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Mix of types of Omkar pageant

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The three-day occasion Omkar pageant offered a platform for artistes to chart their very own musical course

The three-day occasion offered a platform for artistes to chart their very own musical course

The three-day Omkar music pageant started with the launch of the e book Re-imagining One Nation, One Music (Shubhi Publications) authored by the three musicians – Hindustani vocalist Iman Das of Patiala gharana and the director of Omkar Music Academy, and Carnatic violinists M. Lalitha and Nandini. This was adopted by instrumental, vocal and solo tabla displays, which included a jugalbandi between Iman Das and M.D. Pallavi.

Rimpa Shiva (tabla).

Rimpa Shiva (tabla).
| Picture Credit score: Jaydeep

Rimpa Shiva started her solo tabla recital with a peshkar set to Teental of 16 beats. She explored the sonic nuances by means of peshkar, kaydas, and chakradhars, and selected a number of compositions by her father Pt. Swapan Shiva of Farrukhabad gharana and compositions by Ustad Keramatullah Khan. Satish Kolli accompanying on the samvadini performed a riveting sequence in Kirwani.

M. Lalitha and M. Nandini.

M. Lalitha and M. Nandini.
| Picture Credit score: Jaydeep

Sisters Lalitha and Nandini started their violin duet efficiency with Dikshitar’s ‘Maha ganapathim’ in Nattai. They dealt with the raga with aplomb, marked by succinct improvisations by means of kalpanaswaras and rapidly moved to delineating the composition, ‘Paratpara Parameshwara’ by Papanasam Sivan in Vachaspathi. The sisters negotiated gracefully, enjoying in sync, every participating with the myriad dimensions of this raga. The ‘sawal-jawab’ sections between the violinists and mridangam artiste H.S Sudhindra have been noteworthy for the rhythmic vibrancy. The favored Lingashtakam (‘Bramha murari’) was imbued with bhakti rasa with tinges of Shivaranjini.

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Meticulous method

Hindustani vocalist Muddumohan, a former bureaucrat and disciple of Pt. Basavaraj Rajguru, started his live performance with the afternoon monsoon melody, Sur Malhar. In his delineation of the standard vilambit bandish, ‘Garjat ave’, adopted by the well-known drut Teentaal composition, ‘Badarwa barsan ko aye’, he unravelled the subtleties of the raag, utilizing the note-by-note badhat of Kirana singers. Vishwanath Nakod’s sangat on the tabla for the drut khayal ‘Barkha ritu bair hamari’ was noteworthy for its rhythmic virtuosity and galvanising tihais. Surya Upadhyay on the harmonium impressed together with his copy of musical phrases within the drut Teentaal composition ‘Sundar surjanwa’ in Multani.

Iman Das.

Iman Das.
| Picture Credit score: Jaydeep

Iman Das, disciple of Pt. Kalyan Basu, who belonged to Ustad Bade Ghulam Ali Khan’s legacy, commenced his vocal recital within the sandhiprakash raag Shree. It was quintessential Patiala gharanedar gayaki that emphasises on right enunciation of swars. Iman Das rendered the raag in vilambit Jhoomra taal bandish ‘Sanj dhali’, Jhap taal bandish ‘Hari ke charan kamal’ (popularised by the illustrious Paluskar), and a Lakshan Geet. Then got here a Tarana, his personal composition, in the identical raag. Susanmoy Mishra’s accompaniment on the tabla enhanced the layakari and execution of sargams, whereas Surya Upadhyay on the samvadini added to the attraction of the raag.

The pageant drew to a detailed with Jayateerth Mevundi’s live performance. He was accompanied on the tabla by Keshav Joshi and on the harmonium by Satish Kolli. Kindling a way of nostalgia, Jayateerth started with a chic rendition of the well-known ‘Charan dhar ayori ‘ in raag Abhogi, paying homage to Pt. Bhimsen Joshi’s inimitable fashion. His breathtaking taankari got here to the fore within the drut Ektaal chota khyal, ‘Laaj rakho mori, hum garib tum daata’.

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Satish reproduced each gamak and taan with zeal. Jayateerth’s singing of the basic bandish, ‘Rang na daro Shyamji gori pe’, forged a spell. Keshav’s execution of phrases added to the attraction of the bol taans. The vocalist concluded with an emotionally charged rendition of ‘Bhavani dayani’ in Bhairavi, the signature tune of Begum Parveen Sultana of Patiala gharana. He paid his tribute to Pt. Bhimsen Joshi with a chic rendition of the bhajan, ‘Jo bhaje hari ko sada’ eliciting applause from the viewers.

The Bengaluru-based reviewer is a educated musician.

By- The Hindu

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