I am forced to miss the 60th Sawai Gandharva Bhimsen Sangeet Mahotsav due to being out of India. No live coverage this year! Hopefully I will be able to attend during the next year.
Prabhaji started her performance with raga Saraswati - bada khyal in vilambit Ektal - jago he jagamate. The bada khyal was followed by chhota khyal in drut Ektal - mata saraswati devi. This was followed by a tarana in drun Teental.
Prabhaji continued her performance with a composition in raga Kirwani - nanda nandana mana mohana set to Jhaptaal. This followed by a bandish in drut Ektal - tore bina mohe chaina nahi brij ke nandalala.
Prabhaji sang a dadra - basanti chunariya lao more sainya.
All sangatkars provided very good sangat.
The 59th Sawai Gandharva Bhimsen Sangeet Mahotsav concluded with thw customery playing of Sawai Gandharva's recording.
That's all folks!
Venkateshkumarji began his performance with raga Bageshree - bada khyal in vilambit Ektal - sakhi mana lage na. The ragavistar was systematic and unhurried. The swara lagav was full throated and powerful yet surel. The tar shdja was sung with a lot of power. The sargam was innovative. The taans were well rehersed and extremely well presented. The bada khyal was followed by the chhota khyal - kauna karat tori binati piharawa. The fast taans were simply amazing and sung to perfection. This was by far the most power packed Bageshri I have ever heard.
Venkateshkumarji continued his performance with raga Basant - fagawa brij dekhan ko chalo ri - madhyalaya Teental followed by pashupathi girijapathi har in drut Ektal.
Next Venkateshkumarji sang a Kannada bhajan.
Bharat Kamat and Pramod Marathe provided excellent tabla and harmonium sangat.
Overall an amazing performance.
Violin: Sangita, Ragini and Nandini Shankar
Tanpura: Neela and Rajashri
Rajamji started the performance with rag Jog. Brief alap was followed by bada khyal in vilambit Ektal. The ragavistar consisted of simple, surel and exceptionally beautiful alaps. The play around tar shuddha gandhar was quite remarkable. The taans were simply superb. The effect of well composed and rehersed taans coming from four different violins one after other was awsome. The bada khyal was followed by the famous chhota khyal - sajan more ghar aaye - in madhyalaya Teental. This was followed by a composition in drut Teental.
Rajamji continued the performance with the bhajan payori maine ram ratan dhana payo.
This was followed by the natyageet - ghehi chhand makarand - the dhani version made immortal by Pt. Vasantrao Deshpande (composed by Pt. Jitedra Abhisheki).
On 'one-more' request Rajamji played the natyageet naravara krishnasaman.
Ajit Pathak provided excellent tabla sangat. The solos he played were crisp and tasteful. However I enjoyed his simple madhyalay Teental theka the most.
Overall an an absolutely masterly performance which will stay etched in the memory for ever.
Nagraj-ji began his performance with raga Yaman - bada khyal in vilambit Ektal - sakhi kaise karan. The khyal was started after elaborate alap in mandra saptak and purvang. The badhat was systematic. Especially the play around pancham was very pleasing. Taans were clear and sung in a full throated manner. The bada khyal was followed by chhota khyal in madhyalaya Teental - shyam bajaye aaj muraliya.
Nagraj-ji contonued the performance with the kannada bhajan - karuniso ranga karuniso.
This was followed by the abhang - tirtha vitthal kshetra vitthal.
All sangatkars provided very good sangat.
Overall a very good performance.
Padmatai started her performance with raga Shyamkalyan - bada khyal in vilambit Ektal - jiya mero lal. The taans were crisp and clear. Sargam based layakari was well done. The bada khyal was followed by a chhota khyal in madhyalaya Teental - sawan ki sanja bhayee. Many fast taans in this part were extremely well sung.
Padmatai continued her performance with an abhang - mala padak vitthal.
This was followed by the natyageet - mala madan bhase ha mohi mana.
Prashant Pandav and Dr. Arvind Thatte provided very good tabla and harmonium sangat.
Overall a very good performance.
Omkar started his performance with raga Multani - bada khyal in vilambit Jhoomra - kavan des gaeel balam re. Ragavistar was systematic, surel and well thought. Tar shadja was well sung. Interestingly the vistar in tar saptak was done while singing the mukhada of the sthayi. The antara was sung just for the sake of completing the bandish. Taans were gamakdar, clear and well rehersed. The bada khyal was followed by a chhota khyal in madhyalaya Teental - more mandirwa me.
Omkar continued his performance with the natyageet - radhadhar madhu milind jay jay. Omkar sang this in madhyam. I really liked and enjoyed this piece.
On a 'one more' request Omkar sang the bhajan - baje re muralia baje.
Prashant Pandav and Suyog Kundalkar provided very good tabla and harmonium sangat.
Overall a very well planned, well rehersed and well executed performance.
Ustadji started his performance with raga Ganesh Kalyan - his own creation. After a brief alap Ustadji played a dhun in Kehrwa (Bhajani theka). The only major difference I could spot between Yaman Kalyan and Ganesh Kalyan is the occasional use of komal nishad in addition to shuddha nishad. I also noticed some unusual phrases but I could not understand enough details to write about them. The gat in Kehrwa was followed by a gat in drut Ektaal.
Ustadji continued his performance with a dhun in raga Zilla Kafi - set to Deepchandi taal - played very beautifully. The laykari was done very skilfully.
After this Ustadji played a folk dhun composed by Ravindranath Tagore.
Ustadji continued his performance with a Mishra Bhairavi dhun in Dadra which also included a ragamala and concluded with a Bhairavi gat in drut Teental. The clarity and tunefulness of his playing even at a ver fast lay was commendable.
Vijay Ghate's tabla sangat was excellent as usual.
Unfortunately due to time constraints Ustadji had to cut his performance short and the audience including me were left hungry for the elaborate rendering of one raga.
Overall a masterly performance by a maestro.
Sudhir Rao and performed Bharatnatyam based dances coreographed on five bhajans in Kannada, Marathi and Hindi sung by Pt. Bhimsen Joshi.
The Kathak performance 'saakaar niraakaar' was also basted on innovtive improvisation/mixing of Pt. Bhimsen Joshi's old recordings. While the dances were superbly coreographed and performed to perfection, the musical experiment deserves a special daad.
Harmonium: Dr. Arvind Thatte
Malinitai started her performance with raga Narayani - bada khyal - bamana re vichar. The ragavistar was systematically and beautifully done. Especially the vakra use of komal nishad in aroha was presented in a sublime manner. I have not heard this beautiful raga from anybody other than Malinitai. This raga has beautiful shades of Jhinjhoti as well as Durga (S R M P D n D P D S - S n D P M R S). Malinitai's voice was in a superb form. Absolutely tuneful, powerful, laydar yet nazakatdar taans were a treat to the ears. Bada khyal was followed by chhota khyal in madhyalaya Teental - sahelariya gao ri aaj.
Malinitai continued her performance with a tappa in raga Bihag - dil da pyar. This was a hair raising experience with many electrifing taans. Malinitai sang a sargam in drut Teental which despite being in Bihag did not feature rishabh and dhaivat.
Malinitai mentioned that the tappa as well as the bandishes in Narayani were composed by Pt. Ratanjankar.
Dr. Thatte's harmonium sangat was outstanding. Bharat Kamat provided excellent tabla sangat as usual.
I am a big fan of Malinitai. Today's was yet another of her out-of-this-world performances.
Shriniwasji started his performance with raga Puriya Dhanashree - bada khyal in vilambit Ektal - sumiro tero nam. Ragavistar was systematic and leisurely. The bada khyal was followed by chhota khyal in madhyalaya Teental - payaliya jhanakar mori. This was followed by a tarana in drut Ektal.
Shriniwasji continued his performance with the thumri - piya ke milan ki aas.
Shriniwasji concluded his performance with the abhang - kanhoba tujhi ghongadi changali re.
Prashant Pandav and Avinash Dighe provided very good tabla and harmonium sangat.
Overall a very good performance that was well rehersed and well planned.
Yojanaji started her performance with raga Madhuvanti - badakhyal in vilambit Ektal - tuma to mere nahi. Ragavistar was systematic and surel. Taans were well planned and well rehersed. Bada khyal followed by a chhota khyal in drut Ektal - janama virath gayo. This was followed by a tarana in drut Teental.
Yojanaji continued her performance with a kannada bhajan karuniso ranga karuniso based on raga Jogiya. This was sung very well and created a very nice effect.
All sangatkars provided good sangat.
Overall a good performance.
Harmonium: Sudhir Nayak
Tanpura: Nilesh Pande and Sneha Deshpande
Taal (bells): Mauli Takalkar
Maheshji started his performance with raga Madhuvanti. After brief alap he sang bada khyal in vilambit Ektaal - e ho more sai kavan nagariya vasan tarap rahi dina raina. The ragavistaar was systematic and surel. Mahesh has a beautiful and tuneful voice which he uses very well for clear swara lagav. During the ragavistar the play around komal nisbad and introduction of shuddha nishad was quite interestingly done. I found the use of komal nishad to be quite liberal - in fact a bit more than shuddha nishad especially in madhya saptak. Boltaans based layakari was done beautifully. Taans were crisp, well planned, rigorously rehersed and very well executed. Bada khyal was followed by chhota khyal in madhyalaya Jhaptaal - shiv aaj balawant. This was followed by a tarana in drut Teentaal. Tarana was sung with a lot of power.
Mahesh continued his performance with what I think was Raga Din Ki Puriya (Puriya with komal dhaivat) - kaise nike lage in madhyalaya Jhaptaal.
Mahesh sang the popular abhang - abira gulala to conclude his performance.
Mahesh's clarity of pronounciation and attention to lyrics throughout the performance was quite remarkable.
Bharat Kamat and Sudhir Nayak provided very good tabla and harmonium sangat.
Overall an excellent performance by a very promising vocalist.
Shahanai - Nitin Daithankar
Tabla - Mangesh Karmarkar
Swarapeti: Ashok and Ganesh Daithankar
Tukaramji started his performance with raga Madhuvanti. He played khyal in vilambit Ektal after brief but systematic alap. The badhat was simple and surel. The bada khyal was followed by a composition in madhyalaya Teentaal. Madhyalaya and drut taans were layadar and well executed.
Tukaramji played the famous natyageet 'vada jau kunala sharana' after Madhuvanti.
Mangesh Karmarkar provided good tabla sangat.
Overall a short and sweet performance.