Of sweet melancholy, shringar and distant romance

Md. Moniruzzaman, Pandit Tushar Dutta and Khairul Anam Shakil perform at the programme. PHOTO: RIDWAN ADID RUPON

Chhayanaut's two daylong (December 19-20) Classical Music Festival 2013 wrapped up on a high note. The nightlong concluding session of the festival featured many memorable moments. Pandit Tushar Dutta mesmerised the packed audience with performing an immensely sweet Raga “Gorak Kalyan” at the session. Tushar Dutta, originally from Natore, has recently achieved the highest grade (Pandit) from All India Radio, India. “This is my first public performance after attaining the highest distinction and I am really very happy to dedicate it for the motherland,” he said. 
Speedy aakar taan and its clarity, fabulous murki, exquisite devotional pukar and perfect pitch quality and strong command over all aspects of laya, rhythm and shruti, evoking the desired mood and emotions have created the hallmark of Pandit Tushar Dutta's music. The maestro showcased all the aspects of offerings in the raga. 
Blending the traditional gayaki of two prominent graranas -- Agra and Kirana – coupled with his love for styling special musical phraseology enthralled the music connoisseurs. Tushar Dutta embellished the special features especially the murki (musical ornamentation) of Raga “Gorak Kalyan” in such a way that reminded us of the exact rendition style of Ustad Salamat Ali Khan. 
His presentation of vilambit bandish “Kaa Se Kahoon” (on vilambit ektaal) and drut bandish “Jaye Kahan Kahoon” (teentaal) generated an emotive plea that seemingly made the music lovers dive into the realm of melodic paradise. It was like an ever-haunting lonely cloud aspiring for uniting with the celestial blue sky. Again, Each and every movement of the raga evokes romantic euphoria.  Tushar in his rendition of raga displayed the ecstatic ups and down of melody that seemed like a blissful wandering around of a spring-time hill. He augmented the sweetness of Gorak Kalyan with the beautiful technique of rarely producing phrase “Pa, Ma, Re Sa”, metaphorically blossming a rare musical flower in the use of “Pancham” in the raga. Other aspects of his evocative performance traced meend, bahelawa and gamaki taan, weaving a garland with 16 guna taan with touching the notes of all the four octaves. Goutam Sarker on tabla, Bizon Mistry on harmonium and Dr. Jagodananda Roy and Aloke Kumar Sen on tanpura accompanied the maestro's transcendental musical flight. Later, the artiste rendered one of his self-composed dadras, set on Raga Shivranjani. 
Chhayanaut Guru Rezwan Ali Lablu performed raga Nayaki Kanada, a Mian Taansen creation, at the festival. His vilambit bandish was “Banera Mora Peyara” (vilambit ektaal). Renowned tabla artiste Swarup Hossain was superbly balanced on the rhythms of teentaal. He played various qaida, palta theka, tukra, peshkar, rela, chakradar and more. His presentation of bol along with different compositions, including ones used in dance, playing antakshwari, gopuchchha spellbound the audience. 
Ebadul Huq Shaikat recited Raga Charukauns, created by Pandit Ravi Shankar, at the event. The legend created it incorporating the notes of Raga Charukeshi and Malkauns. Shaikat's dhrupad-ang alap and jod were on Choutaal (pakhawaj) while his next composition was on rupak taal. A drut teentaal composition followed by a jhala performance. 
Priyanka Gope impressed the audience performing Raga Jogkauns at the festival. The vocalist first presented a vilambit ektaal bandish “Sukhare Bar Payo” and later, performed a tarana on teentaal. Her dadra presentation on Raga Kirwani won hearts of many while the audience compelled her to render a popular Pahadi composition “Rangeen Sari” with frequent requests. 
Renowned vocalist Khairul Anam Shakil rendered a highly romantic Raga Bageshree. Shakil, first gripping the apt mood of the raga, depicted the emotion of a lover waiting for a reunion with her beloved through his rendition. His vilambit ektaal “Kaun Gata Bhayi”, teentaal bandish “Nayi Nayi Dori Lagi” and drut ektaal bandish “Apni Garaji Pakar Lina Baiyan” were the portrayal of sad-romantic beauty, shringar and depths of unfulfilled love. Iftekhar Alam Pradhan on tabla and Bizon Mistry on harmonium accompanied the singer.
Noted vocalist Anil Kumar Saha performed a meditative khayal set on Raga Malkauns. Saha always loves to immerse in the desired mood of the raga he performs, and this was no exception. His vilambit bandish was “Jinke Maan Raam Biraj” (on vilambit ektaal) and drut bandish echoed “Aaye Pi Morey Manderwa” (teentaal). The artiste rendered devotional pukar in his bandish performance, while the sargam balance in vistar ang of Malkauns was systematic and refined.   
The third session was set off with a choral performance set on Raga Bheempalashree by the artistes of Chhayanaut. Rezwan Ali directed it. Fakir Shahidul Islam presented Raga Puria at the festival. Based on Raga Chandrakauns, flautist Md Moniruzzaman recited alap, jod and jhala. His next composition -- a mishra dhun -- captivated the audience. 
Eminent Chhayanaut guru Asit Dey wrapped the seventh festival with a number of khayal performances. The performer loves to perform lesser known ragas that are generally well received by classical artistes. He started off his part with Raga Ramkeli on jhumra, madhyalaya and drut teentaal. Next was a chhoto khayal performance on Raga Dev Gandhar. The chalan of the raga depicts the essence of Raga Jaunpuri mingling with the note shuddha gandhar “Ga”. Another chhoto khayal on Raga Bhatiar (teentaal) followed. And last but not the least, the artiste wrapped up the festival performing a sweet-romantic morning raga Bhairvi on teentaal.