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A plethora of pristine melodies

Classical Music Fest at Chhayanaut

Source: Photo: Ridwan Adid Rupon
Chhayanaut artistes
Zahangir Alom

A two-day classical music festival was set off at the main auditorium of Chhayanaut Shangskriti Bhaban through the rendition of National Anthem on Thursday evening. Eminent music guru Pandit Amaresh Roy Chowdhury of Rajshahi was scheduled to inaugurate the seventh Shuddha Sangeet Utshab; but as he could not make it due to the ongoing political stalemate and blockade, Khairul Anam Shakil, general Secretary of the organisation delivered welcome address and inaugurated the festival. Chhayanaut guru Razwan Ali Lablu paid homage to recently-deceased classical vocalist and guru Ustad Rabiul Hossain while vice president of Chhayanaut Dr. Sarwar Ali presented vote of thanks at the event.  
The festival, comprising three sessions, comes to an end this morning (December 21).
Based on Raga Hansadhwani, artistes of Chhayanaut began the musical flight through performing a popular bandish “Laagi Lagan Pati Sakhi Sana,” composed by Ustad Aman Ali Khan. The rendition, set on teentaal, captivated the audience. Chhayanaut guru Asit Dey directed the performance.
Rezwanul Haque came next on stage to perform an evening Raga “Yaman”. His vilambit and drut bandish were on vilambit ektaal and teentaal respectively. Swarup Hossain on tabla and Sanjibon Sanyal on harmonium accompanied the singer. Vocalist Latifun Julio also presented an evening Raga “Shudh Kalyan” at the festival. Her vilambit bandish “Bolana Lagi Banme Papihara” and drut bandish “Bajo Rey Bajo Mandelra” were on vilambit ektaal and teentaal respectively.
The lone Mohan Veena artiste Dolan Kanungo of Chittagong performed Raga “Bageshree” at the festival. He truly did justice to his recital with Swarup Hossain on tabla accompaniment.
Classical vocalist Saurav Kumar Nahar (Patna, India) was the last performer of the first session of the opening night. The artiste performed khayal, tappa and bhajan at the festival, courtesy of Indira Gandhi Cultural Centre, High Commission of India, Dhaka. Saurav started off his khayal performance set on a romantic Raga “Behag”. His vistar performance in mandra saptak seemingly evoked a distant romance. The artiste's speedy taan, sargam and different-rhythm making taan won hearts of many. His rendition style resembled that of Pandit Rajan, Pandit Sajan and Pandit Chhannulal Mishra. Later, the singer rendered a chhoto khayal on Raga “Chhayanaut”, a tappa on Raga “Bhairvi and a bhajan on Raga “Charukeshi”.
The second session of the festival started at 9 am and continued till 1pm on December 20. The session began with a choral tarana (on teentaal) performance by artistes of Chhayanaut. Guru Rezwan Ali Lablu directed the performance based on a morning Raga -- Gujri Todi. Chhayanaut teacher Bizon Chandra Mistry next took the stage and performed a shandhi prokash Raga “Bilashkhani Todi”. Bilash Khan, son of legendary Mian Taansen, composed the raga that belongs to the Bhairvi thaat. Bizon, immersing in the melancholic sweetness of the raga, rendered his vilambit bandish “Abo Mor-e Kanta” (on vilambit ektaal) and drul bandish “Ja Ja Re Ja Kagwa” (on teentaal). Iftekhar Alam Prodhan on tabla and Alamgir Parvez on harmonium accompanied the singer.
Iftekhar Alam Prodhan presented a solo tabla recital on teentaal at the session. He played qaida, tukta, peshkar, rela and chakradar at the event. His fashioning of peshkar of various laya along with tukra was really sweet. Sheuli Bhattacharjee recited alap, jod, jhala on her violin augmenting the bliss of a morning Raga Nat Bhairav. Sabuj Ahmed accompanied her on tabla.
Satindranath Haldar rendered vilambit and drut kheyal on Raga “Mongol Bhairav” at the festival. Goutam Sarker on tabla and Bizon Mistry on harmonium accompanied the noted vocalist.  
Accomplished classical vocalist Aloke Kumar Sen was the standout performer of the two sessions. The artiste, first gripping the apt mood and majesty of the Raga “Mian Ki Todi”, enthralled the audience. The raga, created by Mian Taansen, is thought to be the best piece of musical prayer in late morning. He performed his vilambit bandish “Ab Morey Raam” (on vilambit ektaal) and drut bandish “Ab Morey Naiya” (on teentaal). His weaving of the bandish together with gamaki taan, aakar taan, pukar, raagdari, melodically resting on “Sa” of taar saptak were fascinating. His vistar presentation was an evocative of meaningful musical phraseology. Sen's ecstatic presentation of a tarana “Na der der dim Ta nana tana dere na” came next on ektaal. The spirituality of the raga melted out through his voice diffusing the pristine melody in the morning air. Goutam Sarker on tabla and Bizon Chandra Mistry on harmonium styled a musical high to the performance.
Mobile Phone Operator Grameenphone sponsored the festival.

Published: 12:00 am Saturday, December 21, 2013

Last modified: 9:37 pm Saturday, December 21, 2013

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