Six new sounds and sights to behold at BCMF15
The Bengal Classical Music Festival 2015 (BCMF15) is at the door, and music lovers have plenty to be excited about. Over the last three editions, Bengal Foundation has introduced the Dhaka audience to beautiful, lesser-heard expressions of classical music here – from shehnai to Carnatic percussion to slide guitar to the rudra veena. This year's festival, set to commence November 27 at the Army Stadium, will be no different. Here's the new stuff classical music aficionados will get to experience at BCMF15:
Day 1:
Carnatic flute by Jayaprada Ramamurthy: Pt. Hariprasad Chaurasia has arguably been the most magnetic performer at the festival, adding together his legacy and the Bangladeshi audience's familiarity to the instrument. This year, Dr. Jayaprada Ramamurthy will present flute from the other end of the spectrum: Carnatic classical music. The bansuri's (flute used in Hindustani or North Indian classical) southern cousin is called the venu, and typically has eight finger holes, compared to the bansuri's six (sometimes seven). Fans of the flute can safely expect a distinctively new style in Ramamurthy's presentation.
Day 2:
Saraswati Veena by Jayanthi Kumaresh: Saraswati Veena, named after the Hindu Goddess (who is often depicted with the instrument in her hand), dates back in recorded history to 1500 BCE. The 24-fixed-fret current form of the instrument was developed in Tamil Nadu, where it is practiced in Carnatic music alongside the chitra veena, as opposed to the vichitra veena and rudra veena being used in Hindustani. Dr. Jayanthi Kumaresh comes from a notable lineage of classical musicians, and is cited as one of the most versatile vainika (veena player) today. She is also the head of the Indian National Orchestra, a group of Carnatic and Hindustani artistes representing India's musical diversity.
Esraj by Shubhayu Sen Majumdar: While the venu and Saraswati Veena may not be the most familiar sounds to the average Bangladeshi's ears, the esraj surely will be. A variant of the North Indian dilruba and somewhat resembling the sarangi in tonal texture, it is an essential accompaniment of Rabindra Sangeet. Shubhayu Sen Majumdar, one of the most prominent exponents of the esraj today, will display the full potential of the bowed string instrument. He has been playing the esraj with top singers in Kolkata (and even Bangladesh), and it's almost expected of him show a glimpse of a popular Tagore tune at some point in his recital.
Day 3:
Violin by N. Rajam: Despite what her name suggests, Dr. N Rajam (the third female instrumentalist on this list, all of whom have doctorates) will play Hindustani classical on the violin. Technically, this is not the debut of the instrument in the particular style, but the Hindustani classical played on violin by SRA scholar Saket Sahu (in 2013) wasn't the most memorable of performances. Despite its reputation as a Western classical instrument, the violin has found its way into Hindustani (and Carnatic) music, and despite its small fret range, packs a surprising punch when played with dexterity.
Day 4:
Kuchipudi by Guru Raja and Radha Reddy: Like many classical art forms of Southern India, Kuchipudi is an entirely alien term to many casual followers of music and dance in Bangladesh. Two noted exponents and teachers of the form are bringing Kuchipudi to the Dhaka audience, with its typical fast, fluid and fleet-footed style. It is referred to in the Natya Shastra (the Bharata Muni script that forms the basis of classification of Indian classical dance) as a dance drama form and solo, and shares various elements with Bharatanatyam.
Day 5:
Surbahar by Irshad Khan: The sitar has been a favourite of the Dhaka audience over the years, be it by relatively younger exponents like Purbayan Chatterjee or veterans like Ustad Rais Khan (from Pakistan). This year, the heavier-voiced brother of the sitar, the Surbahar (sometimes termed the bass sitar for obvious reasons) will make its debut at the festival. The lower, grave sounding notes of the instruments can create an ambiance quickly, and Irshad Khan, son of Imrat Khan and direct nephew of Ustad Vilayat Khan, will explore the depths of the instrument in front of an eager audience.
Comments