Sangatkar:
Tabla: Atulchandra Dadhe
Harmonium: Sudhanshu Gharpure
Chandrakantji started his performance with raga Bhimpalas (bada khyal
in vilambit Ektaal - piya mose kahe na bole, chhota khyal in
madhyalaya Teentaal - balama tara gaya).
Chandrakantji's voice sounded a bit tired. May be it is a problem with
me but most of the times I felt the komal nishad to be a bit sharper
(chadha) and the tara shadja a bit flatter (kami). The madhyalaya
bandish composition was beautiful (Vasantrao's ?) and I enjoyed the
laya in which it was sung.
Chandrakantji continued his performance with raga Chandramohini (his
own creation). He sang his own composition - kahe bulaye ab tum mose
in madhyalaya Teentaal. The raga employed both madhyams, komal nishad
with all other notes being shuddha. I heard traces of Vachaspati
(komal n S G teevra m P komal n S), Marubihag (S shuddha M) and Gavati
(tar S D). I understood the aroha-awaroha as - 'n S G m (teevra) P n
S'/S' D m (teevra) P G m (teevra) G R S and the arohi phrase - S M
(shuddha) m (teevra) G R S.
Chandrakantji followed this with sanvare aijaiyo jamuna kinare mero
gaon (Kumarji's composition made popular by Vasantrao).
Atulchandra Dadhe and Sudhanshu Gharpure provided good tabla and
harmonium sangat respectively.
Overall though the performance had quite a few interesting elements it
was a bit disappointing with respect to pitch correctness.
- Bansuriwala
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For all music lovers there is a book inspired by Sawai Festival. 'Nuances of Hindustani Classical Music' by Dr Hema Hirlekar. A clear, comprehensive book praised by Pt Kashalkar, Pt Ginde, Prof Anjali Mittal.
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