan, tabla exponent Ujjwal Bharti joined successful the skillful dilatory and accelerated teental gatkaris and enhanced their entreaty with fantabulous jawabi sangat. The jhala could person been much gentle.

Two well-tuned tanpuras and a soothing swarmandal transformed the ambience earlier Supriyo Dutta, flanked by Chiranjit Mukherjee (tabla), Debashis Adhikary (harmonium) on with Debarshi Das and Sudarshan Khatua (tanpura and vocal support) decided to delineate the all-time favourite raag Bihag. Supriyo selected bandishes describing Holi and its leader Krishna for the ‘Basant’ evening. One was blessed to enactment the value accorded to the lyrics of khayal bandishes.

Supriyo’s deep, resonant dependable is his biggest plus and it brought retired the pathos successful the Bandish ‘Kaise sukh sove’ acceptable to Jhumra taal. The step-by-step progression facilitated ‘chit chadhi’ that lingered gracefully connected the precocious tonic. It invited antara which dispersed its wings and went up to ‘Ma’ with a dependable dipped successful emotion. The assortment of sargam, oregon highly accelerated aakar taans’ thrilling accomplishment connected ‘sam’, maintained its choky signifier till the past beat.

Supriyo’s impeccable bushed consciousness inspired Chiranjit to unleash his ain accomplishment and the duo revelled successful the playful temper of ‘Kanha bhar-bhar mare pichkari’ (Teental). Short sargam pieces, successful barabar ki laya, followed by analyzable and crisp taans exuded joy. Harmonium exponent Debashish Adhikary gave his champion erstwhile Sahana joined the vocalist’s to connection a Hori jugalbandi, which made for a unsocial finale. Her pleasingly sitar began the Khamaj phrases, laced with beauteous filler connected the harmonium. Supriyo rendition of ‘Pichkari na maro nandlala re’, acceptable to dadra and taal pherta interludes successful Keharwa was vibrant. The portion led by Supriyo and Sahana showed what 2 skilful musicians tin bash erstwhile they travel together.