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ITC SRA Sangeet Sammelan - Bangalore, March 13 & 14, 2010

 

The ITC SRA Sangeet Sammelan, Bengaluru, 2010, was a two day festival of music held on the 13th and 14th of March at the Chowdiah Memorial Hall.

Amidst a highly appreciative choc-a-bloc audience, the Sammelan was inaugurated on the 13th of March with the lighting of the auspicious lamp by ITC SRA Executive Director Mr Ravi Mathur, ITC SRA gurus Pt Ajoy Chakraborty and Pt Ulhas Kashalkar, Pandit Suresh Talwalkar, Smt Aditi Kaikini and one of Bengaluru's senior-most musicians, Smt Lalit Rao. Pandit Ajoy Chakrabarty sang an invocation to begin the Sammelan, after which Mr Ravi Mathur delivered his Welcome Address.

The first performance of the evening was by Shri Samarth Nagarkar, a past scholar of the Academy. He began his performance with Raga Shree. The vilambit khayal, "Saanjh Bhayi" was set to Taal Tilwada while the drut composition, "Eri Hoon toh" was set to teental. He then sang a tarana (self composed) in the same raga in drut Teental. He concluded his recital with a dadra in Raga Khamaj "Morey Raja Kataiya Na Maro Re". Samarth was accompanied on the tabla by Shri Gurumurthy Vaidya and by Sarwar Hussain on the Sarangi. ITC SRA Scholars Adarsh Saxena and Aditya Sharma accompanied him on the tanpura.

This was followed by a superb Sitar recital by Ustad Shahid Parvez. He began with Alap, Jod in Raga Gavati and went on to present one Gat each in vilambit and drut Teental. He concluded his recital with a composition in Raga Desh. Shri Ravindra Yavgal provided tabla accompaniment.

The third and concluding performance of the evening was a wonderful vocal recital by Pandit Ulhas Kashalkar. He began with Raga Basant-Bahar in which he sang "Barajo Na Maane" in Vilambit teental, and "Savare Salone Rang Bhare Neha Lagaaye" in Drut Teental. This was followed by Raga Tilak Kamod which again had two compositions: "teerath Ko Sab kare" in madhyalay Jhaptal and a tarana in Ektal. He concluded his performance with a tribute to Ustad Vilayat Khan, whose death anniversary it happened to be. He presented "Tum Ho Jagat Ke Daata" in taal roopak, a composition in Raga Bhairavi composed by Ustad Vilayat Khan himself.

The second day started with the felicitation of Padmabhushan Shri Lalgudi Jayaraman. The veteran Violin exponent was presented the ITC Award for 2009. Doing the honours were Chief Guest, Mr. Anand Rao, General Manager, ITC Royal Gardenia, Mr. Ravi Mathur, Executive Director, ITC SRA and ITC SRA Guru, Pandit Ulhas Kashalkar. The felicitation was preceded by an address by the chief guest, Mr Anand Rao and followed by an acceptance speech by Lalgudi G J R Krishnan, son of the maestro, on his behalf.

The first performance of the evening was by Pandit Arun Bhaduri. He began his performance with Raga Multani, a late afternoon/early evening melody. He presented “Kavan Des Gaye” in Vilambit ektal and “Bhayi Shyaam Avat Hai Rain” in drut teental. This was followed by “Daar Daar Paat Paat” a composition of Pt Jnan Prakash Ghosh in Raga Hindol Bahar in Teental. He concluded his recital with, “Jina Maaro Pichkaari”, a Hori in Raga Kafi. Pt Bhaduri was accompanied on the tabla by Shri Samar Saha and on harmonium by Smt Rupashree Bhattacharya. His student and ITC SRA scholar Adarsh Saxena provided able vocal support.

The second performance was a brilliant carnatic vocal recital by Smt. Bombay Jayashri. Her performance opened with “Deva deva” in Mayamalavagowlai, followed by a detailed Ragam-Tanam-Pallavi in Shanmugapriya. She performed a Ragamalika with swaras thereafter. She then sang a short lilting piece in Raga Bihag, a Raga popular among Hindustani Music lovers as well. She concluded her recital with Raga Madhuvanti. Embar Kannan on the Violin, J. Vaidyanathan on the Mridangam and Anirudh Athreya on the Kanjira ably accompanied Smt Bombay Jayshree.

The grand finale was a flute recital by Pandit Hariprasad Chourasia, accompanied by Shri Samar Saha on the Tabla. Building a great rapport with the audience right away, Hariji enthralled the audience with Raga Maru Bihag, followed by short compositions in Raga Hamsadhwani and Raga Pahadi.

 

 
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