Beyond his age: Pratik Srivastava on stage (Picture by Prashant Arora)

Who is he? The inevitable question springs up as the photograph of a smiling teenaged boy, decorated on the stage with garlands, gives a jolt. A little prod reveals the story of a prodigy nipped in the bud. His parents rose above this inconsolable personal tragedy because their only child showed them the way to love music selflessly. The idea of Anirban Foundation was born the day he departed and that is how he lives on. June 9, Anirban’s birthday, was celebrated at Gyan Manch.

The remarkable control, with which teenager Pratik Srivastava handled sarod and gave a matured recital, was definitely beyond his age. If the alaap, jod and jhala in Bhimpalasi were packed with immense possibilities, the gatkari in slow jhaptal was their elaboration. Undeterred by Biplab Bhattacharya’s powerful solo rounds on the tabla, he combined the gentle melody of the composition with crystal clear bols of the taans which reflected taiyari firmly rooted on the grounds of emotive beauty of the raga. The bars of the taal emerged as milestones during the impeccable layakari incorporating a variety of jaatis.

The fast teental composition was fascinating with its sam on a gap between Ma and Pa. This, definitely, was a difficult thing to execute without being confused as the stress was on the preceding and following beats. But he sailed through this without batting an eyelid.

The oasis of a mukaam invited all possible varieties of taans suitably replied by the tabla. The honeyed tonality of the strokes, varying between four and six within one bar of teental, was retained even during the superfast jhala.

Shruti Sadolikar Katkar, the final artiste of the evening, began with Shree. A brief aochar led to a slow teental composition and behlaawa. Like a true gemologist she designed the intricate patterns of laya and chhanda to which the refrain fit in snugly like a solitaire. To accompany such a style one needs a lot of experience which Samar Saha, the tabla exponent has in plenty.

Rupashri Bhattacharya’s harmonium displayed delightful confidence while accompanying Katkar. If Shree presented the ornamental style of the Jaipur Gharana, her Kaunsi Kanada was contemplative. The pathos of the oscillating ga gave an exceedingly emotive colour to this raga. She sang a dadra in Khamaj and concluded with a bhajan in Bhairavi.

Ustad Nasir Moinuddin Dagar Dhrupad Sangeet Ashram celebrated the 116th birth anniversary of Ustad Nasiruddin Khan Dagar on the June 12 at the Birla Academy. The simple and direct appeal of the alaaps and chautal dhrupads presented by Alaka Nandy and Anu Burman were very pleasing. Disciples of the late ustads Moinuddin and Aminuddin Dagar, both sang in their natural, melodious voices ? a gift rarely cherished by dhrupadiyas. Anu Burman’s rich voice exhibited a good range, controlled glides and properly sequenced simple layakari in raga Mian Malhar. Apurbalal Manna accompanied him on the pakhawaj.

Alaka Nandy showed her penchant for long glides, more complex layakari replete with tihais in Chandrakauns with rishabh. Together they sang a dhamar in Desh on request. The ladant with Gurudas Ghosh’s pakhawaj infused life in this lively composition. Earlier, Manilal Nag played surbahar.