3 months ago
3
‘Tuka Mhane, Kahe Kabira’ — a unsocial philharmonic lawsuit organised by Pancham Nishad was precocious held astatine Chowdiah Memorial Hall, Bengaluru. Vocalists Bhuvanesh Komkali and Jayateerth Mevundi commenced the performance with Sant Jnaneshwar’s abhang ‘Tuj sagun manu ki nirgun re’. The creation alluded to the 2 trajectories of bhakti — worship of the ‘saguna’ (characterised by a circumstantial signifier and a acceptable of attributes) versus ‘nirguna’ (formless). These paradoxical dualities were represented by the abhangs of Sant Tukaram and the mystical dohas of Sant Kabir.
The signifier mounting excessively was successful consonance with the theme, with striking cut-outs of abhangs specified arsenic ’Bolava Vittal, pahava Vittal, karava Vittal’, ’Avgha rang ek jhala’ and compositions of Kabir specified arsenic ‘Ud jayega hamsa akela’ and ‘Rehena nahi des birana he’ — frankincense highlighting these contrarieties done renditions of nirguni bhajans and abhangs extolling the enchanting representation of Vittala.
Jayateerth’s lyrical rendition of the ‘saguni’ ‘Rajasa sukumar, madanancha puttala’ depicting the beautiful, regal signifier of Vittala successful raag Shivaranjini had a captivating appeal. This was followed by different abhang of Sant Tukaram bearing affinity to a ‘nirguni’ conception: ‘Anureniya thokada, tuka akasha evada’ wherever helium describes himself arsenic an insignificant person and astatine the aforesaid clip arsenic vast and expansive arsenic the sky, referring to his corporeal aforesaid arsenic an illusion. The abhang immortalised by Pt Bhimsen Joshi successful raag Malkauns was rendered with fervour by Jayateerth, highlighting some the ‘sagun’ and ‘nirgun’ conceptions.
Bhuvanesh Komkali embarked connected a profoundly meditative philharmonic travel with the profound nirguni Kabir bhajan, ‘Niharwa humka na bhave’ — a bride‘s longing for her natal location arsenic the metaphor for the soul’s yearning for the divine successful taal Deepchandi, re-articulating the astounding blend of classical and people elements successful his gramps and maestro Pt. Kumar Gandharva‘s rendition. This was followed by different nirguni Kabir bhajan ‘Sunta hai guru gyani, gagan mein awaz ho rahi jeeni jeeni’, characterised by a unsocial melodic operation bearing the stamp of Pt. Kumar Gandharva’s inimitable benignant and reminiscent of folk melodies of Malwa.
Jayateerth Mevundi ‘s soulful delineation of different nirguni Kabir bhajan ‘Guru bin kaun batave baat’ successful raag Madhuvanti was marked by a contemplative solemnity and gravitas that transformed into a sprightly abhang ‘Ma ganadeva’, followed by a sonorous chanting of the ‘gajar’ ‘Jnanoba, Mauli Tukaram’.
Bhuvanesh Komkali presented different riveting Kabir composition: ‘Kaun thugwa nagariya lutal ho’ (which thief has plundered this city?) — a philosophical opus astir mortality and the inexorability of clip rendered successful a lilting Manj Khamaj. Jayateerth’s counterpoint to the nirguni Kabir bhajan was a poignant Kannada bhajan ‘Yake mookanadyo guruve’ by Jagannatha Dasaru of the Madhwa sampradaya successful raag Jaunpuri.
In this spectacular devotional philharmonic odyssey, the 2 vocalists were accompanied by an adept ensemble of accompanists — Mandar Puranik connected the tabla, Dhyaneshwar Sonawane connected the samvadini, Sunil Kumar connected the bansuri , Varsha (a disciple of Bhuvanesh Komkali connected vocal support), Suryakant Surve connected the manjira and Sukhad Munde connected the pakhawaj). Dhanashree Lele‘s eloquent commentary, successful Marathi and Hindi, stood retired arsenic a laudatory backdrop for this majestic interweaving of the saguna and nirguna dimensions of bhakti poesy and music.
Bhuvanesh Komkali and Jayateerth Mevundi concluded the evening with a mesmerising associated rendition of the Kabir composition: ‘Avadhoota gagan ghata geherayire’ successful raag Bhairavi and Keherwa taal.
