57th Sawai: Smt. Prabha Atre (vocal)

Main Artist: Smt. Prabha Atre (vocal)
Sangat:
Tabla: Ramdas Palsule
Harmonium: Suyog Kundalkar
Tanpura: Arti Thakur and Ashwini Modak

Prabhaji started the concert with raga Rageshri (khyal in vilambit
Ektal - ab to aao rasia, bandish in drut Ektal - lagi lagi tumiso
lagi).

Today Prabhaji's voice sounded a bit shaky and tired. However I must
immediately add that with good voice support Prabhaji ensured that the
quality of the overall performance was excellent.

The raga vistar was systematic and well planned. However antara
section was missing from the bada khyal (as expected). So was tar
saptak (including tar Shadja) except in taans. Antara was sung for the
bandish in the last minute before concluding Rageshri.

Rageshri was followed by Jog Kauns (Nand Kauns? This was not
announced. It employed komal nishad and I am getting confused)
(bandish in drut Ektal - par karo mori naiya, tarana in drut Teental).
This piece was also very well presented.

Prabhaji concluded her performance with Bairavi bhajans - mori naiya
kaise lage par and jagat janani bhavatarini.

All bandishes were superb (and I suppose most to be Prabhaji's own
compositions).Very commendable.

The vocal support was excellent and as was also evident last year
there was excellent coordination with the vocal support artists - yet
another indication of good preparation for this concert. Something I
hope other artists also emulate.

Ramdas Palsule and Suyog Kundalkar provided very good tabla and
harmonium sangat.

That's all folks! 57th Sawai Gandharva Sangeet Mahotsav has concluded
with playing a recording of Bhairavi thumri sung by Sawai Gandharva.

- Bansuriwala

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57th Sawai: Smt. Mallika Sarabhai (Bharatnatyam)

While I enjoyed (rather am enjoying as I type) this performance I am
not in a position to write about it. Hope the readers will pardon me.

- Bansuriwala

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57th Sawai: Satyasheel Deshpande (vocal)

Main Artist: Satyasheel Deshpande (vocal)
Tabla: Bharat Kamat
Harmonium: Suyog Kundalkar
Tanpura: Srujan Deshpande, Krishna Bhat

Satyasheelji started his performance with raga Jaijaiwanti (khyal in
vilambit Ektal - mathe jade chanda, bandish in Teental ye mai layee
sera banara?, bandish in drut Ektal - bairan jagi).

Though very tuneful and systematic I found the bada khyal somewhat
boring and lacking in power that is expected of Satyasheelji's
performance. The taans brought some life in the performance but just
after a couple of them Satyasheelji switched over to Teental bandish -
a beautiful one. Here again Satyasheelji quickly switched over to
another bandish - again a very beautiful one. Unfortunately the
singing of drut bandishes also was lacking in punch.

Satyasheelji presented a bandish in Darbari - nain so nain milahi
rahungi. He narrated a story about his guru Pt. Kumar Gangharva
discussing the need to also have the ability to present Darbari in a
somewhat lighter mood. He continued Darbari with a tarana in drut
Ektal. In my opinion Darbari fared much better than Jaijaiwanti.

After this Satyasheelji sang a beautiful bandish in Gaud Malhar (sawan
me ban me) citing it as an example of a bandish with a short mukhada.
This was sung really well.

Satyasheelji sang a nirguni bhajan jauji jaui duje ke sang nahi jauji.
Extremely well sung I must add.

All the sangatkars provided good support.

Overall a good performance.

- Bansuriwala

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57th Sawai: Pt. Ram Narayan and Harsha Narayan (Sarangi)

Main Artists: Pt. Ram Narayan and Harsh Narayan (Sarangi)
Tabla: Ramdas Palsule
Tanpura: Vinay Chitrav and Ms. Bhuskute

The performance started Harsh Narayan playing Shree (alap, gat in
vilambit Teental, gat in madhyalaya Jhaptal).
It was a very good presentation of Shree. Right from the start Harsh
created a great atmosphere of Shree. The tonal quality of Harsh's
playing was excellent and pitch absolutely perfect. The r-P and P-r
meends were very well presented. I was also very impressed by the way
komal rishabh and komal dhaiwat were played. The taans were very clear
and tuneful.

After this Pt. Ram Narayan and Harsh Narayan together played raga
Yaman (alap, gat in vilambit Teental, gat in madhyalaya Jhaptal, gat
in drut Teental). While this was an excellent performance by all
standards. My expectations were a bit hightened after Harsha's
performance of Shree and I felt a bit disappointed.

After this Panditji played a ragamala starting with Khamaj. He played
elaborate alaps in different ragas and then started with a Teental
based composition.

Ramdas Palsule provided very good tabla sangat.

Overall a memorable concert!

- Bansuriwala
PS:
Pt. Bhimsen Joshi came on the stage with Pt. Ram Narayan and greeted
him with flowes. Pt. Ram Narayan spoke a few words about Pt. Bhimsen
Joshi. He also stayed in the pandal in his car and listened to Pt. Ram
Narayan's performance.

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57th Sawai: Raja Miya (vocal)

Main Artist: Gulam Hussain Khan aka Raja Miya (vocal)
Sangat:
Tabla: Ramdas Palsule
Tanpura: Rajashri Mahajani and Mukul Kulkarni

Raja Miya started his performance with raga Purva (nom-tom alap, khyal
in vilambit Ektal - mana ke lo, bandish in Teental - saware suman). He
sang Barwa (bandish in Teental - prem baje mori payaliya). Barwa was
followed by a Khamaj thumri - maika nindiya na jagao gali dungi.

Raja Miya has a powerful voice and he sings in a full throated nasal
tone characterised by Agra gharana. The nom-tom was short and sweet.
The raga-vistar in the khyal appeard a bit hurried to me. However I
really enjoyed the full throated aakar taans. They were well planned
and well executed.

I am not used to listening to Agra singers but while I found some
parts of the performance fantastic - especially taans, some
school-boyish (singing of the bandish text and raga vistaar), some out
of tune in a peculiar way on the sharper side and some outright funny
(his body language - I had to work hard not to laugh at times).

I found the Barwa presentation a bit more consistently enjoyable as a
package. I also enjoyed the thumri.

I felt that the local sangatkars were also having a bit of difficulty
adjusting to a different style.

Overall the performance was a mixed bag for me.

- Bansuriwala

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57th Sawai: Smt. Girija Devi (vocal)

Main Artist: Smt. Girija Devi (vocal)
Tabla: Arvindkumar Azad
Harmonium: Suyog Kundalkar
Tanpura: Ruchira Kedar, Manasi Mujumdar

Girija Deviji started her performance with raga Jaunapuri (khyal in
vilambit Ektal - aas lagi more mana me, bandish in Teental - more
kanha...). This was followed by Bhairavi thumri (nahak laye gavanava).
Girija Deviji sang a hori - rang dalungi re (Mishra Khamaj?). After
this Girijaji sang a Dadra (Jhula? - divana kiye shyam kya jadu dala).
She concluded the concert with babul mora nai har chhutohi jaye
(Bhairavi)

The mukhada and sam of the bada khyal themselves convey the essence of
Jaupuri. Girija Devi's lagav of the komal nishad was simply
unforgettable and is an evidence of a lifetime of dedication to music.

I also enjoyed the other pieces - however I am inadequately equiped to
write about them. Interestingly in this concert Bhairavi was sung
twice and some other pieces were sung in between.

All sangatkars provided excellent support.

It was a very dignified performance by a musical stalwart.

- Bansuriwala
PS:
Pt. Bhimsen Joshi arrived in the pandal in a car during this
performance. It was an emotional moment.

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57th Sawai: Ustad Shahid Parawez (sitar)

Main Artist: Ustad Shahid Parwez (sitar)
Tabla: Ramdas Palsule

Shahidji started the concert with raga Nata Bhairav (alap, jod, jhala,
gat in vilambit Teental, gat in Rupak and a gat in drut Teental). This
was followed by a dhun in Dadra (in Mishra Mand? - this was not
announced and there was a real lot of Mishra element). On a 'once
more' Ustadji played one more dhun in Dadra (again Mishra Mand?)

The alap was played very beautifully. The meend work was exquisit.
Shahidji ensured that the subtle beauty of every note in Nata Bhairav
got conveyed in the alap. The jod were sublime, jhala simple and
controlled. The layakari during gats was well thought. The fast taans
were crisp.

Ramdasji's solo pieces were well executed and consistent with the mood
of the raga.

Throughout the performance great care was taken to ensure correctness
of tonal quality and tuning. This ensured that even the atidrut
Teental jhala (short and controlled) sounded beautiful and surel.

I also enjoyed the dhun emmensely. It was played with a soft touch and
souded very sweet. This also got a big applause and a 'once more'. I
also liked the 2nd dhun which I found quite similar to the first one.

Overall a superb performance! Kya baat hai!

- Bansuriwala

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57th Sawai: Raja Kale (vocal)

Main Artist: Raja Kale (vocal)
Tabla; Nana Mulay
Harmonium: Uday Kulkarni
Tanpura: Sham Joshi and Amruta Kale

Rajabhau started his performance with raga Todi (khyal in vilambit
Ektal - raj karo tum, bandish in madhyalaya Teental - eri mayi aaj
shubhamangal gavo). Todi was followed by Alhaiya Bilawal (khyal in
vilambit Teental - reha re kanhai, bandish in drut Ektal - roke dharo
gel mori ho to nandala). Rjabhau sang Bhairav-Bhatiyar next (bandhish
in madhyalaya Teental - karam karo mope sai). Rajabhau sang an abhang
(saguna sampanna pandharichya raya) to conclude the performance.

The badhat during the sthayi sounded a little shaky but Rajabhau's
voice warmed up beautifully when the tar Shadja came and antara
started. The layakari was simple but beautiful. The taans quite crisp.

Nana Mulay and Uday Kulkarni provided good tabla and harmonium
support. Unfortunately the vocal support was not upto the mark.

Overall a very surel performance devoid of unnecessary stunts. I like
it this way. Good show!

- Bansuriwala

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57th Sawai: Pt. Ulhas Kashalkar (vocal)

Main Artist: Pt. Ulhas Kashalkar
Sangat:
Tabla: Pt. Suresh Talwalkar
Harmonium: Dr. Arvind Thatte
Tanpura: Samiran Kashalkar and Omkar Dadarkar

Panditji started the concert with raga Malkauns (khyal in vilambit
Jhoomra - daya karo ab to shriram, bandish in Teental so van de re ab
maye). Malkauns was followed by Sohoni (madhya laya Teental bandish -
dekh dekh mana lalachhayi). Panditji sang Bhairavi thumri (hori?) to
conclude the concert (aayo phagun mas in Rupak).

It was a grand performance. To me Panditji's presentation signified
dignity and purity - that of sur, raga, taal and laya. Every single
sur and every matra was given full attention. Every taan had a hair
raising effect. Every sam played a dha in the hearts of all present.
It was perfection exemplified by all the artists in unison.

Pt. Suresh Talwalkar and Dr. Thatte were in complete synchronization
with Panditji throughout the concert. Omkar Dadarkar and Samiran
Kashalkar provided excellent voice support.

I am too overwhelmed to write any further!

Good night!

- Bansuriwala

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57th Sawai: Samhita Nandy (vocal)

Main Artist: Samhita Nandy (vocal)
Tabla: Bharat Kamat
Harmonium: Avinash Dighe
Tanpura: Anuja Kalyankar and Ms. Mahajani

Samhitaji started her performance with raga Bageshri (khyal in
vilambit Ektal - bahu guna kam na ave, madhyalaya bandish in Adha
Teental - gunda lavo re malaniya followed by a tarana in Teental).
Bageshri was followed by a bhajan - chain nahi ghanashyam tarapat hun
dinarat - in raga Mand.

Samhitaji possesses a beautiful husky/silky and weighty voice. Her
singing reminded me of Roshanara Begam. From the very begining she
captivated the aidiance with very tuneful and full throated swara
lagav. The initial alap was leisurely and was very successful in
establishing Bageshri in the air. The sargam was very well done. Taans
were crisp and clear - cut a bit short in my opinion. During
madhyalaya bandish amd tarana also there was a lot of emphasis on
sargam with only a few crisp taans. Samhitajis short/fast taans with
lots of murkis sound very similar to those of Roshanara Begum. I think
Samhitaji must be doing this conciously.

I also enjoyed the bhajan a lot.

Bharat Kamat and Avinash Dighe provided excellent tabla and harmonium sangat.

Overall this was an excellent performance with complete focus on
ragabhava and complete absence of fireworks. Superb!

- Bansuriwala

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57th Sawai: Biswajit Roy Choudhary(Sarod)

Main Artist: Biswajit Roy Choudhari (Sarod)
Tabla: Ramdas Palsule
Tanpura: Kirti Pandit

Biswajitji started his performance with raga Chhayanat - alap, jod,
jhala and gats (4 of them) in madhyalaya and drut Teental. Biswajitji
played a mandhyalaya composition in Adana on a 'once more' request.

The alaap badhat was unhurried and created very good atmosphere of
Chhayanat. Meend-work was very well done. Noisy parts were kept to a
minimum. However I think Biswajitji needs to pay more attention to
tuning/pitch. Pitch problems which were present throuout but got
blatant in 3rd gat onwards when I think the tara shadja string went
out of tune and did not get corrected till the end of Chhayanat
performance. The last couple of minutes of the gat were noisy and
almost completely besur. But this had the desired effect - big
applause and cheers of 'once more'!

Tar shadja woes continued during Adana...

Ramdas Plalsule provided excellent tabla sangat as usual.

I had better expectations from Biswajitji (especially so since I have
attended a much better performance by him a few months back).

- Bansuriwala

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57th Sawai: Shrikant Deshpande (vocal)

Main artist: Shrikant Deshpande (vocal)
Tabla: Pandurang Mukhde
Harmonium: Prabhakar Pandav
Tanpura: Sudhkar Chavan, Sanjay Garud and a couple of names that I did not catch

Shrikantji started his concert with raga Puriya Dhanashree (khyal in
vilambit Ektal - sumir tero naam, Teental bandish - payaliya jhanakar
mori and a drut Teental tarana). This was followed by a mishra Kirvani
thumri - nadan soch samajha nahi pave. Shrikantji sang the abhang
kanhoba tujhi ghongadi changali.

Puriya Dhanashri presentation was systematic and leisurely - true to
the Kirana style. However compared to Shrikantji's performance during
the last year's Sawai I found this to be a bit pale. His voice sounded
somewhat tired today(must have taken the toll being the main
organizer).

Pandurang Mukhade and Prabhakar Pandav provided appropriate tabla and
harmonium sangat.

- Bansuriwala

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57th Sawai: Chandrashekhar Vaze (vocal)

Main Artist: Chandrashekhar Vaze (vocal)
Sangat:
Tabla: Bharat Kamat
Harmonium: Suyog Kundalkar
Tanpura: Gauri Karambelkar and Anjali Vaze

Chandrashekharji started his concert with raga Marwa (khyal in
vilambit Ektal - piya more anant, madhyalaya Teental bandish - sun sun
batiya sagari ratiya). This was followed by an abhang - adhi ka maja
laviyali savaya ata na rahave tujavin. The bhajan made famous by Pt.
Phiroj Dastur (Chandrashekharji's guru) gopala meri karuna kyon nahi
ave was interspersed in the abhang. On a 'one more' request he sang
the Jogiya thumri piya ke milan ki aas.

Chandrashekharji has a powerful voice and he uses it very well by
singing in a full throated manner. Right from the start he captivated
the audiance with aggressive swara lagav well suited for Marwa. The
swara vistar was systematic. Tara shadja and the antara alaps were
very impressive and full of punch. Taans were crisp, well rehersed and
power packed.

The abhang, bhajan and thumri were also very well sung. The standard
set by Marwa was maintained throuout the performance.

Bharat Kamat's tabla accompaniment deserves a special mention.
Especially the layakari during the bada khyal taans on the dhala tabla
was simply superb. Suyog Kundalkar provided very good harmonium
sangat.

Overall an outstanding performance.

- Bansuriwala

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57th Sawai: Shrinivas Joshi (vocal)

(Note: This review did not get posted immediately after the concert due to a typo in the email address. I also could not check the blogsite from the mobile due to intermittent Airtel signal problems at the venue. My apologies!)

Main Artist: Shrinivas Joshi

Sangat:

Tabla: Prashant Pandav

Harmonium: Avinash Dighe

Voice Support: Viraj Joshi

Shrinivasji started his performance with raga Puriya Kalyan (vilambit Ektal khyal - aaj so bana, madhyalaya teen tal - bahut din bite).

This was followed by a bunch of bandishes on Pt. Bhimsen Joshi.

- ajaba nirala upaja - raga Basant Mukhari - Rupak Taal (on his silence - or mauna)

- omkar omkar - raga Darbari - Jhap Taal (on what people felt about his singing)

- hara kadam khilaf thi khudai - raga Chhayanat - Ada Chautaal (about his struggle)

- surasanga rangaraliya - Khamaj Thumri - Addha Teental (on his

surilapan/surasangat)

This was followed by an abhanga - majhe maher pandhari.

I am impressed by Shriniwasji's poetic skills. I have no further comments about the performance.

- Bansuriwala

PS:

I found the matar karanjis I had at a stall outside the pandal during this performance to be absolutely fantastic.

57th Sawai: Smt. Malini Rajurkar (vocal)

Main Artist: Smt. Malini Rajurkar (vocal)
Sangat:
Tabla: Bharat Kamat
Harmonium: Dr. Arvind Thatte

Maliniji started her concert with raga Kaushi Kanada (khyal in
vilambit Ektal - rajan ke sirataja followed by drut Teental bandish -
kahe karat mose barajori). Malinitai concluded her concert with
Bhairavi - bandish (tapa khayal?) in madhyalaya Teental - ali ri...).

As usual Malinitai's performance was very disciplied and digified. The
raga vistar in the bada khyal was systematic and unhurried. She took a
few minutes to warm up but after that the swara lagav was powerful
with crystal clear notes. Taans were crisp and well executed.

Bharat Kamat and Dr. Thatte provided superb tabla and harmonium
accompaniment. In my opinion the trio of Malinitai with Bharat Kamat
and Dr. Thatte is an ideal team of Hindusthani classical musicians -
especially when it comes to maintaining the dignity of the art and
professionalism.

Overall an excellent performance as expected.

Good night!
- Bansuriwala

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57th Sawai: Pt. Hariprasad Chaurasia (Bansuri)

Main Artist: Pt. Hariprasad Chaurasia
Sangat:
Tabla: Vijay Ghate
Pakhawaj: Bhavanishankar
Violin: Siddharth
Bansuri: Sunil Avchat

Panditji started the performance with raga Bhupali - alap, jod, jhala
(jod and jhala were accompanied by pakhawaj).
Panditji continued the concert with raga Marubihag - brief alap
followed by a gat in madhyalaya Matta Tal. After this Panditji played
Raga Durga (gats in Addha Teental and drut Teental). Panditji played
Pahadi dhun to end his performance.

It was a spirited performance by a great musical visionary. The
aesthetic beauty of the performance was out of this world. I am a big
fan of Panditji's and have attended a number of his concerts over many
years in many places - includintg many performances at Sawai. But
today's performance was something really special. Writing about the
specifics of different pieces played in the concert is beyond my
abilities. I simply salute Panditji's vision of the 'big picture' for
each of the pieces as well as the performance as a whole.

All the sangatkars provided excellent support.

- Bansuriwala

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57th Sawai: Rajendra Kandalgaonkar (vocal)

Main Artist: Rajendra Kandalgaonkar (vocal)
Sangat:
Tabla: Ramdas Palsule
Harmonium: Rajiv Tambe
Tanpura: Harshad Dongre and Sachin Bodhre

Rajendraji started his performance with raga Multani (vilambit Ektal
khyal - gokul gaon ke chhora, drut Ektal bandish - nainana me aan
baan). Multani was followed by a Pahadi thumri (sainya bina ghar
suna). Rajendraji concluded his performance with an abhang (pandhari
nivasa sakhya panduranga).

Rajendraji possesses a powerful voice which is well suited for Kirana
style. The swara vistar in bada khyal was unhurried, tuneful and true
to the spirit of Multani. The taans were crisp, clear, well planned
and well executed.

The thumri and abhang did not fare as well. I found both to be a bit out tune.

Ramdas Palsule and Rajiv Tambe provided excellent tabla and harmonium
sangat respectively.

- Bansuriwala

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57th Sawai: Pt. Jasraj (Vocal)

Main artist: Pt. Jasraj
Sangat:
Tabla: Satyajit Talwalkar
Mridangam: Parthasarathy
Harmonium: Mukund Petkar
Tanpura (vocal): Ratan Mohan Sharma, Ankita Joshi and many others

Panditji began his performance with raga Jog (vilambit Ektal - piya
ghara na, madhyalaya Teental - tum bin kaise kate din ratiya). This
was followed by a raga that sounded like Bahar with both gandhars -
with shuddha being prominent - to me (eri ma sakal banat ghan -
madhyalaya Teental). Could this be some kanada?
After this Panditji sang Adana (mata kalika - Addha Teentaal). This
was followed by Basant (aur raga sab bane barati dulha raga Basant).

While overall this was not a bad performance it was clearly not Panditji's best.

Towards the end of 2nd raga there was some interesting Tabla-Mridangam
jugalbandi.

Good night!

- Bansuriwala

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57th Sawai: Tarun Bhattacharya (Santoor)

Main artist: Trun Bhattachrya
Tabla: Abhijeet Banerjee

Tarunji started his performance with raga Rageshree in which he played
alaap, jod, jhala followed by gats in madhyalaya Jhaptal and drut
Teentaal.

After Rageshree Tarunji played a Bhatiyali dhun.

In addition to striking the strings by the kalams Tarunji uses many
different ways (plucking, pulling/pushing strings by hand etc.) to
produce sound. This produces sounds of very different tonal quality
and unfortumately the performance sounds very inconsistent as well as
noisy. This also disturbs the tuning a lot (which unfortunately did
not get corrected in a timely manner).

The drut gat and jugalbandi/sawal jawab with tabla sounded even
noisier and out of tune to me. But it got a lot of applause and even a
once more!!

May be there is something wrong with my ears.

- Bansuriwala

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57th Sawai: Devaki Pandit (vocal)

Main Artist: Devaki Pandit (vocal)
Sangat:
Tabla: Ramdas Palsule
Harmonium: Suyog Kundalkar

Devakiji started her performance with raga Bhimapalasi (khyal in
vilambit Ektal - naad samund...-)

It was a very captivating performance right from the start with full
throated singing and excellent swara lagav. Devakiji sang the full
bandish at the begining of the khyal. The tara shadja that came as
part of the initial rendering of antara was lajawab. The vilambit
badhat was systematic and very effective in establishing the mood of
the raga. The taans and layakari was crisp, pleasing and devoid of
stuntbaji. Vilambit khyal was followed by a drut Teental bandish by
Pt. Jitendra Abhisheki. Interestingly I found the style of
presentation of the vilambit khyal similar to that of Kishori Amonkar
while the rendering of the drut bandish reminded of Abhishekibuva's
singing.

Devakiji continued the recital with raga Amrutvarshini - atara anant
anamay in vilambit Rupaktal (interestingly not in v. Ektaal as I have
heard sung by Abhishekibuva) followed by ka sanga kini preet in drut
Ektaal. This was also sung very beautifully with a lot of emphasis on
establishing the mood of the raga. The taans and layakari were
superbly executed in Abhshekibuva's style.

After this Devakiji sang a lighter composition (kajari?) in mishra
Kirwani set to Keherva.

Devakiji concluded her performance with an Abhang - aamha nakale dnyan.

Ramdas Palsule and Suyou Kundalkar provided excellent tabla and
harmonium sangat respectively.

Overall a fantastic performance!

- Bansuriwala

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57th Sawai: Pt. Nagnath Wodiyar (vocal)

Main artist: Pt. Nagnath Wodiyar (vocal) - student of Gangubai Hangal
Sangat:
Tabla: Bharat Kamat
Harmonium: Avinash Dighe
Tanpura: Vasudev Karekar and Megha Wodiyar

Panditji started his performance with raga Multani (gokul gav ke
chhora - khyal in vilambit Ektal followed by madhyalaya Teental
bandish - aaj bajat badhai). Raga Multani was followed by a bhajan -
aaj sakhi sadguru ghara aye in a raga that sounded like Bhinna Shadja.

Sadly while the glimpses of solid Kirana talim were quite visible,
this was an off colour performance with Panditji's voice sounding
shaky and tired.

Bharat Kamat and Avinash Dighe provided good tabla and harmonium sangat.

Sound systme (power?) problems caused a 10 minute disruption at the
begining of the performance.

- Bansuriwala

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57th Sawai: Pramod Gaikwad (Shahanai)

Main artist: Pramod Gaikwad (Shahanai)
Sangat:
Shahanai: Dilip Gaikwad, Seema Gaikwad and Namrata Gaikwad
Tabla: Ulhas Kulkarni and Nitin Gaikwad

Raga: Gavati - Khyal in vilambit Ektal and a bandish in
madhyalaya/drut Teental. Gawati was followed by a Mishra Pilu dhun in
Dadra.

It was a somewhat boring performance (as expected) useful for sound
system and audience to settle down. To be fair I enjoyed the dhun
which was short and sweet.

- Bansuriwala

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Sent from my mobile device

Live blogging from 57th Sawai Gandharva Sangeet Mahotsav

Namaskar!

The 57th Sawai Gandharva Mahotsav is about to begin. In fact the
customery clapping just took place. I am planning to live blog using
my mobile phone. It is my first attempt of live blogging. Keeping my
fingers crossed (mentally as I need to type).

I'll be making short posts - one per performance.

- Bansuriwala

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Sent from my mobile device