‘SWARA MILANA’ musical initiative BY ‘SNEHA BALAGA’ held on 21 July 2018 evening at Suchitra Cinema and Cultural Academy, BSK 2nd stage Bengaluru, was indeed a very rare attempt in terms of content and class, enthralls invited audience
As I expressed to the assembled audience at the end post this benchmark concert in terms of content, all Kannada compositions rendered, had a distinct Ravi Murur stamp writ large. My other two young gifted prodigal friends, an electrifying Tabla nawaz Trilochan Kampli and a mellifluous Sarfaraaz Khan on Sarangi enthralled invited audience till the end. Thanks to all my friends Trilochan Kampli (his initiative was further propelled forward by all of us) Chinya Pradeep, Bhanu and others to have sweetly organised such a luvly concert that brightened spirits on a dull gloomy Saturday evening
Ravi Murur – Undoubtedly class apart & Singer par excellence
Needless to mention, foremost disciple of Kannada Music Doyens Sri C.Aswath & Raju Ananthaswamy, Sri Ravi Murur redoubtably justified as to why he stands so different in the pedigree of singing sensations with his nifty vocals while presenting those compellingly melodious Kannada Bhaav and Bhakthgeeths in an inimitable semi-classical genre that would rather set to be benchmark in my opinion. Never before in a semi-classical Kannada Light music concert, Sarangi has been extensively used as a lead instrument, was the real highlight of the evening. Perfect pronunciation, apt Bhaav- Gayaki ang, deft sargams and clasp on natural basics indicative of his assiduous training under his father Sri R.P.Hegde’s primitive guidance and later on under the tutelage of Guru Sri M.P.Hegde. Ravi is also known to be dexterous on percussions like Tabla, traditional Chande and Maddale of Yakshagana Karnataka folklore, besides accompanying well-known artistes with crispy Harmonium notes, all hallmarks of a truly well honed composer that he is !
Albeit these age old melodies of Kannada literature — namely, 1.Danida Jeevake matthe – Mishra Pahadi 2.Olideneke Nalideneke – Bhimpalas 3.Mareyalare Ninna Neere – Kambavati 4.Andenu Indenu – Mishra Khamaj 5.Baradiru Haalirule – Jog and Charukeshi (own beautiful composition) 6.Mucchumare Illadeye – Khamaj 7.Guruve Neenu – Shivaranjini 8. Gundamma Nina Haadu -Pahadi 9.Shivana Bhajisiro 10.Ede Tumbi phrases – kiravani 11.Ella maretiruvaga – Malkauns mix 12. Mattade besara -Yaman & Shyam Kalyan — have been avidly sung & listened to by connoisseurs so often over period till date, here was a bright initiative that stood so different and class apart from all previous efforts in a live presentation, devoid of any supplementary redundant orchestra instruments, barring Tabla and Sarangi besides singer Ravi Murur himself on Harmonium ! Each rendition was impeccable, elaborately sung, laced with an uncanny ability to reach out to the zenith the poet may have visualized and what is paramount in terms of Bhava
Click on below link and listen to mini video clip courtesy shared by friend Nagesh Jois:
https://www.facebook.com/nageshkrishn/videos/pcb.10156566485874808/10156566478334808/?type=3
Click on below link and listen to mini video clip courtesy shared by friend Nagesh Jois:
https://www.facebook.com/nageshkrishn/videos/pcb.10156566485874808/10156566478334808/?type=3
There was undoubtedly a rare fragrance and aura about how the songs were enjoyed by the discerning assembled. A rare chemistry and interaction were inter-woven between the performers and the audience, turning the event very affectionate. The discerning could easily reminisce a rare glint of Legends Mysore Ananthaswamy, C.Aswath and Raju Ananthaswamy in Ravi’s most renditions, yet he held his own forte with evident distinct style with no plagiarism whatsoever, I personally opine. He’s more classier than the most, should the content hold some prominence
Young Prodigals Trilochan Kampli (Tabla) and Sarfaraaz Khan (Sarangi) well-nigh held sway on the invited audience in the mini auditorium.
Tabla Nawaz Trilochan Kampli
Needs no introduction
1985 born, Trilochan’s debut solo concert at the age of 12, stunned an All India Radio invited audience. His crisp technique, effortless mastery over complex and intricate compositions, easy style and involvement invoked instant following and recognition. A beaming Gangubai Hangal prophesied “He is going to be a very great artiste!” after she heard him perform. Since then this prodigy has continued with passion and commitment, playing at major festivals, appearing on TV and touring India, not only as a solo tabla artist but also as a sensitive and accomplished accompanist. Having performed in Japan and Schengen Territory, his very recent notable performance was in front of an invited dignitaries of Indo-Israel community in the eminent presence of Hon’ble Israel Premier, Benjamin Netanyahu in whose honor our beloved Prime Minsiter Sri Narendra Modi hosted. He has accompanied renowned artistes such as Pt Rajiv Taranath, Ustad Bale Khan Ustad Usman Khan, Ustad Faiyaz Khan, Ustad Hameed Khan, Pandit Venkatesh Kumar, Ustad Shafiq Khan and Smt Vidushi Aarti Anklikar, young Sarod Wizard Debasmitha Bhattacharya, to name a few and so.
Trilochan stole the thunder from the audience as his percussive talents were full on, while accompanying Ravi on a semi-classical mode. The last bhajan caught him so unawares emotionally that he paused for while as tears just rolled down. And that’s the true connect with the divine power !
Sarangi Prodigal Sarfaraaz Khan
Another freshest shining star on the bloc
Son of an Illustrious father (singer par excellence, Sarangi Wizard and Chairman, Karnataka Sangeetha Nritya Academy Ustad Faiyaz Khan) a 9th generation Sarangi Prodigy hailing from Dharwad, Sarfaraaz Khan has been found playing very prominently on the majority music circuits of late, needs no introduction. Besides learning all basics from his father, he’s under the tutelage of Sarangi Ustad Shri Ramnarayan last few years. Known to have picked up all minutiae and nuances of Gayaki Ang on difficult Sarangi pre-dominantly witnessed in each of his concerts at such young age, Sarfaraaz Khan is the one to watch for in years to follow.
A brief note on rare facts of Sarangi Instrument
The Sarangi is also a traditional stringed musical instrument of Nepal, commonly played by Gaine or Gandarbha ethnic group, but the outward appearance and repertoire of sarangi are more towards folk music as compared to the heavy and classical form Indian Repertoire. Sarangi is bowed, short-necked string instrument from India, Nepal and Pakistan, majorly played in Hindustani classical music.
However, the most common folk facts of origin and development of Sarangi is derived from ‘sol rang’ (a hundred colors) indicative of its adaptability to many styles of vocal music, adjustable to flexible tunes and ability to produce a large palette of tonal color and emotional nuance of the vocalist on view. According to some musicians, the word sarangi is a combination of two words ‘seh’(Persian equivalent of three) and ‘rangi’ (Persian equivalent of colored) corrupted as sarangi. The term seh-rangi represents the three melody strings.
The repertoire of sarangi players in folklore is very closely related to vocal music. Nevertheless, a concert with solo sarangi as main protagonist, at times includes a full-scale raag presentation with an extensive alaap (immeasurable improvisatory development of raag) in increasing intensity (alap-jor-jhala) and several compositions in ascending tempo called Bandish. As such, it could be seen akin to other instrumental styles of sitar, sarod, and bansuri too, to mention few.
Usually the words are present in emotions during performances, almost until the end of time, adheres to the conventions of vocal performances including the directorial composition. Very Seldom a sarangi player is witnessed unaware of terminology of many classical-semi classical compositions.The predominantly special vocal quality of sarangi is in a separate category from the types of elaboration, tempo in relation with sound, silence and the presentation of Khyal and Thumri compositions. So-called gayaki-ang of sitar for instance which attempts to emulate the nuances of khyal while overall compliant to the structures, usually keeping rendezvous with the Gat compositions of instrumental music – Gat is a composition set to a cyclic rhythm !
