Sitar and Vocal singing regale live invited audience
Distance and time have never been an impair to my moods
shouldI truly set out on
some live music listening spree and as it went on an otherwise mind-numbing day
work wise.
Parveen Begum (Ustad Faiyaz Khan’s Late wife) Memorial quarterly
music programme offered two masterly concerts to the invited audience at Ananya
Sabhangana, Malleswaram, Bangalore, was also a tribute to Renowned Music Doyen
and Karnataka Pride Padmavibhushan Late Sri Mallikarjun Mansur’s 100th
birth centenary Anniversary. It’s a matter of great pride, for the unparalleled
Musical Wizard of Kirana Gharana, being dotingly remembered by all those
discerning platforms throughout the state and elsewhere.
Nevertheless, I would be however meting out great injustice to all
performing artistes if I don’t venture out on few words of appreciation one shot in exchange
of their rigorous training for years and years - may not suffice too. So much
so, I deem it an honor to share my views and experience.
Sanjeev Korti on Sitar
He honed his Music
proficiency for Eighteen years of
rigorous sitar training from Ustad Shafique Khan. An exponent of Gwalior
Gharana, he undertook tutelage initially from mother Smt.Shailaja, a devotional
singer. Evening Raag Marwa was the most perfect exposition that elaborately displayed his deftness. His control on strings is therefore reminiscent of
both gayaki and tantrakari ang. Raag
Marva was so mellifluously played.
Sri Sanjeev Korti has
performed at many prestigious concerts - aired and telecast in AIR and
Doordarshan. He is also known to have composed good music exhibiting his
inherent artistic talent that shore up his command over the sitar instrument. He’s
also ably accompanied many dance concerts and has scores of aspirants in his
music school in Bangalore. On percussion Tabla,
Rahul Phopli was most apt and suited to Sanjeev Korti’s imaginative raag-alaap
with so much ease and soft play.
Pandita PRIYADASHINI
KULKARNI – Hindustani Vocal 
Acclaimed for her purity
of traditional music honed in Guru-shishya parampara, Pandita Priyadarshini Kulkarni
has been a very conscious student of music enriching herself talent through
many sources.
Her initial training was with Annasaheb Gunjkar
from Aurangabad and later, Nath Neralkar, a prominent Kirana gharana singer and
teacher. Meeting Music Doyen Late
Mallikarjun Mansur's son and pupil Rajshekhar Mansur in 1993 stimulated her to
learn the Jaipur-Attrauli Gharana though she is proficiently influenced in
multi gharanas
Known to bring about the best of unknown ragas,
Late doyen Mallikarjun Mansur had astonishing breath control in creativity.
2015 being Centenary birth year of Sri MAllikarjun Mansur, Priyadarshini
Kulkarni had immense satisfaction while she presented an intricate Chota Khyal
in Raag GAURI and then Raag Tilak Kamod in traditional purity redolent of her Gharana
to venerate the singer unparalleled in
skills. A Masters Degree holder in Music, Priyadarshini fondly recollects to
have benefited immensely from her various mentors. The voice modulation,
purity of music and twirling gayaki ang, Priyadarshini’s performance tenuously
reminds me of Pandita Kishore Amonkar in shades.
Still a learner under
Pt.Udayaraj karpur, Sumit Nayak accompanied to his limited capacity on
percussion, but Sarfaraz Khan on Sarangi (Disciple son of Ustad Faiyaz Khan and
the revered Pandit Ramnarayanji) holds great promise as I have heard him few
times now in solo performances too. Promising budding singer Kavana Hegde was
on Tanpura.
Presenter Sri Vijayendra
Athanikar and Organizer in Chief Ustad Faiyaz Khan most aptly spoke on the
quarterly series of music baithaks conducted
under the aegis of Parveen Begum Memorial that also happened to be a
befitting tribute to Musical Wizard Late Sri Mallikarjun Mansur.
An ardent adherent of pure
good music, I try not to comprehend the non-existent characteristics on a
particular day performance while anything untoward may happen. I don’t try to
judge performances either. For me, the mental succor is vital, but for an
artiste it gives gooseberry bumps should something go wrong or if some
accompanying artistes give a miss or two in the milieu. At the end of it, what
matters to audience is whether or not the performance was pleasurable, but for
the artiste feels vice-versa. Senior Percussionist Pt.Udayaraj karpur wasn’t apparently
in position to play with a swollen finger leading the organizers to arrange
substitutes that may have hypothetically affected the morale of main performer
on view. Keeping in view of the limited audience, matter is trivial I guess.
There’s always a next time for things to fall in place. The music remains
eternal in those who enjoy the substance.
Her initial training was with Annasaheb Gunjkar from Aurangabad and later, Nath Neralkar, a prominent Kirana gharana singer and teacher. Meeting Music Doyen Late Mallikarjun Mansur's son and pupil Rajshekhar Mansur in 1993 stimulated her to learn the Jaipur-Attrauli Gharana though she is proficiently influenced in multi gharanas
Known to bring about the best of unknown ragas, Late doyen Mallikarjun Mansur had astonishing breath control in creativity. 2015 being Centenary birth year of Sri MAllikarjun Mansur, Priyadarshini Kulkarni had immense satisfaction while she presented an intricate Chota Khyal in Raag GAURI and then Raag Tilak Kamod in traditional purity redolent of her Gharana to venerate the singer unparalleled in skills. A Masters Degree holder in Music, Priyadarshini fondly recollects to have benefited immensely from her various mentors. The voice modulation, purity of music and twirling gayaki ang, Priyadarshini’s performance tenuously reminds me of Pandita Kishore Amonkar in shades.
