An evening of Indian Classical music was organized by Ragini Arts and powered by Rainbow Creation (Mumbai) on 12th November, 2016 in Uttam Mancha, Kolkata. The sole motive of the initiative was to promote young talents with potentiality, under the shade of experienced musicians. A performance was given by the budding sarode player Sri Indrayuddh Mazumder (who happens to be the CEO of ShowVelvet as well). Being well groomed through his education and professional studies , his presentation of the whole performance requires appreciation. He started off with a ‘Taleemdar Alaap’ and exhibited a good portrayal of the Raaga Shyam Kalyan. It was followed by a Bilambit Teentaal traditional ‘Bandish’. He was accompanied on tabla by Sri Sohon Ghosh. The rhythmic syncopations and the ‘Chooth Taans’ within them not only brought a tinge of his father’s music(Pt. Tejendra Narayan Mazumdar) but also was a great catalyst in building up the performance. This was followed by a ‘Madhyalaya Teentaal Gat’ of Ustad Ali Akbar Khan Sahab which led to the ‘Jhala’. The accompaniment was splendid. Ghosh’s commendable clarity and the bond with Mazumder made his part complimentary. It is just a mere mismanagement of time that brought hurry at the end of the performance. This could have been handled in a more matured way by the organization.
Our next performer was Smt Meenakshi Mazumdar. She started with Raag ‘Puriya’ in a time cycle of ‘Bilambit Ektaal’. Being under the tutelage of maestros from different ‘Gharanas’ from an initial stage of her career, she has built up an amalgamation of different auras in her genre. The evening ‘Raaga’ was fairly portrayed with correct harmonics and combinations. It had an individualistic approach which is appreciable at such a stage of her career. Performers focus was rather more intensified in the case of creating essence of the raga than being only skilled. Her command over the three octaves was showcased in the ‘sargam taans’ very beautifully. This was followed by a ‘Madhyala Teentaal Bandish’. She was accompanied by Sri Biplab Bhattacharya. His ‘Theka’ actually built up the profound surrounding over the music. The balance between beats and the oval tonality was symbols of matured accompaniment. The performance ended with a ‘Thumri’ in ‘Raag Pilu’.
The final performance of the day was a Percussion duet of Tabla and Ghattam by Pt. Abhijit Bannerjee and Sri Somnath Roy respectively. There was a very brave experiment done in this performance. We usually notice north Indian musicians playing in a south Indian time frame in these ensembles, but in reverse a cycle of ‘Bilambit Teentaal’ was followed by both of the percussionists. In this case the ang of Peshkar was beautifully adapted with distinctive dynamics in a Ghattam. This soundscape was totally new and original. Pt. Bannerjee’s experience amenably took forward the performance through various rhythmic syncopations. The bond between both of them was worth watching. Harmonium accompaniment was done by Sri Sanatan Goswami.
An Article by Rohen Bose
Photographs by Avishek Dey