The eleventh century Rajarani temple, one of many best examples of Odia structure, in Bhubaneswar, fashioned a spectacular backdrop for the Rajarani music competition, introduced by the Odia Language, Literature and Tradition Division, Authorities of Odisha in affiliation with the Odisha Sangeet Natak Akademi. The statues of Ashta Digpalas guard the eight cardinal instructions of the temple that has no presiding deity..
The open-air competition is held within the temple premises. Your complete space embellished with crafts from Pipli, appeared vibrant and vibrant.
The three-day competition opened with the flute recital by guru Jabahar Mishra. An everyday performer on Akashvani and Doordarshan, Cuttack, Jabahar Mishra heads the Division of Flute at Utkal College of Tradition, Bhubaneswar. Assisted by his disciple Videh Bhushan on the flute and Biswaranjan Nanda on the tabla, he started with an in depth alap of Bageshri. For the Ati-Mandra vistar, within the decrease octave, he opted for an extended and thicker bansuri and delineated the raag intimately. With the punctuation of a Mohra, he picked up the unique instrument and proceeded to the vilambit (sluggish) composition set to Rupak taal of seven beats time cycle. The composition went by way of a whole spherical (avritti) of 14 beats with two ‘sam’. That is referred to as ‘Do-Munhi Gat’ in musical parlance.
The second composition was within the medium tempo of Teentaal and was adorned with a wide range of taans. He then performed a well-liked vocal bandish ‘Dagar chalat pakad linhi baiyaan marori’ in Drut Ektaal and, lastly, performed a fourth composition, shifting to a sooner Teentaal for the sake of comfort in Jhala. He may have simply prevented this and performed one other raag as a substitute, earlier than concluding with the folkish Odia dhun in Dadra.
Ashwini Bhide Deshpande, the reputed consultant of the Jaipur gharana, was the senior artiste on the inaugural night. Ashwini can be a flexible composer, who has introduced out books of her compositions. She introduced the Bada Khayal ‘Aali mora jiya sukh bhayo, kripa kinhi mope Krishna madho mukund’ in Jaijaiwanti, set to sluggish Jhaptaal, which she mixed along with her personal composition, ‘Sundar shyam salone…’ in Drut Ada Chautaal, a difficult taal of 14 beats.
Accompanied by Vinay Mishra on the harmonium, Yati Bhagwat on the tabla, and her gifted disciple Shivani Haldipur Kalliyanpurkar offering vocal help, she regaled the viewers with a melodious rendition of this late night raag, not often heard in live performance circuits. Raag Nand was her second alternative with ‘Ajahoon na aaye Shyam’, the favored bandish in Addha Theka first, after which for the taan part took to common Teentaal. The abhang by Sant Jnaneshwar underlining the ecstasy of ishwar darshan was soulfully sung as a concluding piece, however on public demand she needed to sing dadra in Bhairavi too.
The second night featured a sarangi recital by Ustad Sabir Khan and Odissi music by guru Bijay Kumar Jena. Skilled from early childhood below his father Ustad Sultan Khan and grandfather Ustad Gulab Khan of Sikar Gharana, Sabir has additionally inherited Rajasthani people music from his forefathers. Accompanied on the tabla by M.R. Nazar, he performed aalap, jod, and three compositions set to Teentaal, Rupak, and Drut Ektaal in raag Kausi Kanhada. Sabir impressed together with his bowing method. He acquired rounds of applause from discerning audiences for sustaining the taar shadja for lengthy. However he performed Kausi Kanhada for practically an hour and ended abruptly after the principle course, with out serving the candy dish.
Opening with a shloka, ‘Aaj mu dekhli ghanashyam ku’, in reward of Jagannath, Bijay Kumar Jena introduced raag Bilahari with alap, taan and sargam. He adopted it up with an Ashtapadi, an Odia music in Bhavanga Paddhati in Marva and concluded with Bhairavi. He had the most effective of accompanists — Satchidananda Das on the pakhawaj and Shrinivas Satpathi on the flute, however hardly used them to his benefit.
Concentrate on Carnatic ragas
The concluding day targeted on Carnatic music with a live performance by Kunnakudi Balamurali Krishna and violin duet by Akkarai Sisters. One has totally different flavours of the identical raga when Balamurali additionally introduced raag Bilahari. He opened with the well-known Tyagaraja Kriti ‘Samajavara gamana’ in raga Hindolam and concluded with ‘Lalita lavanga lata’, an ashtapadi in raga Lalitha.
Opening with a varnam in Kanakangi, Akkarai sisters, S. Subhalakshmi and S. Sornalatha, went on to play a ragam, tanam, pallavi in Shanmukhpriya, concluding with Sindhu Bhairavi that carried the Aavirbhava-Tirobhava of ragas like Bindumalini, Nalinakanti, and the ragamalika swaras, climaxing with a scintillating thillana in Khamas.
The Delhi-based reviewer specialises in classical music.