The audience at the Rotary Sadan recently experienced a warm evening of Indian classical music. The endeavours of the sarod player, Pandit Alok Lahiri, and his organization, Sur Sangam, to showcase young talent gave a platform to the 12-year-old Rwitoban De. Rwitoban confidently played Raga Kaushik Dhwani, which must have been a difficult raga for him to perform. He presented a simplistic but charming rendition of the raga, which is derived from the thaat, Bilawal. He emphasized the key notes and tried his best to create the appropriate mood. He maintained a good pace and clear movements; some sparks of brilliance included small vistaars and taans. He emerged as a promising talent.
Rwitoban’s performance was followed by Abhishek Lahiri’s solo sarod recital (picture). He started with Raga Kedar and evoked a pre-monsoon mood. His alaap brought out a different, sweet and smooth shade of the raga. The key note movements, the use of kadi madhyam and the standing on pancham were praiseworthy. The commencement of the madhyalaya gat in jhamptaal took a little time to flourish, but Abhishek was innovative in his vistaars, which were in the middle octave. He presented the complicated taans effortlessly. In drut teentaal, his gatkari was beautiful in its compactness. He did not try to make it unnecessarily long, or his rendition repetitive.
Abhishek’s next presentation was Raga Tilak Kamod. Through a brief aochar, Abhishek skilfully portrayed the soul of the raga. His gat in deepchandi taal was complicated; his renditions did not follow a regular structure. This could very well be the secret of his alluring Tilak Kamod performance. The vistaars, especially those in the lower and middle octaves, touched the audience. While performing in drut ektaal, with Tanmoy Bose’s perfect accompaniment, Abhishek’s taans sparkled, and he left the jovial tune of his composition to his listeners.
Chiranjib Chakraborty and Sugato Nag enchanted the audience during an evening of Indian classical music organized by Mangalacharan at the Krystal Chopstick banquet room. Chiranjib’s vocal recital started with the Raga Shuddha Kalyan. His assertive voice expressed the creative nuances of the raga. He sang vilambit ektaal, madhyalaya ektaal and drut teentaal compositions, of which the last was the best. He then performed Raga Kamod. It was difficult to perform Kamod after Shuddha Kalyan since the origin of these two ragas is the same (Kalyan thaat) and they are based on almost the same note-structure, although the movements are different. However, Chiranjib’s confidence did justice to his performance. Samik Bhaduri accompanied him on the tabla and Kamalakhsya Mukherjee on the harmonium.
The sitarist, Sugato Nag, was accompanied by Subrato Manna on the tabla. He chose Raga Jog to start his performance with. His bold strokes and beautifully crafted alaap and jod set the tone. The gat in madyalaya rupak taal was a treat for the ears. The final rendition in drut teentaal was also enjoyable. He concluded the performance with Raga Gavati.